Chakster, That is how ''general opinion'' works. One does not believe his own eye in order to follow the so called ''custom''. I looked many times to my sample and assumed that a former owner retipped the original ''conical'' with ''line contact'' stylus. However in contradistinction to you I was more intriqued with the question why Mitch Cotter has chosen FR-7f for his celebrated TT and even made his own SUT for the precious? But my wondering was based on two assumptions which may be not true. The first was the conical stylus and the second that FR-7fz sounds much better. Besides the ''fz''' has more ''modern'' stylus and has more admirer than the ''f''. I obviously followed the convention by which ''more admirers'' means that they are right in the sense of majority rule (grin). I consider my FR-7fz as one of my best carts, second to none, and still wonder how this can be possible with a cart from the 80is? BTW Dertonarm advised me 10 years ago to try one of those FR-7 kinds but I was very reluctant to do so because I thought that I would need separte SUT for each of my MC carts (+40). When I got my Denon AU-S1 which covers 2-40 Ohms I bought more Ikeda's carts instead of SUT's.
r,
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If it's not conical, i wonder why @halcro said it's conical and even re-tipped his sample with Axel (to have Line Contact) ?
Chakster, there's no question that the FR-7F had a conical (spherical) tip. Vinyl Engine even gives its diameter as 0.65mm. My one came with its original tip sheared off but its circular base was highly visible. I sent it to Dietrich Brakemeier (Dertonarm) (who has worked on dozens of them) and he sent it to Japan to be re-tipped by the Master who apparently did the originals. It came back to me with a decidedly conical stylus which frankly.....did not set the world on fire 😪 When this new tip also mysteriously sheared off....I sent it to Axel who recommended replacing it with a Line Contact which I agreed to. My new FR-7F/Lc now sounded superb...and if you check the specs against the FR-7Fz, the only difference appears to be Output Impedance of 2 Ohms against 5 Ohms. |
Dear @chakster : The first F7 born in 1978 and came with line contact type 0.3x0.3mil.
The only conical FR cartridge in this series is the 1981 FR-7F/c.
In between the 7f and 7fz ( 80-84. This the latest but not the more expensive that was the 7f-c. )
Refinement of line contact could means that is better polished but who knows what really means ? ?
Regards and enjoy the MUSIC NOT DISTORTIONS,
R. |
@halcro Vinyl Engine info is not relevant, simply because the data for the first FR-7 and second FR-7F mixed up. In their wrong database FR-7 for some reason has Line Contact 0.3 x 3mil, but the next to it FR-7F has Spherical 0.65mil which is not true at least for the first FR-7 from 1978. Axel just glued a new Line Contact stylus on original cantilever ? @nandric You said Axel is retired, do you mean retired from re-tipping business now ? @rauliruegas All i know is that FR-7F has square shank nude diamond of 0.15mm cross section, but i don't know the size of the tip. It would be nice to find out relevant info about it (original manual for example). Many times i saw them for sale and each time sellers claimed line contact for FR-7F. |
Dear @chakster : The only conical stylus tip shape in that FR series is the the 7F/c all the other came with line contact. FR never used ellipthical shape in that cartridge series.
The way you are reasearching about seem to as if the matters be " dead or live ". Anyway you have the answer.
Regards and enjoy the MUSIC NOT DISTORTIONS;
R. |
Hi Chakster, Yes Axel retired and sold his ''shop'' to his assistent. He got some curious illness (not a stroke) and lost command of his left hand. But he was already around 70 so deserved retirement. I moved to Expert Stylus in UK while British GBP lost value in relation to euro like dollar deed (grin). Those who predicted the end of euro are very silent now. |
@nandric sad news about Axel, hope he’ll be ok
@rauliruegas exactly ("dead of alive", i like that), i have sold some very rare records to cover my expenses on those god damn cartridges, because so many people swear they are so good and i need to hear it myself.
The next quest is phono stage for them, still got my ZYX Pre-Preamp CPP-1 (headamp), but it was designed for 0.24 mV ZYX.
My Lundahl transformers in my WLM Phonata Reference MM/MC phono stage are not designed to handge so low output (but maybe i can just replace the transformers inside this stage myself). This product disappeared from the market before it was widely released, i got demo unit from the first run, because the WLM (Wien Loudspeaker Manufaktur) closed their business.
