I just don’t know of any modern LOMC cartridges than can be purchased for $500-700 like those NOS vintage top models we’re talking about here. Especially with Ruby or Diamond cantilevers. Remember the price for a brand new Ortofon Anniversary with Diamond cantilever, was it $16k?
Diamond cantilever was invented by Dr.Tominari of Dynavector Systems, KARAT was the first cartridge with Diamond cantilever in the world. |
I'm on my second Karat D3.
Just read about the very newest Ortofon.. it has a diamond cantilever as well.....hmmm.
|
Bimasta and others, my basic point was that my experience tells me that selecting a cartridge based on its having an exotic cantilever material or an exotic stylus shape or a rare or unusual magnet structure does not consistently result in a revelation of sonic Nirvana. Conversely, many cartridges which seem quite ordinary in their structural qualities end up sounding just great. One example of the latter is the Grace Ruby cartridge, and probably other related Grace cartridges. There’s nothing to write home about in terms of how these cartridges are made (save for the ruby cantilever in the case of the Grace Ruby), yet they are outstanding. It can go either way. |
Selecting any component based upon (one) factor, is never a major buying decision factor.
I found the fact that Ortofon’s newest/most expensive cart does incorporate a diamond cantilever is interesting.
Take that in any way you like.
|
The goal of Dynavector is not ONLY diamond cantilever as an eye candy factor, but a very short 1.7 mm length diamond cantilever, here is a picture of my Karat 17DS Super under macro lens (they even made 1.3 mm version of Karat Nova for US market only), the self resonance of such cantilever is above 100kHz! Also extremely thin coil wire that even Eric Rohmann (ex Ortofon president) was trying to buy Dynavector machines to produce such wires. Read Dr.Tominari (Dynavector Systems) interview: "Most high quality cartridges are based on extremely simple structures developed fifty years ago, and very old fashioned in their use of magnetic materials. Instead I use eight Alnico magnets to create a much more uniform magnetic field. The results of experiments were so impressive to me that I immediately incorporated this technique into a new cartridge, the XV1." The prism RUBY cantilever of my DV-23RS MR does not looks like a conventional Ruby cantilevers, actually conventional Ruby cantilevers has the same length as the Boron or Aluminum cantilevers. I think averyone can buy Dynavector with Diamond cantilever for reasonable price around $700, but Orotofon Anniversary for $16k is insane (it's a form of illness, imo) ! |
That´s the point indeed. I personally would buy a NOS or even used Karat 17D(2 or 3) than the ridiculously priced Hyperion not to mention the Ortofon Anniversary. The latter ain´t worth its price, it just can´t be that good. For that price level I´d buy a totally new (MC) cartridge technology. And if I was rolling on money I´d go for Hyperion ... Btw, this Japanese eBayer has a few couple of Dyna Karats for sale: http://www.ebay.de/usr/samurai_electronics**?_trksid=p2047675.l2559 .
Has anyone bought carts from that guy ? |
@harold-not-the-barrel i've bought one of my Technics cartridges from this seller long time ago and will never buy again as the suspension was dead and he has not mentioned that in the listing, then claimed it's normal. Basically i do not trust the sellers who's trying to hide defects of the goods in their listing, it's unfair. |
@chakster , I have no idea if Russian PayPal provide warranty for items ''which are not as described'' but the European do. The only precondition is to pay via PayPal for purchased items. Money transfer to family& friends are not covered. The procedure is boring and annoying but one get his money back. Actually this ''warranty'' is without any risk for PayPal because the buyer money function as warranty. |
Thanks for warning, I really appreciate your input and your honesty, your enthusiasm in so many ways here at A´gon.
|
thanks @harold-not-the-barrel
@nandric yes, my latest story with Dynavector (with slightly off-centered cantilever) ended up with refund via ebay/paypal, which i am still waiting. Paypal even covers return shipping, but anyway ... no problem with the seller of Dyna who's accepted return.
