There are no rules, except to match the tone arm effective mass with the cartridge compliance so that you end up with an acceptable resonant frequency. In this case, I do not think you will have any problem on that score. Otherwise, there are no rules.
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Hopefully you have a phonostage good enough to make the ART 1000 sing? If not, waste of a "big leagues" cart. ART 9 seems more appropriate for that level of table. https://m.youtube.com/watch?v=1QA1jw5Pj7Y&feature=youtu.be As lewm mentions, no rules. |
For overall sonics, the entire audio chain matters. Usually to best lift Sonics, it’s best to address the weak link. If one purchases a component significantly above the level of their audio chain, they will not realize the full potential of the component. It’s best to strive for a balanced audio chain when lifting sonics. |
If you truly achieve that, then surely it makes it hard to upgrade anything without replacing the entire system! I love the concept behind the ART 1000, where the moving coils sit right above the stylus, not at the far end of the cantilever. |
@richardbrand yes and no - the point is to not waste money thinking that a single component matters. When upgrading, system balance is in mind |
I had an ART 1000 and a Hyperion and was trying to decide which one to buy. I mounted them in two identical headshells for the comparison using my SL1200GAE. As far as I know the only difference between your arm and mine is that mine is magnesium and yours is aluminum. I believe the effective mass of the two is similar, close enough for all practical purposes. Anyway, the AT 1000 worked fine in my TT and is one of the nicest cartridges I have ever heard. These TTs are way better than people want to give them credit for, then and now. Your TT will allow the AT 1000 to perform without limitation. |
While there are no hard rules beyond the obvious arm matching, I do have some general rough math I try to work with. Turntable and phono should be approximately equal price. I don’t follow that exactly because I got an SUT which threw things off, but that’s my general thought process and I think it holds up until you’ll looking at a deeper 5 figure vinyl chain. |
I really cannot agree with your line of reasoning, dispie. Given the fact that one can buy excellent gear on the "pre-owned" market and that prices are all over the place depending upon age and market obsessions with certain brands over others, there is no useful point in using criteria like "Turntable and phono should be approximately equal price. Cart should be capped at about half of turntable." If you personally need such guidelines, that's fine, but you are in that case placing constraints on yourself that can cause you to miss out on some surprisingly effective combinations of gear available at very disparate price points. I regularly run a vintage cartridge for which I paid several hundred dollars on a TT/tonearm that cost me about $13,000 total, just because the match of that cartridge with that tonearm and TT is so favorable. Conversely, I sometimes run a $5K cartridge on a $600 TT in a $2500 tonearm. I guess what I am trying to say is that there is a benefit to leaving yourself open to serendipity by mixing and matching gear regardless of relative cost. That's why for me there are no rules related to cost. |
As long as the arm is compatible in terms of effective mass (in this case the arm should be heavy enough to work with a medium to low compliance cartridge) and is decent enough to not have bearings that rattle, you should be good to go. Certainly the rest of system is good enough for you to appreciate what any cartridge is doing. The ART1000x is low enough in compliance (the suspension is stiff), that it impart a lot of energy into the cartridge body which is then transmitted to the tonearm. If that arm is not good at handling this vibrational energy (i.e., it doesn't damp the vibration well and drain that energy by transmitting it through the arm bearings into armpost and then into the armboard), that vibrational energy feeding back to the cartridge could muddle the sound or even cause some mis-tracking. The good news is that even relatively modest arms can do this job reasonably well. I only heard truly gross mismatch when a friend temporarily mounted an Ortofon Windfeld cartridge on the arm of a $300 table. The cartridge/arm combination exhibited inner groove distortion and a bit more fuzzy sound that went away when he mounted the cartridge on a much better arm. |
There are probably many ways to spend $5500+ on "upgrading" LP performance on the OP’s Technics 1300G. I’d go ART 20 and perhaps use the rest in a future upgrade of a next level phonostage. The ART 20 likely isn’t THAT far off in performance(relative to the OP’s existing hardware) with the ART 1000? OP’s phonostage is good and gets solid Stereophile review, but we all know there’s always something better. Lejonklou Entity phono preamplifier | Stereophile.com Once that’s in place, the OP can save for the SP -10-RE-S, a nice arm, THEN get the ART 1000!
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Thank you everyone for your constructive posts. Right now my first imparative is to retip my Dynavector XXII MK II so I can exercise my new analog chain, however, my next major investment is to upgrade my Auralic Vega (13 years old) to a LTA Aero dac. Once done, I‘ll be back to the analog chain meaning another cart taking into consideration my Lejonklou Entity. Fun stuff and thanks again for the support |
OP…you have some great thoughts and excellent equipment. I agree with Lewm. Why should we box ourselves into a corner whenever we are trying to decide cost performance ratio and expenditures for our equipment. I don’t buy into that “you should only spend X amount for this equipment when the other equipment costs X mount”. Now, of course, the rationale for expenditures is a personal matter depending on individual situations, budgets, synergy, etc. All I can say, is why can’t we embrace modding our systems the same we mod our muscle or sports cars? No one ever says well, you should spend X amount for exhaust, titanium for example, or headers, air intakes, carbon fiber, wheels, tires, etc.
