I believe that a cartridge and a speaker, by far, contribute the most to SQ.
The two transducers in a system.
I bit the bulllet and bought a Lyra Atlas SL for $13K for my Woodsong Garrard 301 with Triplanar SE arm. I use a full function Atma-Sphere MP-1 preamp. My $60K front end. It is certainly, by far, the best I have owned. I read so many comments exclaiming that Lyra as among the best. I had to wait 6 months to get it. But the improvement over my excellent $3K Mayijima Shilabi was spectacular-putting it mildly.
I recently heard a demo of much more pricy system using a $25K cartridge. Seemed to be the most expensive cartridge made. Don’t recall the name.
For sure, the amount of detail was something I never heard. To hear a timpani sound like the real thing was incredible. And so much more!
This got me thinking of what could be possible with a different kind of cartridge than a moving coil. That is, a moving iron.
I have heard so much about the late Decca London Reference. A MI and a very different take from a MC. Could it be better? The World’s Best? No longer made.
However Grado has been making MI cartridges for decades. Even though they hold the patent for the MC. Recently, Grado came out with their assault on “The World’s Best”. At least their best effort. At $12K the Epoch 3. I bought one and have been using it now for about two weeks replacing my Lyra. There is no question that the Atlas SL is a fabulous cartridge. But the Epoch is even better. Overall, it’s SQ is the closest to real I have heard. To begin, putting the stylus down on the run in grove there is dead silence. As well as the groves between cuts. This silence is indicative of the purity of the music content. Everything I have read about it is true. IME, the comment of one reviewer, “The World’s Best”, may be true.
Nice description of the kinship of the Ortofon Generations.
Not to be a challenge, but I have heard the Vienna, which has a controlled but noticeable Bass Presence compared to the K'b.
I perceived the Windfeld as have an increased Tone in comparison to the Vienna, the Windfeld seemed to have underpinned the attractive Vienna.
The A90 I have heard on an unfamiliar system and had this in my mind as a Lean Racehorse, but still to my liking.
I like Ortofon, these Cart's in their Trickle-Down Technology Guises, meet my needs. The Older TOTR items are proven to myself to be very attractive too, but not being pursued, I have found my level of being contented.
@edgewear, wow, lay of the defensive stuff. Your Anna has been through the ringer and I would think you would want to know if it was performing normally.
Not one review I read of the Anna Diamond mentioned tracking problems. But, I have purchased clinker cartridges before, just not $10,000 ones😬
@atmasphere, It was mounted in a Schroder Reference. I did not hear it miss track. Nothing we played was that challenging. Peter himself admits the cartridge can't handle the highest velocities but he also says the cartridge is particularly kind to the grooves playing lacquers repeatedly without hurting them. I should also add there is the factor of buying a dedicated interface making it a system unto itself. Whatever the reason my instinct decided not to go with it. I also had a bad experience with Sao Win's cartridge back in the early 80's but I think I factored that out of my decision making.
@mijostyn this just goes to show that reviews don’t tell you anything. It’s a different story when the Ortofon chief designer reluctantly goes on camera mentioning occasional tracking problems with Anna. This is what I experienced and to some extend still experience even after two repair / upgrade trips to Ortofon, taking the better part of a year and costing €3500. Let’s just say I’ve had better customer journeys.
Sonically the Anna is one of the best cartridges I’ve experienced, but unfortunately the tracking capabilities are just mediocre. After all the trouble I’ve decided to accept this, but the Anna spec sheet is optimistic to say the least.
Dear @mikelavigne : " " tell us about your listening opinions.
all the other is noise and nonsense. "
If you ask for the " best cartridge " I already posted twice my opinion and about the Dava I never listen to it.
As you could think by my posts I’m wondering from whre that " I like it " in your posts came in .
Mike for so many years that I can’t remember we were and are audio friends where normally we are in agreement, not always but at least 85% of the time and I’m really worried that this time we are in absolut disagreement inside a hot dialogue in a way critic/important audio issues.
Due to all those and like I just posted to frogman:
" no one can’t questioning that personal preference but what I can do is to analyze the overall scenario/context room/system from where is developed that " I like it ".
Things are that I did it and I’m not telling I’m rigth and only will describe some " facts " that I found out and along your self special MUSIC reproduction priorities/preferences could explain some " things ".
I have to tell you that this is the same " road "/proccess that I follow with any other audiophile trying to understand their opinions on first hand audio subject experiences but been you I take care very carefully my " research ".
The premises that founds my proccess are ( everything the same. ):
- the shortest signal path the better
- the lower/less joints and connectors the better. Joints is a non desirable interruption to the signal flows.
- with phono stages: the inverse RIAA eq. lower FR deviation the better.
- whit phono stages: the lower noise level the better as the widest FR bandwindth.
- the lower output impedance the better
- specs are important and if shows measurements the better.
- any additional " item " to a direct path of the signal means signal degradation.
Other than that premises/targets for me only could means: lost of signal integrity and added modulations: this modulations means " distortions, noise, colorations. "
All those is what I try to follow in my room/system too. This is me.
Well these is what I found out that surrounds the cartridge signal under discussion:
In your system you have the analog rig that fullfil in excellent conditions my targets that are different from yours as mines are different from other gentlemans too. Each one of us are unique in those regards.
However you choosed and like a lot this one:
the cartridge signal travels inside the tonearm wires as is in any tonearm and at the tonearm output that signal is connected to an " enhancer/dongle " with one female/male connectors and joints at either extreme ( 12 " in length . ). From here the signal goes to the IC phono cable that according with the LFD designer/manufacturer inside are:
" The cable is a twisted pair and not a coaxial cable with outer screen however it pretty unconventional cable in that the hot and cold conductors are different to each other unlike conventional cables, in that the hot and cold conductors formed from either silver copper, amorphous, and pure solid silver ribbons basically there are six different materials for the hot and cold conductors. The rings are for mechanical dampening and do not carry any networks. The plugs are all custom made for each particular cable and compliment the sonic characteristic of each cable design. A combination of different numbers and sizes of conductors enabled the sound to be enhanced significantly over the use of single conductors ( HE DIT NOT SHOWS IN ANY WAY FROM WHERE CAME THAT LAST STATEMENT ENHANCED SUPERIORITY TO ONE SINGLE CONDUCTOR. ). Some of the LFD cables incorporate enhancers internally, and sometimes use different conductors between enhancers . " he continue: " which is designed to improve the sound..... One major improvement that is achieved by the enhancer is the significant reduction of grain. "
IMHO DOES NOT EXIST ANY SINGLE SIGNAL " ENHANCER " DUE THAT ANY ADDITIONAL ITEM TO THE SIGNAL PATH DEVELOSP MODULATIONS THAT GOES AGAINST WHAT IS IN THE LP GROOVES. In the other side he said reduction of grain with out explain how that could happens with out signal lost how that dongle can distinguish between signal musical information and grain ! ! ? ?.