And my newest JLTi phono stage with high gain can handle 0.22mV but probably still need more gain for carts like Ortofon MC2000, FR-7f and Fidelity-Reasearch PMC-3. Maybe Joe Rassmusen of JLTi can modify his phono stage for more gain option... |
just to give the former Nandric FR7F cartridge an ongoing history..., this cart is now playing (as part of my collection) on various Micro Seiki turntables, currently fitted into an Fr64s silver arm on a SX 8000 MKII turntable. The second arm on the turntable is an Ikeda 407. Standard cartridge is the Ikeda 9 TS .
After having used the Ikeda KAI, I stayed with the 9TS to continue my search for the best cart in FR64s or the Ikeda 407.
Today I fitted a Koetsu Onyx Platinum into the Ikeda 407.(Yamamoto Titanium headshell and Titanium screws, Dereneville head shell mat and Ortofon LW 800s head shell wire)
I have to say, this Koetsu Onyx platinum is a really nice one :-)
Looking forward to try it out in the FR64s.
Juergen
phonopre: Kondo M7 / SPZ, Thoeress
Pre: Air Tight ATE 2001amp: Air Tight ATM 211
speakers: Zingari Client Name Evo 1.5
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@ausliebesurmuzik, please let me know what you think of the 407/Yamamoto/Koetsu combo. I just received an HR-6s headshell and mounted a Koetsu RSP on an FR-64S. I was interested because it is unclear to me how to fine adjust the zenith given the headshell’s fixed mounting holes. Luckily I can adjust my tonearms position relative to the spindle for overhang. |
Dear chakster, I am not the right person to give you advice about phono-pres but I own two highly regarded samples: Basis Exclusive (gold) with battery power supplay and Klyne 7 PX 3.5 which is praised even by Raul . That is to say one of the few next to his own (grin). Considering your extended interest and not so extended means I would recommend Klyne which can be obtained with modest means. Typical pre for your experimetal nature because the pre has 4 amplification stages (from 40 till 68 dB) as well ''high frequency contour'' by which each MC cart can be corrected in its resonance region . Besides there are loading recommendatios by which 47 K plays important role. For this pre you should check regular the German HIFI market (aka ''audio-markt.de'').
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Currently runnin my Fidelity-Research PMC-3 with zyx cpp-1 (125ohm, additional 26db gain) headamp paired with JLTi 47k MM input with very good result. This compo sound better than another mm phono stage with build-in suts, also better than JLTi relatively high gain MC input. So this god damn zyx pre-preamp is a good device, i have not used it for a long time. The nest device for comparison will be Luxman
8030
silver SUT for low impedance FR-7f. |
The ''paradox'', the more one read the more one forget. The less one read the less one forget... I have read this thread at least 5 time but discovered many valuable contribution by my present reading. I obviously forget what Dertonarm, Carr and other has to say. I hope that chakster will be as impressed with his FR-7f as I was with my first FR-7. |
The one conical is the 7 f/c not the 7f. |
Raul is right, the FR-7Fc has 0.65mm conical stylus tip according to the answer from the two japanese sellers i’ve been chatted with. Now i am a proud owner of the fully original Fidelity-Research FR-7fz (LineContact tip), thanks @nandric who motivated me to buy it and @syntax who helped me with some info too. It’s hard to imagine, but i bought it from the local guy in my town and the price was nice (i had to be quick). Now i’m trying to find documentations for this model to make sure about the specs. There is a link with the specs, i hope this is correct specs. Fidelity-Research FR-7fz specs: ■ Price in 1984 was 80,000 yen ■ Power generation method: MC type ■ Output voltage: 0.24 mV (5 cm / sec 45 °) ■ Needle pressure: 2.0 ~ 3.0g ■ Load resistance: 5 Ω ■ Playback frequency: 10 - 45,000 Hz ■ Channel separation: 20 dB / 1 kHz ■ Channel balance: 1 dB / 1 kHz ■ Compliance: 7 × 10 - 6 cm / dyne ■ Tip: contact type ■ Weight: 30g ■ Exchange needle unit replacement: (60,000 yen) ■ Release: 1984 ■ End of sale: 1989 ■ Shell integrated type. --------------------------------------------------------------------- and for comparison Fidelity-Research FR-7f specs: ■ Price in 1980 was 77,000 yen ■ Power generation method: MC type cartridge ■ Output voltage: 0.15 mV (3.54 cm / sec., 45 °) ■ Output voltage: 0.2 mV (5 cm / sec., 45 °) ■ Output power: 2 × 10 -8 W (5 cm / sec 45 °) ■ Needle pressure: 2 g to 3 g ■ Load impedance: 3 Ω ■ Coil impedance: 2 Ω ■ Playback frequency: 10 Hz to 45 kHz ■ Channel separation: 28 dB (1 kHz) ■ Channel balance: 1 dB (1 kHz) ■ Compliance: 7 × 10 -6 cm / dyne (100 Hz, 20 ° C.) ■ Tip: 0.15 mm square Refined contact, Solid Diamond needle ■ Weight: 30 g ■ Exchange needle unit replacement: (¥ 54,000) |
