The Jasmine LP3.0's manual contains such translation humdingers as "Don't directly connect the stage's output to any power amplifier, too large volume maybe burn down your speakers." And "Please turn down volume to avoid the bang bang noise from speakers."Totally understandable, of course.
When you turn on the lights on a car, it presents a very large load of only a few ohms, which causes the alternator to work harder.
Along with Coltrane, Wayne Shorter, Joe Henderson, Gene Ammons, Eddie "Lockjaw" Davis and Johnny Griffin, I am a huge fan of tenor saxophonist Stanley Turrentine, and his work on Blue Note.
As with the Prestige recordings by his then wife, organist Shirley Scott, when I see a Mr. At this point I have them all, but am always looking for a better pressing, as long as "RVG" is in the deadwax.
And as it was my virgin trip to outboard phono stage land, and considering Jasmine's at times bizarre English translations in their user manuals, I had a million questions to set things straight. The Jasmine LP3.0 is a two box affair: power supply and control unit.
The LP3.0 features balanced class A output circuitry; "true dual-mono" regulation after the encapsulated EI core transformer; all switching by relays (less noise, "better sound than mechanical switches" claims the manual); non-inductive film and copper foil output coupling capacitors; Rhodium plated RCA jacks soldered directly to the circuit board; three stereo pairs of RCA inputs; RCA/XLR outputs; selectable input impedance: MM=47K ohm, MC=15/30/60/100/500/1K; and adjustable gain -- minimum 45d B, maximum 75d B.
Changing that resistors also affects noise and distortion of the JFet, so one way, or the other, will sound purer, in an absolute sense.