IMHO I think you should reconsider the MC Diamond. Just being a PITA:-)
Grado Epoch 3
I have been shopping new cartridges for my Artisan Fidelity (henceforth AF) NGS SE. My table started life as an AF NGS. I had Chris convert it to the four arm capable ~350lb variant now sitting on my stand. I currently have the table outfitted with two Kuzma 4 Points, an 11" and a 14". I am still awaiting the update of my third arm which is a Technics EPA 100 MK 2. The technics will hold the London Reference and is having the bearing replaced with lab grade saphires. The 14" 4 Point is awaiting delivery of the Ortofon MC Diamond which replaces my former MC Anna. I was really interested in the Epoch 3 based on my own intuition and the description of the motor. I was not terribly moTved by the reviews I've read.
I spoke to Todd of Todd the Vinyl Junkie fame concerning the Grado line of transducers. Todd is very knowledgable and a real audio enthusiast. I have bought several far less costly items from Todd in times past so I was familiar with his company. Todd graciously offered to allow an audition of the Epoch 3 which he had on hand, but John Grado found out about this and arranged for me to get a new unit for audition. Talk about service!
This is my only experience with Grado Labs. The cartridge arrived in a short period of time, and I set it up on the 11" arm using Analog Majik 2, my SmarTractor and MY EARS. Initially it sounded very nice. It has a weight to it much like my former reel to reel. It was exciting and very impressive the first 26 hours but then it started sounding kind of boring to my ears. I changed the VTF from 1.8g to 1.65g and this was part of the problem. I should have been running it in at the upper limit of the specified tracking force range. I set it to 1.854g and let her go.
The cartridge started to open-up and now showed more vigor and life, it was energetic but not as airy, or bright as some MC's I have heard. Once I hit 57 hours she was singing again and only got better up to about 67 hours. The highs were all there as I used my AMR CD 77.1 as a reference on certain pieces of music including vinyl, I had digitized to 24/96. The highs were there, just not the way my former MC Anna did highs. The Grado has a weightier center of gravity if you take my meaning. As the cartridge continued to run in between 67 and ~97 hours it waxed and waned from good too great to, "I don't like what I hear and I am walking out of my man cave and going to bed". I am now at 104 hours, and it sounds glorious.
I used my DartZeel NHB-18NS and AMR PH 77 phonostages with the cartridge and it sounds fantastic with both units. I have settled on leaving it connected to the PH 77, the combination is really special. The Zeel sounds a little more romantic, which is counterintuitive as the AMR is tubes and Zeel is all SS.
I used the London Reference with the SW1X LPU III Balanced phonostage for comparative purposes. The LPU III Balanced is a wonderful full sounding end of road stage with 48dB of gain. Joe over the Lotus Group was kind enough to hook me up with the LPU III. It's a real shame this piece is not talked about more, it would put some pieces that magazine reviewers pump-up to a flat out shame. It was perfect for the London. The LPU III does not have enough gain for the Epoch 3 therefore while I did listen to both cartridges on the 4 Point (love the 4 Point and its removable headshells) I optimized each cartridge with the stage that best fit its specifications. Both cartridges are super-fast and I mean fast!!! The Grado has a wider soundstage and is simply more luxurious. Don't you hate car analogies? Well TOO BAD, here's another one LOL. The Grado would be an AMG S65 while the London is Porsche GT3. Both fast and agile but they do it differently.
On piano the Grado is big and real sounding, the London is not quite as big but on some pieces the London has a transient speed with respect to hard percussive hammer strikes that no other cartridge I have heard can match. I have decided to keep my London.
The Epoch 3 It is one of my favorite pieces of gear and it makes music like very few other cartridges I have heard. The highs are all there, they just don't slap you in the face. It sounds ridiculously good on classic rock and jazz and even classical. I have read that it probably won’t be fully run in until about 150 hours so I still must see what more there may be to come.
I did hear some hard sibilance with the Grado and that concerned me quite a bit. The little pamphlet that comes the Epoch 3 states that the front of the cartridge should be 90 degrees with respect to the surface of the vinyl or 2 degrees down at the back (lower the tonearm). Analog Majik 2 also showed the best IM distortion number when it was lowered. Problem is, I found it lifeless and boring! I ended up with the front of cartridge 2 degrees forward (tonearm a bit higher). The sound was spectacular but then I started noticing some sibilance. Did I have to endure sibilance in order to get the life I wanted out of the cartridge. This was the dilemma.
