To those with multiple tables/arms/cartridges

Dear Nandric, I have to agree with Einstein who is in this case at least an "A" student. Putting a simple switch at the output of the tonearms will inevitably degrade the sound of both cartridges, because the signal voltage is so low in magnitude at that juncture, and because even very good switches have some micro-reactance. However, it may be possible to achieve switching by the clever use of relays such that the switch is not in the signal path, maybe. But that's why the multi-phono-input phono stages we've been discussing do have separate discrete RIAA stages for each pair of inputs. Once the cartridge output is amplified and equalized, it is less damaging to switch it.

But I confess, I installed a switch in my MP1, so I can change the cartridge load resistance from 100R to 1000R to 47K. I choose to believe I can hear no problem from that.

Dear Lew, Thanks for your explantion . I at last understand what the problem with the 'simple switch' is. I thought that those 3-4 cm extra wire for a second input would cause no problem of any kind. But I am glad that I noticed this 'peculiarity' of the Einstein pre and asked about. An error of $10000 is different from one of, say, $1000. However I don't understand what you mean with 'A' student. Except of course if you mean the 'A' of A ndric.

Dear Nikola,
I would trust your 'Einstein who is not Einstein'.
Besides which.......plugging and unplugging terminals and inputs keeps them nicely clean and free of tarnish and/or corrosion.

Dear Lewm,
i tried both ways, a switch with relais (Manley switch) and the silverswitch of Dertonearm. While the Manley is a really good design I stayed with the UNIswitch. Of course you always have a degrading when putting units in between the lines but this unit keeps the qality in a very satisfactoy way.

Another option is going for the EMT JPA-66 with four tonearm connections (one MM, three with inbuild SUTs) and two line connections. This is in my eyes the most versatile and best sounding tube phono pre, also and especially regarding MMs.

Although I tend to take a purist approach to audio. (No tone controls, minimal switches and connectors, etc, etc.) I have lately come to believe that some of these gospel truths can be occasionally violated with no important negative consequences.

Nandric, In the US, students are typically graded on a scale of A to F, where F = Failure. An "A" student would be in the very top category.

Case in point re violating gospel: The other night I set up my pair of Beveridge 2SW speakers, which I have owned for more than a year but which I had never heard, because I sent the direct-drive amplifiers off for check-up and upgrades the minute I uncrated them. Just got them back after 8 months. All I had on hand in my basement as a signal source was an old tuner, the preamp section of an old solid state NAD integrated amplifier, and some ancient "give-away"-quality RCA interconnects. Also, no woofer to complement the Bevs below 80Hz. (The 2SW has a built in 12db/octave x-over at 80Hz; you need a woofer/subwoofer.) Nevertheless, I hooked the tuner up to the NAD preamp and the preamp to the Bev direct-drive amplifiers which sit in the bases of the speakers, set the tuner for a local FM high quality classical music station, and fired up the Bevs for the first time. After about 15 minutes of warm-up, the sound was absolutely glorious. I was riveted to the spot for two hours, or until 1 AM, when I finally had to get some sleep. This to me was a demonstration of the primacy of the transducer. All the other gear is merely seasoning on top of what the speaker can do. If the speaker is second rate, no amount of audio jewelry or switch avoidance can overcome that. If the speaker is of high quality, you almost cannot miss.