The Cartridge arrived and I took it down to Studio City to Acoustic Image to have Eliot Midwood set it up properly. Eliot is the bomb when it comes to setting up the Well Tempered turn tables correctly.
http://www.acousticimage.com/
So, last night I had Mr. Golden Ears over to get his assessment as well. For a brand new cartridge that had zero hours on it ... all I can say is WOW! This is one naturally musical cartridge that doesn't break the bank. Its everything I liked about the OC9-mk III, but it goes far beyond the OC-9 in every respect.
In a previous post, I talked about the many mono records I own and how good the OC-9 was with the monos. Well, the ART-9 is on steroids. Just amazing on mono recordings.
At under $1100.00 from LP Tunes, its a bargain. The ART-9 surpasses all cartridges I've had in the system before. That would include Dynavectors, Benz, Grado Signatures and a Lyra Clavis that I dearly loved. In fact, its more musically correct than the Clavis. The Clavis was the champ at reproducing the piano correctly ... the ART-9 is equally as good in this area.
Sound stage, depth of image, left to right all there. Highs ... crystalline. Mids ... female and male voices are dead on. Transparency ... see through. Dynamics ... Wow! Low noise floor ... black. Mono records ... who needs stereo?
Your assessment that the ART-9 doesn't draw attention to itself is dead on. You just don't think about the cartridge at all. Not what its doing, or what its not doing ... its just beautiful music filling the room.
Thanks again Pani for the recommendation. I'll keep posting here as the cartridge continues to break in.
This is the best cart that I have
owned (previously: Denon dl-301ii), so I cannot speak with authority about how
the Art9 stands up to carts in the USD 1000+ range; but it is certainly a high
performer. (A friend feels that it outperforms his DV 17D.). Like any cart, it
cannot hide a weak tonearm , mediocre phono stage, or noisy turntable, so it is
dependent on its support system. Also, it is highly set-up dependent: given the
line-contact stylus, horizontal alignment is critical. I used the Conrad
Hoffman protractor; but I’m thinking about borrowing a set-up microscope. VTA
is also important. We tried a little negative rake (tonearm sloping down toward
the pivot) and the treble became overly detailed. We tried load settings from
around 85R to 350R; for the moment, 150R seems about right; but, I have a
feeling that it may want something closer to 200R. Time will tell.
The cart currently has around 25
hours, so there is more break-in to come; but, I am satisfied with its
performance to date. I won’t try to describe the sound characteristics except
to agree with the general tenor of the comments here: essentially it seems
highly responsive, accurate, and un-intrusive across all frequency ranges.
I was a little concerned about
tonearm/cart matching: mounting a high-compliance cart on my Grace 940, 16g
tonearm. But, I have not experienced any ill effects. The cart seems to
behave correctly; and there is no low frequency resonance - audible or visible.
However, I did take the precaution of swapping the 12g oem head shell with a 7g
magnesium model (to lower eff mass). And, my tonearm is a unipivot which tends
to diminish resonance anyway.
In summary, I don’t know if the Art9
is God’s gift to analog sound; but it certainly is a fine cartridge and I don’t
think anyone would regret owning one.
Now my ART9 sounds much more dynamic on the SME 312s arm. I changed the cartridge loading from 100 to 1000. Once this cartridge is set up exactly right and broken in, I highly advise trying this.
Sounds fantastic through my Coda 06x phono stage which is going up for sale shortly.
Just stumbled upon this thread, very timely too as I have recently at last, fitted my ART-9 to my SAEC WE506/30. I have been working on (and off - as time permits) a rebuild of a 1978 Sony TTS 8000 with the SAEC in my own plinth design. The plinth is currently at prototype stage to establish correct tonearm positioning as SAEC's own recommendations I assume are based around 7" singles, the 506 being manufactured for the broadcasting industry. I have sub 20hrs with ART-9 so far, but in line with many of you gents, I agree wholeheartedly that this is a significant cartridge at the price point, and also in comparison to far more costly ones. So far, I just feed it into my Clearaudio Basic phono stage, (which is staggeringly good value!) but in the next week a new Concert Fidelity SPA4c V2 will be installed which is a very concise amplifier. We used this at T.H.E show to much praise. (Disclaimer; I distribute Concert Fidelity products in the UK, but I am not here to 'promote' their products).