I spoke to John who is just about one of the most unpretentious and nicest guys in audio you will ever run across, and he mentioned the cartridge should be 2 degrees forward before I ever told him that is where I had my unit. John is revisiting the pamphlet which may be old material from another model or a misprint. So then, what about the sibilance. I recalled that one of the biggest offending albums was my copy of Jennifer Warnes The Hunter. I played it again and there it was, slapping me right in the face, HARD! I then recalled that some years ago I'd digitized that piece with my 4 Point 11" running the Ortofon MC Anna on my NGS using the ADC built into the AMR PH77. These files are on my HDD and part of my Roon Library. I did this to quickly reference what a tonearm/cartridge/stage combination sounded like for comparative purposes. It was fortuitous that I had done so. I played the same MC Anna digitized piece back and bam, slapped in the face again by sibilance. Problematic vinyl was the culprit.
One evening while I was listening, the system was sounding so real and fantastic, I found myself happy and upset at the same time. Happy because of how convincing this cartridge makes music sound real, upset because right then and there I knew I would be out $12K.
The Grado Epoch 3 is one of the finest cartridges I have ever heard and I am glad it is resident in my system.
Showing 7 responses by mijostyn
It sounds to me that you prefer a sound that varies from reality . Pianos on stage are not a whole lot larger than a saxophone. You can get a 10 foot wide one on bad recordings. Images on good recordings are sharply localized with black in between. You should be able to isolate each voice of a four person vocal section. Sibilance always mean too much energy in the 3 to 4 kHz region. It’s a sign that the system is set up to bright usually because of inadequate room treatment with Omni directional point source speakers. Many people like this. I think you should set up the cartridge as directed and listen for a week or two. I love violins and string quartets. Sibilance would drive me brightness nuts. High frequencies should be located with the instrument and not coming from all over the place. We all listen differently. Add this to the very wide variation in recording quality and you have a real mess. I have to be careful about adding too much bass. You gravitate towards brightness.
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Sound quality, as always is a moving target. The quality of construction is not. I use an elaborate, high powered USB microscope to examine cartridges using a special program that accurately measures angles by snapping lines. I have noted a significant trend in the quality of the Diamond in terms of clarity and polish and the accuracy of alignment with the price of the cartridge. In general vou get what you pay for. The sweet spot in terms of value is in the $3K to $5K price range. This is an opinion based on a limited number of examinations. |
Please pardon my rambling. I just had my left knee replaced and am full of morphine am rapped up in IV lines and pulse oxymeters. I probably should not be texting but it helps to divert my mind from stressing issues. Raul, some people have a tendency towards brighter sound which increases Sibilance. I know we both agree that high frequencies should emanate from the instrument producing them and not the entire wall. Many systems have a high frequency glow, high frequencies bouncing all over the room and it is these systems that can be quite painful to listen to at higher volumes. They can sound fine at low levels because our hearing sensitivity to high frequencies drops as the volume goes down. I hope I am making sense. |
Very interesting choice. By all accounts a top notch cartridge. Fremer puts it in his top group. I really like the higher compliance, Lower tracking force approach. I wish the coil impedance were a little lower. The only issue that makes me a little nervous is the cantilever. It was created in such a manner that its surface is spickulated, not smooth. Each valley creates a stress riser, a place where lateral forces are concentrated and more likely to fracture. This may or may not be an issue and it certainly will not affect performance. It might make it a little easier to break. At least it is not hanging out in the breeze like my Lyra. |
@dogberry , Thank you! I can say the first 2 postop days were right up there with iliac crest autographs in terms of discomfort. I'm now 5 days out and lying here in my recliner pain level is a 1. I am no longer walking with a crutch but doing stairs is still a problem. Any bending the leg can shoot the pain level up to a 9 if I go too far. @lewm , Except for specific instances stereo imaging and what you hear at live venues are totally different. However, if you are dealing with unamplified acoustic images they can be identical. Back in my medical school days I saw a demonstration of live chamber music recorded direct to a portable Nagra machine and played back on the HQD system. That and the system of a Miami high school teacher taught me what was possible in terms of imaging. In all other situations where instruments are amplified the performance of the best systems is better than live in terms of being able to cast a focused image as if the instruments were there in front of you, unamplified. Many large concerts are Mono and the sound quality unbelievably bad. You are there for the spectacle not the sound. When discussing HiFi imaging I am thinking about the illusion that there are real instruments and people in front of you and how well a system manages this illusion. This is just one element of stereo performance that when added to others makes listening more enjoyable for me. Sitting right in front of a Gavin Harrison drum solo is a thrilling experience. I have been there and I want to be able to recreate that experience in my media room. Doing so requires a lot of power, lightening fast transient response, great low bass performance and accurate tuning of both channels so that they have balanced and identical amplitude across across the audio spectrum in appropriately controlled room acoustics. Not easy. If it were it would not be any fun. |