Hi Again,
By way of quick clarification, I should also stress that I am not claiming that each of the noted grouped cartridges sound the same or are of the same quality. My division is based on taste and experience and will hopefully be read with some sensitivity to such short-hand.
In this light, my final MM selection might also include my Audio Technica ATML-170 OCC, which I will be sending off for a retip shortly. Its performance seems to sit along side my crisper sounding favourites just as I would also place my Music Maker 3 among the warmer sounding alternative options. I also think that my Astatic MF-100 is very similar to the 170 OCC but just slightly prefer the Audio Technica. If I could accommodate more than 3 cartridge/tonearm combinations at a time, I would not need to shorten my MM shortlist of the Technics, Glanz or ATML-170 OCC down to two. However, I still require space for my final MC alternative option.
Hope something here is helpful |
Dear Dgob,
Sadly for me, I had never before heard of Glanz cartridges until you brought them into the discussion, and I have never seen one for sale since then. I take it these products were largely sold and used in Europe.
I am not sure I hear the same qualities in the Azden as you do. Compared to a clinical sounding MC, yes, it is a warmer fuller sound. But compared to other MM/MI cartridges that I have thus far auditioned, I would say the Azden is more about details. What sort of music do you favor? |
Dear Dgob: I agree with Lewm on the Azden performance. Maybe needs a better tonearm/headshell match, maybe the cartridge is out of specs or maybe that coloration comes from the amplifier/speaker/roo combination, who knows.
+++ " should say a lot about my tastes " +++++
I don't think that all is about your tastes but how your system is performing with different cartridges, it is not only the Azden subject but with other of your cartridges where I disagree too.I think that we can be different but not so different and that's why I think there is/are some other things that are out of " target ". Of course that we could be totally different but this does not makes common sense to me.
I really can't say what happen because I don't hear/heard ( don't know. ) your system and cartridge different set up. So it could be useless what I'm posting and continue argue about.
Anyway good luck in your quest.
Regards and enjoy the music,
Raul. |
Raul,
Many thanks for your view and I do believe we have indeed heard many different things from similar equipment but such is life. I think hat the raising of the "fuller and warmer" issue above has not quite grasped my point nor the basis on which it is drawn.
"I should also stress that I am not claiming that each of the noted grouped cartridges sound the same or are of the same quality. My division is based on taste and experience and will hopefully be read with some sensitivity to such short-hand."
Hope this helps but am always open to further discussion: how else can we all learn and develop? Speaking of which, my quest is nearing its end, once I get the returned cartridges and assess my short list - in conversation and debate with friends whose hearing ability might exceed the Audiogon norms. Then again they might not but if not that wont harm anyone else.
Lewm,
I hope the above helps and if you read through this short thread you should see some of the answers to your questions/uncertainty.
All the best |
Lewm,
Apologies but I was pressed for time and so did not fully respond. Well, my son no longer desires his chauffeur and so I'll try to clarify some of your points.
Glanz was a Japanese make ["Mitachi Onkyo Seisakusho (brand name "GLANZ")] that was distributed in Asia and Europe (and probably elsewhere - as one US retailer claims to have sold them in the past). I also had not heard of them before I bought one on trust following advice from an Asian friend. I have obviously been grateful for taking this leap of faith and this is the main reason that I introduced it to you and others on the MM v MC thread.
I would say that the differences between all of the named cartridges are "more about details". It could be different tonearms or Raul and my distinct views and perceptions on isolation systems - or a whole host of alternative reasons that effect out distinct perceptions on several pieces of hardware. I have previously told Raul that I appreciate our differences although I cannot fathom or explain all of them away as easily as I would probably like.
It is good to see that you are now getting better performance from your Azden. I also think it is a great cartridge although not in my top three moving magnets. Why? Maybe as simple as distinct tates based on familiar listening positions in our distinct auditoriums or acoustic distinctions in same!? As with many of those who share my perceptions, live performances rather than mastertape compliance seem to govern us. I'd therefore naturally expect your perceptions to be distinct in some ways and truly do applaud that.
