To those with multiple tables/arms/cartridges

I use a Manley Steelhead which has 3 phono inputs and one line input that I run a Simaudio LP5.3 into, all running into a Musical Fidelity M3 Nuvista which also has a phono input to get 5 phono inputs available through my system. My custom Lenco has 2 arms, my Transrotor Fat Bob has 2 arms and my Sony PS-x65 runs into the M3 phono input. the Steelhead has switchable loading on the front panel, so its easy to load each cartridge without opening the box. And 3 or my arms have replaceable headshells, so its pretty easy to get a large combination of cartridges playing with little down time between. Which one I use is random.

3 tables, 4 arms, 5-6 cartridges. Now that I have 2 arms with detachable headshells, I hope I will get to hear all the cartridges in a more regular rotation. One arm has mono cartridge. The rest are all stereo MCs. I think while some set up is better than other at certain type of musics, in general they can play wide variety of music well so just a different flavor depending on my mood. Thinking about adding an MM or MI just to have something different and wider palette to choose from. 2 phono with 3 inputs available so next project is to add more phono inputs, I think.

To Halcro, arms and cartridges outnumber the turntables. Yet it boils down to only using 2 cartridges on 2 identical arms on my favorite turntable: a stereo and mono version of the same cart. That cartridge was chosen as it the most linear (I measure and nearly all mc carts have rises in the top end) and most natural sounding to me, while still retaining real detail.

2 tables, 2 arms and 3 carts. Just joined the party.
Cheers

Dear Henry, First thing first. Seneca said that man is a rational animal. Since the Greek we use ,uh, 'metalic analogy' to describe 'man': iron strong, honest as gold,etc. So when John whom we described as 'honest as gold' robs a bank or seduces the wife of his best friend we feel ashamed for our judgment and state something like:'who would believe such a thing of John?' So either our analogy is wrong or we overlook the function of time.
I, for example, was 'iron strong' but some time ago. At present I get serious problems with my back every time I need to adjust my tonearm/cart combo. So, I think, we need
to correct Seneca slightly:' being rational is fine but not all the time.' How much time one wants to be, uh, 'not rational' will depend...similary to our system composition.
Bulding blocks is a different philosophy than 'synergy'. Because of you I installed an second system in my bedroom with SP-10 + FR-64 + 12 headshells in order to be able to
change and test carts in an easy way. The whole 'composition' is on my (former)writing desk but the importand thing is that there is also a chair in front.My intention was to select carts in my second system for my main system. But playing with carts and headshells become also a kind of sickness such that I spend day and night in my bedroom. I could rent my living room with my main system and earn some extra money for my hobby. So to speak , that is. In my main system I have Kuzma Stabi Reference with the Triplanar on its own (Kuzma 'base'=700 euro) and the Reed 2A , 12'' on its own arm pod. This arm pod btw was installed before the 'Copernican revolution' (sorry). I have no idea why the (MC) carts with low compliance are produced but for those I use my Reed 2a with 27 g eff. mass. 'All' other carts I use with the Triplanar. Now I would never state that I am as 'honest as gold' but to be honest I need to confess that the only carts which are 'promoted' from the bedroom to the living room are LOMC's. I hope you can forgive me such a kind of deviation ? Those are are at present: Miyabi Standard, Magic Diamond, Benz LP s(mr) and Kiseki Goldspot. Kiseki I use for the string instruments, Miyabi for the vocals, the LP s and Magic Diamond for the rest. My tastes (remember?)are classical- and folk music.

Those people have OCD up the wazoo!

They need a shrink!

Two tables, three arms active, eight cartridges. No method to my madness.

I have 3 turntables up and "running" at all times and own 5 total, if you count the broken TT101 I just bought. I use a highly modified Lenco for MM cartridges and the two others for various low output cartridges. The Lenco set-up feeds a tube MM phono stage, and the other two feed the phono section of my Atma MP1 full-function preamp. I have no idea why I do this, or how my audio life got so complicated. I am kind of like the derelict in Syntax's cartoon, except that this obsession did not make me poor. I guess I started out with an interest in learning for myself how turntables per se affect sound. I've also had some fun restoring or overseeing the restoration of some excellent vintage turntables, in the bargain.

Apparently my odyssey was a waste of time and money. Omsed has all the answers. Still, it's been fun, and I think I'm done.

