Ok, I read a lot of posts about him using the S&B 600 (which was the tango replica)
Best phono stage?
- Thread starter awsmone
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Ok, I read a lot of posts about him using the S&B 600 (which was the tango replica)
Sure. I would say forums are a great source of knowledge and WBF serves as the best example of it.
I currently have an Esoteric E-03 and an AR PH7, I just bought an Accuphase C-47, very good to hear your experience with the C-47!
I must receive it in six months, it will be a long wait!
Congratulations on the C-47 - I love my C37 after having tried and owned many different phono stages. After starting with the E-600 and listening to the C37 I ended up moving on from much more expensive separates tube phono stage and pre combo (Shindo Giscours/A23 Hommage+Cortese+Haut Brion) to the Accuphase integrated and C37. I also owned Pass XP15 and Xono, Vacuumstate, Cyrus Phono and listened extensively to CH Precision, Aesthetix, AR Ref 3 and many others...
Six months? You are one patient buyer, but I guess it is well worth the wait.
Just a comment on the Thoress Phono equaliser that has been mentioned by a number of people in this thread. I have been in discussion with Reinhart about some of the design points that he considered important in his phono stage; in particular, the significance of each of the settings of the three 'tone' controls. I do not think that this information is contained in the manual. He was very forthcomming and helpful and rather than go into the detail, like tranfer functions,of our discussion I am including the salient point.What is the general view on highest quality phono stage
I am looking for phono stage with at least two inputs three would be better and adjustable loading
I guess SS would be lower maintenance but if tubes were better SQ
Low noise also important as run some low mc cartridges .23 mV
Balanced output would be great but not essential
I am exploring mm carts but not wedded to their sound yet
Thx
A
I mainly listen to classical and timbral accuracy is important
Each of the settings represents an edge frequency:
F1. At 25hz,30hz,35hz,40hz,45hz,50hz (RIAA)
F2. At 1000Hz,900Hz,800Hz,700Hz,600Hz,500Hz (RIAA)
F3. At 2124Hz,4000Hz,6000Hz,8000Hz,10000hz, Infinity
By way of his explanation: "time constants expressed as edge frequencies which are 3dB down or 3dB up points on the curve. The slope of the curve asymptotically approaching 6dB/octave between the truing points given by the edge frequencies."
for Reinhart, it is more practical to provide the customer with more control over how to 'shape' the play back curve .
As montesquieu has pointed out these, for him, represent a tone control rather than a set of equalisation curves that apply to various record labels from the golden age of mono and early stereo (controversial) recordings. However there were numerous EQ curves in use in the 50's and possibly 60's and it is not practical to incorporate them all in a phono stage. The AMR-77 got close but is no longer in production.
There is an interesting table on calvins-audio-page.jimdfree.com that desribes the new monophonic audio specials phonostage with EQ curves. The table lists the most common EQ curves by ; time constants,frequency,dB cut and boost.
I am sure that there are people who are more knowledgeable than myself about the various recording and playback curves but the most interesting site for me is; www.pspatialaudio.com/record_characters.htm.
My main interest in all this is getting the most out of my early stereo recordings. Yes, I know everything was recorded using the RIAA EQ after 1955!!!!!!!
The Golden Age of stereo was ushered in by the Westerex 3d cutter head which was in production from 1958 into the 1970s. This head has reliable bandwidth to well past 30KHz. If you want stereo recordings that were made prior to that time they exist in two forms- the half track commercial tapes (the early ones being of the 'staggered head' variety which was short-lived) and LP transfers such as Also Sprach Zarathustra with Fritz Reiner conducting, which was transferred to LP from the 1954 tapes.
Just an update on my previous note regarding the Thoress Phono enhancer. Reinhart has sent me an update of his manual which clarifies some of the points in his earlier version of the manual and adds more informatuion regarding his eq settings.
THÖRESS chose quite a significant motto. A Tribute to Professional Audio Equipment from the Golden Age of the Electronic Tube!
hello dear, I have seen that the de-emphasis examples given in the new manual do not always correspond to the tone values given by you. How is this possible, how does it work, am I reading it wrong?
Thank you!!!
I have given you the edge frequencies for each of the settings as provided by Rienhart. The new manual i have posted was written after my discussions with Reinhart
thanks, but i'm a bit confused! for example, the value 100 on F1 or the values 3180 and 1590 on F3 where are they?
Yes you are right. Also the 400hz is not included. When i discussed this with Reinhard I did raise the possibility of 'dialling in' the most common frequencies. He went into a fairly detailed commentary about the time constants of the various labels and the confusion surrounding them. I think that he might be better to remove the table of EQ curves as it makes the presumpion that you can dial in the respective EQ curves. you obviously can not as you point out. Indeed, as he sees the Enhancer as offering a series of choices aka tone control, he might be better to include the edge frequency for each of his sttings and the db slope employed. However, it really depends on how much information to put into the manual.
I'm familiar with Reinardt's thinking, and it's good enough that he gave some examples on the subject...... That's why I got curious!
I must be one lazy SOB, all this talk of edge frequencies makes me so happy I have my CSPort phono stage... no loading, no tweaking, no infinite adjustments just add one of very finest cartridges (Etsuro Gold), put on some vinyl, and enjoy.
This hobby can become an OCD minefield.
This hobby can become an OCD minefield.
I do find myself puzzled about EQ curves as described just above. My Westerex LP mastering system only has one EQ curve- that of the RIAA. This is one thing that all LP mastering systems have in common since the simple fact is most LPs are not played on playback systems with variable EQ.
If I were wanting to mess with the sound of the playback, I think I'd be trying to use a tone stack in the line stage, like you might see on a Citation 1 preamp.
If I were wanting to mess with the sound of the playback, I think I'd be trying to use a tone stack in the line stage, like you might see on a Citation 1 preamp.
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