The Glanz is difficult to get hold of but, I clearly believe, worth the effort and patience. I might send my spare (G5) to Raul for audition at some future point and maybe he will again share his perceptions with you. I do hope so but am certain that your collection of MM's offers sufficient options for you to get by without one.
Hope this helps and wish you continued and rewarding listening |
Dear Dgob: +++++ " I might send my spare (G5) to Raul for audition at some future point... " +++++
Thank you for your kindness, appreciate.
Right now I'm waiting the Top of the line Glanz in 1/2" mount design. As you know I'm against vintage cartridge/headshell integrated designs due that the internal headshell wires and clips/connectors after 30+ years are not the best we can have ( you already know that the headshell wires always makes a " difference " for the better or bad/wrong in cartridge overall quality performance. ) and IMHO a distortions source, that we need the right tonearm to make the right set up, that if I need a tiny change on the offset angle I can't do it and even many times these kind of cartridge designs does not permit azymuth changes.
So there are many limitations that IMHO are against the cartridge and because of that could be unfair to compare against cartridges that does not has those kind of set up limitations.
That's why too I left 4-5 opportunities on the Technics 100C till I find a non cartridge/headshell integrated design: fortunately I found it.
As we know Glanz and Astatic share the same kind of cartridge design. I like the Astatic's I own: 100, 200 and 300MF models and that's and your post on Glanz makes me that I want to search about but in even/fair cartridge conditions with the Astatic and other cartridge different designs. We shall see when I test it, I don't want to speculate about.
Btw, you say that your Glanz cartridge set up ( geometry ) is out of target and that you can't hear distortions, well you don't have a real reference about when you can't know how that cartridge perform with the right set up.
Anyway I will report on the MM/MI thread ( like always. ) on my Glanz when I put my hands on it.
Btw, I think that you and your friends are not the only guys out there that have live music as reference.
In the other side: +++ exceed the Audiogon norms. +++, this statement on level quality capacity of what you and your friends " hear/heard " is something that IMHO has no precise foundation.
I think that here on Agon and elsewhere there are a lot of audio people that are not only " competitive " but better on the subject than you, your friends and me: such is life!
Regards and enjoy the music,
Raul. |
I forgot. If you think on that way on the " Agon norms " capacity level then: why you post here ( threads/answers. ) with people that are not at your and your friends unique level, why with " lesser " people?, this is and is not a question and needs no answer in anyway.
Raul. |
I'll throw my hat in the ring with Dgob, Raul, and Lew. In my system both top Azden and top Astatic are on the clinical side of the MM/MI continuum and closest to MC in general character. So far Empire 999 has the most warmth & presence, and as it breaks in is becoming more detailed. In fact it's difficult to find much of anything wrong with Empire (which as Deanman mentioned to me by email, lets you stop "looking" at the music.) It isn't easy to find the jargon to describe why these Empire cartridges are so convincing(though doubtless the jargon will eventually issue forth...) I reserve final judgment on all P-mounts(in my case P-76 and Azden) until I get around to rewiring to bypass the P-mount adaptor. |
Dgob, I am so slow at this business of evaluation that thus far I have only got a feel for 3 cartridges: my own Grado TLZ (so-called because I bought it at least 20 years ago, and it was my one and only cartridge for several years), the Ortofon M20FL Super, and the Azden. So at this point, I am far from naming a "top 3". While the Azden is now much better than it was at first, largely due to correcting my own set-up errors and some break-in time, I am still not blown away, altho it is obviously excellent. This is why I have asked others to share their preferred VTA, VTF, and load resistance for the Azden. I am near to neutral VTA, VTF= 1.35gm, and load R= 47K, no added capacitance. There is plenty of evidence that 100K load or some number between 100K and 47K is better.
Just got my 1000ZE/X stylus from Garage a Records (to install on my 1000ZE). |
Lew,
I'll be very interested in your opinion on the Empire 1000ZE/X when you have listened?
From my experience it sounds just great out of the box which might throw you a bit, and it gets even better.
To start with, I'd try it at higher than Raul's 1.0gm VTF although after 30 hours it certainly warrants lowering. |
Lewm/Dgarretson,
I must admit that I have so far only heard the Azdens for limited periods - as I have posted elsewhere on Audiogon. My perspective on it might change but I have given my honest opinion of it now. Sadly, the Glanz, Technics, ATML-170 audition has been my main preoccupation and will remain so for some time to come. Lewm, I share and see no problem with your caution and slowness in making decisions. Act in haste...