Yes, does not exist any single spec/measure information for the cable or for the dongle.
An audiophile asked him:
" "" That is how does one arrive at the choice of various thicknesses? Why does the negative have so much more wire than the positive? What are the capacitance measurements pre and post dongle insertion? What materials are preferred and why? What governs choice of dongle length? Does the dongle preserve shielding if the preceding interconnects are also shielded? What is the inductance pre / post dongle insertion? Is the dongle behaving as a filter - if so what frequencies is it acting on? Is a dongle universal or only suited to specific components for which it is designed electrically? "
The manufacturer response was: " The proof comes from the listening " and they made " thousands of listening sessions.
In this first cable/dongle where the signal pass through exist at least 9 joints against normally 4 joints in any other IC cable.
Well the signal path continue is travel and is connected to a Phono Corrector by EMIA that’s a tube unit with a inverse RIAA eq. designed with silver inductors instead capacitors. The input signal instead the input connector stays soldered directly to the circuit board adds more joints using a cable in between. Can we ask for RIAA specs or noise level , etc, etc.? yes we can but does not exist information about.
Now and through a different cable the signal goes to a SUT with silver transformers to achieve the necessary gain to be handled for a line preamp.
This is what the designr posted somewhere: "" nickel output transformers with over a mile of silver in them. "
Yes, the cartridge signal travels for a way long path.
From the SUT the signal goes through a LFD cable to the line preamp where that cartridge signal ends this totuose path. This linepreamp is part of the Dartzeel you own and where you have all specs we need and where we can see inside the unit that the designer , as other today top electronics designers/manufacturrs, choosed SMD devices for a way short signal path.
What am I using in my system? exactly the same you can do because your Dartzeel is a high gain active phonolinepreamp: CONNECT THE CARTRIDGE SIGNAL USING ONLY ONE IC CABLE nothing added to preserve the cartridge signal integrity at to stays nearer and truer to the recording. Well that’s my targets and the way I listen cartridges in my system.
Maybe as you said what I posted has no sense for you but only for me. I still am your audio friend trying to help even that you don’t asked for.
I found out that each LFD cable price is over 16K+ when the output non LFD cable in the Phono Corrector is around 80.00., I could think that you are aware of this " contrast ".
A friend has been an exhibitor at a Public attended HiFi show on the weekend past.
They presented a HiFi System based on their own very unique Preferences.
This system was using the Vinyl LP as the Source and was presented in a setting where 40 Hotel Rooms were fully booked to have a Non-Commercial event, where Enthusiast and Professional Systems set up for demonstrations to a ’migrant between rooms audience’ of approx’ 500 Public Attendees, of which most will be keen for the use of a HiFi System.
Sytems values are ranging between a Few Thousand ££’s into the £100 000+
The system I am referring to is a Technics SP10 MkII with owner modifications carried out the electronic function. The TT is mounted in a Panzerholz Plinth with a built from scratch own design Tonearm>Cartridge -Bespoke Rebuild of a Ortofon Kontrapunkt B.
This was interfacing downstream with a Bespoke DIY Built Balanced Head Amp>Bespoke DIY Built Balanced Phonostage> Bespoke Built DIY Balanced Pre-Amp>Bespoke Built Power Amp>Bespoke Built Speakers.
From the after-show murmuring, and that I have seen this system put in an image recorded on a Web Site that is a recognised review site, I can only assume the Journalist was sharing similar impression as to what the murmurings are sharing, this was a very good presentation and able to hold attendees in the room for extended periods.
It seems from a description given directly to me, that one well-heeled room attendee, who had made it known, that they have invested substantial monies in a Vinyl based system, was struggling to comprehend the quality on offer from the Kontrapunkt B, when used in the system being demonstrated, it was genuinely a mind boggle to them.
Is the experience able to be reciprocated if the K’b was extracted and put into the well-heeled owner’s system, who knows?
No measurements taken at this event, just numerous individuals freely roaming and assessing, with their senses guiding them, as a result of the external stimulus being encountered.
Naysayers with advance knowledge of this system, will have been quite likely to have written it off, as an exhibit not worth making time for.
From the after-show murmurings, I would suggest, both Naysayers and the Inquisitive were treated to something quite special, and very much able to produce an indelible memory.
I feel very confident it is stimulus, that is the fundamental energy produces that drives a continued interest in having a readily available access to a HiFi system. At a event like the one referred to, the exhibitors and attendees are actively seeking out a stimulant to the senses en-masse.
Measurements are one aspect and without them, there will not be HiFi as such, but in general, measurements are left to the design side, and are not sought by the mass of product users.
Is the Kontrapunkt B, the ’World's Best Cartridge’ ?
Was the Kontrapunkt B, in its modified guise, the Best Cartridge heard in an individual’s World on the day of the event, for a proportion of the attendee’s, it is a possibility this was the case, if stimulus produced was the basis for the judgement.
Dear friends: and btw. I wonder 2 things and maybe some of you ( mijos. lewm or some one else. ) could help:
first is how the LFD manufacturer been totally sure that in their cables that comes with 6 signal sources where in each wire source the shape/geometry is different as is the builded material choosed and in the time domain those 6 signals arrives accurately at the absolute same time with out a micro/nano sg. time delay? I wonder about.
My other wondering that maybe only Mike/the owner can now are the reasons or reason to he decided that the LFD cable is not good enough to been at the output of his PC where he choosed for a different cable. Obviously I have not any explantion or hypotesis about.
Just curiosity because all ththat scenarion gaves him the answer for the best cartridges. Thank's
i’m not qualified to judge the tech of LFD cables (Dr. Richard Bews) other than what my ears tell me. for those curious about what Raul is referring to here is a thread with information about them.
in that thread are references to Be Yamamura and Dr. Hawksford who Richard Bews studied with. are those guys right? or way off base? who knows? unanswerable.
all i can say is i hear the most coherent, top to bottom balanced, and micro-dynamically alive, musical presentation of any cables i have heard. very sonorous yet agile sounding. are they perfect? don’t know.
