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? |
Dgob,
What do you think of the Glanz MFG71E? |
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,
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. |
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. |
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 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 |
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 |
Oops,
No G2 (as far as I have heard!!) - G1, G3, G5, G7 only. |
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... |
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 |
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,
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. |
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 |
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 |
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 |
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 |
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. |
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. |
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). |
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. |
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. |
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. |
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 |
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 |
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. |
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? |
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 |
Hi All,
I've not been able to resist. Having sent my Technics EPC-P100 Mk4 cartridge off for a touch up at Van den Hul, I put my Glanz G7 back on my Audiocraft AC-3300 tonarm last night with its original arm wand (AP300). Despite the fact that it does not match up on normal overhang nor null points, it rocks!! If there is distortion, I'm not hearing it. However, I'm still looking into a tonearm that might bring even more out of it with better alignment. Along with my soon-to-be revamped Technics, that could make up my two MM cartridge selection for my final set-up (along with either the Dynavector DRT XV1s or a - still unheard and unpurchased - Ortofon A90 MC). That my Azden YM-P50 does not make the shortlist should say a lot about my tastes and these cartridges. I try to indicate what I mean here.
If I were to group my above favoured cartridges, they would sit along side the Nagaoka MP50 and B&O MMC2 in voicing. While the Azden would sit along side the Andante P76, ADC XLM 2 Super, Ortofon M20FL and Audio Technica AT20. My tastes and experiences of live music obviously lean to the less warm presentation and incisive definition at frequency extremes of the former group (that is, the Technics, Glanz, B&O, Nagaoka and Dynavector) than the warmer sound and fuller midrange of the latter group and their like.
I should hasten to add that the live venues from which I seek to draw reference and on which my appreciation of high fidelity bases itself means that your mileage might invariably differ from mine. Which is closest to the mastertape of the songs is a totally different (and a difference that is both very significant and massively overlooked) issue. That one performance that the tape captures is not THE definitive sound produced by the same musicians performing the same music in distinct venues on distinct occassions. On the longer thread about MM v MC that Raul Ireugas started, I already point to two very useful books that will assist in clarifying why distinct systems will continue to satisfy distinct expectations without necessarily being 'wrong'. Voicing of cartridges and our appreciation of them is very, very complex. Nevertheless, the Glanz G5 and Glanz G7 seem phenomenal cartridges to my hearing and based on comparisons with the various named cartridges and many others.
I'll return once I have the new arm and have heard these under presumably optimised conditions. If you come across one in the meantime, definitely worth a try. |
Hi All,
Well at long last, I now possess my Glanz G7. It will be some time before I test or report on it as it needs a suitable tonearm, which I do not currently possess. I have identified what seems to be the best option and will be keeping an eye out for one going at a reasonable price. I suspect this exercise might be necessary to maximise the potential of both my G7 and G5 cartridges but will report when I am certain.
In the meantime, I have acquired various rated MM/MI cartridges and will be testing these. |
Hi All,
It appears that the Glanz, particluarly my G-7 has some common roots with the Astatic MF range as had been suggested earlier in this thread. However, there are clear differences, which might explain some of the clear sonic differences in performance. A couple of references on Japanese sites provide the following detail:
"Mitachi Onkyo Seisakusho (brand name "GLANZ"),
Pickup cartridge called as "Moving Flux"(see also 4011417). Unique construction having merit of MM/IM/MC. Also see Design patent D266504(1982) assigned to The Astatic Corporation (cartridge model MF200). Also 4123067 about unique stylus pivot suspension (embodied in model G-7 cartridge), 1978"
"New type MM cartridge (coils fixed to the end of yoke) looking like mixture of MM, IM and MC, 1977"
I hope that is helpful/interesting to others as well as myself. My G-7 is on its way as I write: can't deny my excitement!!!
Cheers |
Hi All,
Just a return to the issue of set up on the G5. I should point out that there appears to be a reason behind my initial findings for the plug-and-play nature and ease of set up. I must also clarify that I receive a far better sound when the cartridge is placed in the AP-300s armwand than my longer MC-A armwand. Apart from shouts of "distortion", could there be any reason for this perception? Well, not unlike the experience of one of the posters here, there might have been an happy coincidence of set up.
