I bought mine FR7f already modded. Otherwise I wouldn't touch it.
LONDON Decca, Tzar DST and similar cartridges
I have always been curious about these phono cartridges and the Stereophile review of the Tzar DST has heightened my interest. When I read about the peculiarities of these cartridges, I am put off from trying them. Can anyone offer persuasive reasons to try them and also provide real practical advice on how to make them work reliably? Tonearm suggestions? Phono preamp suggestions? Damping recommendations? How badly do they grind out record grooves? Any other words of advice? Thanks.
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@bydlo
I have nothing against LDR, i have another cantilever-less cartridge, but it is LOMC Ikeda 9 III I know many people on this forum that constantly re-tipping and refurbishing their cartridges, if it’s fine for them i have no problem with it. Personally i collect NOS or Mint condition original cartridges only. I already have LOMC cartridges with Boron Pipe cantilevers (just different cartridges), so i don’t want to destroy a decent original design and transform it into something strange by adding to the Fidelity-Research a Boron cantilever or even different diamond. Same about any other cartridge from my personal collection. Maybe i am alone here, but in my vision a cartridge designer like Ikeda-San (RIP) know better which cantilever and stylus must be attached to his cartridge, seriously, he could add whatever type of cantilever, but his final decision was made already and we have FR-7fz. I don’t buy broken cartridges, so i have no interest in refurbishing and re-tipping. I can buy NOS cartridge, the original. Vintage cartridges are more affordable for me, so i am not interested in very expensive new cartridges they are not easy to replace with another sample for the price i can pay for a vintage NOS. However, last year i bought Miyajima Kansui NOS for a funny price. This is probably my last new cartridge. I think i will continue with vintage cartridges. I have so many different combination of sound in my system (i have about 7 toneamrs, many phono stages, suts, headamps etc ... even 5 different turntables) that i will never take seriously is any online review or comparison of the carts in some other people systems 9different than mine) by videos etc. It is a tricky game. I know for sure that even if i will change one component in a chain (like phono stage for example) the sound coming from the same cartridge will be completely different. I only trust what i hear myself in my system. Because some of the components i am using are not conventional design (for example current source power amp from Nelson Pass, current injection phono stage from 47 Labs), also i am not interested in any system with crossovers or low efficient speakers, high power amps - this is all not my cup of tea, but it is ok for others. We are all different and each system is different. |
@chakster Don't get me wrong, I'm not into "mine is bigger" business :) I've been recently on the market for a cartridge after I had learned that my modified FR7f (boron cantilever + Shibata diamond) has been modified pretty poorly (deformed innards). FR7fz was a natural candidate but after some investigation, and more importantly listening (thank you Halcro!!), I've decided to go for LDR. I'll be setting it up next weekend. |
Kinda lost touch with this Thread.....🙃 Just made a little 'soundbite' of the Decca to remind everyone just how good this cartridge is.... If you've ever listened to one of the famous Mercury Living Presence records with any of the dozen or so current uber-priced LOMC Cartridges....chances are you might have gritted your teeth during the high-frequency crescendos/climaxes cut into the lacquer during the mastering process. The LDR manages to decipher and unravel these pressings in a realistic and non-fatiguing performance. LONDON DECCA REFERENCE When all is said and done.....for those audiophiles hesitant about testing the world of 'Vintage' (Used) cartridges and with $5,000-$20,000 to spend......I can think of no better sounding current new cartridge. And for $5,000.....as the Reviewers like to say.....it's a real bargain 😝 |
@bydlo Oh, i see from your link: Fidelity Research FR 7 fz not long returned from the Expert Stylus Company with a new cantilever and Paratrace stylus. Another Frankenstein, not the original FR-7Fz but refurbished in UK cartridge, so i am not even interested to read more. I use only original cartridges. What i am trying to say in the post above is that 7fc with Conical tip can’t surpass the 7fz with Line Contact for obvious reason. They are also different internally (impedance and output). |