Dear chakster, There is a thread or post written by ddriveman by the title ''mimi shout out....'' in which he describes comparison between 5(?) MC carts done with 3 friends. In short (grin) you will be pleased with the outcome of ''your contender'' : ex aequo Koetsu Coral stone and FR-7fz. |
It was hard to find that topic, but to make it easier for every FR user i will copy his " mini-shootout: SPU, Koetsu, FR, Ikeda" right here: "Finally had a chance to do a shootout of some of my MC cartridges. We compared 3 SPU’s (Silver Meister GM, Gold GM, Royal GM), Ikeda 9CIII (cantileverless), Fidelity Research FR7fz, Koetsu Onyx Platinum and Koetsu Coralstone Platinum. All cartridges except the Koetsu Coralstone Plt was bought used and hence runned-in. The cartridges were tested on my friend Kel’s system (Art Audio Carissa 845 amps, AR LS27 pre, Hagerman Trumpet phonostage + Cinemag Blue SUT, Hagerman Bugle fully modded + Hashimoto HM-7 SUT and Kudos speakers). We used 2 TT’s: Garrard 401 with Schick 12" arm and a Garrard 301 with Ikeda IT407 12" arm. Both Garrards have upgraded plinths. Most of the comparison was finally done with the Garrard 301/Ikeda combo. We used different headshells for the Ikeda 9CIII (Ikeda Rhodium headshell/cheap leads), Koetsu Onyx Plt (Yamamoto Ebony/Ortofon Silver leads) and Koetsu Coralstone Plt (Sumiko headshell/Ikeda Hybrid Cu leads). We started with the SPU’s. Amongst the 3 SPU, the consensus was that the SPU Gold was the best. It was between the Silver Meister which has more treble extension and the Royal which was the most laid back. The Royal have all the SPU attributes but has detail, refinement, soundstage, smoothness and musicality but more punch and dynamics than the Royal and without some of the leading edge and treble extension of the Silver Meister. Mind you, all 3 had a similar SPU house sound. We then tried the FR7fz which sounded more balance, more PRAT than the SPU’s while remaining smooth, warm, detailed and musical. 2 of our group (50%) liked the FR7fz the best. We then tried the Ikeda 9CIII which was very difficult to setup. We initially tried Ikeda’s silver headshell leads but could not get one channel to work and finally had to settle for some basic cheap leads (unknown conductor) which did reduce the sonics somewhat. But we did hear what cantileverless brings to the party. A very direct, dynamic, detail, good micro and macrodynamics, very good PART. It does have a similar house sound like the FR7fz. But probably let down by the cheap leads we had to use. All favoured the FR7f over the Ikeda9CIII as a result. But it certainly wetted my appetite to try a higher end and later model Ikeda 9 REX or MUSA. Finally, we tried the Koetsu’s. We were not expecting much. We thought we would get good mids but soft bass and treble extension. We tried the Onyx Plt and we were shocked. This is not the typical Koetsu wood body sound. Great dynamic and realistic bass. Kel and I thought it had the best bass of all. Very palpable mids. Seems like the musicians are there in the room. Dynamic, detail, airy and very musical. And mind you, my Koetsu Onyx Plt has a hairline crack on the body. I bought it that way at a low price. This was the only way I could afford a stone body Koetsu (or so I thought). In fact, the sound was so good that I then bought a new Coralstone Plt so that we can put it into the shootout. We then tried the Coralstone Plt. It was even better than the Onyx Plt even though it was brand new. More bass, more dynamics, more musical than the Onyx. And strangely more gain than the Onyx. So it could be something to do with the Onyx’s cracked body. We ran it in for a few more days. We did hear some sonic changes in the Koetsu Coralstone as it was running in, so it was obviously not