In the end, it’s about delivery and execution and one’s own personal satisfaction. When rolling into a cars and coffee with new carbon brakes and wheels on older sports car, people are more apt to say “wow, wool”, and so I think it should be the same with the audio hobby. Test limits or think outside the box to satisfy your our interests. Have fun and enjoy the musical roller coaster. |
Hello,
I can't comment specifically on either the SL-1300G or the Art Cartridge. I do know two things that may be helpful, though. I do own the Technics SL-1400G and a Transfiguration Phoenix S cartridge. The Transfiguration cartridge is remarkable in that it's one of the few cartridges I've seen Michael Fremer rave about (Along with the AT-ART1000X). Please find and read the review on the Transfiguration. Now on to your turntable, coincidentally Michael RAVES about it along with mine. I sold my highly reviewed Pro-Ject RPM 10 Carbon. This Technics with the Transfiguration is literally SHOCKING. I've never heard control of LPs at this level. If this is a turntable then both my Pro-Ject and Previous VPI Classic were toys. My Ortofon Cadenza Bronze falls so far short of the Transfiguration with this turntable. KNowing these things I've set my sights on taking Michael's advise and one day in the near future I'll put the AT-ART1000X on a "CARD" as he suggested. It's on my radar. I hope this helps encourage you to trust your turntable (and Michael). |
@drambuiequillhill your statement that follows and describes that you are to take a prompt course of action with an already owned Analogue Device makes a lot of sense to myself. " Right now my first imparative is to retip my Dynavector XXII MK II so I can exercise my new analog chain " I take it is is owned from New ? I take it that through intimate knowledge of how the Cart' has been used, it gives great confidence as the selected Donor Model to be investigated for a Refurb. I strongly suggest an intense clean is requested along with the intention to have the Stylus Swapped Out. A little bit more controversial but worthwhile putting forward as an idea to be considered, how about a FGS Stylus. If bought new, if having had 1000ish Hours, the present usage is approx' $1.30 per hour. Add the refurb at approx' $400 and the usage if reaching 2000 Hours starts looking like a $00.70c Per Hour cost. What not to like, $4K is still in the Bank at this Stage Note: The XX II Mk II and Art 1000 are sharing very similar materials to produced the initial signal, i.e, Line Contact Diamond, Boron as the Cantilever, the Signal is sharing very very Similar Electrics, with the Coil Wire used and Output Voltages selected. Structurally they differ with each having a different Metal to produce the Body, which will impart a voicing for the Cart' that is likely to be detectable. If the flavour of Titanium was wanted to added to the XX II Mk, add a Cart' Shim and add Cart' retaining Screws produced in Titanium, this will add a little of the influence of the metal, but if it comes near the while Body produced from the metal, I can not say. Further Investigation can go as far as using Headshell produced from Titanium, for me though. A AT MS 9 Headshell does very very nicely for my needs. Also interesting how Magnesium Headshells are not shown for their measurements when the latest rave Headshell has Objective Data added to show the attraction of the Materials selection and Bespoke Design. As a further encouragement to look into, I strongly suggest a 'stock in trade' is carried out focusing on the Structure in use to Mount the TT on. A Support for a TT, especially one as new as yours and at an optimised condition can be transported to a Ultra level of how the Stylus has been prepared for when it is within the Groove. I happily suggest a minimum of a Sub Plinth, as Tier 2 with Footers as Tier 1 and 3 and the TT as Tier 4, but a second Sub Sub Plinth with the TT being Tier 6 really Helps when set up on a rigidly locked Rack. Mixing up Footer Types works well as well. Your environment is unique and there is not a ubiquitous solution to tame ambient energies being transferred in the listening environment. An Oversized Sub Plinth does also throw in the option to used a Monopod for a Tonearm to experience different TA designs. Choose a TA with a compatible Headshell as the one in use and a lot can be learnt quite speedily. Don't get too bogged down with the notion the Sub Plinths Surface has a tendency to become a fluid and Convection occurring as the result is going to ruin the listening experiences as the Tonearm has 'sailed away' on the Monopod. A Friend uses the Monopod design with as SP10 R and as of yet has not had to search for the missing TA and Monopod or needed to Sponge Dry the Sub Plinth in use I do suggest in heavily seismic regions the methods to look after the Vinyl Trilogy will be quite bespoke, I bet the Japanese Audiophile can give up some interesting methods adopted.
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