@chakster https://forum.audiogon.com/discussions/cartridge-shoot-out-koetsu-jade-v-spu-v-fr7-v-london-referenc... https://forum.audiogon.com/discussions/hear-my-cartridges?page=5 scroll down for the LDR/7fz recordings that you can compare yourself |
FR-7fc is indeed very rare, but only this model in entire FR-7 range has 0.65 mil CONICAL TIP at the same time higher retail price in 1981 according to this page. But the output at their comparison chart is incorrect for some models, so i will add correct info: *The best cartridge in FR-7 series is FR-7fz (not 7fc) The "fz" has a Line Contact stylus tip and 0.24mv output, 5 Ohm impedance. The "fc" has Conical tip and 0.2mV output, 2-3 Ohm impedance The "f" has 0.15mm square shank Contact Line stylus and 0.15mV output, 2-3 Ohm impedance. My advice is to upgrade to FZ When i did that from F to FZ it was noticeable. For what its worth I’d rank the FR7fc as the second best, coming closest to the musicality of the LDR. I believe you did not rank it as NUMBER ONE only because your FC has a conical tip, i'm sure when you will try FZ with Line Contact stylus it will be nearly impossible to find a better cartridge at any price if you have Fidelity-Research 64s or 64fx tonearm for this monster. |
Nice system, Howard. I'm at the low end of all this wonderful gear. (See my system in my profile) I've had a Decca Super Gold since the 80s on an LP12 where it was eventually relegated to the bottom of the drawer. It's since been rejuvenated with a Decapod and the same stylus as used in the LDR, and vanquished of malady by installing it on a slate plinthed and heavily modded Garrard 401. I've also acquired two other treasured Garrott Brothers' cartridges. |
Having read the thread about the London Decca Reference and it’s comparison to high end mc cartridges I just wanted to share my own personal experience. My system comprises Brinkmann Balance, FR66s, Alnic H3000, Soulution 725 and Avalon Compass diamond speakers. I have compared the LDR directly and extensively with : Koetsu Jade (diamond cantilever), Koetu Urishi, Fidelity Research FR7fc, SPU Synergy SPU Classic and ZU Denon 103. The LDR is (in my system and to my ears) the best cartridge of all of the above. It does not have any less high frequency delicacy, soundstage width, depth or bass than any of those listed (with the possible exception of the Jade that might have more bass but also is comparatively a “performer” in its own right in a “ look how great I am” sense). For what its worth I’d rank the FR7fc as the second best, coming closest to the musicality of the LDR. Of course this might be system dependant but the above is my experience. |
Ok, I received the 2 plugs that just contain a resistor and the 1 plug with just a capacitor. As much as I wanted to like the London Reference at 15k or 33k, in my current system it sounds best at 47k. Adding the capacitor to bring to total capacitance to 220pF, however, has a very positive effect. As I said above, "the music becomes more coherent. I get a better sense of where the musicians are and what they are doing. The music is also slightly more nuanced." |
I generally prefer my system without the loading kit because the music is more robust and has more room-filling energy and impact. With the plug that brings me to 33k/220pF plug the energy lessens and the soundfield moves back toward the speaker end of the room. With the plug that brings me to 15k/220pF the effect is even greater and soundfield is almost entirely behind the speaker plane. The music is also somewhat anemic. What I like about the effect of the kit is that the music become more coherent. I get a better sense of where the musicians are and what they are doing. The music is also slightly more nuanced. I suspect this is a function of the increased capacitance rather than the decreased resistance. I'm going to try and experiment with both by ordering more plugs that contain either just a capacitor or just a resistor. |
I’ve received the DB Systems DBP-6 MC Phono Resistor Loading Kit and I can now load the Decca Reference at both 33k and 15k (both at
