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Well, frankly this conversation is about nothing in my view as the way how the subject calculated there is no right and wrong in this debate. What is acceptable, what is reasonable, what is effective what is any another adjective to put in… phonostage? There is no answer to this question and there is no even sanity to ask it until some kind of rational coordinate system of evaluation might be set in place. Of couse we could rename this site into www.what_is_ the_best_if_I-am_an_idiot.com and exchange verbiage while demonstrate to each other penises and convince others to buy the penis the same enlargement that I did last week.  The really of Applied Audio is very far from that and thinking about acceptable and reasonable in audio we need to factor in personal objectives, reference points and factual assessment of the actual results. 

What phonostage is “enough” to play a record?   This is very big question and I would like to extend homework for the site visitor to think about the answer.  The key in the thinking about answer is to understand that there is no absolute answer but the answer vary with person’s objective and methods the person use to employ the phonostage.

Let me give you two examples. 

On one side we have the idiot that “Stitch” told he visited. That idiot has $600K playback and  dozens of high-flying cartridges but he was not able to identify Sonic difference between his cartridges without referring to audio publication where those cartridges were reviewed.  Ask that same person what he feel would be “acceptable phonostage”.

On another side let bring a virtual example.   Meet Walter. Walter is second horn player in his municipal orchestra. He is deaf, not even bone hearing when he blow his horn. However, some scientists figure out that if they record Walter play (of course on LP in our case) then they play it back to Walter by injecting some transmitters into his brain. Now, Walter can’t hear anything besides his ‘in brain” playback but he also need each week to play with his orchestra and to be completely conventional with other players of his horn section. So, Walter, can learn his lip techniques, moderation of tone by position of hands , tonguing, breathing , multi-pitching, trilling and anything else ONLY by listening his recording that pass across some kind of phonostage. Now, what would be an acceptable phonostage for Walter?

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