@pindac
The cartridges - Koetsu Onyx and Rosewood Signature - get re-tipped and refurbished regularly. I understand that the grit that inevitably gets inside the cartridge can itself get electrically charged and stress and even break the coils.
I used to have Van den Hul do it, but I have been giving this work over to Steve at VAS in Cliffwood of late who has done a better than fine job on his first swings at each of the cartridges, especially the Rosewood.
As to humidity, the entire 1865 4.5 story brick townhouse based on a Calvert Vaux #5 design that we renovated and restored from top (the .5 floor attic that the audio room takes up [actually .3: 23 x 14]) to bottom gets fresh air 24/7 through an ERV conditioning system. If anything, the air is on the too-dry side. The entire room surface - walls and ceiling with rock wool and burlap, the floors with moroccan rugs - itself is acoustically insulated and is semi-anechoic.
I am not nearly as obsessive as many of the people in this group, but I have been at this for 56 years since I built my own Dyna 70 when I was 14 and I know where I am going (actually, I have arrived there, finally) based on a particular philosophical approach and my financial means.
See theaudioatticvinylsundays.com http://theaudioatticvinylsundays.com
Comparison of sonic qualities of some tonearms
I’m relatively new to the world of vinyl, listening seriously for probably only 2 years. Of course, many big picture items (e.g. turntable, phono stage, cartridges) are discussed extensively on this forum, but I haven’t seen much discussion comparing different tonearms. I would be interested to hear about different people’s experiences with different tonearms, mentioning the audible advantages and disadvantages of each tonearm, realizing that there is no perfect sound, although from what I read about others’ experiences, SAT tonearms may come closest, albeit at a very high price.
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I see there is a virtual community on offer, that has a popularity and is followed. I like to see this type of thing and am encouraging of it, individuals with a interest in audio spend way too much time being insular and not experiencing much more than what they have. With nothing to use as a gauge/measure how is an individual able to ascertain if their design for a system is one that parallels others worthy of being experienced and mentioned. I've created a Thread not too long ago, to show others within the Forum that like minded individuals can be encountered on particular dates throughout the month. What follows on from such encounters is what one makes of it. If you missed it have a look.
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@unreceivedogma I agree concerning the VPI 19-4 and my main table since 2006, the VPI TNT VI, probably a lifetime quality construction (and simple too). My best friend has a VPI Scout and it did have a flat worn out bearing. He had an expert firm specializing in restoration (I don't remember the name) who retrofitted it with a more durable equivalent. Otherwise, I have not serviced my extreme modified SME IV. It has been epoxy sealed at both ends so there's not much I could or want to do. Analog still provides me with such pleasurable sound that it's digital that's gaining on it (pending delivery of my Lampizator Poseidon to elevate my digital to the same cost as my analog front end). I keep my Legacy Signature IIIs in my living room system now nearly 30 years old-nothing as good at it's $1500-$2000 price, maybe not to $10K). The Koetsu Rosewood Signature I heard was fabulous, so lovely on acoustic music. I may buy either than or a Hana Umami Red in the future but I love the Dynavector 20X2 L (comparable for so many listeners loving the Denon 103R). Most new listeners to my home are flabbergasted at the quality of the sound (and performances) even when I had my Legacy Focuses which I found faults with. |
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