220pF). I did some listening at 33k last night and will listen at 15k tonight. The kit is to be used for experimentation rather than as a permanent part of the system. So far, there are some things that I don't like about the presentation (a little 'processed' sounding with less air, space, breath of life and aliveness to it -- like SS or digital as opposed to the analogue/SET experience I'm used to) but I'm not sure if that is because of the loading itself or because the signal is now going through some inferior wire, resistor, cap, and connectors. Perhaps the components in the kit need to burn in(?) Having said this, there are definitely some huge sonic benefits that I'm hearing but I don't want to go into detail on those before I really get acquainted with the changes. |
Hey bdp24. I have a very understanding wife. Maybe one day I'll tell her what I got????? Being an old guy, with kids all gone and doing well, I can occasionally treat myself. I hope my beat up old pickup lasts a few more years. I'd hate to explain why I can't get another?. And now a very important edit: with a slight VTA adjustment, and now 10 hours of playing time, both the bass, and the base, are amazing. Please disregard any reservations about the lower registers. My first impressions where premature. |
Just installed the Tzar DST. Everything I've read regarding midrange and treble is true. There is a rightness to the sound that no other cartridge I've owned can touch. Piano is to die for. Complex and loud jazz pieces are easily reproduced. Female voice is clearer than anything I've ever heard. There is no going back. The first tonearm I used was the Kuzma 4Point. It has an effective mass of 13g. According to Frank Schroeder, this is too low. I will agree. There was a slight lack of base energy. The second arm I used was the Schroeder BA (Broadcast Arm). This arm is specifically built for the DST. It's effective mass is 25g. Wow!, there's the base. If you're thinking of this cartridge, the arm is almost mandatory. If you already own a high mass arm, try to get this cartridge into your system. One caveat, the base is clear and tight. It's like going from a ported speaker to a sealed version. The drums whack you in the chest, and then they stop, no overhang. I like it. |
exlibris' use of "a revelation" is not hyperbole! The most immediate, present, alive, downright exciting sound I've heard from LP's comes from them being played by a Decca/London. Hearing a direct-to-disc LP played by one provides with as close to a live-feed (the sound of the musicians in a recording studio as heard through the monitors at the mixing desk, live and unrecorded) as I have heard. But I haven't heard the Zsar, nor am I likely to. Who has ten grand for a pickup?! |
After using Kondo, zyx, and dynavector MCs I started.with the Decca super gold courtesy of Warren. It was a revelation even without proper loading. The Reference is more natural and nuanced and that too is without proper loading. I personally wouldn’t worry about the loading straight away. The main thing with these carts is to keep the stylus clean . A Mr clean magic eraser is essential in my opinion |
"a little light grilling" from Warren! Yeah, he won't sell you a London until you pass his test. Regarding resistive loading, I believe 33k ohms is suggested for the Super Gold (the 15k figure is for the Reference), but it doesn't hurt to go down to 20-25k. The lower the impedance, the greater the suppression of the high-frequency peak. All models need about 220 pF capacitance. |
thuchan 926 posts 01-22-2017 5:34pm Why going for a Zsar when you may enjoy the Neumann DST? The only Neumann DST I have seen was built into an EMT headshell with the EMT diamond pin outs rather than the standard SME spare pin outs. Therefore difficult to use in anything other than an EMT TT and tonearm |
I've been looking into this cartridge and have been fascinated by its uniqueness and the myriad necessary set up parameters to dial it in. I've spoken to Warren who gave me the thumbs up after a little light grilling to try a super gold. I've not pulled the trigger as loading is not something I can change with my phono set at 47k and I'm hesitant to jump until my pre allows for this. Curiously, The issue of resistance loading of my preamp did not come up with Warren only arm and set up experience. It was not something I was aware of on my part and thought to ask about at that time. One other question/concern I have after reading this great thread is does the lack of soundstage width that Halcro mentions twice above consistent with other users experience? |
The 15k impedance in combination with the added capacitance creates a damped electronic circuit. The Decca/London design suffers from an inherent high-frequency resonant peak, plus ringing in the time domain, which the damped circuit addresses. I was tutored in all things Decca by the Master, Harvey Rosenberg. |