Normally i am getting mad when professional sellers trying to play a fools when it comes to cartridge defects they are trying to hide from the potential buyers. It is not forgiving for pro sellers, but the story with that japanese seller was at least 5-6 years ago and i was too naive. I was cheated at that time by several sellers, some of them are well known, but dishonest. |
Btw, Micro-Ridge´s ridges literally wear out surprisingly fast. In fact, the sound starts to loose dynamics and nuances (detail) after 500 hours play, even on clean records IME. I noticed this more than thirty years ago using SHURE´s Micro-Ridge carts. Micro-Ridge may very well be the finest stylus profile resulting in best sound but you will need replacement stylii to maintain this quality level and if you care for your records.
|
This Karat Nova 13D is seriously a rare find: https://www.audiogon.com/listings/1443678 The very finest from Dynavector IMO. However, I´m not interested because of its integrated headshell design. However, it can be used without its headshell as well. I think the cart itself alone is a superlative performer when fitted on an appropriate tonearm. Good luck for all ! |
But the manufacturer of modern Micro Ridge stylus says 2000 hours is no problem. ZYX comes with the Micro Ridge for example.
Dynavector call it Micro REACH
500hrs is a life of elliptical stylus |
That´s good news. If the ridge is much more thicker, it may last for 2000 h. I will study this very carefully.
Actually elliptical lasts longer, i.e. maintain its functionality and thus its quality level longer than old Micro-Ridge because it has no ridge that wears out and changes sound quality dramatically. Elliptical loses its quality level more slowly, when correctly adjusted of course.
But old Micro-Ridge lasts a short time (only 500 hours IME). Don´t take my word alone, Peter Ledermann of Soundsmith knows this (and some others too).
|
Correction to my previous post: I meant Hyperelliptical (not elliptical)
|
Dear @harold-not-the-barrel : Yes, the Karat Nova 13D si very good performer in stand alone fashion to look for the adequated headshell where testing it found out the headshell that mate it better.
Btw, the first diamond cantilever cartridge was made it by Sony and after that AT and Supex. Then Dynavector and Koetsu and I think Yamaha. It's weird than out of Asia only Ortofon choosed diamond as cantilever in one of its models. At least I can't remember other cartridge manufacturer because VDH, Lyra, Linn, EMT, or Benz Micro did not.
In the other side, that some manufacturers tell us that the stylus tip of their cartridges is good for over 2k hours is really a misunderstanding because any diamond stylus tip on line contact like shape starts to degrading after 500 humdred hours. That certainly we can't be aware off ( normally. ) it does not says it does not happens and after 1K hours it's time to think in re-tip it .
Yes, some audiophiles can say their cartridges has over 1.5K hours and still performs fine but this is not the issue.
R. |
Diamond cantilever invented by Dr.Tominari of Dynavector Systems is completely different from any other diamond cantilevers. This is was Tominari-San explained in his interview i’ve posted above. If anyone can add any other cantilever like that please post here. The shape of this Diamond Prism remind me a bit of the cantilever of the Glanz 71L (but that one was aluminum and longer). Diamond cantilever of SONY is way too long compared to Dyna Karat 17D cantilever is 1.7mm long, but the Karat Nova 13D diamond cantilever is only 1.3mm long (extremely short). I don’t know of any other cartridges with such a short diamond cantilevers. Anyone? |
Didn´t I tell you : )
Raul, when old Micro-Ridge starts to lose its ridge (when it wears out) that immediately affects on sound quality: it first gradually and soon rapidly looses nuances (accuracy) and dynamics (power), i.g. sound becomes lame and that can be heard easily, IME since mid 80´s. At 600 point there´s nothing left what Micro-Ridge´s superiority initially was all about, and I never went further simply because of stylus tip start to wear the record groove itself really. Today my maximum is that 500 hours (app. 750 LPs). I think all this applies for SAS Micro-Ridge as well ?
