A friend of mine gave me a Grace F9E to try on my 1200G. He thinks it may be a good fit. It appears to be brand new and never used. It has a plastic protector that covers practically the entire cartridge. I cannot get it off as it is on there very tight. Is there any special way to get it of and not damage the cartridge?
As I said every day is a learning day and time to analize some great sounding LP recording labels where engineers used audiophile systems. This is an exception because normally it’s not this way.
Examples: Wilson Audio where D.Wilson was a recording engineer before started Wilson Specialities. I own some of his old recordings where we can note that he always used subwoofers to monitoring/evaluated his recordings. Well, we can take any of newer of his recordings under Wilson Audio label ( Center Stage for example. ). He created/designed a dedicated speaker monitor for his self and that was the Watt and latter on added lower bass range and converted in the Watt Puppies. You can read in those recording information that for the final evaluation he used his WAMM 4 towers Wilson 3/4 ton. design nd SS electronics with top ll around gear.
Other is Telarc that has some great recordings quality sound where the engineers choosed big Threshold electronics and biamp speakers made it expressely for Telarc by ADS and latter used the speaker monitors by ADS model L2030 and L1530. Always biamp. Stand alone bass range is a must for top quality recording sound.
Reference Recordings is other very good example where the engineer Proff. Johnson used his full SS Spectral great electronics, with the big Duntech Sorvegein speakers, mated with the Versa Dynamics top TT and using Lyra cartridges. Nothing less !!
But all those are the exception, normally recording engineers has no specific idea of what we audiophile are looking for, that's the way the audio industry educated almost all. Sheffield Labs recordings is a little different because are D2D.
All these gentlemans priorities coincide with audiophiles priorities because they are audiophiles and knows what audiophiles are looking for and that's why their recordings have that astonishing quality levels.
If you compare Water Lily that came from KA is a little inferior to ll those and others like the Rega recordings.
Dear @halcro : I was thinking as you and as a fact I was whom brougth to Agon that link. Unfortunatelly we never had the opportunity to ask them directly about and today two of them pass away.
But in other forum with several recording engineers I had that opportunity because they posted there and were gentlemans that made it their work through the best regarded quality recording labels.
Well, rigth there and after different discussions overtime I learned that the main priorities of all of them were different ( many reasons about. ) of the normal audiophile room/audio system priorities because in reality are way different what they are looking for and how each one of them is biased and what system use to monitoring and the like. There are great recordings and a lot more really bad.
A room audio system LP recording reproduction is a total different " animale " than a recording studio/mastering and each one of us music/sound priorities are different too. Yes, you can think that they and us want it the same: extreme/perfect quality performance levels but that happens only a few times. . Two different worlds.
If we follow them we just can’t grow up and can’t achieve the real qualituy our system can shows.
I’m not diminish in any way their job that’s a main important subject only that is a different world and not the audiophile world.
Do you think that those ( any ) recording professionals own top audiophile electronics or speakers as the top Magico/Wilson or the like and TTs as the Exclusive P3 or SP10MK3 or top Clearaudio statement TT or top cables and everything we audiiophiles own. Top highgain phonolinepreamps, Cobra tonearms.? Do you think that their system outperforms the M.Lavigne system? No they own nothing of that level not even what I have in my humble/modest system. ! !
Obviously that each one of us have the privilege to make a choice. As you I did it many years ago but I always say that each day is a learning one and through the time I learned about. Sooner or latter you will learn or maybe not is up to you.
Anyway only a point of view. My main room/audio system music/sound priority/target is stay truer to the recording and I don’t care of other matters. It’s me not what the engineers did it, they already did their job and now I must do mine at home. This is my task no mater what.
Regards and enjoy the MUSIC NOT DISTORTIONS, R.
Btw, I remember when I started in audio: what I wanted is to have the electronics/speakers that the recording engineers/professionals uses, go figure !.