That's the cartridge I'm looking for myself, topoxforddoc. I already have a London Super Gold with Decapod and a Reference, but the Decca MkIV C4e has it's own, unique, qualities. Regarding the loading of the Reference, John Wright himself recommends running it at 15k ohms and with about 220 pF of capacitance. That's the only way I've heard it. |
I spoke to John Wright on the phone and by email, when he rebuilt my FFSS MkIV C4E with a fine line tip. He told me to load it at 33k. hence I had Graham Tricker build me a TRON Seven Reference to match this. GT spoke to JW as well just to check before he built this for me. Great match and sounds fabulous. But just not as good as 1/4 inch 15 IPS master tape, but hey LPs are a lot cheaper :) |
I finally got around to checking out the website of Schiit Audio, the company selling the new products from Mike Moffatt, designer of the initial Theta Digital gear. Mikes focus with Schiit is on very inexpensive offerings, and his $129 phono amp is interesting in that in his description of its design on the website, Mike states that the lowest gain setting (30dB) is for very high output 5mV cartridges, specifically naming the Decca/London. For $129, sure worth a listen! Mike also mentioned that for that price, he couldn't include adjustable loading, no doubt referring to the requirements necessary for getting the optimum performance from the Decca/Londons, which he said could be added after purchase. |
I have read a lot of what has been written here, the Tsar as mounted up on my massive gimbaled 3D arm on the Avenger Direct Drive is as good if not better than the Atlas and the Ortofon A95, which means it is as good as it gets with even more life than either of them. You could pick some items from all three that you love the most but overall the Tsar is state of the art in phono. I have an Ampex ATR-102 running 1/2 track masters and this is as good as it gets on vinyl. If you have a disc with the hole in the center, a massive yet damped arm, the system warmed up, and your speakers broken, in this combo will put Gary Karr and his 400 year old contra-bass in the room. I am stunned!!! As close to master tape as I have ever heard. HW |
Kmccarty yes, better for turntables, but also for large speakers with dynamic cone drivers that send excess vibrations downward. Regarding Warren, I am not sure what his issues with my system are. Perhaps he isn’t familiar with my turntables. Kmccarty Regarding the Decca folks/representatives discussed on this thread. I will say I have come across individuals in this business, and I am not saying that those mentioned here are like these folks. After all I don’t personally know them. The folks I am thinking about have been down their road, experiences, and have their own take on things. If certain criteria are not met; the answer will always be no, not good enough unless all the t’s are crossed and the i ’s dotted. The t’s and i’s here, as this is vinyl (a mechanical, vibration, resonance process) could very well come down to the Room Type/Location, and the type of tonearm. I say this from the limited information on this thread. Dealing with vibrations that get amplified from a very small signal are real. In the end, imo, these folks are as passionate as anyone else, and are just trying to make sure "you", meaning whoever they are talking to, get to their "place" and "experience" what they experience. Some are better at dealing with people than others when it comes to this. True Story I went to hear and maybe buy a 200 lb amplifier. I arrived at this person’s house who lived alone in a large two storey home with full 8 foot ceiling basement. After greeting me, instead of going down or across the main floor we headed up the stairs to my surprise. In the large master bedroom was contained high end audio gear including very large dynamic cone speakers that were sitting on concrete blocks. Long story short, this fellow was only digital but he was considering vinyl. I told him with his gear to strongly consider moving everything to a dedicated space in the basement. The first floor was also suspended wood beams, typical of Ontario Canada housing. He told me he couldn’t do this. His basement which he showed me before I left (with the amp) was full of racks containing electronic diagnostic gear, and vintage electronics pieces. He was an Electronics Engineer with the local Honda Automobile Plant. He worked with the actual electronic circuits. Just sayin... Cheers Chris |
