Or for better still performance there are head amps such as the one's I make.... Check out review here http://theartofsound.net/forum/showt...156#post822156
Or for better still performance there are head amps such as the one's I make.... Check out review here http://theartofsound.net/forum/showt...156#post822156
Arkless Electronics-Engineered to be better. Tel. 01670 530674 (after 1pm)
Modded Thorens TD150, Audio Technica AT-1005 MkII, Technics EPC-300MC, Arkless Hybrid MC phono stage, Arkless passive pre, Arkless 50WPC Class A SS power amp, (or) Arkless modded Leak Stereo 20, Modded Kef Reference 105/3's
ReVox PR99, Studer B62, Ferrograph Series 7, Tandberg TCD440, Hitachi FT-5500MkI, also FT-5500MkII
Digital: Yamaha CDR-HD1500 (Digital Swiss army knife-CD recorder, player, hard drive, DAC and ADC in one), PC files via 24/96 sound card and SPDIF, modded Philips CD850, modded Philips CD104, modded DPA Little Bit DAC. Sennheiser HD580 cans with Arkless Headphone amp.
Cables- free interconnects that come with CD players, mains leads from B&Q, dead kettles etc, extension leads from Tesco
Location: belgrade serbia
Posts: 840
I'm gordan.
Gordan.
Speakers: Oris Swing MkII
Amps: Thomas Mayer 300b/ Hiraga La Maison de L'Audiophile 20
Preamp: Silver AVC by eng. Ferenc Lazar
Phono Preamp: Shishido LCR by Solaja Audio
Decks: Garrard 301 Martin Bastin reworked/plinthed with Fidelity Research FR64fx
Garrard 401 in eng Ferenc Lazar solid wenge plinth with SME 3012/2
Cartridges: SPU Spirit/ Koetsu Black revisited by eng. Salai/ Miyajima Shilabe
Step Up Transformers: Tango MCT 999/ Ortofon T-5000/ Lumiere SUT
Digital: Shigaclone by eng. Ferenc Lazar with Lampizator Amber II
Wires: of sufficient length
Here's a quote from the link in post #2
"In my experience, every active moving coil input stage degrades the sounds way too much. While it is possible to do active stages today, which have practically no detectable noise, it is the bass region and the bass quality where the problem lies. Active devices are drifting with temperature, operating point and under work, and if input signals are smaller than 1mV, the drift gets into the way of the music. Bass lines are muddy then and drum players seem to play like if they are drunk. So the music is lacking immediateness, and rather sounds hollow, uninvolving, uninteresting."
Convincing people like that that headamps are superior to SUTs is going to be a hard job. Of course, there's been a similar debate for years about valves and transistors, and things like distortion measurements don't seem to have any impact on the debate.
Anyway, to some people it will be true that SUTs are superior to active headamps. To others it won't be.
Personally, I think good examples of either technology can sound great. Bad examples of either technology don't.
Absolute rubbish to the first highlighted bit.
The second I agree with. The thing that bothers on this is that, to follow on from my last post, "Chinese whispers" from people without the technical knowledge to hold an opinion one way or the other on which is theoretically better, are being propagated, without any comparison with top quality head amps (rare on the ground) and used to build a weight of incorrect opinion that SUT's are better, which is a falsehood.
I'm not claiming any huge superiority for head amps over SUT's, just that when done optimally they are at least as good.
Comparing 30 year old £60 head amps from ebay with £1000 SUT's is not exactly a fair comparison and yes one would expect the SUT to win here.
I have not done any sort of search as to what's available new today in the realms of head amps and the only "high end" head amps I personally know of (I'm sure others will enlighten me on this) are the one I make and an even more expensive one from Paul Haynes designs. I recall in a long phone call from Marco a fair while ago him saying that both mine and the Paul Haynes unit had convinced him that a good head amp can be a least as good as the best SUT's... and this was in comparison with the top of the range Ortofon ST80 at around £1400. Marco actually bought the Paul Haynes unit! (double the £750 which mine costs).