Raul; i assume when you use the term ’PC’ you are referring to a personal computer...digital? right. not sure my Wadax server/dac might be confused with a personal computer?😀 why did i not use the LFD cables there? simple; my view is that while my digital uses normal line level, cartridges are dealing with much more delicate signals, .2 to .5 mv, and the cables are much more important and so i invested more there. not that my interconnects for my digital are cheap, just not quite as exotic. plus LFD cables are hard to acquire as they are all hand made by Dr. Bews and might be back-ordered a year or more.
the few that have heard or owned LFD cables are quite broadly impressed with them.
btw; i will respond to your thoughtful earlier post when i get a chance.
How can one ancillary be instrumental in elevating another ancillary, to be seen to be better than the sum of the parts.
Again, no measurements available, the evaluations derive from the varied views on how the Stimulus of the experience shaped one's perceptions and influenced an attraction or repulsion toward the parts in use.
Again, each to their own, in relation to what is their preferences.
Dear @mikelavigne : Thank's for your patience and appreciated, almost we all here ( at least me. ) are learning about.
Btw, PC means Phono Corrector that's where at its output ( very specific place. ) you have a non LFD cable and from there my " wondering " with.
The knowledge technical audiophiles here as @terry9@atmasphere@mijostyn@lewm@larryi@mulveling and some others can have good ideas what's happening down there with those cables and with the Phono Corrector and SUTs.
Maybe not, I don't know.
Now, somewhere Dr. Bews should has very precise/accurated answers along his measurements as foundation of those.
What makes me that I had and have some " suspicion " was the Mick answer when that wbf audiophile asked for measures and he respond: " the proof is in the listening ".
I read the thread on WBF via the URL provided by Mike. He started the thread in mid-2020, and I read it up to about mid-2021, but posts continue to the present. As of where I left off, Mike owned two of these expensive LFD cables. One is a phono cable terminated at one end with a DIN plug. To quote Mike on WBF, "the LFD phono is from the CS Port turntable to the EMIA silver SUT; the SUT is connected to the MM input on the CS Port phono with 18" special interconnects provided by Dave Slagle..." Mike is using the second cable, which is a conventional IC as follows: "the LFD RCA interconnects are from the CS Port phono to the dart [DarTZeel] preamp." As of where I left off, apparently Mike had acquired a second phono cable for his Saskia. (Mike, sorry to speak of you as if you in the third person. Please correct me if I've got it wrong.)
It would never have occurred to me that the road to cable Nirvana would be found by combining many strands of wire of different gauges and different shapes (ribbon AND round cross-section) and even different compositions (one strand seems to be copper sheathed in silver; the rest of the strands are pure silver). I don't know how to rationalize it, but I don't argue with listening tests. I think Mike and others on WBF are just as surprised at the results.
Hands down the Goldbug is the best we have ever heard period. So musical and enjoyable. The Denon cartridge with the wood body is a great deal for the money.
There is no doubt that very few Individuals, whether a Commercial Retailer or an Enthusiast User, are using the same System Components and Supporting Ancillaries.
Take this further and include the variations in methods used to Support Components and the Unique Environment the System is set up in, it all adds up to each individual making a commentary on value given to a Component, Ancillary, or complete System, all have a very unique interaction with it, which will be interpreted in a way that is with limitations.
The information that is usually offered and most commonly evident, is where the most valued impression made was recollected.
When considering the above, it puts in place, that in general each individual, will have developed preferences based on their Unique Encounters of a HiFi System.
The Presentation that is on offer, will be assessed against the attraction to the ed a Stimulus produced within themselves.
If a person desires to reinforce their findings by investigating the design parameters for a product that has made an impression, that is quite different to the stimulation of the senses that has been pursued through receiving a demonstration.
The rating of value given to a device, ancillary or overall system, is usually derived from the stimulation created through the listening experience only.
The following description is supplied by a forum member, who has without their obvious endorsement, have willingly or unwillingly, recently been elevated to an Exalted Level by another, in relation to the idea, they are above the regular contributors in the Technical Expertise for the usage of a HiFi System.
What the following does demonstrate, is that the methods selected and being prompted to be discussed, are not usual selections being made for ancillaries used to connect components to produce a HiFi System.
The choices are seemingly thought of as unusual, especially as there is a selection of choices made, that are veering away from what might be considered a regular thought on such a practice.
I read the thread on WBF via the URL provided by Mike. He started the thread in mid-2020, and I read it up to about mid-2021, but posts continue to the present. As of where I left off, Mike owned two of these expensive LFD cables. One is a phono cable terminated at one end with a DIN plug. To quote Mike on WBF, "the LFD phono is from the CS Port turntable to the EMIA silver SUT; the SUT is connected to the MM input on the CS Port phono with 18" special interconnects provided by Dave Slagle..." Mike is using the second cable, which is a conventional IC as follows: "the LFD RCA interconnects are from the CS Port phono to the dart [DarTZeel] preamp." As of where I left off, apparently Mike had acquired a second phono cable for his Saskia. (Mike, sorry to speak of you as if you in the third person. Please correct me if I've got it wrong.)
It would never have occurred to me that the road to cable Nirvana would be found by combining many strands of wire of different gauges and different shapes (ribbon AND round cross-section) and even different compositions (one strand seems to becopper sheathed in silver; the rest of the strands are pure silver).
"I don't know how to rationalize it, but I don't argue with listening tests".
I think Mike and others on WBF are just as surprised at the results.
The one that any individual, albeit, Professional, Enthusiast or Casually Interested, in any aspect of replaying recorded music decides is best for them.
It is easy to create preconceived perceptions and get surprises when the unusual delivers the goods.