Good points, halcro. True, the Decca/London does not have the delicacy in high frequencies of a great moving coil. As with every link in one's Hi-Fi chain, priorities must be chosen, as no one product is better than all others in every way. For me, the main failing in reproduced music is in it's sounding "canned"---a pale, lifeless, soft, thin, diffused, anemic copy of a colorful, vivid, energetic, explosive, full-bodied, whole, original. The Decca/London, for all it's faults, just makes the sound of the instruments and voices contained in the grooves of an LP sound more like their real-life selves than does any other cartridge I've heard. And, perhaps more importantly, the manner in which those instruments are being played and those lyrics being sung. The D/L is a very "physical" transducer, the force with which the bow of a cello or double bass is pulled across the instruments strings being heard and felt (Yo Yo Ma attacks his cello, non unlike how Keith Moon did his drumkit!). How hard a drummer is smacking a drumhead with his sticks can be felt (important to me---I'm a drummer), but so too can the faint sound of ghost notes be heard. The D/L does percussion better than any other cartridge I've heard, with an unequalled dynamic capability. The sound of a guitarists plectrum (pick) hitting the strings---very visceral. Then there is that "in the room, right in front of you" characteristic of the D/L sound, something I crave. Some attribute the D/L's "speed" as the reason for it's excellence in all these regards. Others, it's lack of cantilever "haze", etc. All I know is that instruments and voices sound more whole, fleshed-out with more body (it's as if all the frequencies making up the sound and timbre of an instrument or voice reach the ear at the same time, as in a time-aligned loudspeaker), and transients have more "snap". Hope this doesn't come off as sounding gratuitous or over-the-top! kmccarty---I've been thinking it over, and here's what I suggest: The $5200 price of the Reference is an awful lot to gamble on a sound you have yet to hear. Some have tried a London, and found it to be too "relentless" or brash (who knows if that was a result of the tone arm used not being up to the task, or the proper 15k/220pF loading not being employed), as may you. Even the $3000 of the Jubilee is a lot to gamble on. I think trying the $1200 Super Gold is a good idea; if you like it enough, you could then move up to the Jubilee or Reference if you want. Don't forget to specify the Decapod! By the way, there is a virtual system (Small Attic Retreat) featured in the Audiogon weekly recap that contains a London Gold or Super Gold (they look identical) fitted with the Decapod. The owners name is jtnicolosi, and he has the London on one of his three tables, a Garrard 301 with a 12" arm (the Schick?). ct0517---We are going to end up with very similar systems, aren't we? I had forgotten about the $12,000 straight tracking London arm. I've never heard from an owner of one, or seen a review. I couldn't use it on my Rock anyway, or afford it! topoxforddoc---I have a R2R (Revox A-77 Mk.3), but it's a quarter inch/ quarter track. Have some pre-recorded 7" reels (RCA, Mercury), and those I made myself with a pair of omni condenser mics. But I still need my London cartridges (as well as table and arm), 'cause I can't get the Revox to play my LP's ;-). |
However, no matter how good the Decca is, it doesn't beat a 15 IPS master tape - no way.I have several cartridges (out of the 70+ I have owned) that are closer to the sound of master tapes than the Decca London Reference. The high-frequency performance of the DLR is certainly not as vivid, crystalline or shimmering as many of my top MM and LOMC cartridges and as mentioned earlier, the width of the sound-stage is disappointingly narrow. The charm of the DLR is in its sheer 'bravado' and unabashed delight in its presentation of 'SOUND'. For those used to the inhibited and precisely self-conscious nature of most LOMCs....this can come as somewhat of a revelation. However, for those with an appreciation for the finer vintage MMs, the Decca London sound is merely a confirmation of what true vinyl reproduction can achieve. |
