The Equal Opportunity: A Balanced Moving Magnet Phono Stage

Part 2 - Final circuits and measurements

Stuart Yaniger

Introduction and Recap

In the first part of this article, I reviewed the performance requirements for a preamplifier optimized
for moving magnet (MM) phono cartridges and described the topology that would be used: fully
balanced inputs and outputs, vacuum tubes for voltage amplification, low noise, low input capaci-
tance, high common mode rejection (CMR), high overload margins, low output impedance, and low
distortion. The circuit is configured as two identical gain blocks per channel, with a passive RIAA net-
work realized by a balanced passive RC sandwiched between them.

In this second part, I will present the final circuit, discuss parts and topology options, and show the
predicted and measured performance.

The Circuit
There are some differences between the final circuit blocks and those for the first version shown in
Part I of this article- such is progress when one is never satisfied, so even when I say “final,” I could find
just one more little tweak in the future. So, no promises! Let’s go through this step by step.

Figure 11 shows the input gain block and RIAA equalization network (the odd numbering will be ex-
plained later). Since the first part appeared, I read Blencowe’s first-rate and badly needed article on
tube noise1, and was fascinated to find that the optimum current for low noise in the ECC88 family was
4mA. This is much lower than folk wisdom suggests. More current, more gm, lower noise, let’s go
home! I’m guilty of that, and have accordingly lowered the gain block’s idle current to 4mA. Now, the
rise in noise with increasing current is shallow, so I can weakly defend all of my earlier choices of high
current operating conditions for input stage tubes by claiming that they weren’t much worse than
the optimum, and only cost more heat and somewhat reduced tube life. What that also means is that
you needn’t obsess on hitting 4mA exactly, there’s a broad plateau in the noise versus current curves.
The other advantage of the 4mA idle current is that your choice of pFETs within a lot will be broader
since the minimum idss for the LSJ74 B series (the only series I have been able to source) is 6mA.

1
Merlin Blencoe, “Noise in triodes with particular reference to phono preamplifiers,” J. Audio Eng. Soc. 2013, 61:11, 911-916.

Linear Audio Vol 8 - September 2014 71

 Stuart Yaniger

To reduce the gain block current, the current source plate loads need to be reset- for the particular
lot of DN2540 I used for the current sources, 560R worked. Your MOSFETs may be different than mine,
so set up a breadboard test jig to determine best value for R8 and R32. If you have a boatload of
MOSFETs, you can take the trouble to match them. One other option is to oversize R32 (in resistance),
then parallel it with a resistor in series with a potentiometer (R34 and R35) to use as a way of trim-
ming the currents to match in the two halves of the circuit. This adjustment can also be used to tweak
distortion and CMR. In my prototype, I matched Q5 and Q10 set up as a single FET CCS, then used a
separately matched pair for Q6 and Q9 (matched to each other, not to Q5/Q10), though that’s far less
critical.

With the matched CCS, I ended up at slightly more than 4mA (4.25mA, to be exact!) which is Good
Enough. I didn’t bother adding the trim network, but if you want to tweak things for the very best per-
formance, then you can use it to balance currents and maximize CMR.

In the original input stage gain block, I buffered the outputs from the plates in order to ensure that
the RIAA characteristics didn’t drift over time. That can still be done, but the circuit works quite well
without that extra pair of buffers, reducing part count, power consumption, a smidge of noise, and
heat. Your choice. If you go the route I originally did and use buffers, you’ll have to adjust the values

Figure 11 Schematic of the Equal Opportunity input gain block.

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The Equal Opportunity: A Balanced Moving Magnet Phono Stage - Part 2

of R14 and R15 upward a bit; 10k7 will be quite close for the buffered version, 8k2 will be closer for
the unbuffered version (accounting for the input tubes’ plate resistance). The resistors should be
matched and trimmed to optimize RIAA conformance.

R17 (91R) supplies the zero to compensate for the “missing pole” caused by the band-limiting of
record cutterheads. Some claim that the effect is profound2, others disagree. I personally can’t hear
a difference with it in or out of circuit, so I replaced it with a jumper. Again, your preamp, your option.
Q1 and Q2 should be closely matched for idss and gm. I used a commercial transistor tester and a group
of 20 pFETs- be prepared to bite the bullet and buy many extra because you’ll need four matched
pairs for a full preamp circuit. Figure 12 shows the idss and gm spread in this random lot, and it’s pretty
easy to get four matched pairs out of it. There were only one or two true outliers in the pack.

