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I recently implemented a circuit that allows continuously variable cartridge loading using Silonex light dependent resistors(LDR). The range is adjustable from 35R-250K via a control circuit comprised of coarse, medium, and fine mini-potentiometers, in conjunction with a 5V Burson Superregulator. The control circuit works outside of the audio signal path to govern LED brightness and set the resistance value for the LDR photo-resistive element in the audio signal path. The signal path is straight from PCB through soldered-in LDR. There are no switch points or wires or carbon pots in signal path to degrade sound. To set resistance I made a patch cord from input of phono stage out to an ohmmeter.
In my fully balanced ARC PH-2 phono stage, the LDR works as a shunt between the XLR signal phases, in parallel with Caddock TF020 high-value fixed resistors from each signal phase to ground. In a single-ended phono stage, an LDR could entirely replace a 47K load resistor. The LDR circuit could optionally be built externally and placed in series with interconnects.
My initial interest was to evaluate the sound of Silonex LDRs relative to other top resistors. The topic has been explored in a DIY forum thread in the context of the Lightspeed passive attenuator. But of course one wants to hear this for oneself. In short, a Silonex LDR in parallel with TF020 sounds better than TF020 alone. The LDR sound is resolving, clean and extended at the frequency extremes in the manner of TX2575, with an enveloping yet articulate LF that blends the best attributes of detail of TX2575 and smoothness of Audio Note tant.
Why would anyone want to do this? It is particularly interesting to have precise loading across a wide range for MM/MI cartridges. Many MM/MI cartridges sound best when loaded well above the nominal 47K spec. For example, my Empire 888/999, Astatic MF-100, and Andante P-76 all sound best in the 75K-100K range. In addition, variable loading of MC cartridges can sometimes be meaningful +/- 10-20R. The only downside is that optocouplers drift with temperature. However, they drift predictably, so as the chassis warms up, the LDR returns to its preset value. To stabilize them a SS phono stage may be left on constantly. They can be potted in beeswax.
Here are some pictures of the project. This PH-2 includes many other mods such as Schottky rectifiers & replacement of stock coupling and filtering caps.
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I just love the clarity and the dynamics of the FT-3 caps. I have these in my modified Hagerman Clarinet line stage and Cornet 2 phono stages and have extraordinary results.
I carried these into my Bedini power amp and speaker crossovers. These sound great and they are a bargain to say the least. I am glad you enjoy these in your gear as well.
Very interesting stuff. What did the noise floor measure before and after the mods?
Thanks for sharing Dave!
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Applied Fidelity
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Hi Jim,
On the bottom side of PCB I added a raised PCB with FT-2 teflon filtering caps. There are also smaller FT-1 teflon bypass caps.
Of course noise can be a problem in a phono stage, as I learned when I tried to use K40 PIO caps with heavy steel cases to replace the many stock WIMA filtering caps across the channel boards. I played around with grounding the K40 cases, but ended up using mostly vertically mounted Multicap RTX polystyrene caps, bypassed with small FT-1 teflon caps with leads removed & replaced with silver wire. The many flying leads make for a slightly higher noise floor than stock, but performance is so much better than with WIMA caps that I can easily live with it.
To prevent interference it was best to run 5V power to the optocoupler LEDs via shielded and grounded three-conductor interconnect cable.
As good as the russian teflon caps are, it was a big step up to add a 2uf ClarityCap ESA across the 270V rail close to the application. I will carry this experiment further with a larger 20uf film cap. One of the great things about ARC equipment is the large open chassis with plenty of room to play.
The modded PH-2 is a killer & I would defy anyone to identify it as SS. TX2575 resistors in key positions should finish the job.
Very nice work!
I assume that this phono stage is accepting the cartridge as a balanced input, that is to say that the signal appears between pins 2 and 3 of the XLR. Wouldn't you want the load only across those pins?
Thanks, Ralph. Yes, the fully balanced PH-2 loads in the same manner as the MP-1. I might repeat the circuit for my MP-1. However at present the MP-1 is being used only for LOMC cartridges-- which require a smaller range of adjustment in loading. However, there may be a LDR shunt volume control in store for that MP-1...
If you do that, I know just the spot to try it :)
that is one seriously great design. I have long considered our current method of loading cartridges a total crap-shoot.
Endeavor to Persevere
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