On the Empire 1000SE/X, I believe it could be a fantastic performer but it is definitely on the warm side of my audio spectrum. I owned the one now used by Raul but is was in poor condition at that point. Nevertheless, the one statement that I made to Raul before I agreed to his suggested cartridge exchange was that: "From what I have heard so far I believe it could be a very special cartridge." The imaging and timbre were two of the most immediate qualities that stood out. However, and this might be down to the condition in which I found it, my Empire shared a feature with many of the cartridges that I describe as warm and that is its imaging capacity - or relative lack thereof. |
Lewm/Dgarretson,
Corrections include: 1000ZE/X not SE/X (Downunder's humour obviously stuck somewhere!). Secondly, I meant its 'soundstage width and depth' and not its 'imaging' as an immediate positive.
Cheers |
Raul,
Well, where to begin?
Firstly, I must apologise for your interpretation of my reference to: "in conversation and debate with friends whose hearing ability might exceed the Audiogon norms". I can now see how this might read as an attack on the listening ability of other Audiogon contributors. It was not meant to be so. The Agon "norms" to which I refer are varied but include the (possibly necessary) tendency to accept persectives from people who are playing in different set-ups, environments and with different hearing abilities, tastes and expectations. That a few of my friends are professionally well situated to demonstrate exceptional hearing skills was not the point so much as that we hear familiar music both on the same systems and at the same venues. I did not mean to upset or undermine you and am sorry for the obvious upset that my comment has caused.
Although you have not addressed the questions concerning sonic variations and live performanceS, I do appreciate that you used to refer to your wide experience of live events and its influence on your views and selections. Some of the books that I have referred to simply enable us to draw out many of the consequences that relate to such a criteria (varying live performances) in contrast to recapturing the single performance as recorded on mastertape before being reworked onto vinyl. Again, if you felt that I was making an attack on you personally, I promise I was not and again apologies for any lack of care with my words.
Next, regarding the subject of the Glanz, I wish you every success in finding the MFG-71L. I have only seen two come up for sale in the past and these were both on Japanese sites if that helps. Although its specifications are clearly not as good as those of the G7 (and not neglecting that the G7 has unique design characteristics), it might better satisfy your targets and/or outperform the G7. Maybe when you have one I will send you the G5 for comparison and I would not close my eyes to the possibility of the former being better under certain conditions.
I also respect your logic about the connector cables on integrated cartridges. However, what can I say? It has not been my experience with a few of these in real life. I wonder if we could upgrade the coil wires in our favoured cartridges and if the OCC wire is an unnecessary degradation!? I'm not joking with that question, although it either points to accepted compromise or opens a series of challenges. I know that Len has gone down that route with his Music Maker Classic but I would not pay the asking price until I have respected or wide enough first-hand feedback as some guidance.
Regarding the offset and alignment of the cartridge, all I can do is refer back to the manufacturer statements that I have provided before about the integrated cartridge being designed "to operate on most standard tonearms - with a 50mm standardised length." As I say, my experience supports their views although I am not saying that one of the two specific tonearms that I believe I have now identified would not get even more out of the Glanz[es]. Once I get hold of either arm I will hopefully be able to fully address our remaining concerns regarding alignment. On another positive note, I have heard back for Van den Hul and he can definitely retip the G5 and G7 and so longevity need not be a major problem.
Please feel free to contribute your opinions. They are frequently appreciated and I do not align my personal identity with any cartridge or hifi system. A disagreement on either need not therefore be a hassle for me.
Happy listening and look forward to hearing again |
Dear Dgob, refering to 'hearing' will not do. We all hear
(normal hearing presupposed) in the same way. But in the
interpretation of what 'we hear' the whole brain (seems) to be involved.
My basic assumption is the difference between 'knowledge' and 'art'. Knowledge is about 'the truht' ( or 'the false'). The art is not easy to simplify. But we associate this with'feelings': the beauty, the taste, the culture,the aducation,etc.,etc. But it is not about 'the truht'.