If new Dynavector´s Micro-Ridge´s ridge is 4 times thicker than old´s it will last 2000 h. The question is, how tall the new Micro-Ridge really is. Very interesting...
|
Dear chakster, each cantilever is glued in the so called ''joint pipe'' which is usually made from aluminum. On this ''pipe'' is also coil glued. Together with the stylus they are also called ''moving part'' of the cartridge. So we need to include the length of the ''pipe'' by the length of whatever cantilever. Then there is the question if the stylus is glued in the diamond cantilever or if the whole cantilever/stylus combo is made from one piece of diamond. I own Sony XL 88 D (D=diamond) with cantilever/stylus combo made from one piece of diamond. The stylus shape is , I think, super elliptical. Anyway the ''exotic story'' about the ''exotic cantilevers'' needs some moderation because of the aluminum pipe (length) in which the exote's are glued (grin).
|
Addition, I forget my question for Lew. The friction caused by interaction between stylus and groves produces heat for which smaller diamonds are more ,say, ''vulnerable'' than bigger kind. I assume that Newton should explain the difference and also assume Lew as Newton expert. This may explain the ''shorter lifetime'' of micro ridge styli ? |
|
@nandric the advantages of KARAT is that with 100Khz resonance of the cantilever there is no need to use rubber as a damping medium as it used in conventional design. In the KARAT, rubber is used only for seating the cantilever on the pole piece. SONY cartridges you’re talking about are notorius for suspension/damper problems, so the design is competely different. P.S. Check my image of KARAT 17DS MR and tell me if you can see any glue. This is the 23RS MR Ruby version: https://scontent-arn2-1.xx.fbcdn.net/v/t1.0-9/36226177_2287496551268499_2734494721178075136_n.jpg?_n... |
Dear chakster, It is not my intetion to get involved in disputes about ''either or'' questions. Your Karat 17DS has clearly glued stylus in the cantilever. The reason is simple. The combo is not made from one piece of diamond. By one piece diamond the stylus need to be grinded and polished ''in'' the cantilever , so to speak. The so called ''rubber ring'' behind the coils has ''suspension'' as function. This function is called compliance. One of the so called parametres by arm/cart combinations. I have no idea about resonances in this connetion. Those can be tamed with resistor networks. Reduction of the ''moving mass'' should not be exaggerated. I own Ikeda 9 CII which is without cantilever. So only the stylus moves . However my Allaerts MC 2 sounds better. |
It's obvious that Dyna's "Micro Reach" nude diamond goes throught the whole Diamond cantilever for superb rigidity, not just glued on top. So there is no amount of glue visible even under my macro lens, must be minimum. This generation of Micro Reach stylus has low mass and the cartridges have relatively high compliance for an MC, about 30cu @ 10Hz Tominari-San explained in the interview: "I get my gemstone
cantilevers from Namiki, and the first time I asked them about constructing
one they couldn’t understand what
I wanted such a large stylus for! But
I was convinced that you should use as
short and stiff a cantilever as possible.
This was quite widely recognised but
no one believed that the technology
existed to create such a short gemstone
cantilever. They thought it was
impossible but I dared to try it. It was
a very unusual solution at that time.
In order to achieve it we had to
develop a parallel technique that
enabled us to wind incredibly fine
wire for the coil. Our wires are only
11 microns in diameter. Every other
cartridge uses at least 20 microns." I believe he was the FIRST designed who asked NAMIKI to produce gemstone cantilever for him.
|
Dear chakster, Your ''argument'' remind me about our secretary of social affairs who stated the following: ''there are no homo's in our socialist society. But if there are they are in such small numbers that is not worth mentioning''. So your Dyna has an cantilever in which no stylus is glued but '' if'' then with very small amount of glue. The cantilevers ''as short and stiff as possible'' wil also not do. As I already mentioned my Ikeda 9CII has no cantilever whatever while my Allaerts MC 2 has (boron) cantilever of ''ordinary'' length + Gyger 2 (aka Van den Hul) stylus. Despite of this ''huge disadvantage'' this is my best cart. |
My statement was hyperbole for sure. But sometimes, some folks sound as though the very rarity of the cartridge, in terms of its structure, is cause for excitement. I agree one has to listen to each cartridge, case by case. It’s almost a separate hobby unto itself. I’m really not that into it, even though I confess to owning more cartridges now, of all types, than I ever thought possible or sensible. But I tend to leave cartridges up and running for months and months, if I like them, while the others rot in a drawer. Having four working turntables does help me to at least audition a variety of the ones I own.
