Regards, Nandric: In publications contemporary to the TK7E/SU, Signet insists the cart should be paired with a low-mass arm; "We cannot recommend the cartridge being used with any other than---".
From several of the comments above, it seems matching the tonearm to the cart continues to be a relevant concern. An integrated headshell designed for use with a specific tonearm eliminates operator error. Set VTF, a hint of anti skating. Almost plug 'n play, the ultimate "P-mount".
For those of us who like our options, who imagine we're capable of learning from our mistakes, there are numerous carts of the 1/2" mount style to fiddle with. :)
Peace, |
Dear Raul,
I always respect your opinions but.......in the case of the FR-7 series cartridges in their fixed headshells.....I beg to differ?
If one uses these cartridges in the FR series tonearms (for which they were certainly designed) and set the spindle to pivot distance to that recommended by Fidelity Research.......you achieve a perfect Baerwald alignment. Now VTA and VTF are easily adjustable via the tonearm and have nothing whatsoever to do with the cartridge/headshell design.
This leaves only azimuth as the 'missing' adjustment.....but I have found that azimuth, when adjusted by the majority of users......is more often wrongly set?
The proof of the pudding is in the 'results'......and it seems churlish to bemoan the fact that a 'glorious' sound could potentially be better?
I strive to eliminate and reduce distortions in the entire audio chain as far as I can.....just as you do......but the fixed headshell of the FR-7 cartridges is not one of the places that I would select to work upon? |
Raul,
I appreciate your restatement of some of your concerns. I have already tried to explain that when considering "the importance of VTA/SRA/VTF/AZ/Overhang and accuracy in all those parameters" the Glanz/AC3300 LB combination has no concerns.
I do not believe in argumentation and, as a minimalist, I don't enjoy repeating myself. Repetition rarely convinces and so I will leave it to others to listen and/or read, consider and decide as they will. Was it ever but thus...
As always... |
Dear Professor, Thanks for your advice but my experience is
the other way round. For the low complience carts I use my
Reed 2A, 12'' and 27g. eff. mass. For such carts there
is no other option. But ,as Halcro, for all my MM carts I use
the FR-64S with excellent results. This arm is considered
as a 'havy gun' but the eff. mass depends from the used
headshell (+cart weight) as well from the 'place' of the
counterweight relative to the pivot. Now all or at least
the most MM carts are about 6-7 gr. so the counterweight
nearly touches the pivot. For some MM carts
one need to use heavier headshells to compensate. I also use
the Lustre 801 which is much less(?) heavy but the FR-64 is
much better 'tracker'. My quess is that the bearings by
FR-64 are exceptional. However I also own the Sumiko 800
(aka 'Breuer') and can provide the 'optimal conditions'
according to your opinion for both Signet's.
Regards, |
Dear Halcro: I own the FR and I posted that I still own because I like it.
Now, I think I don't posted that VTA/VTF can't be changed because that is something that any one can do it through the tonearm facilities.
No, it is not " only " azymuth as you said ( latter on that. ). I don't know if you really don't care about azymuth or what you posted is only in " defense " ( no sense defense. ) of a IMHO a limited wrong cartridge designs:
++++ " but I have found that azimuth, when adjusted by the majority of users......is more often wrongly set.... " ++++
the main subject is that to make and achieve the best any cartridge can show us we must have the azymuth facility to make changes during the set up/alignment, azymuth changes makes a difference always. So try to diminish its importance makes no sense to me but I respect your " no sense " defense????
Halcro, why in the hell today you own several tonearms and dozens of HEADSHELLS? why? please let me know.
As many of us you already learned the critical importance to match the cartridge not only with the tonearm but with the " right " headshell and this " characteristic " that always makes a paramount differences on performance cartridge level is " deny " in an integrated design.
At least two other critical characteristics that are " deny " on integrated designs: you can't change the internal(headshell wiring for a better today one and you can't make a precise alignment never because you can't align the cantilever in an integrated design.
Halcro, what is all about?....you are aware of all these so why post something like what you posted?
Are you telling me that all what we learn on cartridge/tonearm set up/alignment is not true or important?.
I respect your opinion but not only can't agree with you but with those kind of posts I even am in doubt I really know you as I thought I know you!!!!
Regards and enjoy the music,
R.
|
Halcro: ++++ " but the fixed headshell of the FR-7 cartridges is not one of the places that I would select to work upon? " +++
of course not because you can't do nothing about!!!!!