28
27
26
25
gm (mmho)

24
23
22
21
20
19
18
6 6.5 7 7.5 8 8.5 9 9.5 10 10.5 1
Idss (mA)
Figure 12 Spread of gm versus idss for a random group of 20 LSJ74B pFETs.

Likewise, try to use a tube with decently matched sections. The choices are wide (ECC88, 6DJ8, 6922,
E88CC, 7308, 6KN8 are a few possibilities) so be selective. For the prototype, I used a 8416, a 12V
heater variant supplied for differential inputs to older Tektronix scope plug-ins (the Type W Differential
Comparator), and they worked right out of the box with matched LSJ74B pFETs.

R5 and R6 are optional; some might worry about isolating the tube plates from the current source
loads or you might have a need to use a higher B+ voltage and want to share some of the heat dis-
sipation. In my build, those resistors are replaced by jumpers and the regulated B+ is 125V. With the
parts I used and the values shown, I typically saw 80V on each tube’s plate. Variation between sec-
tions was less than 0.5V without tweaking.

2
Allen Wright, “The Tube Preamp Cookbook” 2nd Edition, 1997.

Linear Audio Vol 8 - September 2014 73

 Stuart Yaniger

We can do some quick dissipation checks: the tubes are dissipating roughly (80V)*(4.25mA) = 340mW
per section, well under any dissipation limits. They should outlive Twinkies and Keith Richards. The
current source loads are each dissipating (45V)*(4.25mA) = 191mW, mostly across the top devices
(Q6 and Q9), so these do not require heat-sinking. Thermally, we’re A-OK.
If you have an allergy to solid state constant current loads, rather than shame you in public, I will
suggest that R5 and R6 can substitute as loads by connecting their upper ends to the B+ rail; for the
tube types here, 20-30k will work well, with the B+ increased accordingly. For 20k plate load resistors,
the B+ should be 160-170V. There’s a small distortion penalty to this option, but the distortion is, as
we shall see, ridiculously low to begin with.

One of the limits on CMR is the matching of the input resistors, R1 and R2. Buy a pile of them (good
quality metal film resistors are under $0.05 each) and match them in pairs- absolute value and pair
to pair matching are less important than matching within the pairs, and that means that your meter
doesn’t need to have 0.01% accuracy, it just needs to be repeatable. Getting a match better than
0.1% is pretty easy.

The second stage (Figure 13) needs to include the buffers since it will be driving a remote load. And
of course, it doesn’t use the RIAA components. In my case, the load was a Heretical Preamp3 with a
high CMR input transformer which the buffers can drive with ease, and which contributes further to

Figure 13 Schematic of the Equal Opportunity output gain block.

74 Linear Audio Vol 8 - September 2014

The Equal Opportunity: A Balanced Moving Magnet Phono Stage - Part 2

the overall common mode noise rejection. For the buffer transistors, Q3 and Q4, the current is roughly
80V/20k = 4mA, the voltage across them is 125 – 80V = 45V, so the dissipation of each transistor is
180mV. Again, no heatsinks required.

Power
One of the nice things about this topology is that any noise or variation on the power supply rails (B+
or B-) is common mode. This means that we needn’t use anything exotic for power supplies. Nonethe-
less, we can put in decent quality regulators and not tempt fate. Figure 14 shows the power supply
regulators I used. The positive high voltage regulator is a standard two transistor design which ac-
tually performs quite well. If possible, it should be placed close to the signal circuitry, in which case
C21 may be omitted (C16 will provide local bypassing). I use individual regulators for each gain block
with outputs set at +125V. The current draw for each gain block is 16mA (including the buffers). With
a raw supply voltage of +150V, the pass transistors dissipate (25V)*(16mA) = 0.4W. With no heatsink-
ing, they run warm but not hot.

Figure 14 High voltage and low voltage regulators. These can optimally be placed directly at the signal circuits; one
set should be provided for each gain block.

