Does EAR324 phono stage sound like tubes ?

Thanks for sharing, Nolitan.

In my system, I do prefer the two transducers(cart and speakers)play the major role in establishing the so-called sonic signature(that's why I may keep buying more carts to "refresh" my system). In this case, turntable, tonearm &, hopefully, phono amp have to be as neutral & revealing as possible.

That's why I am confident when we optimize our LP setup, the carts I gave comment upon will perform very close to my descriptions.

I have my bottom line for so-called "neutrality and revealing"(if there are any actually), that is, at least 70% of my favorite records have to sound ënjoyable, musical, full of emotions and authentic.

Each of us may have his different approach. To me, the audio bug grown by top-end carts always bite me harder...

Dan

Dan

I understand your situation & I've come across with audiophiles and among friends with similar systems like yours.
And its enjoyable & to their lacking- to each his own.
Personally I would prefer a slightly more forgiving system -allowing one to play not so good LP pressing to very good audiophile type pressings...
Again- this hobby is so changing and evolving...

Thanks !!

Nolitan, actually I agree with you. OK, to make it clear...I have three separate TT/arm setups and any three of my carts ready to play at all time.

Shelter 901 & Denon DL-103SA is mainly responsible for records with poorer surface conditions. (Both are sturdy and stable on old-worn records)

ZYX Omega-S mainly for less ideal recordings or whenever I want a bit smoothness and sweetness. And it's a little bit forgiving for poor recordings.

MY Sonic Lab Ultra Eminent mainly for the best recordings with the best surface conditions. If "set up & step up properly"(it seems not that easy for all inmates, though), the cart & phono combo is just the most "musically authentic" one(comparing to live performance, of course) I have ever heard. IMHO, MY Sonic Lab (including its OEM products for Air Tight)deserves vinylists' serious attention!

This's how I achieve what I want the presentations. Again it's a different approach...;)

Dan

DAN,

If budget allows, that is a very ideal approach. that way you got the situation covered as the vinyl presses of past and present are very different and different carts reacts differently to each different pressings.
Cool set-up!

Hi all, I recently acquired an EAR 324 myself, and think it sounds very fine, musically speaking. (My previous phonostage was a PSA GCPH -- obviously not in the same league price-wise, but I insist on mono and polarity switches in addition to externally adjustable loading and balanced output, so my choices are extremely limited.)

However, there is a disappointing level of hum when in MC mode (i.e., when the internal step-up transformers are engaged). It's not bothersome at the lowest-gain "40 ohm" transformer ratio, or at moderate listening volumes in general. But at the "15 ohm" and "4 ohm" high-gain settings, although it never interferes with the music, at higher listening volumes it does interfere with the silences.

This is a problem I've never had with my previous phonostages, or with the outboard Bob's CineMag SUT that I auditioned for a while with the GCPH. The hum vanishes when the 324 is in MM mode, with preamp volume increased to compensate for the lower gain. So I'm thinking the hum may be inherent to the 324's internal SUTs. I've tried many combinations of cords and cables, power conditioning or not, ground lift, different cartridges, sources other than my regular turntable, even installed it in my bedroom system as a double check (where it was less audible, due to its not being a full-range system), but can't make the hum drop to an acceptable residual level unless I insert shorting plugs into the MC inputs -- obviously not representative of normal operating conditions.

Any comments or questions would be welcome...