I repeat: IMHO today an integrated cartridge design is a wrong very limited design. That some of us prefer it does not means is a good design and IMHO can't justify that ignorance level/marketing that the cartridge manufacturers had it.
You own or owned the Technics 100C in an integrated version ( MK3. ) and for what you posted on that cartridge performance I remember that you was not " happy " enough because that cartridge can't shows you what really is. Ask any one that own the stand alone version and everybody can tell you its very top performance even one of those Technics owners posted in the MM thread that he prefers the Technics ( MK4 stand alone. ) over the Lyra Atlas that he own and compared in between!!!!
Again, what are we talking about? what are we achieving through this " excercise " in favor of music, in favor to improve our each one system? what???????
R.
R. |
what is the new lesson?, because as you know I'm always willing to learn.
R. |
Dear Henry, As Raul stated I assume that we all want to learn. The first review about the FR-64s that I have read was the German Magazine 'Das Ohr' (the ear) from 1984. Our
member Dertonarm was then a reviewer by this Magazine. Regarding the tonearm geometry already than both reviewers made the remark that the geometry in the user manual was not optimal. They recommended the spindle -pivot distance of 231,5 mm instead of 230 mm in the manual. With 'optimal' geometry they meant the Bearwald. Well I recently ordered by Yip his Mint protractor for my FR-64- SP 10 combo. Yip wrote to me that the geometry in the user manual is Stevenson : 230/ 244,9 ( spindle -pivot/ eff. lenght).
For my combo I wanted Bearwald which according to Yip imply :231,5/ 248,2 mm respectively. I am not sure if you referred to your FR -66 or 64 with your statement that the geometry of your FR tonearm and FR-7 cart is 'perfect' Bearwald but if you referred to your FR-64 this can't be true. I never owned the FR-66 so I have no idea which geometry is assumed in the user manual for this tonearm. But I am familiar with the FR-64 from 1983 till now.
I agree with Raul reg. the integrated headshell/carts combos's but my reasons are more pragmatic than theoretical.
Regards, |
Dear Nandric: My take on that subject is based on facts not theory.
Btw, almost all Japanese tonearms alignment by manufacturer advise were made it through Stevenson. I don't want to go inside again to that subject but IMHO Stevenson is the " wrong " way to go against Löfgren A and B.
Stevenson is a " way to think ", Japanese manufacturers took it. My way of thing is different and in no single of my more than 25+ tonearms I use Stevenson alignment. I respect to whom did it or like it.
As I always say: each one of use like differnt kind of distortions and each one of us common sense level is different too and each one of us music sound priorities are different too.
So it is not easy to agree in every audio subjects.
Regards and enjoy the music,
R. |
Dear Nikola,
I really don't know if 230mm for the FR-64s gives Stevenson or Baerwald as I only have Dertonarm's template to align them and it doesn't say what geometry is used?
The strange thing is......that Daniel recommends that 231.5mm be used for the FR-64s yet accepts the Fidelity Research specification of 295mm for the FR-66s?
To allow the interchange capability of all my interchangeable headshell/cartridges......I must use the 230mm and 295mm figures.
This then relates to a S to P distance of 223mm for the MA-505s tonearm? |
Halcro, why in the hell today you own several tonearms and dozens of HEADSHELLS? why? please let me know. I own the tonearms because I am 'sick'.....just like Nikola :~} And I own the dozens of headshells so I can have the dozens of cartridges I own......mounted and ready. Of all the headshells I own........the majority are Yamamoto Ebony HS-1As or Fidelity Research S3. The remaining metal headshells I own are used for cartridges I almost never play? I almost never change headshells for my favourite cartridges and I am certainly NOT a 'tester' of cartridge/headshell combinations? You may not think this to be 'smart'......but that's the way I am? I do not place the same importance on azimuth adjustment as you do. Berating me about that is a futile exercise. Let's agree to disagree? |
I'm afraid gentlemen that we have officially landed in the age of mediocrity with regard to cartridge build quality, no matter what price.
Note the recent experiences of Fremer with the Lyra diamonds being mounted incorrectly. From my experience you can add to that list Zyx Omega/Airy and Benz, all wildly out and sent back for replacement/retipping.
If we cant rely on cartridges costing US$2k-10k to have diamonds accurately placed in the cantilever then there is no hope for us or our precious records.