The negative low voltage regulator for the pFETs uses a standard 3 pin adjustable IC, with heavy by-
passing of the output and the adjust pin for lowest noise and source impedance. The dissipation is like-
wise low. You’ll want 20V or so of raw supply, which can be achieved with a 15V power transformer.

The overwhelming tragedy of tubes is the heater. It sows but does not reap. Besides consuming
power and generating unwanted heat, the heater power provides a sneaky way for common-mode
noise to creep into the system. A good heater supply should be balanced (i.e., for a 6.3V supply, sep-
arate ±3.15V regulators) and have its center point connected to AC ground, elevated above the cath-
ode potential by a few volts DC. For this circuit, 20-30V of heater elevation should be sufficient. These
tricks will keep out both differential and common-mode noise. A very good heater regulator (albeit
for ±6V) appears in an earlier article of mine4; the set resistors (in the linked schematic, R28 and R32)
can be changed to give whatever heater voltage is appropriate for your tube choice.
3
Stuart Yaniger, “The Heretical Preamp”, available at http://www.syclotron.com/?p=145.
4
Available at http://www.diyaudio.com/forums/images/articles/hismastersnoise/fig7-large.png.

Linear Audio Vol 8 - September 2014 75

 Stuart Yaniger

I have not shown raw supplies because there’s so many possibilities, all of which can work well- your
choices here will depend on what iron is easily available to you and your choice of tube and its re-
quired heater voltage. For the four gain blocks, the B+ and B- current requirements clock in at just
under 100mA total. You’d probably want some safety margin. Likewise, the heater supplies will range
anywhere from 800mA to 1.5A. A 120V secondary transformer is ideal for the raw supply and will be
easy to source and relatively inexpensive.

There’s nothing special about any of these regulators- feel free to substitute whatever other type ap-
peals to your sense of esthetics. One interesting choice for the positive high voltage regulator is the
Statistical Regulator5, which is not a champion for output impedance, but has very low noise. That’s
a perfectly acceptable tradeoff here. Whichever direction you go, make sure that for each gain block,
all of the plates and drains are fed by a single regulator; this is best for LF stability and noise in this
differential direct coupled circuit. And be cognizant of dropout voltage for the regulators and the
tradeoff between headroom and dissipation.

Practicalities
The audio circuit was constructed on PCBs designed by Jan Didden; the Gerber files will be available
at Linear Audio’s website. Each gain block gets its own board for maximum flexibility, and the board
has the B+ and B- regulators right at the signal circuits. This is why some of the parts numbering is
odd- the first and second stage gain blocks are constructed on identical boards with parts not used
omitted or jumpered out. Likewise, if one wishes to use this circuit as the input stage of a power am-
plifier, the layout will accommodate other tubes and transistors. The Parts List indicates how many
of each group of components is needed for the four boards required for a complete phono preamp.

Since this is a balanced circuit, attention should be paid to the infamous “pin 1 issue” for the inputs
and outputs. Rather than rehash it here, read Bill Whitlock’s excellent papers and application notes
on the subject6. Resist the temptation to connect signal grounds to Pin 1 and chassis ground at input
and output- just connect the signal ground to chassis at the input only.

As for connectors, I have used 5 pin DIN and 3 pin XLR in the past. The DIN has the advantage of com-
pact size, but the disadvantage of not being able to swap channels easily if needed. Recently a line
of miniature XLR connectors has become available from REAN7, and they work very well indeed.

A circuit’s CMR
The basic test setup and definition for CMR is shown in Figure 15. Typically, CMR is measured by driv-
ing inverting and non-inverting inputs with the same signal, then measuring the output. This is not ex-
actly appropriate in a fully balanced circuit with balanced outputs, so we have to look at two separate
5
Morgan Jones, “Valve Amplifiers,” 4th edition, Newnes, 2012.
6
http://www.jensen-transformers.com/as/as085.pdf is a brief example of the right way to do things.
7
Information at http://www.rean-connectors.com/en/products/tiny-xlr/.

76 Linear Audio Vol 8 - September 2014

The Equal Opportunity: A Balanced Moving Magnet Phono Stage - Part 2

Figure 15 Test setup for determination of common-mode rejection (CMR), single output and differential. 

aspects of CMR- the single-ended CMR (that is, the CMR to a single output referenced to ground) and
the differential CMR (that is, the CMR referenced to the differential voltage between the two outputs).