A good point Chakster....and one I have read many times. It's not as if these famous mastering engineers haven't heard the best LOMCs....and their opinions carry far more weight than the average punter. After all.....they are comparing directly to the master tape and that's a comparison almost none of us can duplicate. My vintage MM cartridges generally sound more 'natural' and satisfying than any LOMCs I've heard or owned.
We have to remember that normally in good recordings the recording microphones are at near field position and from this point of view the LOMC are truer to the recording.
We’re talking about vintage cartridges here (let’s say from the 80s max), and some of the best mastering and cutting engineers have completely different opinion about MM vs. MC. Here is a TAS article about it. All of them prefer an MM over MC. But the choice of MM is very special: The Audio-Technica AT-ML170, Technics 100c mk4, and even Stanton 881s.
"Kavi Alexander, auteur of the remarkable Water Lily Acoustics series of analogue vinyl discs, is monitoring disc production by comparing test pressings to the master tape. What cartridge is he using? Another moving magnet, this time the Technics EPC 100, Mark IV, unfortunately no longer available in the US. But he describes the Audio Technica ATML-170 as very similar, and very close to the actual sound of the tape. In this comparison, he says, virtually no moving coil does so well; most have seriously apparent colorations."
I believe there are an exceptions, but everyone have to compare prices for the exceptional MC to some amazing MM first.
I do trust people from the industry, who mastered and cut some of the best records at the studios like Doug Sax’s The Mastering Lab in L.A. etc https://en.wikipedia.org/wiki/Doug_Sax
Dear @lewm : Agree that no one can change the speed of what the TT has. Maybe I explasin me in wrong way.
"""
my interpretation is that MC cartridges may lose the trailing edge of notes more quickly than do the other types, which makes them seem to emphasize the attack.... """
The decay time through a LOMC cartridge is faster and sound faster than with MM one. First because lower rounds of wire at the coils and second because are truer to the recording and you can attest this when you attend to an acoustic lmusic live event and are seated at near field: a few meters. Here you can listen how fast is the decay time of the different instruments that when you are seated at 30m. that decay time is longer because the " reberberation " effect of the venue. We have to remember that normally in good recordings the recording microphones are at near field position and from this point of view the LOMC are truer to the recording.
In a MM/MI performance the bass range almost always is floating/larger decay time that the tigthness / no overhang/low distortions in a LOMC ones.
Obviously that all depends of the quality level of each one room/audio system.
@jollytinker : Maybe could be better to you to look for a different cartridge " taste " that could be the excelent Acutex M320 or Acutex 315/320LPM, B?O MMC1 or MMC2 or even the Astatic MF200 or MF100.
Yes, please buy all those, but leave the Grace LEVEL II and F14, AT-ML170 and AT-ML180, Victor X-1II, Stanton CS-100 WOS, Glanz MFG61 and Pioneer PC-1000 mkII for me, i will appreciate it very much, thanks :)
All B&O cartridges made by SoundSmith for B&O under contract. SoundSmith is OEM, Peter spread the light on this interesting fact in his interview for Stereophile: https://youtu.be/Rd948px1230
Raul, Don't you think the word "speed", as applied to the difference in SQ between MC and MM or MI cartridges, is really saying the same thing as what I said, that MC cartridges seem to emphasize the attack of musical notes? Psycho-acoustically, that would come across as a greater sense of speed. But we know that our turntables are rotating at a constant speed, and the TT is the sole determinant of the time axis. So, it cannot be actual greater speed that we are hearing with MC cartridges. And my interpretation is that MC cartridges may lose the trailing edge of notes more quickly than do the other types, which makes them seem to emphasize the attack. Always keeping in mind that my gross generalizations do not apply to ALL MC cartridges or all MM or MI types. I think I am hearing this in comparing the AT ART7 to the Acutex LPM320. Not so with my ZYX UNIverse.
Dear @jollytinker : Maybe could be better to you to look for a different cartridge " taste " that could be the excelent Acutex M320 or Acutex 315/320LPM, B?O MMC1 or MMC2 or even the Astatic MF200 or MF100.