performing at its best. I was told by the dealer that it needed about 100 hours of run-in. In the end, we had 2 members prefer the FR7fz and 2 others preferring the Koetsu Coralstone Platinum. Obviously this is not a formal review, not same headsells etc, but just a quick shootout over 3 days to get a flavor of these cartridges. A key take away is that these vintage cartridges SPU Gold, FR7fz and Ikeda 9CIII have a lot to offer and surprised us all. Kel has a DPS turntable/arm with Transfiguration Proteus cartridge as his reference TT. I would say that all the cartridges gave the DPS/Proteus combo a good run for the money. As for me, the Coralstone Platinum is my new reference. " - @ddriveman (
09-28-2014 ) |
Long time ago i’ve come across this page in japanese, revisited it last week i realized the price for Fr-7fc is the highest among all of them (100 000 Yen in 1981), even higher than FR-7fz with refined LineContact tip (80 000 Yen in 1981) for some reason. But the "fc" has a conical tip, what is the reason for higher price? |
Ok, time to give some update since this thread has been revived and almost 4 years have passed since my vintage MC Cartridge mini-shootout review. Thanks to Chakster for finding that review.
Firstly, I was able to listen to the Ikeda 9C III again with Ikeda headshell and Ikeda headshell wires. This time, I preferred the 9C III to the FR7fz.
I've also added a SPU 85th Anniversary which is now the best SPU in my inventory. Finally, I moved from the Koetsu Coralstone Platinum to the Koetsu Coralstone Diamond Platinum which has a diamond cantilever. This is now my reference cartridge. All of the attributes of the original Coralstone Platinum but with more detail and PRAT.
I'm still hunting for a Ikeda 9R, 9REX or 9 MUSA as I really like the cantileverless Ikeda 9 sound.
Additionally, I also have a Sony XL-55 Pro. It was nice but not better than the FR7fz in my system. If anyone is interested, I'm willing to part with it.
Finally, the cartridges that get most used in my system are :
- Koetsu Coral Diamond Platinum
- Ikeda 9C III
- FR7fz
- SPU 85th Anniversary
- Acoustical Systems Archon Cartridge
- Technics EPC100 Mk IV
FWIW |
@ddriveman nice, that 85th Anniversary has the most attractive look of all SPU, the finishing is superb.
So the damper of your Technics stylus for EPC100 mk4 was fine? |
Yes, the SPU 85th anniversary has the Urushi body. Really nice. My firend has the SPU 95th Anniversary. he likes it a lot and prefers it over my 85th Anniversary. But I prefer my 85th Anniversary on my system and his system. The 95th has a "modern" sound compared to the 85th but I preferred the vintage SPU house sound.
Damper on my Technics EPC100Mk4? Not sure if there was a problem? Plays and sounds fine. |
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Dear ddriveman, I have read and reread your ''mini-shootout''
many times. The reason is ''obvious''. It is very satisfying to
see confirmation of our own opinion or judgment. In addition the
price comparison between the winners made me feel as a very
smart person (grin). I noticed the mentioning of Ikeda 9 C, mk III
which was, alas, not possible to adjust optimal during the test.
But the ''injustice'' done to the ''poor thing'' is corrected by your
addendum. However you deed not vote for the FR-7fz as equal
to your (beloved?) Coral stone so your praise of the 9C,mk III
above the FR-7 FZ is not very convincing. I myself have no problem
at all to love Maria equal to Silvia despite their different qualities.
In this sense I love my FZ equal to my C9,mk II. However i just
got the REX. The latest of Ikeda's cantileverless kinds. So I
fall in love as never before and forget Maria as well Silvia.
I seem to agree with ''American Marx'': ''If you don't like my
principle I have other''...
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@ddriveman is your EPC the integrated headshell version. I have the silver MK3 and it is absolutely fantastic sounding.
It is so smooth yet reveals everything without any listening fatigue. I guess that is down to the super flat frequency response.
It also has a great bass response.
I also have no suspension problems. |
Ateal,
Yes, my technics EPC100MkIV is the thegrated headshell version in P Mount version. |
This is great to see all this information here from experienced users.