First, let’s consider the single-ended CMR. The gain of each of the pFET source followers is extremely
close to unity, since the load impedance is high (the grid load, nearly infinite, in parallel with the
looking-in impedance at the tube cathode which is approximately the current source impedance di-
vided by 1 + mu, on the order of several megohms). So to first order, we can assume that the grid and
cathode voltages are nearly equal. If the grid and cathode are equipotential, then the tube is essen-
tially a two terminal device having an impedance between plate and ground of rp + (mu + 1)*rk, which
is only slightly higher than rp because of the low output impedance of the source follower (rk). Thus,
the tube and its plate load at AC form a voltage divider driven by input voltage Vin, with the output
voltage being the voltage across the plate load. Again, because of the high impedance of the current
source plate load compared to the source impedance at the tube plate, the output voltage should
be very nearly equal to the input voltage, i.e., the common mode gain to one side of the balanced
circuit is about unity. Since the differential gain is 66, the CMR is also 66, or about 36dB.
The differential CMR is then predicted to be very large, since it is inversely proportional to the dif-
ference between two voltages that are each nearly equal (and each equal to the input voltage). It will
be limited by component matching and the ignored terms in the approximations given here.
To test these approximations, a voltage of 170mV was applied common mode to the inputs of a gain
block- this gain block was not tweaked or adjusted in any way, other than matching of the jFETs as
previously described and the use of a tube with well-matched sections. The frequency was varied
between 100Hz and 10kHz. Voltage measurements at each output with respect to ground confirmed
that the AC voltage equaled the AC input voltage (170mV) to within the resolution and repeatabil-
ity of the voltmeter (±2mV), confirming the prediction.

Not surprisingly, this translated to the differential CMR being quite high- the measured AC voltage
between the outputs was under 4mV. If we ignore the fact that this 4mV includes meter error and un-
correlated noise, the minimum CMR is (170mV)*(66)/4mV = 2805 or, equivalently, 69dB. As before, this
number does not vary with frequency in the audio band and despite being a lower bound (limited
by my measurement capability) it is a quite satisfactory result.

Linear Audio Vol 8 - September 2014 77

 Stuart Yaniger

Distortion
One claim for the tube-FET gain block in its original form was that the distortion was reduced because
of (supposedly) the FET and tube’s transfer function curvature being opposite and hence partially
cancelling. Frankly, this never made sense to me nor have I seen any data or analysis supporting this;
on the contrary, the measured distortion of the original single-ended Berning gain block is moder-
ately low, but not unusually so. In fact, it seems to be slightly higher than that of the tube run as a con-
ventional grounded cathode stage and much (20dB) higher than that same tube run with a current
source plate load, which is what originally got me thinking about ways to improve the initial idea. As
mentioned in Part 1, we would expect reduced distortion from the source follower because of the in-
creased degeneration for the higher load impedance it sees driving the tube’s cathode.

Several other things are at play here to help in the distortion department. First, the signal swing is rel-
atively low (1-2V maximum). Second, the active voltage amplification devices are very linear. Third,
the dominant harmonics in most tube circuits are even order (especially second harmonic), and these
are cancelled in balanced push-pull circuits like this one, so we would expect the third-order prod-
ucts (generally low in tube circuits at low output voltages) to dominate.

When the rubber hits the road, the low distortion prediction for this circuit pans out. Figure 16 is the
distortion spectrum of the preamp with 1.3V output (differential) of the 1 kHz fundamental. Note
that the largest distortion product, as predicted, is indeed the 3rd harmonic at -100dB (0.001%). The
test conditions were: 10k load per side for the preamp output, 192 kHz sample rate, 1.4 Hz bins, Rife-
Vincent 3 apodization. The test is limited by the distortion of the signal source, which is -102dB from
the fundamental at this level. If I may modestly say so, this is spectacularly good distortion perform-

-20
Amplitude (dBFS)

-40

-60

-80

-100

-120

-140
0.5 1 5 10
Frequency (kHz)

Figure 16 Harmonic spectrum of the Equal Opportunity preamp at 1.3V output, 1kHz signal, 10k load on each
output polarity. 