Dear Nikola,
We know you love to tell stories.....but can you actually answer the question about how and why you listen to which and what tonearm and cartridge?
Regards
Henry

Omsed,
You don't mention arms or cartridges?

I have 7 turntables set up ready to roll and many others in house. Some perfect classics (idlers, idler plus belt, direct drive) as well as new state of the art.

With all those, I end up using the most neutral, quiet belt drive table as on a wide variety of records it just shows more, has more dynamics, exaggerates nothing, just delivers what is on the record.

In the end, when you have a very low distortion device with extreme speed stability it just is more satisfying than more colored turntables, as alluring as it seems (before you do it) to have a "real warm table" for "easy listening" and others with other colorations. Colorations mean distortion is covering up true detail, and even on less than the best records, that gets old.

'For more than 30 years I had only one turntable,one arm and one cartridge...' and than become member of this forum. I assume nobody would own more cars than just one if there were no neighbours with more than one. Besides there are many diseases which are contagious. In my case however I was straightaway infected with the tonearm sickness. I assume that I have some natural resistance against TT's disease which 'explains' the story above but with the added curious result that I owned 12 tonearms and still just one turntable. But on this one I installed two tonearms with, stupid me, fast headshells. Than with my participation in the MM thread I also learned to hunt for the 'carts of the month' on ebay such that in no time I become collector with more than 30 carts. Changing those in fast headshells + Basis Exclusive phono-pre which need to be opened for each sdjustment caused me at last to buy an second TT on which I installed my 'old love' the FR-64s. Actually it was Henry who 'caused' this change because he asked the question: ''why don't you use your FR-64?''
Henry obviously like to question many things but this thread of his has no sense whatever. We all know that there are no rational answers to those 'why' questions. So we are, so to speak, forced to invent whatever reasons to justify what we have done. How is one supposed to do that without tell tales? The rest of us than need to pretend not only to understand what other have done but also to feel sympathy and/or empathy for the guy in question and hope for some kindness in return. Considering 'some' anymosity between 'some' members I am very sceptical about this thread (grin).

Anyway he uses one system to listen to instrumental jazz, another for classical, and a third for vocals.

I've heard this before.......and also the Hesson method of 'bright' and 'warm' cartridges balancing 'warm' and bright' LPs.

These don't seem to work that well for me as after I have decided that a 'full-bodied' cartridge like say the Fidelity Research FR-6SE is great for my 'bright' sounding LPs......when I switch to a more neutral cartridge directly after listening to this combination........I hear nuances that escaped the previous cartridge and re-listen to that 'bright' LP all over again.

I think that really good cartridges (and arms) are better than just 'tone-controls'.
They give one the ability to discover differences in presentation without changing speakers, amplification or rooms?

Then again there are folk who have different rooms, speakers and systems :-)

One friend has three tables, each with arms with fixed headshells and a dedicated cartridge. That requires more space but only minimal time to change the wiring.

Anyway he uses one system to listen to instrumental jazz, another for classical, and a third for vocals.

Differences ...

I had Arms for Monday/Wednesday/Friday/Sunday
I had Arms for Tuesday/Thursday/Saturday
I had Arms for Winter/Spring/Summer/Autumn
I had Arms for Reissues/Originals
I had Arms for Direct Drive/Rim Drive/Belt Drive
I had Arms for 2k carts/5k carts/10k carts/20k carts
I had Arms for Turntables I even didn't buy
and one day... there
I heard differences

"Is this the way most of you with multiple cartridges/arms listen?"

Who is going to be the wise guy who says, "No. I listen to music, not equipment?" :-)

I guess I just did! Actually, for LPs that are on the cool side, I use my warmer-balanced Grado Sonata. For LPs that are on the warmer side, I use my cooler-balanced Shelter 501 Mk. II. That's about it!
-Bob

Eye candy :-)

This way :-), anyway my client does. The photo was taken before cartridges were mounted, on the SME 312S is a Clearaudio Goldfinger Statement V2, on the Moerch is a Koetsu Blue Lace Signature and on the Graham is a Ortofon MC Anna. This currently feeds into a AMR PH77, which is to be upgraded shortly with three Olympia PX phono preamps.

GrooveMaster Custom

Good Listening

Peter