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UK-designed and manufactured Edwards Audio MC6 phono preamp integrates a bespoke low-noise linear power supply, avoiding external PSU compromises for stability, dynamics, and low noise.
RIAA equalization uses passive treble and active bass topology, achieving ±0.25dB accuracy from 20Hz–20kHz to preserve timing, tonal balance, and musical flow.
Separate optimized signal paths for MM and MC cartridges are selectable via rear switch, with development tuned for Kensington Audio’s new moving-coil cartridges.
Edwards’ approach with the MC6 reads like a deliberate pushback against the modular, wall-wart culture that dominates this price tier. Housing the supply alongside sensitive gain stages is controversial in forum circles, yet TALK’s engineers appear to be betting on careful grounding, transformer orientation, and shielding rather than outsourcing DC hygiene to an external box. The payoff, at least on paper, is a shorter current path and tighter regulation at the circuit level, which typically translates into more confident bass transients and a sense of rhythmic lock that budget phono stages often blur. The choice of a FET front end reinforces that intent: FETs are prized for their cartridge-friendly input characteristics and for preserving low-level nuance without the “etched” edge some listeners associate with high-feedback op-amp designs.
The RIAA implementation also hints at old-school priorities. Splitting treble and bass correction between passive and active sections is a topology many vinyl obsessives regard as musically safer, as it minimizes phase rotation where the ear is most sensitive. Edwards’ insistence on this architecture suggests the MC6 is chasing coherence over headline features, aligning it more with classic British phono thinking than with tweak-heavy modern designs. Meanwhile, the internal configuration philosophy—factory-set but adjustable—signals a clear stance: flexibility is there for those who understand loading theory, not for casual knob-twiddling. That position dovetails with comments about voicing alongside Kensington Audio cartridges, implying the MC6 is less a generic “do-it-all” stage and more a carefully balanced platform for cartridges that value tonal density and timing over forensic detail.
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