I just got a FR64s and FR 7f that I hope to assemble this week and try. I also have the Koetsu RSP that I will attempt to put on the arm with a Jelco headshell for now. I do have the lighter counterweight to use as an option as well.
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Ikeda's tonearm geometry versus FR-7 series cartridges. Nobody ever explained why the most Japanese tonearms followed Stivenson geometry. As is well known(?) the FR 64/66 as well the new Ikeda 's can be adjusted to Bearwald by changing the spindle- pivot distance to 231,5 mm with 246 mm effective length. But then the integrated headshell by FR-7 kinds does not provide for ''effective length'' change. Some Japanese MM carts with integrated headshells do have such provision. As my comrade Don informed me about his Supremo cantileverless kind also has such provision by its integrated headshell. At ''the end'' of the headshell there are two small screws by which one can move the stylus forward and back for the needed distance. My FR-7 fz sample was modify by Van den Hul to Bearwald geometry in addition to boron cantilever and Van den Hul (aka ''Geiger'') stylus. |
The Stevenson alignment is generally regarded - on this forum and almost anywhere else - as inferior to Baerwald. Measurements seem to bear this out.
So why did one of the most revered cartridge builders stick to this inferior alignment? We would have to assume that Ikeda tried out all options before making his choice. Or was compatibility with SPU types perhaps one of his design objectives (SPU’s exactly fit the Stevenson alignment with FR-64 tonearms)?
My guess is that Ikeda was not of the ’compromising kind’ and must have had ’sound’ reasons for choosing this alignment. Obviously it’s impossible to make a comparison of both alignments with the FR-7, but I did try it with other cartridges without fixed headshell (using the FR-64 with either 230 mm or 231,5 mm spindle-to-pivot distance).
This remark will probably disqualify me as a serious listener, but I don’t find the Baerward to be sonically superior to Stevenson. If anything, the Stevenson has an edge in dealing with inner groove distortion. This is particularly helpful with classical music, as these composer guys usually liked to ’go out with a bang’.
So this question remains: was Ikeda a Wagnerite?
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Dear edgewear, My question was why the most Japanese tonearms producer followed Stevenson geometry. As you probably know according to Japanese culture it is ''not done'' to deviate from , say, national customs. Then there is this curious FR-702 with assumption that this ''model'' is made for European market. But this cart has shorter cantilever than other from the FR-7 series. I even assume that experiments with shorter cantilever was a kind of evolution to the cantileverless kinds. It may be also the case that Ikeda deed not consider tonearm geometry as very important issue. Nobody has to my knowledge claimed to hear something special by whatever ''0'' points by those tractors. BTW I own about 3000 classical records but only few of them have the ''inner groove'' near the spindle. This may be the reason for the ''bad reputation'' of Stevenson (?).
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This month i have PMC-3 mounted on Lustre GST-801 tonearm on FR RS-141 headshell with FR leadwires (Baerwald geometry) ... and Ortofon MC-2000 on its dedicated headshell with silver lead wires on Sony PUA-7 tonearm. Both on the same Luxman PD-444 turntable, both arms connected to Gold Note PH-10 phono stage with Signal Cable Silver Resolution phono cables (Xhadow RCA). It’s so cool that PH-10 inputs can be adjusted for two MC cartridges (like no other phono stage) !
Sony tonearm geometry is not Stevenson or Baerwald, it’s something Sony prodived with its own protractor that comes with the arm.
I use Baerwald for Lustre GST-801 with FR PMC-3 cartridge.
Two different cartridges, two different sound signature. Ortofon MC-2000 still have some sort of background noise which sounds like tape hiss when the music is off (+6db on Gold Note), but when the music is on this cartridge is very special.
Fidelity-Research PMC-3 on Lustre GST-801 is dead quiet with Gold Note PH-10 + PSU-10. On this particular tonearm and with FR-141 headshell this cartridge is much better than on Sony PUA-7. Very interesting. This cartridge is not so expensive as the ortofon MC-2000 and less problematic with gain. But i really like the sound signature of its Air-Core.
P.S. I must say i’ve never had a problem with Stevenson geometry and my FR-7fz sound is amazing on FR-64fx tonearm. I have no idea why FR-7 owners should worry about Stevenson geometry on FR tonearms. Ikeda designed them to be used with Stevenson. Cartridge/tonearm designer’s opinion is much more important for me. First thing to do is to follow the original instructions like it supposed to be.