interesting post Bdp24 Bdp24......So which London to get? As always, it’s a question of system balance, the most effective allocation of your Hi-Fi Dollars/Pounds (in honour of the Britishness of Decca/London ;-), and, most importantly, of course, the other parts of your record player. There is no point in spending the extra money for the Reference if your pick-up arm won’t allow it’s superiority to the Jubilee to be heard. You got me really curious and I started googling First I Googled Decapod - got me this. https://upload.wikimedia.org/wikipedia/commons/4/44/Haeckel_Decapoda.jpg 2nd google on Decca Jubilee Cartridge - got me this http://www.needledoctor.com/London-Decca-Jubilee-Phono-Cartridge 3rd google on Decca Reference Cartridge - got me this http://www.needledoctor.com/London-Decca-Reference-Phono-Cartridge 4th google on Decca Tonearm - got me to this. http://www.needledoctor.com/London-Decca-Reference-Tonearm The path seems pretty clear to me. you’re a bad influence Eric, you know ? You’re taking my mind off my Quad subwoofer project and making me think about spending serious coin on a cartridge. Cheers Chris |
I have been a Decca aficionado since the late 70s. I still have my Garrott Brothers Gold, an old Maroon and a FFSSMkIV C4E rebuilt by John Wright. The vintage C4E is just stunning, significantly better than my Garrott Brothers cartridge (retipped by John Wright). I wouldn't sell my C4E - it would be one of the things you would have to rip from my dying hands. However, no matter how good the Decca is, it doesn't beat a 15 IPS master tape - no way. I have three 15 IPS 2 track R2R decks and some master tapes (some distribution masters and some safety copies). The 15 IPS tape just stomps all over the Decca (installed in a rewired vintage Hadcock 228 on a Platine Verdier with GT Audio Battery PSU) - no contest! |
I'll give it a shot, k. The five current Londons---the Maroon, Gold, Super Gold, Jubilee, and Reference, all share the same identical internal design and structure (how could it be otherwise?---it's what makes a London a London!), but differ in the quality of the materials used to make them, and in their assembly tolerances. The internal wire and coils in the Reference, for instance, are of a higher grade than in the lesser models, and the magnets are of the more expensive rare earth variety. The stylus profiles differ amongst models as well, the Maroon being Spherical, the Gold Elliptical, the Super Gold and Jubilee Extended Fine Line, and the Reference Ultra Low Mass Fine Line. Other than that, the difference between models is in the housing the internal guts are installed in. The Maroon, Gold, and Super Gold share the same stamped tin housing of the Deccas of the 70's, along with the old Decca mounting bracket, a real pos! The bracket is a somewhat flexible red block of molded plastic, the top of which is bolted to the head shell. The cartridge slides onto the bracket, the electrical signal from the cartridge passing through electrical contacts in the bracket to pins on it's rear for your arm wires. It's a terrible mounting and connection design, but you don't have to put up with it. London offers the Decapod, an aluminum block which replaces the bracket, and is installed as the top of the cartridge at the London factory. DO NOT BUY A LONDON CARTRIDGE WITHOUT THE DECAPOD! As for the tin housing, Decca users have long applied various substances onto it's exterior in an attempt to lessen the resonances it exhibits; modeling clay, Blu Tack, Sorbothane, etc. Even with the resonances of the housing addressed, the cartridge is somewhat microphonic, one reason the Townshend Rock turntable is a favorite with Decca/London enthusiasts---the Rock's damping system eliminates that microphony remarkably effectively, making it a non-issue. The Jubilee was developed to address the issue of the sonic consequences of the tin metal housing. It's more solid, less resonant/microphonic structure allows more of the Decca design's potential to be realized, and is considered by some (Warren Gregoire, for one) to offer more of an upgrade from the Maroon, Gold, and Super Gold, than the Reference does to it. The Jubilee's housing eliminates the need for the Decapod as well, having threaded mounting holes in it's top surface, and the normal cartridge pin design. The Reference really brings the Decca design into the 21st Century. A very stylish machined aluminum body/housing, like other top cartridges. Superior parts and assembly tolerances, hand built by John Wright, the designer of the Reference, and owner of London. So which London to get? As always, it's a question of system balance, the most effective allocation of your Hi-Fi Dollars/Pounds (in honour of the Britishness of Decca/London ;-), and, most importantly, of course, the other parts of your record player. There is no point in spending the extra money for the Reference if your pick-up arm won't allow it's superiority to the Jubilee to be heard. The great thing is, no matter which London you choose, it will have the Decca/London sound, unlike any other cartridge! |