All those are MI type not MM and with enough output level for you.
If you want MM there are many very good contenders in the AT, Empire, Pickering/Stanton Azden, Shure, Nagaoka, etc, etc
First enjoy and lear what you can learn with what you own, give you some time before switch to other cartridges.
@jollytinker Grace made mode than 20 versions of LEVEL II cartridges in the 80s, which one you’re looking for ? As i said the output is from 3 to 5 mV depends on the model. You’re welcome.
vinylengine is the worst source for information regarding rare models of japanese cartridges, there is a lot of misinformation, you have to check on japanese sources for correct info
thanks guys for the info on the voltage output. @chakster I was looking for info on the F9 and also the Level II cartridges. @rauliruegas thanks for that link - I had actually seen it before. it’s what made me wonder why it’s so hard to get simple output numbers (the info isn’t there in that blurb). I’m guessing that it was the arrival of low output MC cartridges that made voltage output into an issue (or a ’thing’ as we’d put it these days). I’m too young to know first hand but at least that could explain the dearth of specs on the Grace F9s etc.
Dear @lewm : That's transient response and speed where LOMC are way better but to each his own.
@tzh21y , thank's to confirm you are satisfied with your F9 gift and if what you said is new then still will improves a little with more hours playing. Good !
Ceramic is even more resonant and very bad for cantilevers. Other than in cartridges some manufacturers used in headshells and tonearms and all sounds really bad.
Raul, You’re comparing Apples to Oranges and i believe you have never ever tried the Grace with Ceramic Cantilever to even talk about it (this model is extremely rare). Also nobody knows the process used in manufacturing such cantilevers. I am not trying to say this is the best material, but anyone who blame it should have it at least. You’re talking about headshells and tonearms when the question is cartridge and its tiny cantilever. I use ceramic record weight (disc stabilizer) made by Noritake and it’s excellent compared to Micro Seiki copper disc stabilizer (but i think it has nothing to do with the cantilever).
Do you know any audio products made of bamboo? Miyajima made first Bamboo cantilever not so long ago. Nobody made such cantilevers before, so what?
Dear chakster, I own both; JVC-X1, mk1 as well mk2 . Both
have solid beryllium cantilever + shibata stylus. If titanium
cantilevers are available than as separate styli. There are also
aluminum kinds available for both X-1,mk 1 and mk 2.
What’s the point? You don’t have the model i am talking about, this model is X-1IIE and it comes with Titanium Cantilever (tapered pipe), the stylus replacement part is orange. The models you’re talking about are all have Beryllium Cantilevers (solid rod) and they are completely different (with clear stylus replacement part). I hope you can see them all on my pictures above.
The rest of what you’re talking about are made by JICO, because JVC/Victor never ever made those top models with aluminum cantilevers. JICO made modern replacement for them, they are also orange in color, but does not have tention wire, they are not even SAS and very bad quality compared to the original Beryllium or Titanium.
P.S. X-1, X1II, X-1IIe cartridges killing the Grace F9 series with ease, they are superior and belongs to the best MM ever (they are also much lower in compliance which is no problem to use on any modern tonearm).
If you're comparing an MM to an MC, the one thing I always notice is that MCs typically emphasize the attack of a musical note. Whereas, the best MMs and MIs tend to get the "meat" and the trailing edge of notes, perhaps better. (Please don't attack me for this gross generalization. I am sure there are exceptions.)
The cartridge sounds very nice. It is not as detailed as the Lyra but it does other things that take me back to another era. It looks like it has never been used before.
Dear @lewm : Ceramic is even more resonant and very bad for cantilevers. Other than in cartridges some manufacturers used in headshells and tonearms and all sounds really bad. Ceramic is not for the analog rig, at least not in the condition the manufacturers used it.
@jollytinker here you can read on all the F9 line:
Acutex used titanium cantilever in its top models. I don't know of any other manufacturer that did that, but could be.