I have some friends who are professional musician (Concert
Gebouw) and I never got an clue of what they are 'hearing'.
To my mind they should be able to 'hear' the difference between my gear from 20 years ago ($5000) and at present
($60.000). But non of them were interested in my gear. They
were interested in the 'interpretation' of some artist of some composition. I put some LP with Svjatoslav Richter on my TT and realized that this LP was the worst (in technical sence)of my collection. Their comment was :'Onbelievable ,never heard Beetohoven in such an way.'
Raul made some remarks about the 'sommelier' with 'delicate
taste' trying to explain what he means by 'the best'. To my mind he was refering to some kind of art that one can only obtain by experience,learnig,etc. For him of course the 'knowledge' and the 'technique' are a means to an end: 'the music'. But if you are an musician and he is not you will never speak the 'same lanquaqe'.Ie if our 'whole brain' is involved in listen to music there is no way we can reach much consensus.
Ragards,
Very |
Hi Nandric,
Thanks for your thoughtful reflections on what I am sure is a more common experience than it might generally appear. I agree.
A case in point might be in comparisons of the famous interpretations/performances of Bach's Partitas by Arthur Grimaux (Philips, L 02.207 L) and that by Nathan Milstein (Deustche Grammophon, 2721 087). In my experience, the latter seems to be favoured by many professional violinists while the former tends to be favoured by hifi buffs. Go figure, as they say!!
Happy listening |
Hi Nandric,
Just to clarify a little: I agree with your distinction about perceptions of art and about the extensive complexity of any judgement of art.
However, I think that Baumgarten's work on aesthetics/taste/truth and Kant's critical response to this seems to have left the issue of 'art', 'knowledge' and 'truth' as equally complex and aporetic concerns: probably an insignificant pointer, given the general flow of your views as I read them. |
Dear Dgob, that "the issue of 'art','knowledge' and 'truth'
are equally complex and aporetic" does not mean that we should confuse them. To me those aredifferent 'categories'.
But I am an 'Fregean guy' and you are, I assume, an Kantian kind of person. So I must underline that 'the art'
is not about the 'truth' in contradistiction to science.
Regards, |
Hi Nandric,
I agree to some extent: although the third Critique might not quite uphold the distinction. Personally, I'm not quite certain where my philosophical leanings should be categorised but I obviously find much of great relevance to our concerns in certain German philosophers.
With kindness in gratitude |
Hi All,
Been spending quite some time with my Glanz cartridges and doing some thinking. I recall certain Japanese cartridge makers (Audio Technica etc) have produced high quality models for the Japanese and Foreign market but kept one or two "special" models for the Japanese only market. These have apparently often outperformed the top models offered elsewhere.
Well, Glanz produced their cartidges for the Japanese and European market. However, the literature that I have been able to find suggests that the G5 and G3 models were not exported but kept for the Japenese only market. This would partly explain the distinct performance characteristics that are given on the cartridge database etc for the G5 when compared to the G7 or MFG71L/E.
This makes things a little more complex than an alphabetical serialisation in which the hierachy of these gems would run from G1, G2, G3, G5 to G7 at the top of the sonic food chain. This makes for interesting comparisons between my G5 and G7.
More as soon as... |
Oops,
No G2 (as far as I have heard!!) - G1, G3, G5, G7 only. |
Hi All,
I have recently received my Technics EPC-P100 MK4 back from Van den Hul following his full treatment of it. It's only had 8 hours play in this new condition so far but WOW! It does sound different to its previous state but I had bought it NOS and it apparently had become 'brittle' in certain areas (VdH report).
Anyway, my initial playing of it has emphasised one or two of the characteristics that I am enjoying with the Glanz G5. The latter doing slightly more with dramatic contrast in its dynamics. However, I cannot (should I feel the need to) compare until I have optimised the set up for both and given them far more time. My Technics also seems truly great at this early stage.
Fun times ahead |
Hi Dgob,
May I know what exactly did Van Den Hul perform on your EPC-Pq00mk4? I have one too and wondering if I should also send it to VdH. How much did it cost and how long did it take? Is there a weblink to contact Vdh for this work?