I was recently reading literature for the Nagaoka MP50 cartridge and found that they also recommended the MP50H as their top model due to the use of their integrated and specially resonance matched headshell:
"One of the special features of the MP-50H and MP-30H lies with the magnesium alloy headshell."
Interestingly, when it comes to the issue of set up, Nagaoka, Japan state that:
"Adjust the overhang to proper length to minimize distortion. (At present the cartridge is fixed at a position in which h in figure 1 measures 50mm. This matches the overhang in most tonearms.)"
When I first set my Glanz G5 up (which, as I noted earlier, has the same 50mm length), I was removing my Nagaoka MP50 from my Audiocraft AC3300 tonearm still bearing the AP300S armwand. Obviously, mounting distance remained the same for the tonearm. Surprisingly though, the VTA of the Glanz also seemed best in the exact same position as the MP50 had just occupied, requiring no adjustment (although I was using my MP50 with a 2-3mm elevation at pivot). This left only the VTF to be adjusted to 1.5g. The result in this set up is the reason that I advocate others to try it out and referred to the plug-and-play nature of my experience with this gem. I can therefore only refer to my consistent argument that this G5 is a great cartridge.
I hope that gives real clarity and less controversy
Ejoy |
Hi All,
If the data on the Cartridge database is correct, the performance parameters of the G5 would appear to exceed those of the G7 and MFG-71 range (I do not possess historical data and so use the atemporal term "range" here rather than "series", which implies some temporal progression).
Some will remember that this thread was initiated to find out more about this particular gem and to discover why the G3 and G5 do not appear in the same brochures as the G1, G7 and MFG range. Could those two come from a different period and, if so, are there any notable production and performance characteristics?
Any real knowledge would still be hugely appreciated |
Hi All,
The Glanz G5 is still very special (in case there has been any confusion regarding my position), even in the new Audiocraft (MC-A) armwand and "on target" overhang etc. A case in point would be a direct comparison between it and the Astatic MF100 when dealing with high frequencies. A simple test is to play Verdi's 'Vedi! Le fosche notturne' (Anvil Chorus) on both cartridges and distinguish the sound of the anvil as reproduced on both.
I'm awaiting my G7 but would emphasize that I do not want anyone to be put off trying the G5 by misunderstanding anything that I have recently written in this thread: if the opportunity to buy or borrow one presents itself. In my system and for my criteria - it remains a convincing, engaging and beguiling tool for musical reproduction of the highest calibre!
I hope the statistics make my G7 even more convincing. Time will tell!! |
Raul,
Without a doubt and my irritations with you are not universal. I do appreciate many of your qualities and opinions.
I also hope to continue to learn |
Dear Dgob: IMHO I think that all those Glanz posts ( that I start on the subject. ) help at least two things: first that the cartridge is now mounted right on target where before my post was with a wrong set up, so this is a good news for you.
The other thing is that now you know that that headshell integrated cartridge does not works " automatic " with all tonearms.
It is clear that I'm not " your coup of tea " but even that IMHO my posts help ( one way or the other ) to go up in your audio learning curve.
Regards and enjoy the music,
Raul. |
Hi all,
Anyone who wants to view this apparent concealment can trace my posts (including the initial ones on the MM/MI thread initiated by Raul. My posts on 09-10-09 and 09-26-09 there will give you a sense of the evolution of my listening etc). You might also be able to reflect on how and why he found this apparently dastardly fact out!!? I understand his disappointment on not knowing everything but he will have to get used to that as part-and-parcel of the human condition. Raul, just be pleased that I let you know about my set-up and look back to former threads on which I had noted (very clearly, my fastination with the plug and play approach that I was enjoying with the Glanz). To move on...
I'm awaiting the G7 and will let you know how it sounds once I've given it the months of testing that it takes for me to form an opinion.
I now have the Glanz G5 and my Astatic MF100 running at the same time. Strangely, the Astatic seems to be sounding better in my Morch DP6 green dot than it did in my other tone arms. I am now re-evaluating this in this setting and it is amazing how much difference different combinations can make.
As I constantly promised with my G5, I will let you all know when I have had time to test these and find my preferneces. If such an obvious maxim were needed for sane adults, beware that my set up, listening environment, life experiences with live music and related psychoacoustic preferences may not be the same as yours (or, as I believe the acronym goes, YMMV).
Thermonicavenger, have you had a chance to get your Glanz a stylus yet?