Arkless Electronics-Engineered to be better. Tel. 01670 530674 (after 1pm)
Modded Thorens TD150, Audio Technica AT-1005 MkII, Technics EPC-300MC, Arkless Hybrid MC phono stage, Arkless passive pre, Arkless 50WPC Class A SS power amp, (or) Arkless modded Leak Stereo 20, Modded Kef Reference 105/3's
ReVox PR99, Studer B62, Ferrograph Series 7, Tandberg TCD440, Hitachi FT-5500MkI, also FT-5500MkII
Digital: Yamaha CDR-HD1500 (Digital Swiss army knife-CD recorder, player, hard drive, DAC and ADC in one), PC files via 24/96 sound card and SPDIF, modded Philips CD850, modded Philips CD104, modded DPA Little Bit DAC. Sennheiser HD580 cans with Arkless Headphone amp.
Cables- free interconnects that come with CD players, mains leads from B&Q, dead kettles etc, extension leads from Tesco
Location: belgrade serbia
Posts: 840
I'm gordan.
Gordan.
Speakers: Oris Swing MkII
Amps: Thomas Mayer 300b/ Hiraga La Maison de L'Audiophile 20
Preamp: Silver AVC by eng. Ferenc Lazar
Phono Preamp: Shishido LCR by Solaja Audio
Decks: Garrard 301 Martin Bastin reworked/plinthed with Fidelity Research FR64fx
Garrard 401 in eng Ferenc Lazar solid wenge plinth with SME 3012/2
Cartridges: SPU Spirit/ Koetsu Black revisited by eng. Salai/ Miyajima Shilabe
Step Up Transformers: Tango MCT 999/ Ortofon T-5000/ Lumiere SUT
Digital: Shigaclone by eng. Ferenc Lazar with Lampizator Amber II
Wires: of sufficient length
Location: belgrade serbia
Posts: 840
I'm gordan.
Gordan.
Speakers: Oris Swing MkII
Amps: Thomas Mayer 300b/ Hiraga La Maison de L'Audiophile 20
Preamp: Silver AVC by eng. Ferenc Lazar
Phono Preamp: Shishido LCR by Solaja Audio
Decks: Garrard 301 Martin Bastin reworked/plinthed with Fidelity Research FR64fx
Garrard 401 in eng Ferenc Lazar solid wenge plinth with SME 3012/2
Cartridges: SPU Spirit/ Koetsu Black revisited by eng. Salai/ Miyajima Shilabe
Step Up Transformers: Tango MCT 999/ Ortofon T-5000/ Lumiere SUT
Digital: Shigaclone by eng. Ferenc Lazar with Lampizator Amber II
Wires: of sufficient length
Alex I'm quite curious as to the rest of your system when you made that comparison.
I've done it time and and time again, something repeated at intervals over many years, SUTS against both headamps and MC stages, compared using a whole raft of high-end cartridges from an Io2 to Koetsus to Miyajima to top end SPUs - and always the high-end SUTS always come out on top ... I've owned a few nice SUTs, not just the HM7s but Kondo-era AN-S6c, the internals in my current EAR 912, S&B TX103, Jorgen Schou for Ortofon SPU, quite a few others ... beating MC inputs and head amps alike essentially every time.
Plus points for the best SUTs - quietness (once you get them positioned), immediacy, dynamics, musicality. Down side is principally matching, both impedance and gain - easy to get it not so much wrong, but 'not quite right' with sub-optimal results.
Plus points for head amps - a lot less faff when it comes to hum, much more flexibility in matching with a variety of cartridges, and unquestionably more sound per pound. Down sides - hiss, and the ineffable ... I don't know, hifi wise they can be very good indeed, but musically even really good ones like the Slee Elevator (which I realy rate, don't get me wrong) just fall short of the very best SUTs for me. In my experience of course. But you pays your money ...
I wouldn't put the ST80 anywhere near the top rank of SUTs, it's overpriced by a mile by the sound of the one I heard (with an SPU incidentally).
I have heard great things about the Paul Hynes BTW I would love to hear one.