I suspect that we need both overhang and asymith adjustability for all cartridges and a good microscope to double check the diamond on any cartridge purchased. |
Dear Dover: I can't agree more with you.
+++++ " If we cant rely on cartridges costing US$2k-10k to have diamonds accurately placed in the cantilever then ..... " +++++
Mediocrity is a " polite " word to say is a SHAME, there is no excuse for that after all those years of analog/cartridge manufactured experiences.
Problem is that almost no body cares and not only the people pay big KK$$ for that kind of " high-end " cartridges but they " report " here and everywhere its top quality performance. Can you beieve it?
Regrads and enjoy the music,
R. |
Dear Halcro: Now I can confirm why you like what you like ( I was not wrong about you. ) , why you like those kind of distortions.
Yes we are way different about audio system music priorities. Your last post is your " testament ". Good for you.
Regards and enjoy the music,
R. |
Alright posters,
Just to depersonalise this and bring it back on point: there is no error in setting of the Glanz G series on the Audio Craft arm and concerns about the (apparently still unheard) performance of the cartridges in question can therefore not be brought down to alignment induced distortion. Of course, this does not preclude other arms being suitable matches but the steel template that comes with the AC3300 LB (not to mention extensive auditioning) leaves no doubt about accuracy.
Just saying.
As always... |
Dear Raul, there is no way to avoid distortions with any pivoted tonearm. The choice is between 'less distortion' at the end of the record or the 'average distortion' across
the record. From the choice made one can not deduce that one 'likes' whatever kind of distortion.
Dear Henry, I know for sure that Dertonarm uses the FR-66/ FR- 7 (kinds) for a long time as his reference. He can hear all kinds of carts by his friends Thuchan and Syntax without the need to buy any (other) for himself. We may assume that he adjusted his FR-66 optimal relative to the FR-7 models he owns. This means that the cart 'prescribed' the geometry. Or, which is the same, Ikeda 'perscribed' the geometry for for both of his constructions. However you may be 'like Nikola' (aka 'sick') but you are certainly not like Dertonarm. With + 20 carts you are 'forced' to follow the geometry of your FR-7 /FR 66 combo for all other carts you may use with the FR-66.In my former post I made explicit restriction to the FR-64. Speaking about our common 'sickness'. I am crazy (= sickness) about the tonearms and more in particular about the FR-64. To me the most beautiful tonearm ever made. But I don't like the FR-66 in esthetical sense and that is why I never owned one. To defend myself I prefer other kinds of 'arms'.
Regards, |
Dear nandric: +++++ " there is no way to avoid distortions with any pivoted tonearm " ++++
there is no way to avoid it with any tonearm and if our target is to achieve lower distortions then the cartridge/tonearm/headshell/ set up/accuracy alignment is of paramount importance: each single alignment parameter. Seems to me that for some of us the importance level that we give to each parameter is different and between other things that's why differences in what we heard, I mean: more " wider " differences due to wider/higher distortions on that analog set up/alignment.
Years ago almost no one took care on cartridge cantilever alignment and today we all know the critical importance on this parameter as on the AZ or overhang.
I think all of us already learned about but things are that some of us are not to " anal " about.
We know what is the best to each one and that's how we decide and decided what to do or where to be " anal " or not.
Regards anbd enjoy the music,
R. |
Nandric: The other critical side about is that if our audio system has not the necessary resolution level then we can't hear we can't be aware of an accurate set up/alignment against a " so, so " set up because the audio system can't shows those differences.
R. |
or showedit in a wrong way!!!
R. |
and of course that we/our self have the knowledge level to distinguish between mere distortions ( any kind ) and music, because sometime what we think is music in reality is only " nice " distortions.
R. |
Oh well,
I tried!!
As always... |
Dear Raul, the adding up 'theory' leeds to infinite regress.
What are we supposed to do with 'distortions' that we
are not able to hear? Whatever componets we own
the unknown one may have 'less distortion'. How are we
supposed to get the right unknown component of any kind?
My friend Henry just spend a huge amount of money for the
'right cables' and then hear from you that he likes some
peculiar kinds of distortions ,probale caused by the wrong
tonearm geometry. Ie Stivenson. And then to think that
by drilling a hole which is only 1,5 mm larger he could
adjust his both FR tonearms also for Bearwald.