I have been undoing such a limiting outlook for too many years, I certainly am not feeling any constraints, an open mind is present for all that is to be experienced.
the answer for the ’PC’ meaning Phono Corrector’ is the same as my other answer, but it involves a little more detail to describe my evolution. step one for me was my first ’exotic’ LFD din<->phono cable i used on my CS Port tt and linear tracking arm. next i added an LFD Raptor between my CS Port phono and my darTZeel preamp. and i was using a short set of rca i.c.’s provided by Dave Slagle between the EMIA SUT’s and the CS Port phono. these short (18") interconnects were spec’d by Dave to work in that spot. the tech for this short SUT <-> PHONO cable is unique to that particular place and beyond my understanding.
next i added a second LFD din<->phono for a second arm. everything else the same.
next i switched from the CS Port phono (which had three inputs) to the EMIA Phono Corrector. but this also created a temporary problem since the Phono Corrector only had one input. i was having an MC Trio built with three inputs,
but first i had to determine the SUT values for the Trio, and especially for the DaVa this was a challenge. had to wait for it to arrive then experiment with different SUT’s. we did figure that out and the MC Trio was built arriving in August.
so i had 3 arms, but only two LFD phono cables, and one LFD set of Raptor rca’s. this is when i acquired the LFD dongle. the dongle is a short 11" long contraption that overcomes the limitation of the 5 pin DIN connection which is a limitation of the din<->rca phono cables. the dongle breaks all the rules and actually uses tubes of metal instead of wire, and is very stiff. the last pages of that LFD thread do talk about the dongle and show pictures. to use the dongle i had to add the LFD Raptor interconnects to it. which left me without a LFD cable between the Phono Corrector and the dart pre.
the idea being that the phono cables were orders of magnitude more significant than the interconnect between the phono pre and dart pre. i wanted tip top phono cables first and foremost. so i’m hearing all three cartridges and arms at their best. it did turn out that the dongle + Raptor was the best phono cable. we did some cartridge switching to verify that. more dynamics and space from the dongle/Raptor.
temporarily i used a set of inexpensive but highly regarded interconnects;
meanwhile, i had a friend of mine build me a set of 1.5m ’skunkworks’ rca interconnects which i now have been listening for 10 days which are much better. i’m about to switch the cheap set back in to see the difference.
my reasoning for not replacing the LFD Raptor with another is two fold. first, another Raptor is very expensive, and second, i would need to wait at least a year to get one. hoping my friends handwork will suffice. my impressions are very positive.....but in any case it’s an even playing field for all three tonearms/phono cables.
Is the Kontrapunkt B, the ’World's Best Cartridge’ ?
Was the Kontrapunkt B, in its modified guise, the Best Cartridge heard in an individual’s World on the day of the event, for a proportion of the attendee’s, it is a possibility this was the case, if stimulus produced was the basis for the judgement."
You make me smile. I'd like to know about the modifications involved. I have not heard a 'B' but have a 'C' which was just above it in the Ortofon range in those days. Maybe we are all listening to little differences and there isn't any great difference to be heard once you get beyond a certain point in cartridge build quality?
I imagine we have all had one of those wonderful experiences where you suddenly hear something so much better that it changes the way you do things thereafter? But once you have got there, are there further similar revelations or are we quibbling about the chauvinism of small distinctions?
If ten of us sat listening to the same system with the best Lyra, Ortofon, Soundsmith, DA Audio, DaVa, AT, Dynavector, Clearaudio (add your favourite) carts, would our preference just be individual and not generally reproducible? And if we knew that such results were not to be generalised among all listeners, we would simply be happy with what we liked and not feel the need to impose our preferences on others. That sounds like hi-fi heaven to me!
Dear @mikelavigne : Thank's. I already knew all what you posted and I can see you don't have answer about the differences between all that longng travdel of the cartridge signal inside the Phono Corrector + SUT + Dartzeel line preampg agains t what I posted:
" your Dartzeel is a high gain active phonolinepreamp: CONNECT THE CARTRIDGE SIGNAL USING ONLY ONE IC CABLE nothing added to preserve the cartridge signal integrity at to stays nearer and truer to the recording. "
I don't question what you like beut I'm severely questioning not only those LFD items but those tubes and SUTs vs the great direct exceptional Dartzeel SS linepreamp.
I don't care what the other wbf gentlemans say on all their congrutalations to you and what they are listening through those LFD cables. I care only about you and that severe change you did it from pure SS high gain active unit to separated tubes RIAA + SUT + a line preamp.
That's what does not makes sense to me: why return to the past instead to follow with the best proved today technology that degrades the less the cartridge signal, no matters what?
Yes, it is what you like and obviously is up to you. But this followed saying something wrong is down there:
"is unique to that particular place and beyond my understanding. " The key word in your statement is that you don't care about and me from the outside just like to understand the whole issues that LFD Mick and EMIA just " dead silence " and is obvious their silence because you are very good customer.
fundamentally using an SUT potentially brings a musical touch, inner artistic view and envelopment that high gain phono preamps such as the darTZeel can’t quite do in the same way. this effect varies with actual execution of the phono and SUT.
my experience is that the silver wound EMIA phono and SUT is very special in this regard. but hard to make an objective case.....it’s purely experiential. like......music.
certainly the best high gain phono’s have their own attributes which i enjoy when i choose to use that approach. it’s good to have that choice.
@dogberry I am wed to the Ortofon Brand as a Cartridge, even though over the past few years, I have been able to have certain Ortofon Cart's compared to a few other Brands, using the opportunities as made available to attempt to define where the separations are through the using the differing design intents and technologies.
This same experimentation through listening within the Ortofon range only, has also been given a fair amount of time allocation, to learn where there are differences to found between various Cart's from different Marketing Levels.
The Windfeld and Vienna have been the Benchmark used on a Bespoke Design Tonearm.
The Kontrapunkt B in original guise, is owned between a selection of individuals within my HiFi Group and there are redesign / rebuild variants of the K'b as well.
My experience of the K'b in use is quite regular and I have heard it on various Tonearms in various systems, as well as having it demonstrated on the same system in comparison to a selection of other Cart's.
I have learned from this that if the Arm/Cart' are correctly matched, there are still variables in the impression made from a replay.
It could be claimed that the differences in devices used within a system can be responsible for this, and I won't stand in the way of such a pattern of thought, it is one that is presented in many discussions seen.
My encounters and following assessments lead myself to a different approach of thought, I am convinced the K'b is a not too attractive Cart' when used on certain Designs for a Tonearms and can be underwhelming, even though replaying the music in a manner that can be enjoyed. The K'b is a Jekyll and Hide, as when used on another Design of Tonearm, the Design is quite capable of excelling, and becoming very attractive in use. When partnered with a Tonearm of a certain design, the K'b has proven itself to compare very favourably to much more expensive Brand family members, leaving not too much amiss in the comparative performances.
It is the experiencing of the above, that has led me to adopt the thought, where the Trinity of Ancillaries required for Vinyl LP Replay, i.e, TT>Tonearm>Cart' will be with an obvious weakness if the Tonearm is not able to allow the Cart' to perform at its optimum.
It is also the experiencing of the above, that has led me to be quite sure that my there are Downstream Devices underperforming as a result of not being sent a Signal from an optimised interface upstream.
