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Michael Fidler Spartan 20 Phono Stage Review

Rate this phono stage:

  • 1. Poor (headless panther)

    Votes: 1 0.6%
  • 2. Not terrible (postman panther)

    Votes: 5 2.9%
  • 3. Fine (happy panther)

    Votes: 23 13.5%
  • 4. Great (golfing panther)

    Votes: 142 83.0%

  • Total voters
    171
Fosi could do you a phono stage and amp combo that meets those requirements for under $300.
Or you could buy one of Michael’s stages with all the extra features and $100 amp that would give you top tier sound.

A decent secondhand technics deck from the 80s meets all the wow/flutter and rumble requirements - so another $100-200 there.

You could do all of that for $500 quite easily.

Two nice bookshelfs and a subwoofer and all your requirements are met for a very high end system.
80s Technics? You can go back a further 10 years to an SL1500 or maybe better if new to the folklore, a 1600, 1700 or 1800 due to superior isolation and no need for fancy supports and so on. Vintage cartridges from Sumiko, Ortofon's brand new 'Concorde' types based on 2M stylus specs, would be great and the solidity of the products is above the 22/33 and so on cheaper models that followed.
 
OK, thanks.

So as I understand it, you’re saying the only changes that would be possible amount to volume changes.

Interesting because the differences I perceive do not mirror those of volume changes - brighter, tighter images, tighter bass - they are not the same changes as when I change the volume with my remote. And the changes seem distinct irrespective of the volume I’m playing back.

I feel fairly confident in what I’m hearing, but of course it could be a bias effect. It would be interesting to do a blind test. But if I understand, right switching the impedance could cause volume changes that might be interpreted as changes in the sound rather than just volume changes. Therefore, any blind test should be able to change impedance without changing the volume.

I’m not able to do a blind test on this at this time.

But if somebody we’re going to do that, would the changes in volume/output when changing impedance settings show up with a voltmeter measuring at the speaker terminals?

If so, then it would be a question of whether the person doing the switching could compensate with the preamplifier control.

(just thinking off the top of my head)
Stereophile did an article in 2023 titled "Dispelling a myth (?) about phono-cartridge loading", which I suggested a while back that Michael should perhaps write his MC loading article in Stereophile as a response. There used to be a time that Stereophile featured many technical articles by respected industry engineers.

 
I recommend the Spartan series phonos all the time to people looking for a high-quality affordable preamp.

@Michael Fidler has all but convinced me to ditch LOMC cartridges, but I am left with those I already own. I have a Hana SL (who sound I've loved) which will likely be swapped with my Nagaoka MP-500 when the stylus wears out. Also have a HOMC SAE cartridge waiting to replace the LOMC in my second turntable.

I could have saved so much money not slipping down the LOMC slope and getting a Spartan when I was looking instead for a LOMC preamp to "up my game".
 
But if all the phono preamps measure better in MM then MC, and MC cartridges are supposedly better, why don’t they make MC preamps better?
Michael actually makes a "better" MC preamp - the MC Pro which was tested here.


Michael has been quite clear in his postings about the difficulties and issues presented by LOMC cartridges, but there is a market reality in that many people have them and prefer them. Better to offer a Spartan 20 or a MC Pro that handles those issues as best as feasible, from an EE perspective.
 
Michael actually makes a "better" MC preamp - the MC Pro which was tested here.


Michael has been quite clear in his postings about the difficulties and issues presented by LOMC cartridges, but there is a market reality in that many people have them and prefer them. Better to offer a Spartan 20 or a MC Pro that handles those issues as best as feasible, from an EE perspective.
How? Isn't the SINAD of Spartan over 80 for MM and MC Pro 73?
They are all great phono preamps. More then good enough for vinyl.
The only thing I got was that MC has less scratches, pop noises and that is a lot. Not sure about noise.
If I find the time I will try MC.
Thanks
 
I recommend the Spartan series phonos all the time to people looking for a high-quality affordable preamp.

@Michael Fidler has all but convinced me to ditch LOMC cartridges, but I am left with those I already own. I have a Hana SL (who sound I've loved) which will likely be swapped with my Nagaoka MP-500 when the stylus wears out. Also have a HOMC SAE cartridge waiting to replace the LOMC in my second turntable.

I could have saved so much money not slipping down the LOMC slope and getting a Spartan when I was looking instead for a LOMC preamp to "up my game".
Don't forget the 2M Black also, which was regarded for years as about the best sorted (overall) of all then available 'MM' types I recall.
 
You can always make your own, he published the design. There is a new version coming, might even be cheaper.
I missed that, but I'm sticking with MM. If I build anything else it will be the phantom powered MM head schematic he sent me for recording via mic input without EQ - assuming he doesn't decide to start selling them before then.
 