Nandric, How can a cartridge have "no cantilever"? Can you show a diagram or drawing? The motion of the stylus has to be transmitted to coils or magnets in order for transduction to occur. The structural element that connects the two is to my mind a "cantilever". The closest to no cantilever I know about would be the new Audio Technica ART1000, where the coils are just aft of the stylus tip. Has anyone here heard that one?
|
@nandric well, the conventional glued stylus looks like your recent re-tip with a drop of glue around the tip, so you can check and compare to Dyna. I'm not trying to say Dynavector is better than others, but Dynavector has its own originality in many aspects of design. To like it or not is a matter of taste, personal preferences and system. That's it. |
The closest to no cantilever I know about would be the new Audio Technica ART1000, where the coils are just aft of the stylus tip. Has anyone here heard that one? On the contrary - the Art 1000 has quite a long cantilever. http://www.the-ear.net/review-hardware/audio-technica-art1000-moving-coil-cartridgeWhat you fail to comprehend is that the coils are mounted at the end of the cantilever where the stylus is located, but there is still a long cantilever slewing around whilst tracking the groove. By locating the coils at the end of the cantilever any flex in the cantilever will be magnified to a greater degree than say the more rigid Decca/Ikeda system. With the Decca and Ikeda there are cantilevers. In the case of the Decca it is a vertical cantilever with little compliance in the vertical plane. In the case of the Ikeda from the 90’s the cantilever is a vertical inverted hoop. Contrary to what some have published in this thread there is some compliance in the vertical plane and much more in the horizontal plane. The hoop flexes side to side. http://illusionofsound.blogspot.com/2013/10/cartridgetransducer.htmlI have owned several of both the Decca and Ikeda cartridges, and still use the Ikeda and Dynavector Karat Nova 13D which I also own. I have used these in a multitude of tonearms over the years. In my experience tonearms and phono stages play a significant role in how these individual cartridges perform and sound. Shortcomings elsewhere in the system are ruthlessly exposed by any of these cartridges. So whilst we can pontificate on the various merits on each design ultimately they can only be described in the context of the environment in which they are placed. Comparing these cartridges in the same arm is irrelevant, you have to try them in multiple arms to ensure a good assessment of each cartridges merit within each individual system. |
Dear chakster, Our MM thread remind me of Wittgensteins
''phiiosophical investigation''. He was not able to formulate any
consistent theory but made ''endless many'' philosophical
''remarks''. I was not able to remember more than 10. I have no
idea about the others. According to me you can remember more
contributions in the MM thread than anybody else. Even so you
overlooked J. Carr's contribution about cantilevers ''materials''.
The only advantage of aluminum (alloy) in comparison with
other is that the stylus can be ''pressure fitted'' . All other kinds
are fragile and will shatter by so doing. That is why styli in
such cantilevers must be glued. This however ''imply'' glue
between the stylus and the cantilever preventing this way
''rigid connection'' between them.
As he also explained there are many other material properties
involved and in this context he also explained why he uses
boron.
Dear Dover, Wittgenstein deed state that there is no such
thing as ''private language''. As social invention and means
for communication we need to understand ''words in use''.
In this context we say about Decca and Ikeda 9 C series that
they are ''cantileverless''. This imply that for you ''cantilevers''
means something else than , uh, ''cantilevers'' for us.
Anyway thanks for your kindness to answer Lew's difficult
question addresses to me. I never made any ''schematics''
in my life and he wants me to draw one of Ikeda 9 C? (grin).
|
I´m glad that also Dover keeps bravely carrying the torch. Actually I was waiting for his entrance. He has that mighty Karat Nova 13D you see.