Rgds |
Ddriveman,
I wanted a retip following initial play and asked for a complete overall to obtain the optimum performance and maintain its original character.
The report is very brief and I have asked for more information from our VdH representative in the UK. However, the costed report notes the following:
"Tip, boron brittle, boron".
I hope this helps and will let you have more information once/if I get it.
|
Hi All,
I recently asked a technician who is a friend in Japan for any information on my Glanz cartridges. His initial and fairly brief response was as follows:
"Glanz is very good cartridge and performance is excellent... Phono cartridge for this brand come from Mitachi Onkyo Seisakusho factory. Mr Kazuhiro Ikeda some time provide design input and make patent for induced magnet cartridge design plus Mr Tsugikuma Minamizono provide design input and make patent for moving flux cartridge design."
This points to the above discussed links with and distinction from the mighty Astatic MF100. I deeply respect both his knowledge and judgement and I will probe him further once his travel demands have calmed down a bit. |
Dgob,
I just noticed this thread. Indeed the Glanz (pronounced "glants") cartridges were a brand of Mitachi Onkyo Seisakusho, which also made tonearms. They were an OEM brand for a number of companies in Japan. I have seen a picture of a line of ladies checking built tonearms as they roll by on a conveyor belt.
Mitachi in particular made stylus assemblies for other mfrs. In particular, I remember reading on a Japanese forum a comment by a guy who did some work on carts (the guy worked with Shibata of Shibata stylus fame). He said that Victor entrusted its stylus work to Mitachi because they were so good at it (and did not entrust it to another famous maker because they had too many stylii which came out bad). My understanding is that the Z-1 was made there.
The company did other stuff too but went under a bunch of years ago. It was recently re-established under some other name, I think by a guy who used to do design work there. I think it is a hobby more than anything else and there are no carts involved. I seem to remember a ridiculously over-priced tonearm. |
T_bone,
Many thanks for your kind imput. I'm now feeling slightly more informed about the Glanz and their history. I just need to play them in other conditions in order to have a definitive view on their performance but, at the moment, the G5 sounds a superior cartridge to its G7 sibling.
All information will be gratefully received. Speaking of which, if anyone could find the official performance specifications for the G5 and G7 (other than the information on the cartridge database or Vinyl Engine, which are not as helpful here as I would wish) I would really appreciate the related information.
Thanks again |
Dgob,
What do you think of the Glanz MFG71E? |
Hi Ddriveman,
I've not actually heard the MFG71E or L. However, the specifications are not as good as those for the G5 and G7: although specifications don't always tell the full tale.
Why, have you seen one on your horizon? |
Hi All,
My MM/MI cartridge shortlist is now in its final penultimateness (?). I'm down to my Glanz G5, Glanz G7, Technics EPC-P100c Mk4 and Audio Technica ATML-170 OCC.
How good are these? Well, I have sold or am in the process of selling on eBay my B&O MMC2, Audio Technica AT20 SLa, Empire EDR9, Empire 1080 LT, Nagaoka MP50 (with 2 unused and original NOS spare styli), Lyra Parnassus Dct moving coil, Sumiko Andante P76, Audio Technica ATML-160 OCC, Denon DL103d moving coil, Empire Ltd 750, Astatic MF100, Empire 900 GT (with 2 unused, original NOS spare styli), Ortofon M20FL, Spectral Moving Coil Reference, ADC XLM-1 integra, Music Maker 3, Audio Technica ATF5 moving coil.
My Azden YM-P50VL and YM-P50E have not really had the time to be judged and so could still make the list. Although this is obviously a reflection of my own taste, it says something about the quality of the four remaining contenders. More soon, or as soon as I can give all of them a fair run for my money.
Bliss |
Hi All,
Just to alert you all that there is an Astatic MF100 cartridge currently for sale here on Audiogon. The seller says he also has spares.
It's close to the Glanz G5 and some might actually prefer it. Worth looking into! |
Hello,
Just bought the Astatic MF-100! On it's way to the UK as we speak. It was browsing this AudioG thread that made me take the punt having never heard one before. Currently have Origin Live Aurora 2/Origin Live Silver 2./ AT 150MLX into Croft 25R/Croft Series 4S - with Epos M22i and Townshend supertweeters. Also have Cyrus CD XT se/PSxR with Benchmark DAC1
Looking forward to trying out theAstatic in the OL setup.