The Redesign / Rebuilt Cart' inquired about in use, has a Boron Cantilever and FGS Styli. This has been a method used by Cadenza Black owners wiith a very good follow up report. I would also believe the technician gave the under the hood of the K'b a little bit of their special attention, even if only a thorough clean.
My K'b redesign / rebuild is a little more advanced in ideas, as it has a upgraded internal from the upper range of Ortofon, with a FSE and WRD used as well.
It also veers from materials usually selected by Ortofon, as it has a Beryllium Cantilever and Ogura Vital S+ Styli.
I have heard much of the Ortofon Family since the release of the Models from the Millenium and onwards, of which a selection has been heard in systems that are very familiar.
I have yet to hear a Ortofon with detail retrieval like the rebuilt one I am using, and am not too sure if any Ortofon Model I have listened to in a familiar set up, has shown it a clean set of heals, more like the differences detected is a different sprinkle of seasoning.
My gut feeling is that if Aucurum was the coil material on my rebuilt K'b, it would be without doubt, out there with the best.
Aucurum is my next line of investigation and I do have a rebuild designed and to be carried out on a Cadenza Black Donor Cart' for this reason.
@pindacThat's very interesting. You may have gathered I'm wedded to my London Deccas, but I know I must be prepared for their demise and unrepairablity after John Wright retires at the end of this month. The Kontrapunkt C has been a welcome surprise when taken out of my stash of older cartridges, and while I had thought I would replace it with something like a Cadenza Black when the stylus goes, I'm now thinking I might be better off sending it for a re-tip to VAS or Soundsmith. I can see myself getting very comfortable with it: when you keep equipment a long time because it suits you, your tastes change to align with what you hear. It's like a comfortable pair of well-worn shoes, where both shoe and foot adapt to each other. You get to a point where your system, which may not be the objective best around, still sounds 'right' to you. I think this is rather desirable to a pragmatic audiophile, as it gets you off the treadmill of constant upgrades and dissatisfaction, and lets you get to the point where you are happy with (and a little proud of) what you have, and you can settle down to listening to the music, not the equipment.
My encounters and following assessments lead myself to a different approach of thought, I am convinced the K’b is a not too attractive Cart’ when used on certain Designs for a Tonearms and can be underwhelming, even though replaying the music in a manner that can be enjoyed. The K’b is a Jekyll and Hide, as when used on another Design of Tonearm, the Design is quite capable of excelling, and becoming very attractive in use. When partnered with a Tonearm of a certain design, the K’b has proven itself to compare very favourably to much more expensive Brand family members, leaving not too much amiss in the comparative performances.
Having about a dozen upper-line MC’s I rotate among, I can for sure say that some are particularly hot or cold (or chameleon-like, or Jekyll & Hyde, etc) depending on what gear they’re mated to. But here turntable and speakers remain constant; even the tonearm is usually constant now as I’ve settled on the 2nd FR64fx as my "sandbox" arm. But some cartridges have been particularly sensitive to SUT pairing first, and then preamp & amplifier second. Even tube rolling selections can affect this:
Shelter Harmony - When Cold: A bit too hot up top, and too lean in the midrange through upper bass. When Hot: Amazing clarity through midrange, fast, tight & punchy bass, sparkling highs and beautiful staging. Can pull new life out of some pressings on the dull / dark side.
Ortofon Windfeld Ti (and MC): Cold: Dry and boring overall. No life in the midrange. Sounds like good (not great) digital. The older MC version had these problems plus too hot treble. Hot: Well balanced, super clean linear & neutral. Very fast response! Spectacular quality treble, like a top flight Stax headphone system, without being too overblown. The opposite of being lifeless; it brings life to the music. Ti is cleaner, smoother than MC. The Jubilee is similar to Windfeld MC too, but not as good and I never got it to work for me before trading (it worked well for the friend I traded it to).
Benz Ebony L: Cold: A little anemic (or at least reticent) in bass. Sounds like a slightly atrophied Koetsu. Perhaps a touch hot on top at times. Hot: Beautifully musically balanced while showing far more refinement than lower Benz models; a near flawless manifestation of the classic Benz iron cross sound (IMO), and a good affordable alternative to Koetsu.
Then there are cartridges which seem quite happily situated in MOST system configurations I’ve tried them in. Of course proper matching can still take them further, but you’re less likely to have a disappointment here. To me, these include:
Koetsu (all), Shelter Accord (far more easygoing and affable than its big brother Harmony), Ortofon A90, Kontrapunkt "C" and Cadenza Bronze, Benz Zebrawood.
There are endless variables to cartridge use cases, and endless variability in user preferences, which is why these discussions are similarly endless...
Once you start creating Frankenstein cartridges, by changing or modifying cantilevers, styli, coils, suspension, bodies, etc, then opinions regarding the net SQ are even more useless than otherwise, not to say that comparing OEM cartridges without respect to different tonearms, turntables, amplification, speakers, rooms, listeners, is a worthwhile pursuit, beyond expressions of love, meh-ness, or hate.
It would never have occurred to me that the road to cable Nirvana would be found by combining many strands of wire of different gauges and different shapes (ribbon AND round cross-section) and even different compositions (one strand seems to be copper sheathed in silver; the rest of the strands are pure silver). I don't know how to rationalize it, but I don't argue with listening tests. I think Mike and others on WBF are just as surprised at the results.
I was surprised at how much better things got when I went balanced. One of the goals of balanced operation is to eliminate interconnect cable interactions and it does that quite well.
fundamentally using an SUT potentially brings a musical touch, inner artistic view and envelopment that high gain phono preamps such as the darTZeel can’t quite do in the same way. this effect varies with actual execution of the phono and SUT.
SUTs can't pass the RFI that is generated by a LOMC cartridge (its an interaction of inductance in parallel with capacitance that makes the RFI). This suggests that the preamp is sensitive to RFI and so sounds better when its been filtered out. If the preamp isn't sensitive to RFI then the SUT won't bring anything to the table (other than possibly lower noise).