I did have some concerns over matching the ART-9 with the 12" SAEC, as the '9' is fairly compliant, but it seems that there are no issues at all to worry about and it tracks extremely well even at inner groove. It has a very concise and clean sound once the set up is perfect, and I did spend many many hrs working on the CAD model to ensure geometry was correct, and it pays me back each time I have played an LP so far. Once the plinth design and materials are finalised and machined / built, the ART-9 will be well past 100hrs use and the CF stage will also be in use, so there is more to come from this little beauty.
VTF seems good around 1.7 - 1.75 gms for me, how does this compare for other users here? Also, the CF stage offers 100 or 200 ohm settings ( +30 & 50 ohm), I start out with 100 AT recommend to begin with though..
I've found that the 100 ohm setting is the right setting for my ART-9 as well.
I've not played records for a few weeks, so taken was I by the CD player I installed the two SR Black fuses into the player and they broke in. I just wanted to keep listening to CD's. Hard to tear yourself away when CD's sound THAT good.
I had a couple of friends over last night for a listening session, both of whom knows my system really well. About half way through the session they wanted to switch to the turntable.
The first thing I threw on was an excellent stereo recording of one of Cal Tjader's Latin albums. The percussion was so natural sounding along with Tjader's vibes, it sounded as though Tjader's group was in the room and across the sound stage --- front to back, side to side and floor to ceiling. Simply amazing at the ART-9's price point.
I can say that the ART-9 has stayed right up there with the very significant improvement made in the CD player. Wow! What a good buy (in high-end terms) the ART-9 is. Its a bargain considering what I does (or doesn't do.) One thing it does the best is to stay out of the way of the music.
ps68 ... After around 50 hours of break-in the cartridge really gets going.
^^^ I think Ebay has some sellers in Japan marketing them on Ebay. Several members here have bought that way with no problems. Not sure if they warrantee them though.
^^^ Also, are you sure LP Tunes is sold out? I went to their site and see no indication that the ART-9 is sold out. Could it be that they've restocked??
LP Gear and LP Tunes often have differing amounts of inventory and minor differences in pricing. I just checked both sites, however, and they both seem to have the ART-9 in stock for $1097.
I'd like to extend my thanks to Pani and to all of the other posters who have provided comments on their experiences with the ART9. I recently purchased one, largely because of those comments, and although it is not yet close to being broken in I am already completely thrilled with it.
It replaces a Soundsmith-retipped Grace F-9E Ruby moving magnet cartridge I have used for the last few years. And although I have been sufficiently pleased over the years with the Grace F-9E series that I have used it in various incarnations for the majority of the past 35
years, I would have to say that the ART9 is in a different league altogether. Most notable among the numerous improvements it has already provided are considerably increased detail and better
definition in the treble region, cleaner and more accurate response to fast transients, and improved dynamics. All of which it accomplishes without a hint of excess brightness.
I purchased it, btw, from Japan-Select-Shop, the seller to whom Oregonpapa linked just above. The transaction was speedy and perfect. As is the cartridge, on both counts :-)
LP Gear emailed me back saying they were out of stock......My only issue with Japan buying is that AT-USA will not warranty them...That seems like a big gamble to me.
I don't think the warranty is a worrisome issue. It was some years ago that I returned a cartridge to a Japanese seller because it did not look as though the cantilever was lined up correctly. It was handled with dispatch. With modern shipping the whole thing probably took no longer than if I had sent it to California (from NY). I have found in this and other experiences that the level of business ethics is high in Japan. Ordinarily, if a cartridge works well at the beginning, there will not be an issue. The Art-9 that I received looked and sounds absolutely perfect.
The only issue that may be real is whether there is a trade in deal when the stylus wears. Nothing has been written about what that deal might be if you buy from LP Gear/Tunes. Does anyone know? The question arises because the Art-9 does not seem to be in the catalog of A-T US Inc.
If bought from Japan or Hong Kong, can the unit be returned to Japan when the stylus wears?
A good reason to use Stylast?
It seems that the Art-9 sells for less in Asia and Europe (x-VAT) than in the US.
Glad you’re happy Al, it will gradually get better as others have said, I have just passed the 100hrs mark and the sound has formed very well, it is very coherent and nothing distracts from the musical performance itself, as you say, very nicely detailed without over emphasising the HF. Bass improves in definition and scale, I think it is excellent in this area.