Victor X-1IIe has titanium pipe cantilever Audio-Technica AT150Ti has titanium cantilever too One of the Grace LEVEL II variations has even Ceramic Cantilever
Der @lewm : Between other ADC used titanium too. Btw, when I talk about MM I'm reffering to all: induced magnet, moving iron, moving flux, electrect, etc. etc. I'm refering to non MC cartridges.
Koetsu are solid boron. Even that hollow boron could lower the moving mass the trade-offs against it are to high.
Now, what makes the greatness of any cartridge is the sum of the parts and its quality excecution. In that sum of the parts the motor is the must important issue: it's " the design ". Cantilever and stylus shapes are only variations but what live on/trhive is the cartridge motor.
Acutex used titanium cantilever in its top models. I don't know of any other manufacturer that did that, but could be. Also, Acutex 300 series are Induced Magnet types, not Moving Magnet. Their 400 series are MM, I believe. As I am sure you know, Koetsu uses boron. Do you know whether Koetsu cantilevers are hollow or solid?
Dear lewm, if I remember you was in that cantilever build materiasl . Anyway, solid boron is the way to go.
In those old times the berilyum was the " fashion " or the boron pipe because almost all before that cartridge designs came with aluminum cantilevers and the very top/exoctic designs with ruby/diamond materials.
In those times Dynavector choosed for diamond/ruby instead berilyum but latter on switched to solid boron not pipe one and is not the only example.Satin was another that gone for solid boron and not berilyum or boron pipe.
lewm why do you think that even that the Technics EPA100MK2 tonearm were builded as main material boron they choosed to use additional damping in that tonearm? the tonearm wand is a pipe and way resonant that's why almost all tonearm manufacturers choose to damp its designs.
But in those old times were learning times for the industry and that's why we can seen so many different stylus " new " shapes but several cantilever build materials as the ones we named but titanium, ceramic, carbon fiber and the like. Everything was a learning way to can offer to the customers something " new " due that fierce competition and if for the manufacturers was a learning time for the audiophiles that has higher ignorance levels was a learning time too.
If we take almost any MM vintage top manufacturer almost everyone had its " very special stylus shape " that as a fact where only a variations in between tryiying to " impress " the customers. A true/real invent on stylus shape in those times was the Shibata one followed by variations till today but in those times you can listen the manufacturers speaking of: parabolic, extended elliptical, analog 6, superelliptical and the like.
Repeat, the real/true value on those vintage cartridges resides in its motors.
Raul, I don't disagree with anything you wrote above, save for the fact that I know nothing about boron cantilevers except that many fine cartridges use them. On boron, you say the solid is better than the tubular type. I think Chakster took the opposite position. Quien sabe?
But most of all, I would have replied to Chakster (if I thought it was worth the effort) exactly as you did. It's pure self delusion to think that one is hearing a 30 to 40 year old cartridge, even if it is NOS right out of the box, exactly as it may have sounded shortly after manufacture. I am sure in fact that the differences due purely to aging in situ are different for different cartridges. But I only judge the here and now. I own NOS B&O MMC1, Stanton CS100, Acutex M320, Stanton 881S mk2, Stanton 981LZS (I retired my other 980LZS which was used when I bought it), Empire 4000DIII, and a few others the names of which escape me. If I ever get to hear them, I won't think I entered a time machine. My Acutex LPM320STRIII was NOS when I first put it into service; now it is an old friend. Thankfully I have an extra NOS stylus for it.
Dear @lewm: First than all and when speak of Grace ( in this case the F9 that runs Discrete-4 too. ) we are speaking of vintage cartridges and it does not matters if it’s Grace, AT, Acutex, Technics or what ever key word is vintage.
Even if the vintage cartridge is NOS the problem belongs always ( it does not matters if you or me can be aware of it, that we can’t detect it. ) at the cartridge suspension because all those years pass-on. Cantilevers and stylus tips suffer a lot less over the time because were not deteriorate as the cartridge suspension.