78 Linear Audio Vol 8 - September 2014

The Equal Opportunity: A Balanced Moving Magnet Phono Stage - Part 2

ance, far better than one will realize from any phono cartridge. This measurement also holds up at
100 Hz and 10 kHz fundamentals, since the distortion limitation is likely to be the second stage at all
frequencies where the RIAA curve is higher than -36dB referenced to 20Hz.

IMD is similarly low; Figure 17 shows the spectrum of a 10 kHz/11 kHz signal at the same output
level. All IMD products are more than 100dB below the signal, in the same neighborhood as the resid-
ual distortion of the test signal. Not bad, not bad at all.

-20
Amplitude (dBFS)

-40

-60

-80

-100

-120

-140
0.5 1 5 10 20
Frequency (kHz)

Figure 17 Intermodulation spectrum of the Equal Opportunity preamp at 1.3V output, 10kHz/11kHz signal, 1:1 ratio,
10k load on each output polarity.

Noise
Here, the results are almost completely dependent on tube choice, since the contributions from the
pFETs and the current sources are relatively low compared to intrinsic noise from the cartridge and
uncorrelated with tube noise. With my best set of tubes, noise was -72dB (left)/-73dB (right) un-
weighted, 20Hz – 20kHz, input shorted, referred to 5mV in at 1kHz. Other tubes were as much as 2dB
noisier. Still, this is comfortably below the intrinsic cartridge noise and, as a practical matter, nearly
inaudible without moving my ear to within 10cm or so of my loudspeakers. The quality of the hiss was
pinkish, suggesting that, as expected, the noise is dominated by the first stage.

CMR effects on noise were dramatically demonstrated by surrounding the cartridge with my hand
and even touching the pins with the volume turned up. My audiophile guests that evening flinched
reflexively when they saw me do this, then relaxed once they heard… nothing.

Linear Audio Vol 8 - September 2014 79

 Stuart Yaniger

Input Impedance
I measured 45kohm in parallel with 22pF, differentially, for each channel. This is easily low enough to
accommodate even the fussiest load requirements.

Overload
This is, of course, a function of frequency, and can be increased by raising the B+ voltage and the
idle current. Nonetheless, at the very conservative operating conditions I used, at 1kHz and above,
input overload was well over 1V and limited by the available swing from the first stage. At very low
frequencies (where one is unlikely to encounter strong signals because of the velocity characteristic
of the cartridge), the overload becomes limited by the second stage, but this is with output signals
well in excess of anything that will clip the following preamps and/or power amps; with the voltages
shown, this stage can easily swing 40V RMS.

The PCB
The PCB for this project can accommodate one complete gain block for one channel including the
+125V and -15V regulators and RIAA components. The stuffing guide overlay is shown in Figure 18.
For the buffer amplifier, you can of course leave out the RIAA components. Replacing the output
buffers with resistors has been described above. The Gerber files for the PCB as well as a larger-scale
color version of the stuffing guide will be hosted in the Articles section at linearaudio.net. I also en-
courage a group buy for cost-effectiveness. Note that the PCB design is provided for personal and/or
study purposes; should you want to use it for a commercial endeavor, please check with us first.

Wrap-Up
This is not a project for the faint-hearted. It is complex, expensive, and requires part matching. It also
requires that your tonearm cable be rewired. That said, if you take the plunge, this is a preamplifier
that can match any cartridge, is quiet, is immune to many hum sources and any reasonable over-
load, boasts near-state-of-the-art distortion figures, and (if I do say so myself ) has an interesting
topology with many other potential applications.

Acknowledgements
As usual, my motley crew of friends and colleagues gave me much criticism and support. Special
thanks to the editor, Jan Didden, for pushing me into this and then gallantly taking on the unenvi-
able task of designing the circuit board.

80 Linear Audio Vol 8 - September 2014

The Equal Opportunity: A Balanced Moving Magnet Phono Stage - Part 2

Figure 18 The PCB hosts one gain block for one channel, including supply regulators and provisions for a RIAA
network.

Linear Audio Vol 8 - September 2014 81

 Stuart Yaniger

Bill of Material Equal Opportunity Gain Block

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