" ... ultimately each design they can only be described in the context of the environment in which they are placed..."
Exactly. TAs in particular and TTs/decks plays another key role, addition to phono preamps. Decca, Dynavector, Soundsmith, Ikeda , Audio-Technica etc have a different approach to the questing we are asking for. The finest there are but all different.
|
The problem of ''wholes and parts'' is obviously where to put the border line and prevent this way the inclusion of the whole universe (grin). However why should extension of cartridge ''subject'' include ''only'' the tonearm , TT and phono-pre? I, for example, still consider speakers as the most important ''part'' of the whole (''system'') while avoiding or overlooking the most important part is obviously ''strange''. The case is, as I see this, that we assume implicit knowledge by others. This help to keep the amount of our explicit statements in check. Otherwise we will get ''endless'' Mexican stories (grin). The other problem is the assumed ''difference'' between (MC) carts. The usual assumption is that the whole construction is ''simple'' and nearly as old as its invention (by Ortofon?). This problem is connected with our desire to see and describe differences among ,uh, ''identical ''. ''The same construction'' imply some kind of ''indiscernibles''. The real problem is ''exaggeration'' of assumed differences. The so called ''marginal value addition'' suggest the ''same'' problem.
|
Dover, Thank you for correcting me. But we are talking about two different things. However, I do take your point; there is a "cantilever" upstream from the coils. What I do not appreciate is your inability to make a point without also throwing in an insult. If you knew me better, you might find that I am not in fact stupid.
|
The ''revolutionary'' Art 1000 was already invented by JVC in
the 80is(?). The only difference was/is that JVC used on silicon
printed coils glued on the cantilever just behind the stylus. The
(thin) wire from the coils are glued ''upstream'' on the cantilever
and connected to the 4 ''output'' connectors.
My sample MC1(?) had an broken wire by the connection
between aluminum ''print'' and (copper) wire . Chakster got this sample as present form me and can better describe the details.
My description is from my memory.
|
After release of the $5k ART-1000 the price for Victor MC-L1000 jumped to the stratosphere. This MC-L1000 was an inspiration for the Audio-Technica designer. Those cartridges with printed coil is very fragile and 90% of them have some problems with output, normally one channel is dead or even both. The Victor MC-1 was the first Victor Direct Coupled cartridge and i bought a few samples, one of them has arrived, but one channel is dead. I also got my free broken sample from Nikola. I am waiting for the 3-rd sample, fingers crossed. SoundSmith reported this upon my request: "It is typically nearly impossible to repair the foil conductors on these. It depends where the failure is." Many years ago my virtual friend discovered a bunch of NOS MC-1 dead stock on Grand Canaria island at some old vinyl shop. At that time i was fascinated by my AT ART-2000 and refused to buy NOS Victor MC-1 from him, the price was acually very low, i regret it now (when all of his stock sold out). |
Dear @lewm : ""
The motion of the stylus has to be transmitted to coils or magnets in order for transduction to occur. ""
Rigth and for that happens it needs that exist some kind of compliance for the stylus track LP grooves, normally through a cantilever that's the way till today.
Manufacturers and audiophiles use the cantileverless expression but not to really says is cantilever-less but to make some differentation to the normal cartridges design.
With no compliance for movements exist no recorded signal to transducer motor cartridge.
Obviously that the horizontal compliance is way critical but the vertical one has a role too. Normally the compliance figure in many cartridges designs is the same but in other cartridge designs the compliance values are different for horizontal motion than vertical one.
Compliance and cantilever length are very important in the quality cartridge performance but the cantilever shape and build material ti's too because we are talking here about vibrations/movements added by resonances developed down there that all are converted to music signal.
A shorter cantilever resonates and vibrates different from a longer one and not neccesarily better than the longer cantilever but cantilever build material makes always a difference because boron and diamond has different characteristics that has influence in what we listen.