In the years I started the MM thread I never wanted to change anything in the stock vintage cartridges even I was against the swift between some models in a manufacturer series ( Frankstein cartridges. ) and was precisely with the Acutec 315LPM that I learned about. The cartridge was " refreshed " by VDH, same cantilever/stylus and the imp´rovement was a huge one. When I did it the same with the Technics EPC 100CMK4 the cartridge return and its performance was improved.
Other than fine tunning cartridge suspension the change in catilever/stylus always will be makes a higher quality performance levels.
In other thread some ( I think in the MM one. I can’t remember for sure. ) of us discussed the best material for cantilevers and that was solid Boron, its characteristics are way superior to aluminum, titanium, berilyum and the like. Why solid over the pipe type? well the hollow in a cantilever produces/increment resonances against the solid material. Even when the LOMC manufacturers still can found out boron pipe always choosed solid boron . In some of my cartridges I did it and solid boron is way less resonant. Same pass with berilyum that even when still existed manufacturers gone for boron. Technics did it with one of its tonearm when choosed boron over berilyum but in its top cartridge was the same. We can take any vintage MM cartridge and retip it with boron cantilever and no matter what always will performs with way higer quality levels, always.
Where belongs/resides the truw /real value with the vintage MM cartridges: to its cartridge " motors " and design quality excecution. Not to the cantilever or the Stereohedron stylus shape. If you take your 981LZ and send to retip with boron and MR or Ogura like stylus shape you will have an outstanding performer, same for any vintage MM cartridge.
I don’t know you but I’m always looking how to improve the quality performance levels of what I own and latter the option to add/change something new in my room audio system
As always in audio all depends on ignorance/knoledge level and each one priorities and mine is to stay truer to the recording no matter what. This is my main target.
The thing that's great about Audiogon forums or any forum, is that we don't all have to agree. Some aren't as politically polished regarding their comments, some are full of it, some just floating around like me trying to absorb knowledge. By know means am I an expert when it comes to audio. I think I have nice stuff, anyway it sounds great and I know more than my little brother.
Whether or not we all agree, is not why I visit Audiogon forums. I can tell you for a fact that @chakster has some fantastic carts, as I've heard them and thanks to him, own a couple that I would call winners, a couple carts that are very good and a couple that I consider ultimate.
It's all about perception. No losers or jokes in my collection. Only winners.
So why wouldn’t it be potentially beneficial to replace an elliptical with a line contact or some other more "modern" shape, in the process of re-tipping?
I want to hear and judge only original cartridges in perfect condition (from any manufacturer), if i need a better stylus or cantilever for my Gace MM i will do my best to find the original (NOS) with the best stylus/cantilever. I’ve had bad experience with refurbished mm cartridges, never again!
I do considering myself as a collector of genuine carts only, i will never buy any refurbished cartridge or any re-tipped cartridge when it comes to vintage carts of any type (MM or MC).
I often see how people are lying about condition of the cartridges they are selling on ebay, offering refurbished carts with aftermarket parts (completely different cantilevers or glued styli of the different shape and different mass) as the original. Someone even sold me refurbished carts as the original and never mentioned that they are refurbished. I just don’t want this experience anymore in my life. Re-tippers work or suspension repair does not looks nice under microscope compared to the original factory made genuine products. This is not for me.
In my opinion retipping/refurbishing service of some mega rare MM only make sense if there is no chance to find the original stylus replacement.
Refurbished vintage cartridge does not have any collectors value and the sound of such hybrid has nothing to do with the original sound. Some people see it as an upgrade, but i don’t see it like that. I believe that top quality vintage MM cartridges are superior to anything new and i am using only genuine carts so far. I would pay more for a NOS (sealed in the box) original than for refurbished cart from VdH or any other reputable master.
P.S. remember jp jones story about his Technics top of the line cartridge, the end of the story was pretty sad when someone tried to "refresh" the suspension of that rare cart. No one can guarantee the result of that job. This is not for me, never ever in my life i will send some rare working cartridge for some "fine tuning" or retip or whatever" to anyone.