Take time for a very good set up and it is a true bargain by today’s standards. (Melm it is £820 in the UK)
Hi Almarg, I was very interested to read your remarks comparing the ART9 to your SS re-tipped Grace Ruby. I use an SS re-tipped Ruby (top of the line OCL stylus) regularly on one of my two systems. What struck me is that your list of the ways in which you perceive that the ART9 ("considerably increased detail and better
definition in the treble region, cleaner and more accurate response to fast transients, and improved dynamics") surpasses the re-tipped Ruby would also be MY list of the strong points of my OCL Ruby, as compared to the qualities of the original OEM elliptical version. IMO, these virtues come at the expense of a more romantic mellow sound with the elliptical.
So, my first question to you is whether you have the CL or the OCL stylus on your Ruby. If you have the OCL tip, I am really puzzled, because if I had my 'druthers, I would want my Ruby to be slightly LESS strong in the very same areas you mention. Mine has only 20-30 hours on it, so I do have reason to expect that it will mellow out a bit as the hours of use accumulate. But I would not want to go from the current flavor of my OCL to another cartridge that was similar only more so in the areas you mention. My Ruby is driving the phono section of a vintage Quicksilver preamplifier with a load of 47K ohms and no added capacitance. The Q is highly tweaked in terms of parts, but I have left the circuit topology as Mike Saunders designed it. Speakers are Beveridge 2SW plus home-made Transmission Line woofers below 100Hz.
My re-tipped F9E Ruby is Mr. Ledermann’s CL version, not the OCL version you have.
Since I purchased my Herron VTPH-2 phono stage a few months ago I too was running it at 47K, with load capacitance being the Herron’s MM input capacitance of 100 pf plus the unknown capacitances of my approximately 5 foot phono cable and the tonearm wiring.
Of course an additional variable in the mix is that the input stage of the Herron that is used for the two cartridges is different. Although I suspect that the difference essentially just involves insertion of the Herron’s FET-based LOMC stage into the signal path for LOMC’s, with the rest of its signal path probably being the same for both types of cartridges.
I would speculate, also, that given the age of the Grace cartridges there is likely to be significant sample-to-sample variation in performance among them, even when re-tipped in the same manner.
I’ll mention also, btw, that I’ve been running the AT-ART9 essentially unloaded, into the near-infinite input impedance the VTPH-2 has on its LOMC inputs if no termination resistors are plugged into the connectors it has on its rear panel for that purpose. Keith Herron suggests that with his particular design that is likely to be optimal for many or most LOMC cartridges. After the cartridge is broken in I’ll probably try the 47K and 1K loading plugs I ordered with the VTPH-2. But I see no reason to doubt the comments that have been made in the past by Atmasphere, Jonathan Carr, and others to the effect that the need for relatively heavy resistive loading of an LOMC, where necessary, is driven primarily by the need to control the degree to which a particular phono stage is exposed to ultrasonic or RF energy resulting from the resonance between cartridge inductance and load capacitance, rather than by the needs of the cartridge itself. And it would seem that the sonics of the Herron are less likely to be affected by that energy than in the case of most other phono stages.
Thanks oregonpapa and melm.....Waiting to hear from both LPTunes and LPGear as to when they will have new stock. If not will look at buying from Japan seller....makes my tummy queasy thinking about that :(
Enjoy the ART9 Al. Stories like these makes everyone of us happy. As the cartridge breaks in, you will hear more effortlessness, deeper bass notes and overall a sense of dissappearing act that is hard to come by. Which tonearm are you using with the ART9 ?
Thanks very much, Pani. I'm using the ART9 with a Magnepan Unitrac tonearm, which is a generally well regarded vintage arm from the 1980s that is suitable for use with cartridges having light to medium weight and medium to high compliance.
I heard from one Grace Ruby user who is also apparently a dealer that he has come to the opinion that the CL re-tip is to be preferred over the OCL re-tip, when it comes to SS re-tip choices. His opinion was based on an N=3 of samples, his own Ruby plus those of two customers (or two friends; I'm not sure which). My OCL re-tipped Ruby is coming around, in terms of a decrease in edginess and a subjective increase in mid-bass response, to be a favorite of mine. Albeit, like I said, I would not want it to go the other way and become more "clinical" sounding. I also think I read that the original spec for the Ruby recommended adding a fair amount of capacitance, at least 300pF if not more. This was a factory recommendation in parallel with 47K ohms. I don't know if such recommendations apply after a re-tip.