There are several cartridges that outperforms the Karat 13D or the Ikeda REX 9 or the Decca's. A cartridge is the sum of its parts: overall design, part's quality, quality excecution of design and cartridge voicing. At the end a cartridge is the exclusive success achieved by the own designer targets and how he looks MUSIC reproduction by his design and how he surrounded it in the audio systems he used to made the cartridge voicing.
R.
|
I think we pretty much agree on this, Raul. |
Raul, sure there are cartridges that outperform Karat 13D or even Decca Reference in certain environment but not necessarely in all high tech stereo systems. There are so many different combinations of TAs, TTs and cartridges that even good old Michael can´t tell the truth.
|
The most of us think that there must be technical ''reasons'' or causes for cartridge different performance. But considering the fact that (MC) ''technology'' is the same the reason why should be moved to the designers/producers. To mention few: Ikeda , Takeda, J.Carr, Van den Hul, Allaerts , Andreoli, Lukatschek (Benz), etc. In this sense we should see designers as ''artist'' instead of ''technicians''. |
The 13D was made for US market only, it was a special development of the 17D according to the interview with its designer (Tominari-San): " At first when I tried short cantilevers I worked in sapphire or ruby and their resonance dictates a length of 2.5mm. But in Diamond, it is possible to use 1.7mm. We even made a very special product for the US high end market with a cantilever only 1.3mm long, and called the Karat 13D. It was our flagship model and sold nearly 60 pieces in America. The 17D was the first diamond cantilevered cartridge that we made, and the 13D was a very special development of it, using a special body and headshell arrangement. " - Dr. Tominari (Dynavector Systems) Dyna cartridges such as XX1 (first) with Flux-Damper and later all Dynavectors cartridges "involves winding a wire around the front yoke of the cartridge. Experiments showed that movement of the coils was generating a voltage in the yoke which in turn effects the linearity of the magnetic flux. It is this that makes many poor movingcoil designs sound thin and irritating. By short circuiting the yoke we prevent this happening, which leads to a much smoother and more natural high frequency balance. The effect is quite noticeable, which is why we put a switch on the XX1, so that people could hear the effect."
- Dr. Tominari (Dynavector Systems)
Speaking of the further development of the mighty Dynavectors such as XV1 and Te-Kaitora i would say that the long boron cantilever looks unprotected and extremely fragile. I would avoid using such cartridges for practical reason, but it’s just me. |
^ Very interesting ....
Gentlemen and Ladies ... I would like to take this opportunity and introduce you another quite rare Dynavector cartridge: I have this a very limited edition Dynavector Nova Karat modified solely for the Japanese audiophile community, approx. 60 cartridges were made. The cantilever is short made of boron w/ Micro-Ridge stylus, the body is made of wood and it´s an integrated design w/ aluminium headshell. I bought this from Hart Audio, UK two and half years ago. They said this rare Dynavector cartridge is from the first production line for demonstrating the new Karat Nova Series so this sample is very rare and seldom comes for sale. They said they played app. 10 hours at most, it was practically like new then. This differs from the famous Karat Nova 13D integrated design, the boron cantilever is not as short and the wooden body is much longer and thus heavier. There is no DV plate/labeling in front of the body. This really may be the prototype for the Karat Nova. I would very much appreciate your input and hopefully for further information of my sample.
|
@harold-not-the-barrel actually Tominari-San has mentioned 60 samples of Karat Nova 13D made for US market, but is there any model number on your cartridge? You should know that "13" in the model number is for the 1.3 length of the cantilever. I hope your sample is not re-cantilevered Karat Nova 13D ?
"KARAT" is for gemstone cantilever, never heard about any KARAT with Boron cantilever.
Any chance that your sample is not the original, but a refurbished (re-cantilevered) one ?
When it comes to diamond cantilever for re-tipper it is impossible to find anything like the original short dyna gemstone cantilever. Those special gemstone cantilever were made for dynavector by Namiki. |
Dear @harold-not-the-barrel : Everything the same the XV1s outperforms the 13D as the XV1t too ( and other today cartridges. ) and here we can see that Dynavector choosed a longer cantilever for its top of the line cartridges and not the the short ones like the 13 or 17D.