Regards, |
Dear Nikola,
I agree with you about the FR-64s.....but I also think the FR-66s is even more beautiful?
And such authority it has.
In fact.....I have been contemplating selling my DaVinci arm and replacing it with an arm that accepts interchangeable headshells...like the DV-507MkIII?
But then I thought......there is no other arm (other than the Copperhead) which is as good with MMs AND LOMCs as the FR-66s.....so why take a risk? Why not just buy another FR-66s?
And in terms of investment strategy.......it's like money in the bank?
Regards
Henry |
Dear Nikola,
To put into perspective the variations and possible combinations that can affect the sound of the analogue performance in my particular case.......with every cartridge there are 9 possible adjustments:-
1. Turntable x2
2. Arm x4
3.VTF x5
4. VTA x4
5. Azimuth x4
6. Overhang x3
7. Loading x2
8. Capacitance x4
9. Anti-skate x3
With the minimal options for each that I have included......it makes 46,080 combinations and permutations for EACH cartridge.
And I have 30 of them!!??
Forget the 'anal' factor......ask yourself.....'Do I ever want to just listen to the music?'
Cheers
Henry |
Dear Henry, There is this notion about the 'reduction of complexity'. Our brain already select between 'long'- and 'short term' data and also devide our actions in 'routine' and 'conscious'. I divided my 'just listening to the music' , as you put it, from my 'messing' with the componets by installing two separate systems. In my living
room there is the 'constant' Kuzma Stabi Reference with Triplanar and the Reed 2 A both with fast headshells by which I seldom change anything. To satisfy my 'messing
needs' I installed an second system im my bedroom with the
SP-10 , FR-64 and Lustre 801 , both with exchangable headshells. Because I deed this only recently and descovered, as you predicted, the joy of 'messing' with
3 carts in one single day, I spend at present the most time in my bedroom... However when the 'sickness' is cured I intend to 'return' to my listening room . The precondition (for the cure)is : don't buy any cart anymore.
BTW regarding the FR-66. I don't like the dimensions but I understand that an architect loves 'huge projects'.
Regards, |
but I understand that an architect loves 'huge projects'. Ha ha...very true. In the variables I listed....I left out Headshells and Headshell Wires.....which Raul rightly advocates as important elements. Throw in a choice of 5 headshells and 3 types of wiring.....and we are up to 691,200 combinations for each and every cartridge? Raul convinces himself that he is close to perfection in the evaluation of his cartridges and all the variables, but the reality is......he is as far from it as am I? Cheers |
Dear nandric: +++++ " What are we supposed to do with 'distortions' that we
are not able to hear? Whatever componets we own
the unknown one may have 'less distortion'. How are we
supposed to get the right unknown component of any kind? " ++++
first build/improve the audio system to permit be aware of different kind of distortions everywhere: how?, well that's part of each one forward in each one audio learning curve. I know that your audio system is not up to the necessary level of resolution: you posted that you can't distinguish/be aware after a comparison between two Virtuosos where one has an aluminum cantilever and the other a boron cantilever and if your system can't tell you anything about differences on performance then you have a lot of work to improve your audio system resolution.
IMHO Halcro is not in better status that your system is. He can't either distinguish between " nice " distortions and music and it is not that his ears are not able to but his system is the one that has not the required resolution level.
Tha's why he likes those distorted Signets or the FR6SE or the FR tonearms( heavy distortions everywhere here: IMD, THD and the like. ), Da Vinci no-azymuth facility, poor performance with the 20SS or with the TK10 or the Azden or the 420 or with that system feedback or ...or....
I know very well his Halcro electronics an almost all his system including the Vandersteens.
Nandric, IMHO one target that IMHO you have to improve is your system bass range management, several " problems " are fixed down there and when that frequency range is at optimum level then that system resolution we are talking about appear as a " pile " and then you will continue to build/improve other system areas. Read one of my last posts in the MM thread as a comment to what Stanwal poste there.
In any tonearm the main target ( at least for me ) is to ta achieve the best bass frequency range management, only the best ones achieved and one of those ones is not the FR one that is really bad down there and not permit that resolution we are talking about: high IMD/THD and other kind of distortions hide those distortions.
All these is not easy to understand till we experienced till we learned.
Please don't thing for a moment that I'm dimished your or Halcro system: NO, I'm only trying that you can take a " different road " to really improve your system performance and to be aware of distortions and only with better true and high resolution you will be aware of and then you can fix it not before.