Moving coil cartridges in general have extended frequency response abd greatly improved transient response compared to moving magenets. Most moving magnets roll off after 16k while moving coils extend past 20k. They also, for a reason, I don't technically understand (since they both offer the same stylus profiles) transmit less surface noise. So regardless of pre amp specs, moving coils offer readily noticeable improvement is sound quality in all respects.
This is an over generalisation and definitely is not technically correct.
The roll off frequency depends on more than just whether it is MC or MM and ironically a considerable number of highly regarded MC cartridges roll off early and a lot, which will reduce surface noise but because of a non-flat FR not transduction method.

IMO as a long time researcher and designer of record playing equipment is that the MC cartridge is highly regarded in "audiophile" circles and boosted in articles is that they are reassuringly more expensive and a highly sought after inconvenience to add to the mystique of record enthusiasts.

I write this having over 50 years experience and running 4 record players with both MC (but not the rolled off ones) and MM cartridges by Ortofon Shure Pickering and Decca.
 
This is an over generalisation and definitely is not technically correct.
Indeed. Personally, I have found the cartridge reviews at hifinews.com to be very instructive. It helps me to know the electrical characteristics of the cartridges when thinking about the performance needed from the phono preamps.

 
I don't think it's a good idea to include these, as they do confuse people a bit, and can also be conflated with the total system capacitance which would lead to poor results.

The small capacitor that yields most of the input capacitance of 120pF is 100pF, and has to be connected after the RF stop resistor of 100 ohms or so to prevent radio-frequency interference in the VHF band from getting onto the input where it would be envelope-detected as audible hash. If it were to be routed through a switch, the extra inductance would make it a less effective shunt.

A lot of the preamplifiers advertised as 100pF are in fact 120pF or more, as you've got to factor in the PCB track-to-ground capacitance, op-amp input, and so on...

Adding more capacitance can be done quite easily, but adds complexity to the design, and only really affects the response above 10kHz by a few dB at most. Most modern cartridges work best with about 200-300pF, so I don't really see a need for it if we have 120pF from the preamp and then another 80-150pF from the tone-arm/cabling. Adding it would just increase the size/complexity of the board, enclosure, generate long e-mail exchanges about setting it, give people the opportunity of setting too much of it and complaining etc.

If it's not necessary, then it's best avoided. Keep the phono-stage simple so it can be plugged in and work straight away with the vast majority of devices, with the loading question completely out of mind.

The same goes for MC loading, which doesn't even really affect the frequency response until it drops below the coil resistance or less. You need a low enough resistance value that lets the resistor dissipate the resonance of the cartridge inductor against the load capacitance. The load capacitor selected for its highest value such that the appropriate resistance is about ten times the coil resistance to keep insertion loss under 1dB. If you design the input amplifier correctly, then the thermal noise of coil resistance will dominate if it increases beyond 30 ohms, such that the noise penalty from insertion loss is mitigated for higher coil resistance.

If you let the user select the MC load resistance value, then they'll either increase insertion loss and harm the signal-to-noise ratio of the device, or create an underdamped RF peak at the coil-inductance/load-capacitance resonance point that will be detected on the input and lead to complaints. Changing the loading alters the level at the input slightly, but perhaps enough for people to convince themselves they have a 'preferred' amount that will probably provoke trouble... Most preamps on the market use pretty brutal (and rather noisy) resistive series RF stopper networks on the input amplifier, preventing the resonance from getting through, at a massive noise penalty which is only acceptable because the market has such low expectations with the intuitive (but incorrect) explanation that the level is lower and therefore noise is correspondingly higher.

While selectable loading is very easy to implement, it is not necessary in my opinion and actually highly undesirable from a customer-facing point of view.

Nagaoka MP-500 & Capacitance. Test record. Cabling 110pF.

Outer sweeps:
Nagaoka MP-500_Subsonic On_1.6g_230pF_50kO_CA-TRS-1007 Side B Track 1 & 2_T46.png


Inner sweeps:
Nagaoka MP-500_Subsonic On_1.6g_230pF_50kO_CA-TRS-1007 Side B Track 9 & 10_T47.png
 
I jumped from a Jasmine 2.5 2 piece phono amp to the MM Pro. What I can say for certainty is - groove noise is substantially less apparent between songs even at loud volumes - some serious dark sound. The MONO button however is a complete revelation, it has changed how a lot of my music sounds, harsh, gritty, screechy sounds are now met with warmth and expression. Records I had given up on and had to switch to Spotify have come back to life, I use with an Ortofon LVB 250, REGA P8.

My collection has been re invigorated and the Jasmine was no slouch (12 years of service purchased directly from the Shenzhen factory on a trip to China (I even used a Cambridge Duo for a short while which I did enjoy however that was used more for needledrops).
I am not thinking of upgrades, i am sitting back and the 1950s 1960s 1970s have come back to life for me. Thank you. Rock n Roll lives, Mod music is alive and well, the 60s are swingin with a vengance and Country music be upon us, and jazz drummers are living amongst the living again.
Not only does it do the job - its very well priced. I would have to double the outlay to get something that might be better.
I have yet to fully analyse the LX Feed. I will have to find the time to do so properly with headphones, dark room and familiar tracks.

I hope one gets dropped off for review.
 
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