You say that the Herron gives "near infinite" input resistance if no resistor is in the jumper position. Is there no resistor between the gate of the FET and ground, in such a case?
Re load resistance: Ever since I accidentally listened to my Ortofon MC2000 with a 47K load, I am routinely using 47K with it and most other MC cartridges. (This is into my Atma MP1 balanced differential phono section.) The MC2000 sounds about as good at 1000R but loses something at 100R, which by usual practice would be the "correct" choice. We've been brainwashed.
That can be a very nice arm. I never used a MC cartridge on that arm that didn't benefit by adding weight (mass) at the headshell. Seemed to bring the MCs alive. YMMV.
Thanks very much, Bill. I’ll definitely keep your suggestion in mind. And thanks also for your long-standing advocacy of the VTPH-2, which significantly contributed to my decision to purchase it a few months ago. In addition to its great sonics, btw, I am continually amazed at how absolutely quiet it is.
Lew, I’ve never seen a load capacitance recommendation for the F-9E Ruby. FWIW, though, as you’ve probably seen the datasheet for the original non-Ruby version, while not explicitly stating a recommended load capacitance, indicates that the specified 45 kHz bandwidth (necessary for reproduction of some quadraphonic formats) is based on "operating conditions" of 80 pf in parallel with 100K. (Although elsewhere in the datasheet resistive loading of 47K is indicated).
Regarding the impedance of the Herron’s LOMC input, yes I too would expect that some resistance would be incorporated between the gate of the FET and ground. But even if that is so, based on the following statement in the VTPH-2’s description I’d imagine that it would be in the millions of ohms, which in the context of cartridge loading is essentially infinite:
The VTPH-2 will not load the cartridge at all if no loading resistors are plugged into the MC loading inputs. This is because the moving coil input stage of the VTPH-2 utilizes the electric field generated by the cartridge to amplify the voltage and no current is drawn from the cartridge (there is no load on the cartridge). This can give an extended sense of dynamic freedom and sound stage as it reduces the work done by the cartridge and cartridge/groove interaction. Note B: Some cartridges will need loading in order to reduce their inherent rise in high frequency response....
... We recommend trying the VTPH-2 in the no-load configuration as the unit is supplied for most moving coil cartridges. 47,000 (47k) ohm RCA load plugs are supplied with the unit for optional use. Additional user specified loading plugs can also be purchased with the unit.
Regarding Soundsmith’s CL vs. OCL, one of the main reasons I chose the CL (in addition to favorable commentary here some years ago by very knowledgeable members such as Mofimadness) was that I had some concern that with the OCL version SRA/VTA might be more critical than I would prefer to deal with (even though the Unitrac arm provides on-the-fly SRA/VTA adjustment). That concern being raised in my mind by the fact that the OCL is described as having a "diamond shape [that] closely resembles the actual cutting stylus that is used to create the master record."
Here is an update that may help all our music loving ART-9 owners, I just bought a 47 Labs phonocube phono stage. It is considered a bit tricky to match all cartridges because it is a fixed impedance phono stage which amplifies current instead of voltage. One cannot set any loading impedance on it. Theoretically there is no loss due to loading and the amplification circuit sees the complete signal from the cartridge. Ok, the good news is it is terrific match with the ART9. Just like the cartridge the phonostage has also disappeared in my system. I do not hear either of them, just unrestricted and free flowing music with all its glory and dynamics amplified clean and clear! No sibilance, no noise, no etch, no roll-off, so slowing down (typically due to loading) and no coloration anywhere. If anything I am probably hearing the power cord and interconnects. Kudos!
And once again, thank you for turning us on to the ART-9. What an amazing cartridge it is.
I've recently placed a Synergistic Research Black fuse into my ARC PH-8. Once the fuse is broken in (70 - 150 hours), it gives new meaning as to how good the ART-9 really is. Highly recommended.
^^ Agreed, it is indeed amazing for the outlay. Mine is just past 100hrs now, and presenting music as good as I have heard in 30 yrs in this crazy hobby. I just heard some new guitar lines in Love over Gold that I had never knew existed, adding to the great sense of space and instrument placement makes this MC a serious contender way above it’s price point. It clearly works well with the updated V2 of Concert Fidelity’s SPA4c phono stage, an ultra short signal path design. Masa Tsuda is a fan of My Sonic Labs cartridges which are also sublime, but for now I’m more than happy with the ART-9..