Regards and enjoy the music,
R. |
Nandric: That is a proccess, step by step till you be THERE, you will know when arrived!
R. |
Dear Halcro: +++++ " Do I ever want to just listen to the music?' " +++++
of course every day, things are that that is our target: " just listen to music with the best quality performance I can achieve through each one audio system ".
Regards and enjoy the music,
R. |
Halcro: S3 headshells?: mainly!!!!, no-azymuth adjustment and a pain to align the cantilever.
R. |
Dear Raul, you must be also clairvoyant because you
are obviously capable to judge my 'system' without any knowledge
about the components involved. Besides I own
two systems so I should ask to which one are your referring?
My living room system consist of Kuzma Stabi Reference with
Triplanar VII / Benz Ruby 3s and the Reed 2A / Krell 100
(aka Miyabi Standard). The amp is ASR Emitter II Exclusive , the phono-pre Basis Exclusive (2010 model) and Usher BE 20 speakers. My second system is more modest but there I have two tonearms with detachable headshells such that I can test carts in a easy way. The TT is Sp 10 mkII with your SAEC mat , the amp. is the Maranz PM 8000 ,the phono-pre Jasmin LP2 and the speakers Jamo Concert 8. On this system I was not able to hear much difference between my both Virtuoso's but well the difference between this 'American' Miyabi and all other carts. That is the reason that this cart is 'promoted' to the Reed 2A and substituted the Phase Tech P 3 G which is also an exceptional cart. This means to me that one can hear or 'detect' an exceptional cart also in a modest system. I am in this hobby for more than 40 years and think to know what is important and what not but also willing to learn. But I prefer your advice based on listing to your own system than your advice based on quess work about
my or Henry's 'system'. BTW both of us are testing all those MM carts in order to select the best one and 'promote' them to the main system. Ie we are not testing those carts as a separate hobby.
Regards, |
Dear Nandric: clairvoyant?, certainly not only experienced about as exist some other persons with even and better audio personal qualities that mines.
From your main system I know very well: TT/Triplanar/Ruby 3 and the Reed. I know too your electronics and better yet your phono stage design ( I don't know if was the 2010. )and your good speakers, so I have a tiny idea about.
I don't want to go deeper on your system subject because that could be useles. Btw, I saw your ad on the Virtuoso: do you already sold it?, good luck.
++++ " on quess work about
my or Henry's 'system'. " ++++
no it is not a guess, all what I know about system components on several audio systems are complemented with what the people posted through several and different threads, normally I never speak if I don't have the " hair in my hands ".
Let me put one example now that you name it Halcro:
he sold it his 20SS and TK10ML cartridges, both top of the line models.
Till today, including me, I never read or saw any single " sign " for no single person everywhere where the owner of those cartridges was unsatisfied with its high quality performance levels.
Halcro does not like it neither so other that both cartridges were faulty what that could means: that Halcro is right ( both cartridges are inferior performers. ) and all several owners ( hundreds. ) are wrong?.
Could be but I seriously doubt about.
I know that when some body " touch " our each one beloved audio system we react against that " touch " but this is not my target with any one of you and never is with any one through the net. I try to help and try that we can understand today or in 5 years from now what in reality we are talking about and the importance to have or to improve the system resolution and that's all.
Stay calm, no bad feelings. An apolize to you and Halcro if both could think I want to hurt both of you because it is not that way.
Regards and enjoy the music,
R. |
Dear Raul, You are allowed to 'touch' both my systems as
you like but not my Aussie friend. He owns + 20 MM carts,
wants to 'switch over' to the real music as soon as possible and is also not known as a patient person. Well I know for sure that by all NOS carts the patience is a necessary condition for at least 30 hours 'burn in' time or , which is the same, to allow the suspension to 'accommodate'. It would be cruel to ask or expect such patience from Henry. This than is the obvious explanation for his 'refusal' to mess with AT 20SS or the highest ranked Signet. One also need to add Herr Professor as an added reason...
Regards, |
Regards, Nandric: Relating to the AT20SS, Henry and I were in communication at the time, he and had both found the 20SS carts. Both of our carts were supplied with generic styli. There was little commendable about the performance. Based on the evidence on hand, Henry elected to sell his. I'm sure Raul is unaware of this.
