Cartridges for rear of stage orchestral resolution

Harry: Thank you for your suggestion, however, the Titan is a bit too pricey for me. Something that doesn't exceed about $2500 retail might fit the bill.

Rsrex and Johnss: I'm currently using a Benz L2 cartridge, SME IV.Vi tonearm, VPI HW-19 Mk III table with specially made brass/aluminum tonearm board. EAR 88PB phono preamp is run directly to Air Tight ATM-3 monoblocks (with Tesla E34Ls, Ei Yugo 12ax7s and Mullard 12au7 "box plates"). Speakers are Dunlavy SC4s. I've adjusted the Dunlavys several times, and have the soundstaging/imaging where I want it. Interconnects: Ridge Street Poiema 3 and Synergistic Tesla Accelerator; phono cable is Audio Horizons Dimension; speaker cables AH Dimension and original Siltech LS-88 Classic bi-wired; power cords are Poiema Ridge Street Signature and Wegrzyn Copper Slam.

Cmk: I've known these speakers to have reproduced very good back of hall imaging before. All of my components do have rigid support, with cables also being isolated and elevated. I feel confident a different cartridge will do the trick. I do thank very much for your desire to help.

First, I agree 100% with Stringreen when he says, "Go to a concert, close your eyes and listen for depth...It's not going to be there." I have heard various component systems produce thoroughly unrealistic depth numerous times. To me it is excessive and completely unsatisfying. It sounds as if portions of the orchestra are miles away. The sense of involvement is close to nonexistent. Yet, at other times, I have heard imaging/soundstaging presented in way that at least more closely resembles the real life experience. In doing this, it makes in home listening both rewarding and fulfilling. Rsrex: My listening room does do and has done depth. The issue here is not really depth per se, but how much presence/detail is emanating from the instruments or instrumentalists in the back area of the orchestra. It's more about a sense of you-are-there. Are all instruments present and accounted for or are some of them so reticent that it sounds as if one has turned down the volume too much on them ? By the way, I do use room treatments. The Benz L2 is generally acknowledged as having an easier, more laid back personality. Notwithstanding, to my ears, it is a lovely sounding, musical cartridge. But I might need something that offers a more direct, illuminating kind of sound, albeit retaining a nice measure of musicality. We seem to be well aware of the fact that different sound systems often produce different results with individual components. Should the Benz in my system "...resolve the back of the hall without problems ?" Maybe not.

My reference to depth not being there refers to the kind of artificial depth so typically heard in component systems that reproduce music. At a live concert I hear rear row instruments with nearly the same measure of presence as those playing in closer proximity. With recordings, the difference in presence levels between instruments closer and instruments farther away not infrequently sounds like night and day. Of course, because one group of components does a better job of approximating reality than another group doesn't mean it is necessarily better, the reason being some listeners will actually prefer the sound of the less accurate system. Multi-miking can also offer its contribution to attractive (or unattractive) sound. We're dealing with what illusion appeals most to whom. Otherwise, yes, I take well your point about the influences on sound associated with a hall's architecture. Stage layout, temperature and humidity also play a role. These kinds of factors and more even render implausible in real life the notion there is an "absolute" sound. Reproduced music renders yet more complex the "bag of tricks" that conspires against such a realization, what with wires, switches and levers, capacitors, resistors, etc. In the final analysis, we listeners always return to what illusion we like best. That's one of the reasons we change and tweak components. In closing, I don't necessarily agree with your statement that a unipvot arm would serve me better in geting the kind of detail I seek. Why would it necessarily be a better choice than a fixed pivot arm ?

I have not had Stringreen's direct long term exposure with the concert hall, but based even on my less involved experiences there, I must again agree with him. There is a significant (and very fascinating) difference between what is conveyed in the hall live and what is served up by reproduced music in one's listening room. The matter of depth is only one, but certainly an important, aspect of the overall picture at hand. A fine component system can give much satisfaction, but a good seat at the live event can make for a special and long remembered experience.