Soldevere, it should be a good match though I am not sure if the Aro can bring out all the resolution and extension that the Art9 is capable of. I had the aro too. It is musical and smooth but it is not very high resolution imo
Anybody directly compare the ART7 to the 9? I have a Herron 2 as well (best phono I've ever heard, and I've heard a lot!) will it be okay with the 7? I do have a 1:30 SUT too if the Herron won't do it.
Okay ... its been almost exactly a year since I started this thread on the great AT ART-9 cartridge.
Over this past year, I've made some real significant upgrades to the system including some very outstanding room treatments. Where I thought the ART-9 was a killer in the past, it is now a GIANT KILLER!
If you are thinking about a cartridge in the 3k to 5k price range ... consider the ART-9 and save yourself a ton of money.
Happy listening guys.
PS: Again, thanks to Pani for turning us on to the ART-9
I am very curious about this cart. I have heard the AT150ANV and I actually prefer my Ortofon 2M Black. The AT150ANV is now selling for ~ $1500. How is the ~ $1K ART 9 going to sound better?
think I heard the ART-2000 in a high-end audio store back in time, but it seems as though it was longer than 15 years. ago. The dealer was bringing them in on the grey market. No warranties. I remember being totally impressed with the pitch black background. Quite a revelation for me. Now, the top of the AT line is the ART-1000 at the price of $5000.00.
I am very curious about this cart. I have heard the AT150ANV and I actually prefer my Ortofon 2M Black. The AT150ANV is now selling for ~ $1500. How is the ~ $1K ART 9 going to sound better?
I sure hope it sounds better...... I have a dozen vintage cartridges that sound better than my AT150ANV.......and that's before counting my LOMCs 🙈
^^^ I haven't heard the AT150AV, so I really can't comment on it.
I recently had the opportunity to hear an ultra expensive audio system with a retail value of over 300k. It had three turntables, one of which had the Lyra Etna cartridge on it.
I couldn't help making comparisons with my own much more modest system of course. While the more expensive system played MUCH larger than mine (The Big Wilson's), it occurred to me that my system, as far as tonal balance and overall musicality is concerned, gave up nothing.
What I noticed about the Lyra Etna was a rising top end that was causing a bit of unnatural brightness to the highs. Now, this may have been caused by the setup and not by the cartridge itself, but I couldn't help thinking that the AT ART-9, especially for the difference in cost, really didn't give up much of anything, and actually gained with a more natural sounding treble. Again, this is no slam against the Lyra at all ... it sounded fantastic. But for my money, I'd go with the AT-ART9 and keep eight grand in my pocket.
another question about the ART9- my tonearm mass is 10.1g which would yield an 18.6g effective mass with the ART 9. using the 1.5X conversion of compliance @ 100 Hz (18 for the ART 9) yields ~ 27 dynamic compliance @ 10Hz. This results in ~ 7Hz resonant frequency which is lower than for carts I have had success with. The conversion factor by most accounts is also an estimate so the results are suspect.
I usually like to run ~ 10Hz or so and right now am unfortunately ruling out this cartridge for my 10.1g arm. Any comments?
Hi, Avanti1960, I've been using an ART9 with my SME 309 (9.5g effective mass) without problems and it sounds very good, even surpassing a Dynavector Karat 17D3. The one potential problem using the ART9 (or ART7) with a lighter weight tonearm is subwoofer pumping, as discussed here: http://db.audioasylum.com/mhtml/m.html?forum=vinyl&n=1141823&highlight=art9+pumping&sear....
I use sealed subwoofers so haven't had that problem. People with ported or servo subwoofers can use a rumble filter.
Thanks Tom for the info and link. It makes sense and now I will add the ART 9 back on my list as I have flexible rumble filter curve settings on my phono pre. Is the ART 9 absolutely neutral sounding? My system is sensitive to bottom heavy cartridges- even my Ortofon 2M black has borken in to sound too thick and heavy. Also looking at Ortofon Cadenza Red and Soundsmith MIMC star if anyone has any comments about those cartridges. Thanks.