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@chakster I agree that the choices made by the tonearm/cartridge designer are the most important and should not be disregarded. The FR-7 have the Stevenson alignment as part of their design criteria and the sonic results speak for themselves.
@nandric I doubt if this choice has anything to do with Japanese culture. Various tonearm manufacturers chose their own alignment, using neither Baerwald nor Stevenson. Not just Sony, I know from experience that Pioneer and Audiocraft used their own alignments as well. So I'm not sure what national custom you're referring to. Innovation is impossible without deviation from the norm and I think we all agree that Ikeda was some innovator.
I've seen some heated debates on this forum about Stevenson versus Baerwald. The 'experts' all claim that Baerwald is way superior. So it seems that some people do hear something special when the 'o' points are set to Baerwald. I just don't.
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@edgewear, You changed my ''point'' about ''0'' points on the record radius. I stated that nobody has claimed to have heard something special by those ''0'' points: ''so it seems that some people do hear something special when the ''0'' points are set to Bearwald''. This however is different statement. Bearwald geometry means that other radius on the record is optimal then Stevenson. Stevenson nearer to the spindle , Bearwald across the radius. Your statement is about relation between the (two) points which determine the geometry my about individual points regardless of the geometry.
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Okay, sorry for my misunderstanding: "o" point taken!
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Recently discovered this vintage Fidelity-Research catalog from the 80’s. This is the best illustration of LOMC cartridges designed by Isamu Ikeda for Fidelity-Research. page with tonearms: FR-64fx, FR-64s, FR-66fx page with SUTs, headshells like RS-141, N-60 nut, W-250 counterweight and accessories ... page with Cartridges: FR-7fz, FR-7f, FR-7, PMC-3, FR-2, FR-1 mk3, FR-1 mk2, PMC-1 page with top of the line cartridges in order from the best models to lower models: FR-7fz, FR-7f, FR-7, PMC-3, FR-2, FR-1 mk3, FR-1 mk2, PMC-1 .... including MM models too. Looking at the specs for each cartridge in the catalog you see that PMC-3 is the closest to FR-7 series. But the PMC-3 has higher impedance, lower tracking force, lighter mass, higher compliance. There is a tiny difference in frequency response only at high register, but i can assure you that the bass is tight and the highs are crystal clear. Fidelity-Research PMC-3 has one serious advantage compared to the FR-7 series: the PMC-3 can be mounted on modern mid mass tonearms (on conventionel headshell). Fidelity-Research PMC-3 has its unique Air-Core Coil and Refined "Vital" Contact Line stylus. So the PMC-3 is more user friendly on wider range of tonearms than FR-7 series. |
Thank you Chakster! Invaluable contribution.
I have a few NOS FR MCs, but only two models. Alas, neither is included in the listings (FR1 Mk3F and MC201).
But that doesn't diminish the value of such a thorough listing, with hard-to-find reliable specs.
I'd also like to note that the suspensions on all my FR cartridges seem just fine. Unlike some (notably AKG) FR chose a durable material that doesn't significantly change with time. |
So guys I have my fr64 good to mount on either my TTS 8000 or jvc ql10/101. I am thinking about an fr7f - I take it that’s the one to buy - there are a few sellers out there - any recommendations?
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I have an fr64 and either a jvc tt101 or Sony tts8000 for it. My question is are there any reputable people who have an fr7 and if so which one to get? If new stylus what type? I use expert stylus for re-tipping in the uk |
Congratulations on two great decks and wonderful arm. The FR-7fz is far rarer than the FR-7f and consequently more expensive. If the stylus needs replacing on the FR-7f.....have it re-tipped with a nude Line Contact diamond pressure-fitted into the original aluminium cantilever if possible. I had my FR-7f done that way. My FR-7fz is NOS original. I find the extra cost for the 7fz hardly warranted but decide for yourself.... FR-7fFR-7fFR-7fzFR-7fzFR-7f vs FR-7fzGood luck 😉 |
Just curious what Ikeda fans thinking about those last FR cartridges designed by Ozwa Yasuo (founder of Shelter) in the 80's ? "Born in Tokyo. He was fascinated from boyhood by the timbre of music instruments and started self-designing audio products to realize high fidelity sound reproduction. He designed many tube amplifiers when he was in junior high school age, and majored in electrical engineering at the university with aiming an amplifier designer, but he found the charm of analog pickup which can practice the whole design of sound reproduction that he imagines. In 1982 he joined Fidelity Research (FR) and started its career as a phono cartridge designer. He participated to design MC phono cartridges of MCX-3, MCX-5 and other products during his work at FR. He then became independent in 1986 to establish Shelter, thereafter he has been designing and developing the MC phono cartridge throughout his life." |
There seems to be an interesting MC between his work for FR and starting Shelter. Apparently he released some cartridges under his own name somewhere in the 80's. I own the Ozawa OS-70L, which was part of a three model series with different cantilevers (aluminum, boron and ruby). This is one of those Japanese mystery MC's of which there's hardly any info. From what I've gathered these were built by Supex to Ozawa's specification. Fact or speculation I'm not sure, but it's a really nice sounding cartridge with more than a little resemblance to the Shelter 701, the first Shelter model. Coincidence?