The other mentioned carts: The TK-10 is 2.2mv output & not all phono stages have a MM section with a compatible input sensitivity. And the Acutex 420, a microphone masquerading as a cartridge.
If we are to touch on my (still) favorite cart, the TK7LCa, it is one of several capable of provide long-term listening without listener's fatigue. An instance of what it doesn't do wrong is more important (to me) than the very short list of it's faults. Using the provided criteria of evaluation, criticisms of the cart are few.
At a certain level of quality of construction I find any attempt to label a specific cart as "best" becomes less useful. Inductance, output, the manner in which self-resonance is dealt with, cantilever and stylus each contribute to a carts' voicing, then there's the tonearm and other downstream gear. I'm not disturbed if others choose to define response that falls outside of narrowly defined parameters as "distortion", which I remind myself is a scientific term relating to measurable phenomena. I prefer to think in terms of "character".
Music in our sometimes passionate observance is served on a platter. Chefs, mastering engineers, recipes and kitchens all have their individual characteristics. A gourmet will base his evaluation of a preparation exclusively on it's condition as it left the chef. Many of the recordings available to me don't meet those lofty five-star standards. A little "seasoning" will sometimes improve the presentation to this listener's audio palate.
Nikola, enjoy your "cart swapping" experience. Hopefully you'll find several that meet or exceed your expectations. Which is "Il Ultimo" is yours to select.
As to carts, I can state with absolute certainty that I don't like broccoli. Those who do are entitled to their opinion.
Peace, |
Dear Timeltel: ++++ " I'm sure Raul is unaware of this. " ++++
Somewhere exist the posts between Halcro and me. In one of them I stated that the only reason whay the 20SS could have a poor performance were because out of specs or after market stylus, he stated that was not ( if I remember?? ).
+++++ " The other mentioned carts: The TK-10 is 2.2mv output & not all phono stages have a MM section with a compatible input sensitivity...... " +++++
I think sometimes you read my post maybe to fast, or you don't really understand it or I'm to bad to self explain.
Timeltel when I say that I know Halcro electromics first than all I'm not refering to Halcro his self but Halcro electronics and when I say " I know " it is because I know it first hand for several time.
Things are ( I posted several times. ) that my friend and co-designer in our tonearm owns Halcro electronics and almost all the cartridges I bougth/buy he did/do it too.
The Azden and 420 were no exeption and my TK10 sample was auditioned in those Halcro elecvtronics WITN OUT ANY SINGLE PROBLEM ABOUT.
I'm truly responsable on what I post always and I try never " talk lightly " as any one could think.
I hope this time I was clear about.
Regards and enjoy the music,
R. |
Dear Professor,
The reason you dont like broccoli has nothing to do with the quality of broccoli per se
.for I know it very well and it is a fine food product.
The reasons perhaps you dont know it
but your crockery, cutlery and dining table are not allowing you to taste the real broccoli?
You insist on using Rosenthal plates with the raised outer rims which simply dont allow for the broccoli to be brought level to the edge of the plate. This brings distortions to the cutting of the broccoli which Im sure you understand the consequences?
Also china plates simply dont compare to the quality of real silver plates in matching the neutral taste of the furry ends?
Also your knives
.which I know very well as I had them in my dining room for several weeks
..are serrated instead of being highly sharpened and smooth? You should know that these serrations are introducing distortions
.which you may love
.but which are not true to the real broccoli tastings?
Your dining table
which I have seen and tested in various Ikea showrooms
.is wooden and NOT extendable!
Tell me how
.how is it possible
.to accurately place the position of the plate with the broccoli on it, in relation to your seating position
.if you cant extend the table?
Have you tried eating broccoli off a polished stone table? You should try it? You have nothing to lose
only to gain whereby you can enjoy the true flavour of this wonderful vegetable?
But how can I help you?
You love those baseless food products like lobster, caviar and oysters which are so full of distorted flavours that I sold all my leftover caviar to a travelling band of Mariachi musicians.
Oh yes
..you love the wow factor when the caviar pops in the mouth and the oysters slide down your throat
.but what has got to do with the real taste of those top foods like zucchini, cauliflower and broccoli?
And I know the accurate taste of the offal
..liver, heart, kidney and brains
.you also dont like?
Please dont take this the wrong way Professor?
I have trained myself over the years to appreciate the accuracy of boiled vegetables
the Kings of Food Produce
over the distorted exaggerated taste sensations of steak, bacon and duck
.and dont get me started on Asian cuisine?