Cheers |
Dear Dgob: +++++ " How and why did you find that " hidden fact... " +++++
I don't you did in your last posts:
+++++ " 1, I was using the AP-300S, which did not quite meet the overhang.
2. I replaced it with my MC-A armwand which does. " +++++
Now: +++++ " I hide nothing and you seem to accuse others " +++++
I did not accuse you your own/self " facts "/posts accuse you.
Btw, I always speak by personal experiences and that's why I don't speak on Glanz quality performance.
Regards and enjoy the music,
Raul. |
Raul,
Look, you and I have some obvious disagreements and you tend to interpret things in a very negative and small spirited way.
How and why did you find out that "hidden" fact - about my initial set-up?
I do dispair at times! I hide nothing and you seem to accuse others of what you must obviously be capable of. You need to reflect on our discourse over the years and move on.
I have just secured the pending arrival of the G7 (among other cartridges) and will see how well that performs. Given the near infinite combinations of cartridge and all aspects of the system I still think you are niave in constantly playing scoring games (against strangers or cartridges). All I can tell you is what I prefer and not the BEST. Take or leave it but do talk from experience, please!
Cheers |
Dear Dgob: The only reason why I start my posts on the subject ( 01-27-10 ) was when you disclose ( after four months ) that the cartridge set up was off/out of target.
I only posted what my experiences were with a similar wrong overhang cartridges set up.
I don't/wasn't questioning the cartridge performance ( but its wrong set up. ) only give my opinion/experiences with similar set up.
I don't care and I'm not interested what a cartridge quality performance can or could be with a wrong cartridge set up.
You give several cartridge quality performance opinions knowing that the cartridge was out of target on set up but you don't tell to any one , you hide this critical/main information.
After this how any one can/could trust in what you post or posted?
I buy almost any vintage MM/MI that I not own so sooner or latter I will have a Glanz one as other additional cartridges.
Regards and enjoy the music,
Raul. |
Raul,
On my suggestions, they stem from your willingness to cast opinions about everything and every cartridge ever made and enter a thread about Glanz before declaring:
"I don't want to follow on this Glanz subjects. I think I already write my opinion/worries."
Don't get so stressed out. Ignorance is everyone's option. My change to the MC-A was intended to remove your considerable prejudice to learning and trying something new. This latter fact leads to my concern about your mental stability - given your professions elsewhere to the contrary.
Now I can conclude this matter by suggesting you return to the Glanz thread when you know the cartridge and - therefore - what you are talking about. That's it...
Cheers |
Raul,
Your confusion is easily answered.
1, I was using the AP-300S, which did not quite meet the overhang.
2. I replaced it with my MC-A armwand which does.
Your comprehension skills and mental stability not withstanding, I hope that helps
Cheers again |
Dear Dgob: +++++ " A curiousity around its stellar performance is the fact that I use mine in my Audiocraft AC3300 tonearm with the s-shaped wand. This means that overhang and off-set are way off the standard and, obviously, cannot be adjusted in their permanent headshell. " +++++
due to this statement that you posted I give my opinion and now you come here , with prepotence ( big man. ), to tell me that that statement was not true ( was/is false. ) because the cartridge was/is set up on target!!!!!!!
Before you make false statements analize what you are posting because the answers will be of what you posted. The relevant knowledge?, that " relevant knowledge " comes on what you posted. Useless to go on.
Regards and enjoy the music,
Raul. |
Raul,
I don't want to start another subject. Since from the begging it is already a moot point. But just the example: do you know how old the wire on that Empire 1000 XE/Z is? Probably 40 year old. And do you know how long is the wire there? I afraid to say that I use device that is more than 30 year old and full of electronic components. This Accuphase C-220 is very good performer. Probably wire inside the enclosed headshell can be improved, but this is not we should be worry about in this excellent (as reported) cartridge. May be this enclosed headshell plays some magic with mechanical resonances. I speculate: it can give a notch above their brethren such as Astatic MF-100.
I've seen enough of new crappy carts with fresh off the mill wiring and you-name-it headshell wires and tonearm cable. Mechanical properties of vinyl playback are magnitudes more that interconnecting wiring influence. |
Raul,
If it makes you happier and gives your opinion a little more fact, the AC3300 places the G5 exactly on the null points and at the exact overhang and off-set when you use the MC-A armwand, which is what I am doing. Now, believe that churlishness or ignorance should be no excuse to try this gem.