Steve |
Hi Steve,
Great to hear that more great equipment will be making its way to these shores. I'm sure you'll enjoy the Astatic and you can find a lot of detail about set up and various experiences of it on the 'who needs a moving magnet' thread started by Raul Ireugas here on Audiogon.
Do let me know how it turns out and good luck
PS. Have you thought of posting your system on this site? |
Thanks for that - am a newbie to Audiogon forum so will need to research as to how I post my system details but will do - am a total Croft valve amp fan :-)
Regards
Steve |
One of my earliest systems had a croft preamp-phonostage with a Leak ST60 amp. I still have fond memories.
Welcome aboard |
Thanks Dgob - just putting my system details together - will upload piccies later. Have 2 systems the OL/Croft/Cyrus/Epos and a Quad 67 CD - Quad 33/FM3/303/ heavily breathed on by Net-Audio (http://www.net-audio.co.uk/) - Quad 21L's - very nice.
Steve |
OK so the Astatic MF-100 is now installed in my OL Silver II tonearm having flown across the pond and displaced my AT 150MLX. Import duty/Customs charges were a bit steep! Setup and installation was straight forward although the stylus tip is difficult to visualise on the alignment gauge. Tracking force is hyper-critical I think with this unit. 1.3g seems the best compromise and at this it tracks 3 out of 4 of the Hi-Fi news bias test tracks 100% with zero bias applied - test track 4 is a bit of a torture but this is still better than the AT 150 MLX which was pretty good and seems as good as the MusicMaker III. First impressions are very favourable. Presentation is very different to the AT 150MLX. Very neutral but still dynamic with great timing and poise. Bass is deep and tuneful, highs very detailed without being harsh and the midrange is sublime. More revealing than the AT 150MLX, more layers and fine "background" detail is audible. Perhaps biggest improvement is in the expression of voices - far more nuance and emotion than I have heard before. Before listening I was a bit worried it might sound a bit flat - previously I had an Ortofon Rohman bought unheard but on recommendation and I hated it - dull as dishwater but the MF-100 just seems to do everything right although very early days. My only "criticism/concern" is that it sits very low on the record and the slightest warp knocks on the base of the unit - at tracking weight of 1.5g (max) this was not uncommon - much less at 1.3g but still occurs. Not tried at 1.0g (min) as tracking fell off.
Anyway, a very pleasing first impression and I am sure it will get better the longer I listen. Thanks to Raul for his recommendation as otherwise I doubt I would have taken the plunge.
Steve |
Steve,
Congratulations and happy to have been of help. Be mindful of compliance on the Astatic and positive VTA and it should reward behond your expectations.
Do keep an eye out for a Glanz. Owners rarely sell these but if you're patiant and can find one, these will open your eyes to new musical vistas - at least they have done so with mine.
Happy listening |
Thanks Dgob - yes you are absolutely right on both counts. I initially setup the VTA/SRA with tonearm parallel to record and was pleased - then read that shibata stylus likes a high VTA to work best - I have a pete riggle VTAF on my arm so increasing VTA was easy - hit the sweet spot with just over 1/4 inch arm raise - wow! Also seemed to "cure" the previous tendency for the cartridge to bottom out on a warp.
Which Glanz would you suggest I look out for?
Regards
Steve |
Steve,
Excellent news.
On the Glanz, I would recommend the G5 integrated as the best I've heard and the G7 and/or MFG 71L or E as the alternative options. You can see the bulk of comments and issues regarding these in the above posts of this thread.
Not withstanding clear set up challenges for the former two integrated cartridges, REALLY, REALLY GREAT cartridges - particulary the former.
Happy listening and hunting |
Thanks for that.