But anyone can do this training of the palate if you practice hard enough and use the right crockery, cutlery and table?
Regards and enjoy the repast, |
Dear Halcro: I like your ironic or I have to say " humor sense "?, but brocoli certainly is not a phono cartridge and needs no accurate/precise alignment/set up.
I know perfectly what you like and are hearing and I respect about.
As any one of us our each one audio system overall set up was made it and is working according what each one of us like it not what other persons like. I know that you are enjoying your distortions in the same way is a pleasure to hear mines..
Regards and enjoy the music,
R. |
but brocoli certainly is not a phono cartridge and needs no accurate/precise alignment/set up. Tell that to Alain Passard who owns a 3 Michelin star vegetarian restaurant. |
Regards, Halcro: Now I'm being advised by someone who eats---
CALAMARI?
Peace, |
Dear Raul, Good to see you also have a sense of humour? At the moment.....because of the lack of a preamp.......no distortions of any kind for me?! CALAMARI? Only off a silver plate Herr Professor! |
Dear Henry, The Dutch are very fond of silence in the sense of enjoyment. After more than 40 years in this country I still have no idea what they enjoy. But if you are like the Dutch you should enjoy the silence at present.
I hope that this kind of enjoyment is not addictive???However if this become true I am interested in those '155 cl' styli; all 4 of them.
Regards, |
Dear Nikola,
I have travelled through Holland and have met a few Dutch people in Australia and elsewhere.
I am not like the Dutch........
I would like to give you one of my 155Lc styli.......but since there is no further source for them.......and they are my favourite assemblies bar none.....I must unfortunately demonstrate my selfish side?
All 4 styli are currently employed on active duty in Signet cartridges.
But........I suspect that Axel's nude line contact styli would be very similar?
It's worth a try? |
the 155lc stylus is still available here. That's where I bought mine. Since it's still ready-to-hand, you can go ahead and give one of yours to Nandric, Henry :). |
Dear Banquo, I was glad to hear that Henry agrees with
me about the silence. While I put my question about those
155 lc styli in a conditional form his answer was such that
I don't believe that we agree about what friendship means.
You however made clear to know what friendship means so
I hope that Henry agrees with you. Anyway his argument is
demolished by yours. BTW thanks for the support. The
fact that those styli are available 'here' is something different:
I don't expect such a price from a friend.
Regards, |
Thank you Banquo,
In the past I seem to remember that StereoNeedles only accepted payment via direct Bank Transfer...and I was not prepared to pay the bank's fees for this plus have no Buyer's Protection to boot?
I just used your link to buy the 155Lc and they now accept PayPal.....so it's done?!
My dilemma now is......should I send Nikola one of my 155Lc stylus assemblies for being a good friend?......or teach him a lesson for 'begging' and not being prepared himself....to fork out for a NOS one?
Should I?.....shouldn't I?...... |
the requirements of friendship and justice are different but in this case, Halcro, they seem to coincide? 5 155lc (sic!--you must really like it) styli for you and none for Nikola, if it comes to transpire, seems at once an affront to justice and a failure of that sympathy constitutive of friendship.
On the other hand, Nikola should appreciate that a friend is, as Aristotle noted, 'another self', and thus when you enjoy your 5 (sic!) 155lc's, it is as if he is enjoying it as well--even though he has none.
On a more serious note, I bought my 155lc because of your rave way back when. Are you using it with the signet 3ea or 5ea cart or, I suppose, both? I have both carts so I can try either, but would like your input as to which is preferred. Or is this a case of broccoli vs foie gras? |
Dear Banquo, While I am not able to understand the Dutch
preference for silence I do understand their income policy.
To put it short: those who have 'more' pay for those who
have 'less'. This is the same as the 'transfer' of a part
of welth to the less fortunate. I don't believe that this
policy is based on Aristotle because he also wrote some
other 'ethical' prescriptions: 'how should we treat our
slaves'. It is of course possible that he had a friend
among his slaves but this 'onother self' is difficult to imagine as being glad to be slave for the sake of his friend. While Aristotle was the 'father' of logic he was obviously confused about the identity relationship: even the twins are not identical persons. The 'onother self' invention will not do as a quide for the income distribution.
Henry's position reg. this question is the best illustration why the income police can't be based on 'onother self' but must be 'prescribed' by the state.
