So one example: a fully active all-in-one-go circuit will have a high common mode signal at the first stage. Well, there's many cans of worms, mostly because of all the tradeoffs needed in design. The problem does occur that the overload margin is quoted with, say, a 2.5mV sensitivity and one uses a cartridge with 5mV output, immediately taking 6dB out of the overload margin. If you have a phono stage with accurate RIAA equalisation and a >20dB overload margin with your intended cartridge then that's fine. With HF, there's also the natural decrease in level with increasing frequency once much past 1kHz, so the overload margin at higher frequencies will seldom be a problem. Ditto for higher frequencies, the overload margin increases, but so does the level on the LP, by the same amount. BUT, the recorded level also decreases by the same amount, thus maintaining the effective overload margin. As the frequency drops, the amplifier's gain increases, thus decreasing the overload margin. The reason it doesn't need to be quoted at other frequencies is the RIAA equalisation. Overload margin quoted at 1kHz is sufficient, and should be at least 20dB over the cartridge's output at 5cm/sec recorded velocity.
Gain 5mV for 620mV (high gain setting=41,8dB)Īctidamp Mk4 czech diy op amp based preamp with passive two stage RIAAįor reference good info about the subject can be found here: Maximum input level: 93mV (high gain setting) Note: has really small input level, and I noticed that you measured only 20mV, that is pitiful. Input sensitivity: 5mV for 500mV output (this is 100x gain, so 40 db) Meanwhile lets look at some of the options that actually specify headroom value: What is equivalent of 20dB Overload margin to Maximum input level for Schiit Mani for example? Thing is (and this is the main point of this long post) that I don't have enough technical knowledge to understand the matter completely and I am not able to convert overload margin to maximum input level or vice versa and compare the preamps. Unfortunately most of the companies do not specify it. Other important parameter that affect headroom is RIAA feedback or passive implementation, with passive giving usually higher headroom. Often none of these parameters is specified, then I usually look at the voltage of the power source as it seems to be linked directly to this metric.(18V-24V seems to be the necessary minimum). These clicks have much higher voltages than the music so I would prefer the headroom to be at least 90mV to accomodate for them with higher output cartridges. The 'overload margin' is specified in db, maximum input level in mV As it’s known this parameter is very important so that the musical peaks are not distorted and also the clicks and pops are more noticeable when they distort. The one specification that I look into now is overload margin / maximum input level. I read a lot about all the important technical considerations and I am quite annoyed that companies specify their products with different metrics (I noticed that gain can be specified in at least three different ways), some of them even omitting a lot of them (looking at you Pro-Ject). Stay Glued For Trending Entertainment News & Music.I am looking into buying a new phono preamp in the sub 200E category.
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