For an MM phono stage, such as the one Mike uses, there is no option besides using an outboard SUT or other active gain device ahead of the stage, with a LOMC cartridge. Thus the sensitivity of the EMIA stage to RFI cannot fairly be judged in this case. Maybe Mike is comparing the EMIA devices collectively to the high gain phono section of his DarTZeel (assuming it has one).
yes; the EMIA phono corrector + MC Trio is a package deal; which then can be compared directly with the two high gain internal phono’s inside the darTZeel preamp.
the dart phono’s are very good; overall i prefer the EMIA approach. but then i might prefer it to any phono i have heard. the dart phono is certainly hard to beat at what it does.
my CS Port phono (which the EMIA Phono Corrector replaced) had three inputs; one of which was an internal SUT; the other two were MM inputs which required outboard SUT’s.
as far as balanced cables the only way to go with analog signals, that is a silly thing to say. who has heard all the non balanced choices? no one. i do respect the advantages to a balanced circuit and cables, but things are not so simple as that being the only thing that matters. it's just one aspect to the performance.
once you start creating Frankenstein cartridges, by changing or modifying cantilevers, styli, coils, suspension, bodies, etc, then opinions regarding the net SQ are even more useless than otherwise, not to say that comparing OEM cartridges without respect to different tonearms, turntables, amplification, speakers, rooms, listeners, is a worthwhile pursuit, beyond expressions of love, meh-ness, or hate.
Note: Frankenstein Cart, is a term used that is usually associated with claiming the end product is usually made from parts not selected by a Manufacturer, which then produces a scenario where a product is unpredictable and unique, with only limited persons able to offer an assessment.
As a Sub Context, Frankenstein is made of multiple unrelated parts and is destructive as the result.
There are numerous Cartridges available that are produced using Trickle-Down Technology from Brands Flagship Models. Each of these Trickle-Down Models would be considered as an inferior model to the Flagship, but offer an essence of it.
It has been seen that a Brand offering a Trickle-Down Technology, where the intent is to produce a derivative version of a of a Flagship Cart', has chosen, not only to reduce the use of the sought-after technologies and design aspects, but also on certain models, include the use an Aluminium Cantilever in place of the more desirable and better performing options that are known off.
I find it hard to look at a Trickle-Down Technology Cartridge produced from this approach, as anything but a Frankenstein Cart'. The uniqueness of such a product in comparison to other options, being the offer of such a variant is available at a reduced fee to the Flagship Model, making the idea of usage more attractive to the mass of interested individuals to experience.
I have no beef with this as a Business Method, I have bought into this method myself.
Moving on, Return of a Cart' to a Manufacturer for refurbishment.
The likelihood is that the small print is to state that materials will be used that are equivalent for the work undertaken. Equivalent can be very broad in its meaning and is pretty much a statement used with the intention of assuring the Customer there will be a Cart' produced with the Companies interpretation of an acceptable function.
There is not any Guarantee for the exact Cart' that was bought as being returned.
I can't help but interpret that accepting a service under these circumstances, a Frankenstein Cart' is to be produced.
Where it differs from the above is that, not many will be able to share in its uniqueness unless this specific route for refurbishment is chosen by a large number of the Cart' Model owners.
I have no beef with using this as a method, it is one I am yet to experience, but have heard enough to know there are happy customers.
Companies are making decisions for their product that are a derivative of a Particular Design / Model of Cart'. The Companies will be making decisions to use different Materials for Bodies, Different Magnets, Cantilevers and Styli and in some cases Coils to produce a Frankenstein version of their Flagship Cart'.
Moving on, Third Party Technicians that Work on Cart's.
There are some from this field, who are with very valuable experiences and have worked for, or on behalf of Brands that many would have on a shortlist to own. From my end and in the circle of individuals I deal with regularly, there is nothing being made known that is to be concerned about, if the choice is made to offer a Cart' to a Technician that is known to carry out high quality work, it is viewed as a admirable way forward to let a trusted Third-Party Service sprinkle some of their magic dust on a Cart'.
It is no secret; I have been an advocate of the method of using a Third Party rebuild service, I find the method totally satisfactory, and know there are numerous other that are satisfied too.
To some the idea of using the Third-Party Service route, is not to be encouraged and is seen to be purported in small groups, as being the least attractive method, and the one that should not be considered.
I can't find any place where there is reconciliation on this very restrictive advice, each individual has the right to experience a Cartridge in any guise as they wish.
There is no Guarantee a alternative option is the better.
What others think does not matter one iota and should not be an influence on a decision to be made.
To have a dialogue with a Company or a Third-Party Service and have a Cart' produced in a manner that considers your made known preferences is an experience that can be had a very fair asking price if options are investigated in advance.
@pindacwhy are you ’wed to Ortofon'? If the following is true ( your statement ) then any cart having a few of the basic ingredients might be fine?
It is no secret; I have been an advocate of the method of using a Third Party rebuild service, I find the method totally satisfactory, and know there are numerous other that are satisfied too
You don't need to hear all the single-ended cables to know why balanced is better. You do have to understand something about balanced line operation though, that there is a standard which must be observed to obtain the benefit.
The benefit is neutrality; the cable won't have an artifact. By artifact I mean 'sound'.
As single-ended cables evolve and improve they begin to approach the neutrality of balanced operation. But since there's no standard for single-ended operation, results are all over the map.
Since the advent of hifi, commercial recordings have all embraced balanced operation. Its how Mercury was able to park their recording truck behind Northrup Auditorium in Minneapolis and run 150' mic cables to it and still get high fidelity. EMI hung their mics in Kingsway Hall; I have to assume they were a good 150' too. Single ended semi-pro audio equipment really didn't start showing up until about the mid 1970s so we have a 20 year period of classical, jazz, blues and rock that demonstrates what balanced operation can do. The fact that the better you make your system, the better these recordings sound should tell you something.
Balanced line operation was the first exotic interconnect cable industry/technology. Unlike what has evolved in high end audio where money is often thrown at the problem, the idea behind balanced operation and its standard is that if the proper drive and reception exists in the source and what ever its driving, the interconnect can be inexpensive, whatever length is needed and no artifacts from it.
In high end audio, little of the gear supports the standard, so there is little benefit. That is why audiophiles have such variable results. If its done right though there is no going back.
A LOMC cartridge can drive a balanced line exceptionally well since it is a balanced source with a very low impedance. So the connection can be exceptionally neutral. This is very difficult to do single-ended!
your love affair with balanced circuits is legendary. are you wrong about them? no. are balanced circuits the ’main thing’ about how circuits might perform? no.
balanced circuits = one advantage....but not the whole ball game....which is what you are saying. and that cannot be known. we all can have an opinion about it though.
the best performing systems i have heard up till now have not used balanced circuits. which proves nothing either. since that aspect of a system is not dominant in it’s performance....one way....or another.