But more relevant for this thread is this. I own the Signet
9 cl as well as the 7e. The Signet 9cl is the most beautiful cart I have ever seen with a stylus which looks much more impressive than the one of his 'little brother' 7e. So the preference for the 7 x by Henry needs some correction in the sense of the identity question: is the 7 (whatever) with 155cl 'implant' the same object as the sincere one?
We are often seduced by our 'honourable' members to buy the
carts they recommend but without any idea about the implication. Say, one just got the 7 (whatever) for a considerable amount of money and than discovere that he need to add the 155 cl stylus. I have seen one on ebay.com and thought that +/-$240 was for the 'whole cart' but, alas, only the stylus was listed. So my idea was that those 4 by Henry are not only 'abundant' but also second hand...
Regards,
|
Dear Banquo,
I have one 155Lc on the TK-3Ea and one on the TK-5Ea and one on the TK-7Ea as well as one on the AM-10s (on the Professor's advice).
Whist both the 3 and the 5 are improved with this transplant......the bigger bang I think.....because it is a more refined cartridge anyway.....is the 5.
Now the good news for our Baltic friend......is that he has no requirement for the 155Lc as I don't believe it fits in the TK-7E......only the TK-7Ea?
The Professor will surely correct me if that is not so?
The 'friendship challenge' remains on hold awaiting such confirmation? :~} |
Dear Henry, 'our Baltic friend'? I thought that you and I are Slavic brothers. If however you confuse Balkans with the Slavic people there with the Baltic people than I can quess what kind of student you was. But you become architect so you abviously passed your college somehow. I myself passed math. because my dad was bank director while my math. theacher needed some loan. So no blame is intended. Regarding the carts involved. The TK 9 stylus is totally different than those of the 'lower ranking' ( pace Raul) but of those 'lower kind' all can be improved with 'your' 155 cl I think. The postfix 'E' by my Signet 7 means 'elliptical'. What 'Ea' means I have no idea but am sure that 155 cl will fit all 'lower kinds'. BTW there are no 'frindship challenges' but well jokes from both sides and even from 'some' third party with philosophical contribution of Aristoteles.
Regards, |
Regards, Nandric: Nikola, apparently Henry holds you in such high esteem he wishes to spare you the frustration of finding the "E" and "Ea" styli are of different geometries.
If I remember correctly, the TK1Ea and TK3Ea were of lower inductance, 490 ohm. This may indicate, perhaps, a cantilever resonance with the .3 x .7 TKN3Ea stylus that the lower inductance moves out of the audible range. Boron, beryllium or "ruby" cantilevers also have this influence on audible resonance. The TK9/10 at 550 ohm, the TK7Ea/LCa at 580 ohm. Excepting the TK10ML, the TK7LCA provides the best specs in channel balance and separation, exceeding even that of our TK9LC. 33 dB separation/0.5dB balance as compared to 30dB/.75. For the TK10 ML, separation at 35dB, bal. within 0.5dB.
Apologies to Dgob for the previous thread drift but it might be observed that the TK1E (no "a") and the TK1Ea are both extremely "plasticy" carts. Plastic contributes to resonance and these carts may do best on a low mass arm where diminished rigidity permits the line transference of that resonance into the arm.
The TK3/5E & TK7E/SU, Signet states, were "listener tuned" to what we must remember were audio sensitivities which might be referred to as a "70's sound", more organic in their voicing. The relatively large cavities surrounding both the cart's generator and stylus grip have to be considered as, to some degree, contributing influences in the voicing of these examples.
Moving the discussion closer to previous topics, for the Acutex carts the Saturn V graphite integrated headshell is adjustable for both overhang and azimuth. Lacking Raul's immediate grasp of the subtle, I've not listened to it enough to be able to say more than it does make a difference in reducing the "microphony" of the Acutex carts.
Nikola, the Ortofon LH-8000 Japanese oak headshell dampens the intentionally(?) resonant qualities of the TK7E/SU without diminishing it's other attractive qualities. Henry has recently mentioned this headshell. As evidence of your great friendship, perhaps you might have more success in anticipating he'll send you the headshell (which you should appreciate in conjunction with your TK7E) rather than a stylus which for your application is incorrect?
Now, out of respect for Dgob shall we return to the discussion of, um, was it broccoli & pate?
Peace, |