Ct0517, I can't use my stereo system on the first without disrupting family life. I agree that would be better for turntables. Regarding Warren, I am not sure what his issues with my system are. Perhaps he isn't familiar with my turntables. Maybe someone could respond to the differences between the different London Decca models or refer me to a good thread that discusses them. Thanks! |
Hi Kmmcarty Kmmcarty - .....in my second floor stereo room Curious...Have you heard your system kit on a ground floor / concrete slab? Hi Normansizemore - quite the moniker you have :^) thanks for your comments. There was recent discussions of the London Decca’s from owners on the Eminent Technology ET2 thread. These discussions re-piqued my interest in this cartridge. I think its the top contender for my next cartridge one day. Cheers |
Warren Gregoire, whom I've never met, seems to be quite a character. When I talked to him on the phone about the current Londons, he was rather brusque, coming across as someone who has had his fill of dealing with consumers, with which I can sympathize and fully understand. I felt as if I were being interviewed as a job applicant might be by an employer, and that I might not "qualify" to purchase a London from him. In fact, when he asked me who would be installing the cartridge in an arm, and thinking that if I said myself he might find that unacceptable, I replied Brooks Berdan (I actually intended to do it myself, but was thinking I would have Brooks double-check my job and hook my table up to his scope and other machines). To my utter astonishment, he had never heard of Brooks! Brooks was only the most widely known turntable man in the country (Bill Johnson flew Brooks out to Minnesota to set-up the tables in the ARC listening room, and had him out to his home here in the California desert to do his personal table). Warren asked me why would I have a dealer who hadn't sold me the cartridge mount and align it? And, hadn't I ever done it myself? After assuring him I had, including a couple of Deccas, and quite a few arms and other cartridges, and explaining I was merely going to have this Brooks guy double check my work, Warren calmed down a little. He had actually told me he didn't think he would sell me a cartridge! Well!! |
kmccarty, what was Warren’s basis for suggesting that a first rate analog rig like yours would disrespect a top London cartridge? Sounds more like he was trying to drive you into a corner with Woody Allen, who once said that he refused to join any club that would accept a person like him as a member. |
Thanks for all the great responses. In the meantime, I have done some more background work based on your responses. I use Graham Phantom Elite and SME V and SME V-12 arms, and both have advocates for use with the Decca/London cartridges. The Decca/London manufacturer leans toward (but doesn’t necessarily recommend) the Graham, apparently because it is a damped unipivot, and Ken Kessler likes the SME, which can be damped at the choice of the user. The good news for me, dampened by Warren Gregoire’s assessment below, is that I don’t have to buy an arm in order to try the cartridge, unless you Decca/London users believe these arms would compromise the sound. Secondly, I found that my phono preamp can accommodate the loading and capacitance that halcro recommended. That’s a relief! Thirdly, I spoke to Warren Gregoire, who didn’t like any of my turntables (Basis Debut and Technics SP 10 MK3, the Technics with Bill Thalmann overhaul, Krebs modifications, and Porter plinth) and none of my arms and especially disdained my turntable stands (Symposium Isis), because they are spring loaded to overcome acoustic feedback and footfall problems in my second floor stereo room. Just to be clear, he didn’t like my equipment for use with the Decca London cartridges rather than making any universal judgments. So that conversation left me wondering about any prospect for success with these cartridges and my equipment. But, if I do take the plunge, which should I try? The London Reference? The London Decca Jubilee? The Super Gold, Gold or Maroon? After all of his reservations, Warren Gregoire suggested I try the Jubilee and then quickly explained his return policy in some degree of detail. He felt my equipment probably wasn’t good enough to realize the benefits of the London Reference. Your thoughts about the differences among these cartridges? |