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While we are the topic of an old/vintage carts - what did they use as phono stages when the carts came out? was it pre-amp and step up? if so which pre-amp? |
This is somewhat speculative, but my guess is that most of these 1980’s cartridges were designed and ’voiced’ with the use of step up transformers, being more common than MC phono stages (called ’head amps’ in those days). And in Japan they were always more popular than active devices , even to this day.
Most of these vintage MC cartridges will sound great using a modern high quality phono stage, provided you have some flexibility for setting impedance load and gain. But in my experience the low output low impedance types - like most of the FR models - give their best using a dedicated SUT.
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was it pre-amp and step up? if so which pre-amp? It’s an interesting question, probably the SUT was connected to those big oldschool receivers (MM input), there are many of them. I’m not expert in vintage phono stages, but something like Pioneer Exclussive system was very expensive in the 80’s, looks cute and still popular. The headamp for MC in "Z system" looks like this. Preamp with MM input is C-Z1. And the power amps (monoblocks) from this series is here. Kind of a cute little system for a very high price @parrotbee I think in the USA at that time all those SUTs were connected to big and expensive Levinson and Krell preamps. If you will look at the FR catalof from the 80's you will see only this stuff. |
I am immune and ahhing between a brand new Benz LP-S and an fr7-f what say you - it’s to go with an fr64 on jvc ql10 |
parrotbee, If you mean with ''brand new Benz LP-S the latest
version with micro ridge stylus and bronze insert (16,5 g) then
LP-S.
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Yeah - the brand new LP-S
I can get them at a very 'reasonable price' which is comparable to an FR-7f - plus it will be new
Unlike the likes of many on Audiogon - I have to make choices between components.
I have heard a lot - particularly on this thread that the Fr-7f is a uniquely brilliant cartridge. Likewise I am told that the LPS is superb - truly self-effecting and neutral.
TBH - I'd ultimately like to have tried all the 'great' carts - one never gets to audition them. |
I think that many prefer FR-7 fz above FR-7f. However FR-7f
is more easy to find. Considering its ''modest price'' you are very
lucky to get ''brand new LP-mr'' for similar price. Lucky b...
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if tonearm is FR64 S version FR-7f will be better match.
in case of FR 64 fx both are good match.
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It is fr64s
my only fear is buying such an old cartridge...
i normally buy new carts ever since I got an OC7 with a wonky cantilever 16 years agos |
Yes it is a lottery.
Although 35 grams of effective mass is a lot for majority of modern cartridges.
I don't own FR-F7f but my Ikeda 9 CV is low compliance. So low that I think it's close to Ortofon SPU and compliance figures are quite equal of of 6 CV and F7f at least on paper.
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@bukanona if tonearm is FR64 S version FR-7f will be better match.
in case of FR 64 fx both are good match. What do you mean? Could you explain in details why do you think one FR tonearm is better for certain FR-7 series cartridge than another ? For FR-7f or 7fz we must have optional W-250 counterweight for 64fx toneam for optimal performance in terms of tonearm effective mass. As you can see in this catalog the compliance of both FR-7f and FR-7fz is the same, tracking force is the same too. The 64s has a higher effective mass and made of steel while the 64fx has lighter effective mass and with default (smaller) counterweight was designed for cartridges like PMC-3 for use on conventional headshell, or any other cartridges with higher compliance and lighter weight. |