As I said a cartridge is the sum of its parts where cantilever length and build material and its shape are only parts of that overall cartridge design.
R. |
I have a 23 Ruby Karat and the short cantilever has many obvious advantages, which we've covered in this thread. It does have one disadvantage — if there's any warp in the record, the change in SRA as the cartridge moves up and down will be greater with a short cantilever. Not an issue when playing flat (or flattened) LPs...
|
|
Below is the answer from Doctor Noburu Tominari himslf for those who’re asking why top models comes with long Boron cantilever.
RG. "I notice that neither the XX1, the Te-Kaitora nor the XV1 use gemstone cantilevers. Why is that?"
Dr.Tominari (Dynavector Systems): "At the moment, the construction of this magnetic assembly used in these cartridges requires a long cantilever. It would be very difficult to engineer this for a short cantilever, and also very, very expensive."
Dr.Tominari
(Dynavector Systems):
"The Te-Kaitora is really just a special version of the XX1 made for Mr Denson who distributes Dynavector products in Japan and also builds the Dynavector electronics. It has no body, and uses better magnets and selected parts. And also better quality wires as well."
|
No model number anywhere and unfortunately no papers came with. The only information is a stamped little mark "1" on bottom of the aluminium part (base) of the wooden body. My sample may very well be re-cantilevered though. According to Hart Audio in UK this was made for the Japanese market only not US. And the wooden body is much longer and heavier. https://1drv.ms/u/s!Ar2yUQrU4Bz4hHnjECkAx6g8EQuB
Whatever the case, a modern MC AT- ART9 has nothing on it in audio quality when using stand alone fashion on the aluminium wanded Trans-Fi linear tracking TA. Tracking easily 90 um at 1.5 g actually it´s the finest (and flattest, excuse my clumsy expression) MC I have heard, in particular mids is very transparent and highs so refined almost sweet but my knowledge and experience in MC kind is limited.
|
I agree with Lew 's post from 06-30-20018 stating that ''exotic'' parts do not guarantee ''Nirvana''. But I will try to first make our ''implicit'' conceptual presuppositions clear and than elaborate. The first is the simple sentence form ''S is P''. The basic form to ascribe properties to objects. The other is ''parts and wholes'' pre- conceptions. I think that we all can agree that without comparison between cartridges we can't make any judgments. However comparisons are relational in logical sense while ''S is P'' sentence form is not suitable for relational descriptions. Say ''brother'' is not some kind of property of an person but a relation to some other person. We can see that ''our'' chakster try to explain differences between carts by their ''parts''. Say in the sense of Lew's ''exotic parts''. He is very fond of ''diamond cantilevers'' which should be ''as short as possible'' (grin) This is not my reproach but he admitted to have an ''border line'' regarding cart prices. I don't believe that prices have necessary relation to sound quality but what we call ''the top kind '' are usually pretty expensive .Anyway chakster limited himself in the sense of ''extension of his comparisons''. This limitation is , say, ''financial'' which is in my case ,say, of less importance. So I was able to buy Allaerts MC2 which provide pretty strong arguments against ''exotic parts'' reasoning. There is nothing special by this cart in the sense of ''parts''. The cart is conventional even old fashioned. But look at its technical specs and you will not believe your own eye. There is no other cart that can come close.
|
Frequency range from 3 Hz to 130 kHz .... measured on Air Tangent ...
Fascinating.
|
|
Dear @harold-not-the-barrel : Fascinating?, that's only the de item bandwidth with out any reference that can tell us is a flat response, normally the deviation is over 3+db. Some Denon cartridges goes to 110khz or Technics to 120khz.
Overall design is the key with cartridges and specs that can tell us " something ". Example: 10hz to 45khz +,- 0.5db.
Anyway, good that you like it.
R. |