@avanti1960 Take those calculations with a grain of salt. I did same analysis on a Japanese cart rated 10 compliance at 10hz, converted to 15-20 range which yields resonance 8.5-10. When I actually played the HiFi News Test record, I get 7hz. These formulas, manuf specs and conversions aren't exact. Many don't trust the test records...who knows?
When I heard ART9 in a SOTA system it was very neutral and even across freq. spectrum with little flavor of its own. If I had any criticism it was a lean nature & relative lack of 3D body to images. It definitely showed great value and stood more or less equally with a Dynavector XX2 at twice the price. Cheers, Spencer
Lots lots of praise for the ART-9 cart. I am interested in trying this. Also, moving up from my Scout 1.1 to something up the chain. Any ideas what table, arm combo would be recommended with this cart? Most of you guys have more knowledge in this area than I do.
Griffithds.....its quite a recommendation to hear the ART9 the equal of the Benz LPS. The only cartridges I like better than the LPS are the Lyra Etna and Atlas. Even the Anna doesn't do it for me the way the 2 Lyras perform.
Chakster ... think I heard the ART-2000 in a high-end audio store back in time, but it seems as though it was longer than 15 years. ago. The dealer was bringing them in on the grey market. No warranties. I remember being totally impressed with the pitch black background. Quite a revelation for me. Now, the top of the AT line is the ART-1000 at the price of $5000.00. Frank
Wow, $5000 for ART-1000 that's too much for me, but probably ok for MC lovers. I'm on my MM/MI/MF route and that's why i'm selling my ART-2000 MC just for $700 including shipping (perfect condition) if anyone would like to try this marvelous Limited Edition Reference Audio-Technica cartridge you're welcome (only 1000 units made 16 years ago for Japanese market).
I haven't heard an Ortofon cartridge but I can say that in comparing the Dynavector 17D3 to the ART9, I found that the tonal balance shifted from a slight emphasis in the lowest bass output (~80Hz and lower) to a more balanced bass output. I found that with the 17D3 I had to lower the volume levels on my subwoofers to keep the bass in correct balance with the upper bass and mid-range. With the ART9 I increased the volume levels of the subs a bit to have the correct balance. That and I noticed more control of the total range of bass frequencies with the ART9; there was a better rendition of acoustic bass guitar plucks, deep percussion drum thumps, and the full tone of electric bass guitar notes. The 17D3 wasn't quite as articulate.
The differences weren't dramatic, but if you were listening to the bass lines and drum thumps and paying attention to the overall tonal balance, I found the ART9 to be a better cartridge in my system.
My turntable and tonearm combination (Gyro SE/SME 309) has been described as being slightly dark but I think it's a matter of system compatibility/synergy and room acoustics more than a particular component. That said, I really am enjoying the ART9 in my vinyl setup.
I use my Art-9 with a 12" VPI 3D arm. The arm has a 10.5 g. mass. No problem. In fact when I tested the resonance with a Shure test record I found no peak resonance at all. The arithmetic gives a theoretical answer, but the design of the arm may wipe aside any theoretical considerations. In my case, in any event, the arm seems to provide absolute control over the cartridge. You haven't, I think, named your arm. You probably won't know until you try it, unless someone here is using the same arm.
the ART9 has won some awards in Japan- Analog Grand Prix gold award and two others according to their site. The reviews on Audiogon have been valuable- too many to count. The only thing keeping me from pulling the trigger are these (2) other carts that I am considering- the Ortofon Cadenza Red and the Soundsmith Zephyr MIMC star, neither of which are mentioned in any comparisons. The Soundsmith has a youtube needle drop and it sounds amazing- as fast as lightning.
Does anyone have any ART9 needle drops they can link?
Not sure how much can be gleaned from this review. First, the clarity of the evaluation and review conclusions is compromised by the translation. Second, the reviewer highlights the "weakness of TD 240 - 2... which makes the exquisite sound using the "sound" of the record player's arm or the casing, the "sound of the player = loose" (Especially the bass side) to spoil, its ability is hard to be demonstrated straight.Please note that there is some doubt about how accurately the sound of AT - ART 9 can be evaluated for that reason". I'd be more inclined to give weight to the opinions expressed here by fellow audiophiles, who are using the ART 9 in a wide range of arm/table combinations and particularly those with the same table/arm or similar system preferences as your own.
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