So I just went on eBay to see if there were any Grace Level II or F14 cartridges for sale there. Chak, are you selling the F14 "new needle" (only) on eBay? Someone in Russia is. There's a Level II for sale from within the US; it looks awful, and the dude wants more than $1000 for it!
Raul, Neither you nor I can score points with Chakster. But I am going to try to find one of his preferred Grace cartridges just to see for myself. Have you heard either of those two that he likes so much?
Chak, Please read what Raul wrote about the possible benefits of re-tipping, if in the process one also upgrades the stylus shape or the cantilever material. You have devalued elliptical styli per se, yourself. So why wouldn't it be potentially beneficial to replace an elliptical with a line contact or some other more "modern" shape, in the process of re-tipping?
Nothing wrong with your F-9e @bimasta, as i said it's a good cartridge, but in my opinion there could be only 3 winners like in sport (№1, №2, №3). Since the Grace stopped making cartridges more than 27 years ago we can recall the best models.
Shinagawa Musen made so many cartridges under Grace brand that are clearly better than F9 series (and i already explained why). I hope you understand my point now.
Someone could say "Ohh, Grace F8 is a winner" but it's not true, because after F8 they made F9, F12, F14, Asakura's and LEVEL II with many technical improvement for each new series.
P.S. my favorite in F9 series was F-9F (Discrete-4)
@chakster — I’ve no doubt you have truly great cartridges, and if I heard them I’d agree enthusiastically and turn dark green with envy. You softened your language, but you still give us "true winners", as if a mere "winner" is a "false winner". Does denigrating my F9E make your F14BE sound better? Or you feel better?
So, at the present moment, which Grace cartridge do you think is the very best one to own? If I am going after a rare Grace, I may as well pursue their best. Thanks.
in my opinion the very best (true winners and champions) are: LEVEL II (LC-OFC) RB/MR (Boron Cantilever / Micro Ridge stylus) F14 BE (LC-OFC) with Beryllium Cantilever / Line Contact stylus
None of my Grace cartridges have had any problems with suspension or any problem at all, there is nothing to fix and nothing to tune if you are buyin NOS sample. Those cartridges are very expensive from the start, made in the late 80’s and extremely rare today. Also i would prefer fully original condition and i don’t need anyone to touch it, those retippers go to hell with their prices. Sending a cartridge to re-tipper only make sense if it doesn’t work at all (or broken), but even in this situation i would wait for the original stylus to buy.
For those who are optimistic about Van den Hul service should check his prices first, installing a Boron Cantilever will cost 750 euro minimum (which is about $870) and you must apply via his distributor in your country. At the end It will be Boron Rod, but not the Boron Pipe which comes with the original Grace top models, beryllium is no longer available from anyone. Original cartridge is the best!
@lewm , everything is important when you send a cartridge to a re-tipper ( I mean the re-tipper task. ) and the suspension fine tunning and new suspension dampers makes a lot of differences for the better and I said it because the " refresh " in my cartridges was only that and always returned the cartridge as it was a " new " performer at least the experiences listen was it.
@knollbrent , very good move you will be happy about.
Dear @lewm : ""
Grace Ruby with SS OCL retip? ........ Only that it is very good in its own right. """
I never heard it but I can tell you that each one of my cartridges that send for a " refresh " or or changes in cantilever/stylus tip all of them improved by a wide margin over the stock designs.
Today boron/jewel cantilevers and different type of stylus shapes ( line contact. ) as Micro Ridge or VDH and the like always change for the better those vintage very good cartridge " motors ".
Only to remember that mine cutex or Technics when return from VDH its performance grow-up lmost " orders of magnitud ".
I just can't imagine how good the Grace 9 " motor " could be with the VDH chnages.
@tzh21y — The F9E is a wonderful cartridge and you’re fortunate to have it, especially if it’s NOS with years of beautiful music ahead of it.