As for me, I have no objection to any kind of cartridge, no matter how derived or how modified. My only point was there is little to be learned at a distance from anonymous reports on how cartridges, especially modified ones, sound.
By the way, thanks to Mel Brooks’ movie “Young Frankenstein “, we do know that Frankenstein’s anger apparently was due to his having a brain taken from Abby Normal.
Dear @mikelavigne : " fundamentally using an SUT potentially brings a musical touch, inner artistic view and envelopment that high gain phono preamps such as the darTZeel can’t quite do........ the silver wound EMIA phono and SUT is very special in this regard. but hard to make an objective case. "
Well, believe it or not I try in all what I posted to you been " polite " against how I normally am: direct and now I will be just DIRECT to you.
Objective not necesarily means that always needs measurements even if are desired, objective has another characteristic too: COMMON SENSE and additional if we can a decent knowledge levels.
Well your audio objective knowledge levels is to low and you showed in this and other threads in wbf/agon. One gentleman here told me by email that due that you are heavy entilted with your 100% subjective opinion then I just left you that way but I can’t do it because every audio forum is not only for gentlemans as you or several of us but arrive several " new comers " that are looking for advise or looking to learn reading what other audiophiles do or their opinions .
I already told you that in the past the people like me had you as a leader to follow in audio subjects and audio items but from 2-3 years ( maybe more ) now you shifted to be just a follower. I told you that wbf already damaged you and contaminated you in bad ways.
I was banned not only one but twice from that forum ( the owners dislike my comments about tubes because they are tube lovers and elevctronics distributors too. One of them dies for the IO phonolinepreamp that guess what? each time you change the SPL that unit change the FR too: crazy for say the least. Tey told me that I'm a troller, could be. ) and certainly I’m not talking on because of that. WBF is and " stampede " place where people make " things " with out no sense ( like a real stampede. ): Dava is n example, SME 3012 too, Stradivarius VDH too, Lamm, American Sound, etc, etc and the like and same with the LFD that perhaps is the Century Stampede and other like you are proudly because the time delay to get the item is over a year and in the Dava 8 moths ! ! ! go figure. I appreciated Peter A, an ex-Agoner, where there he changed his Magico for a vintage horns, his excellent amp by Lamms, his SME 30 for the terrible RX-8000 and obviously the 3012 plus the 0.7+ mv Stradivarius following the " advise " of the seller that's a way active posting member in that forum, pity.
Common sense says, to all gentlemans but you and your wbf audio friends, that talking of analog rig in specific of the cartridge signal preservation integrity EACH ADDITIONAL JOINT ( that I already explained to you as modulations too. ) IN THAT CARTRIDGE SIGNAL PATH NOT ONLY CAN´T HELP TO IMPROVE THE CARTRIDGE SIGNAL QUALITY PERFORMANCE BUT THE OTHER WAY AROUND IT : D E G R A D E S THE SIGNAL, SO ( everything the same ) AS SHORTEST THE CARTRIDGE SIGNAL PATH THE BETTER. Period.
Obviously that you have not the common sense to understand it or at least is what you showed in your posts after I gave you not one but at least twice wide same explanations.
Mike your approach of Phono Corrector + SUT + " thousands of cables and wires + linepreamp is TOTALLY WRONG, no matter what against the SS active high gain balanced phonolinepreamp your own: Dartzeel.
Because your low knowledge levels on what @atmasphere posted ( I’m in agreement with him about and about SUT too that’s the wrong way to go because I already explained is not a passive item. ) you posted:
"balanced circuits = one advantage....but not the whole ball game... and that cannot be known. we all can have an opinion about it ...........the best performing systems i have heard up till now have not used balanced circuits .. "
Mike the balanced electronics design is not about " opinion " as you said, you just did not know what you are talking about and that’s why your thrid statement : " the best performing systems ". Mike do you already took in count that your system electronics are BALANCED ? so what are you talking about.
The Dartzeel RIAA measured FR deviation is 0.5db and the bandwindth is 1hz- 1 Mhz. noise level 80db with out " a mile " of silver wires and other by cooper and aditional solid metal raptor and the like: Dart needs only one balanced IC cable from the tonearm to the phonolinepreamp and that’s it ( @lewm, is an active high gain design. ). Do it you a favor ( as with the Dava spec FR 6db dviation. ) and ask the EMIA designer the RIAA spec /noise for the PC and FR/noise of the SUT and its bandwindth even if you don't care about.
What you like or what I like it does not matters in absolute with the issues we are talking not even your audio targets or mines that at " random " mates that common sense. I'M NOT TALKING OF WHAT EACH ONE OF US LIKE IT BUT WHAT IS RIGTH OR ITS WROGN, THAT'S IT. Got it?
So, are you in favor of those 158 joints of your approach or in favor of less than 10 joints between the cartridge signal and the Dartzeel amplifier. ? What means your common sense?
An audio wbf friend is active part of that no sense wbf characteristic stampede and this confirmed:
" visit where he preferred DaVa + Thorens 124 to Etsuro + Continuum " and after been with you guess what? he ordered the Dava and others your beloved LFD and dongles.
I think that Mick of LFD ( not Lavigne. ) said that " the proof is the listening " because not even they know where they are " seated " there are no measurements exactly as the undisclosed ones on the Dava till 2 weeks ago.
Btw, you said you can't " understand " ( your words. ) why that black output cable in your phono corrector but I know by first hand experiences that that cable is a wise decision and what I don't " understand " is why the designer of your PC don't by-passed the output connector and soldered directly to the board as a dedicated output. Yes, it's that good enough for that.
I just sold my EMIA SUT. Not that I did not like it: it is a great piece, albeit it make my soundstage a bit more forward; and quite frankly, it was also a bit "bombastic", larger-than-life in a way (interacting with Dave Slagle, however was a wonderful experience). Before I had bought the EMIA I had the EMT Auditorium in my system for a test run: that one made the music even more bombastic, or rather, put me in the conductor's position, almost in the middle of the orchestra (Wagner, Das Rheingold). That was simply way too much.
I sold the EMIA because I am about to receive a Supratek Grange any time now, after having placed my order last November. The Grange is a phono/pre-amp in one, and does not come with a 47K Ohm input, in other words, MC only w/o SUT, and no London Reference, unfortunately.