Regards
Steve |
Hi All,
Those looking to optimise their vinyl replay can currently get hold of an Audio Technica AT666 EX pneumatic stabilizer. There's one currently going on eBay:http://cgi.ebay.com/Audio-Technica-AT666-EX-disc-stabilizer-pump-etc-/200516997374?pt=Turntable_Parts_Accessories&hash=item2eafbe90fe.
|
Hi All,
Just spent an enforced length of time re-aquainting myself with my Glanz's. I can only reaffirm my claim that the G5 is a very superior cartridge and I would desperately urge anyone who has the opportunity to grab it. I am aware that they rarely appear but I truly believe they are worth any efforts to get hold of.
I write this partially stunned by the music presently playing in the background.
As always... |
Apologies,
However, following off-line correspondence, I hasten to clarify that the Glanz is NOT of the quality of my Technics EPC 100Mk4. There again, nothing I have heard is.
What it is is a better performer than most well respected cartridges 'and' a (in my case) still unresolved challenge for perfect set up.
These points hopefully now clarified: I highly recommend it and its undoubted potential. |
"Its undoubted potential" alludes to the fact that the Glanz might indeed outperform the Technics if the (still sought) ideal set up is achieved.
Any medium mass arm that places the stylus tip precisely 50mm from the collar of the arm wand where the cartridge meets arm will provide that potential! |
Hi All,
They say the lucky man often benefits where the clever man can't. In this light, I must confess to a certain ignorance being shored up by complete luck.
Those who follow (and there appears to be many of you) this thread will know that I was amazed at the performance of the Glanz G5 in my Audio Craft AC-3300 LB tonearm. I noted that just setting its VTA and VTF seemed sufficient without concerns about overhang and effective length. Many will note the dispute that this suggestion created! Nevertheless, my own slightly refined hearing and that of a former friend (whose hearing was unsurpassed to my knowledge) kept telling me that I was approaching perfection with the performance of this intergrated moving magnet. I had even recently told others that the ideal position would place the tip of the stylus 50mm from the tonearm collar and suggested they experiment and seek such a tonearm. This is where my ignorance and luck come in!
On finally digging out the Users Manual for the AC-3300 last night, I was amazed to read that it has reference to the integrated Ortofon SPU cartridge and even suggests its ideal damping for such a cartridge. Then I noticed that the ideal position for stylus to tonearm edge for my Audio Craft was given as "50-51mm". This is exactly the position achieved by the Glanz and seems to support my suggestion that protractors and the like should not be your only means of assessing ideal set up of a cartridge: your own ears and experience being more important than generalised calculus.
This means that my faith (albeit challenged and uncertain at times) in what I am hearing with the Glanz G5 now makes complete sense. It also means that I can extend my recommendation with a little more surety.
The Glanz G5 cartridge in a tonearm such as the Audio Craft AC-3300 LB is simply stunning. It can keep company with the Technics EPC 100Mk4 and that says more than I can.
Very highly recommended |
In light of the above,
I intend to turn my attention to my Glanz G7 to see where fine tuning and perseverance can take me with this proclaimed 'top of the line' Glanz.
My auditions of it so far have not been as focused as those of the G5 and I have always simply exchanged cartridges in the same set up. Not ideal and to be addressed!
I will comment on my findings around the G7 when (and 'if') I am certain and have something useful to say.
As always |
Hi All,
I simply cannot optimize my G7 with my selection of tonearms. This is not to say that it cannot be optimized in other settings and I will wait until I do find just such a setting.
On the plus side of my latest meander, I have not discovered that the G7 line contact stylus adds something to the G5 cartridge (the stylus in the range are interchangeable). I have now settled for the G5 with G7 stylus as my ultimate Glanz.
Happy hunting to those who try.
As always... |
Hi Dgob, You actually own your own thread. Are the answers
from Dgob to Dgob satisfactory? |
Nandric,
I would just note that there are over 11,000 others following this thread - some of whom I discuss matters with off site. You could think of it as my sharing experiences around a cartridge that (although possibly a better performer than anything you have heard)
few if any of you have yet experienced.
Your puzzling interest here does of course make you 11,001. Although I cannot pretend to fathom any further interest on your behalf, I am glad that you had the time and energy to make your interesting contribution.
As always... |
In my 02-18-12 posting, it should of course have read:
"I have 'now' discovered that the G7 line contact stylus adds something to the G5 cartridge..."
Apologies |