If you wish to continue giving opinions in complete ignorance and are not willing to learn any longer, so be it and good luck. I will not respond again until you have the relevant knowledge to comment. |
Dear Siny123: There are at least two important and critical subjects about: one is that those internal wire connectors deteriorate over time making poor connections.
The other subject is that those internal wires are precisely at the source where we have to have the best " connections " all over the audio system. Why don't you make a test? re-wire your audio system with 30 years old cables instead the ones you are using now: you will hear the huge difference in quality performance.
Siniy123, months ago I re-wire my Velodyne's ( the wire that goes from internal amplifier to the woofers. ) where I change a 50-60cm wire for a better one and even that is not easy to be aware of this kind of changes in a subwoofer the quality performance was/is really better.
Now imagine a change of wires at the source.
I don't want to follow on this Glanz subjects. I think I already write my opinion/worries.
Regards and enjoy the music,
Raul. |
Hi Raul and Siniy123,
Thanks for sharing your views, information and opinions. Yes Raul, the Spu cartridges for example have a 52mm distance and are easily optimised engaging the same methods.
Siniy123, I will try it in my Ikeda once I have the time. Also, thanks for the heads-up about the 1000 ZE/X. I gave Raul my Empire because it was in a poor condition and (as with the M20FL Super and Andante P76) its bass performance was very hifi-ish. I might try it once I see enough feedback from a range of convincing users to merit my giving it another go.
If you get the chance Raul, I repeat that you really should give the Glanz (given your beliefs, maybe a MFG-71L; MFG-71E or G7) a go. Given the fact that there are various recent dialogues about the qualities of vintage cartridges, I don't think you should let the age of the Glanz make you quite so prejudiced.
I'd not claim it/they is/are the "BEST" cartridge[s] ever made at any time but I would place my honour behind my claim that it/they is/are [a] great cartridge[s]. All Raul's guesses are not as weighty as they will be when he has some experience in this area. Nevertheless, I do welcome your comments if not being convinced by certain claims.
Again, a genuine thanks |
Raul,
honestly what can happen to wires in enclosed G5 body? |
The h/s connector to stylus distance is 50 mm, which is good for many FR tonearms (probably Ikeda as well) and for my L-07D. I have to find it. BTW, Empire XE/Z body can be purchased on Y!J and original styli from Garage A Records. |
Dear Dgob: +++++ " The distance between stylus tip and end of afixed headshell is 50mm. It uses silver connector cables in the headshell. Once afixed to your tonearm, the key issue is that the tonearm is exactly set at its correct mounting distance. " +++++
IMHO to say that " is exactly set at its correct mounting distance " is a misunderstood and plain wrong for say the least.
To achieve and follow the Baerwald or Lofgren cartridge/tonearm ( a pivot one. ) set up you have to know the distance between the TT center spindle to the center pivot tonearm point and the overhang ( each tonearm has its own shaped geometry to achieve the offset angle. ).
You can take your AC3300 tonearm that has a spec on overhang ( a very specific one ), this means that the cartridge has to be mounted in a way that meets that overhang, if the overhang can't meet that target then the tracking error will be different as tracking distortions.
Now take the AC4400 ( that is exactly the same Audiocraft AC3300 but with lomger arm wands. ) and you find out that the overhang is different to the one in the AC3300, so you have to change the cartridge headshell position, something that you can't do it with that cartridge.
Of course that maybe that cartridge could meet the precise asking overhang on some tonearms but certainly not in that " easy " way you posted.
In those old times the cartridge manufacturers was not aware or they don't give to much importance to that cartridge/tonearm precise set up as they don't be aware of the critical importance of the cartridge/headshell relationship for achieve the best quality performance in a cartridge. Today things already change about: we learn through the years.
Glanz was not the only " old " cartridge that comes with a integrated headshell, many cartridge manufacturers of those times choose to do the same, IMHO a not so good choice and not only because what I posted here about but because additional we can't improve the cartridge internal wiring that we all know makes a difference for the best or worse.
You have to think that that cartridge cables/connectors in your sample has around 30 years!!!, IMHO not the best.
IMHO you are surrounded of many additional distortions with that cartridge. Btw, nothing wrong with that you like it.
Regards and enjoy the music,
Raul. |