Chakster doesn’t consider it a "winner". Maybe he means "winner" must be "the greatest", he doesn’t define the terms. If only the absolute best will do, he’s probably right. I wish I had his collection.
Even Muhammad Ali admitted he wasn’t "the greatest" — he gave that title to Sugar Ray Robinson. But Ali was pretty great, definitely a winner — and Robinsons are hard to find these days.
Dear @tzh21y@knollbrent : The F9E will perform with better quality performance levels if is loaded at 100kohm and remember that capacitance load has " something to say " with MM cartridges.
Dear @lewm : """
is that the proof of the pudding is in the listening. """
could be but this depends of the quality level performance of your room/audio system and your main music/sounds priorities. What for you can sounds great for me or other person can sounds " terrible ".
So, at the present moment, which Grace cartridge do you think is the very best one to own? If I am going after a rare Grace, I may as well pursue their best. Thanks.
@lewm some people on this forum believes that changind a short leadwires in the headshell makes hude difference in sound quality (certainly not me).
I believe that LC-OFC version of the coils and pins makes more different, but diamond shape and cantilever materials are even more important. Also i’m sure that Grace engineers knew how to upgrade their popular cartridges to another level. Most of my favorite MM cartridges from the 80s are better than carts from the same manufacturers made earlier in the 70s.
I have no reason to use new SoundSmith styli for Grace or to send any Grace to SoundSmith for refurbishing, because i have perfect original samples of Grace (some NOS etc) and i don't use F9 series anymore.
Dear Chakster, my only point was that you cannot prove empirically by describing its elements that one cartridge is better than another. What I am saying is that the proof of the pudding is in the listening. We both know many examples of surprisingly good sounding cartridges that don’t look that good on paper. For all I know, you are absolutely correct that your later Grace cartridges are superior to the F9 and the ruby. I don’t have any basis to contradict your opinion on that. So we all have to listen to those rare cartridges that you seem to be able to find. By the same token, have you heard a Grace Ruby with SS OCL retip? I didn’t think so, but I would never claim it is superior to Grace cartridges that I have never heard. Only that it is very good in its own right.
Chakster, please tell us what phono stage, amplifier, and speakers you are using to make your unequivocal judgements.
i’ve mentioned this before, but I’ll say again that I don’t think one can pick out all the greatest cartridges simply by noting the elements of their construction. If one could, this hobby would be less vexing and more boring. The F9 and the Ruby are two examples of cartridges that have no right to sound as good as they do, given the materials of which they are made.
You’d better buy F-14 LC-OFC with BR/MR stylus or the LEVEL II LC-OFC in the same configuration, then we can talk about Grace cartridges, seriously. Right now i see that you have never tried the best Grace cartridges yet and you only can repead that you like the Ruby or SoundSmith refurbished one. There was a RUBY version of LEVEL II cartridge and i have it too. As i said i’m collecting different Grace cartridges and styli.
How can you tell anything about Grace if you may never owned any models that are placed much higher in the catalog of Grace (higher than F-9 of any kind) ? You never told me that you have tried any of them. Those upgraded Grace models supposed to be more expensive and much better cartridges. They are all from the 80’s (not from the 70’s). In fact they are better, no questions for me (owned all of them, included some unknown models). I don’t know anyone who would like to get back to the F-9 after trying F-14 or LEVEL II. Worth to try, really.
You asking about my gear again? OK:
-Gold Note PH-10 phono stage -JLTi phono stage with optional load resistors of whatever value for MM -First Watt B1 preamp -First Watt F2J power amp (for crossover less speakers) -Zu Audio Druid mk5* full range crossoverlesss peakers with high pass filter for super tweetrer (*in fact oficially upgraded mk4 with the latest drivers and tweeters, parts supplied by zu audio).
P.S. The situation with Grace reminds me a situation with those Glanz cartridges (long time carts of the month in MM thread), people can’t judge the potential of Glanz until they will try MFG-61 which is another level of performance compared to all lower models from the same brand. Same about Grace latest models in comparison to the lower models. This is where the true winners are!
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