I am looking - like the gentleman who started this thread - for my future cartridge to be paired with the Grange. I currently use a Benz Micro LPS-Ebony with Gyger stylus on a ProJect 10-Carbon TT. It's a great cartridge for all styles of music, but somehow, it does not bring me to tears or gives me goosebumps. So, for a year now, I am looking for an alternative in the same price range (4 - 6K), that would create that elusive gasp, w/o having to discuss next year's finances with my wife. I was intrigued by the Tzar DST cartridges, because of the revival of the old Neumann stylus/coil geometry, i.e. shortest-possible distance between stylus und coils, but the price tag is too high. I placed a wanted ad for the AudioTechnica AT-ART 1000, which has a similar Neumann-based design for half the price, and someone contacted me today with an offer. So, my question to this illustrious forum: has anyone heard this cartridge (the late Art Dudley had, and he loved it), and if so, what are your comments/recommendations? Shall this become my goosebump machine?
@reimarcthere are several different approaches to this ‘direct coupled’ theme of bringing the coils as close to the stylus as possible. I don’t have personal experience with the AT ART1000, but I am very familiar with the Victor MC L1000, which is considered to be the ‘inspiration’ for the design of the ART1000. Another approach was the original cantileverless version of the Ikeda 9 series. These cartridges share a common trait, which can be described - not surprisingly - as a very direct and dynamic presentation of the music. Large dynamic swings in the music are explosive, but also micro dynamics are more prominent than usual. These characteristics make these systems stand out from the crowd, but whether you like this depends on your own priorities as well as the capabilities of your system to handle it. But under the right circumstances these systems certainly have the capacity to become your ‘goosebump machine’.
However, as a species the direct couple designs are now almost extinct. Even the venerable Decca London has recently been discontinued. As far as I’m aware that only leaves the ART1000. I’m not sure the Szar DST is still being made, but based on some reports its construction and quality control should give you some cause for concern.
@reimarc,Great! I was getting worried. The Decca London Reference is an awful cartridge. It is a terrible tracker and very unreliable. With those issues what it sounds like is irrelevant. You have several wonderful cartridges in your price range. The Ortofon Winfeld Ti and the Verismo. The MSL Hyper Eminent EX and the Lyra Kleos. Judging by what you have said so far I think the MSL would suit you best it being the warmest of the group. The Ortofons and the Lyra are very neutral, nothing hangs out at first. For me this is the hallmark of a great cartridge.
Dear @reimarc : The ART 1000 is an excellent selection. Audio Technica has over 60 years designing and building LOMC and MM cartridges, I own and owned almost all models from the humble AT95 to any top one but the ART 1000.
No one AT cartridge I listened in my system and other systems never sounded bad and the top ones always great.
The ART 1000 is almost a " jewel " and an a design achievement and very good tracker due to its around 18cu in compliance. Good and here what an owner posted somewhere about:
" The best sounding cartridge I have ever had purchased. I like it better then my Air-Tight PC-1 Signature and the Benz LP. Excellent price for a phono cartridge of this sound quality! "
That Air Tigth was manufactured by MSL that @mijostyn recomended. Btw, mijos the AT has 3 ohms impedance and a good candidate for you at a just ridiculous price against your other cartridge selections.
I'm sure that if the AT ART 1000 price tag will says 20K this cartridge will be at any top system but unfortunatelly its price is only 5K and those gentlemans just do not turn their eyes to " see " it, unfortunatelly for all of them.
Modified Cartridges are much more fitting as a Subject within this Thread, than the lengthy 'got of on a tangent' Digital / Vinyl Source discussions and is definitely much more fitting that the Ammunition Cartridge put forward.
@reimarcIs your reference to a Gyger Styli the FGS and was it used to replace the MicroRidge Styli. I know the FGS, when attached to the Thin Boron Rod on the Cadenza Black is found to be a very attractive design by those who have selected the modification during a refurb.
your love affair with balanced circuits is legendary. are you wrong about them? no. are balanced circuits the ’main thing’ about how circuits might perform? no.
balanced circuits = one advantage....but not the whole ball game....which is what you are saying. and that cannot be known. we all can have an opinion about it though.
the best performing systems i have heard up till now have not used balanced circuits. which proves nothing either. since that aspect of a system is not dominant in it’s performance....one way....or another.
My comments were about balanced line operation- the use of balanced cables in audio. Not so much about balanced circuits in audio equipment (that is a different conversation which I avoided).
That balanced lines when supported by AES48 are superior than any RCA connection is both measurable and audible. There is more than one advantage. Since I don't know which you were referring to I'll name a few:
* no ground loops since ground is ignored and used for shielding only
(this means if you get a ground loop with balanced lines AES48 isn't being supported)
* prevents coloration caused by the interconnect cable
* lack of colorations (including high frequency roll off) allows for longer cable lengths.
* since the crux of the operation lies with the associated equipment, the cable itself can be quite inexpensive
* Since the associated equipment will have a high Common Mode Rejection Ratio (CMRR) noise impinged on the interconnect cable is rejected at the input of whatever its driving. This isn't possible with a single-ended connection so you get lower noise.
OK I've listed 5 advantages and there are more.
My recommendation as always with this sort of thing is to try it. Phono cartridges are already a balanced source and most tone arms are wired balanced so this is really about the interconnect cable and what is receiving it. SUTs, being transformers, can run as a balanced input quite easily with very high CMRR values. Their output can be single-ended (this is why transformers are good at converting from one to the other). So this would be an easy thing to try.
Dear @solypsa : The @reimarc tonearm effective mass is around 9 grs. ( with screws to hold the cartridge. ) and the around 18cu compliance of the ART 1000 along its 11grs. weigth puts the frequency resonance in between rigth on target to the ideal range of 8hz-12hz.
Along that every AT cartridge is a truly good tracker and the ART 1000 design was " inspired " by the Victor MC L100@edgewearnamed and that I owned and both designs are similar with AT higher compliance than the Victor and with almost same cartridge weigth and I never had any tracking issue with the Victor.
Tell me why should be a problem with that carbon tonearm on tracking issues?
If the ART 1000 is well mated with a choosed tonearm and in that specific regards then no problem at all.
@rauliruegasNo problem, I don't expect tracking issues based on the technical match or reputation. I, however, would not proclaim a cartridge to be an excellent tracker based only on 'paper specs' either...
"The Decca London Reference is an awful cartridge. It is a terrible tracker and very unreliable."
Says you. I've had one for eleven years with no reliability issues and no tracking problems, nor does it hum like the Deccas of yesteryear. Put it in a high quality damped tonearm and you'll hear music like no other. Honestly, when you make a statement like that I have to start doubting everything else you write...
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