Chakster,
I agree with you about the 1200. At least it runs at correct speed, even if the correction seems a bit abrupt.
In the '80s many DJs brought in their decks for me to set up, and by invitation I went to a club to hear what it was all about. The SPL/bass was unbelievable. I had to stuff wet paper napkins in my ears. The 1200 seems perfect for that application. Not many decks without a 100 lb. plinth and some with one, could survive that environment, but the 1200 took it in stride.
With something like a turntable, you can't overcompensate with one parameter (damping) without affecting another, usually in a negative way. That is, if you're trying to reproduce the sound of live music. It's sort of like a belt drive with a heavy platter and inadequate drive train. It might have good deep bass, but sounds thick, slow and ponderous, not live, dead.
I have no experience with Astrion, but 8Hz w/26g arm suggests the exemplar is out of spec. VE lists VTF at 1.0 - 1.4g, Correct? Many top ADC have cu of 30 to 50. Perhaps the review was on a defective cart. That cart would have a cu around 12. Not likely.
BTW, some months ago KAB got a batch of NOS Astrions. Kevin was selling them for around $169 US. Some enterprising person probably resold them on fleabey - bargain hunters paradise!!
Regards, |
I too have a JVC/Victor Z1s on the way. This one has an upgraded stylus, an E.
I have to thank Griffithds for an extended listen to both the X1 and Z1/SAS. Discussion of this is on Audio Circle, AT95 - Clearaudio thread. Results were promising for the X1, but I think a loose stylus compromised performance. I used some tack, but apparently not enough.
The SAS fit snugly on the Z1. I did use a tiny bit of damping on the body to prevent ringing, but not sure if it did anything. With SAS, this is a great MM IMO, not that it's perfect but what it does well it does very well and that's just about everything. It's fast and detailed with dynamics to die for. If you'll pardon a trite phrase, it brings the music to life.
Halcro pointed out that the SAS stylus VTF is 1.25 - 1.5g. I was tracking a bit heavier and reduced it to 1.4g with no mistracking. It seemed to get better.
In an ultimate sense it might not be perfect with low level harmonics, but on the vast majority of my records (mostly acoustic jazz) nothing seemed amiss. In fact, the enjoyment factor tops the scale.
Regards, |
I brought up the question of arm mass numerous times on this thread. I'm unconcerned about low frequency resonance in the warp region, it either tracks or not, but I think there are SQ consequences using a high cu cart on a high mass arm.
VE has FR64S listed as 35g eff mass. Is this correct for the stock arm? I've heard the arm sound great with some moderate cu carts, but I wonder about high cu.
It could be no change using a high quality arm 1/5 the mass, but I suspect otherwise. Eff mass is the same as MOI (moment of inertia) and even with low bearing friction the mass seems to slow down response and make it sound different. What might be authoritative with one cart might sound thick with another?
I think Raul was right concerning low frequency resonance, but that's not the only consideration. Peter Pritchard advocated 6.5Hz. Maybe this was for his 50cu carts, but the Sonus arm has 4.1g eff mass. MOI is extremely low. Hard to imagine how extreme mass wouldn't make a difference.
Regards, |
Maybe it's a mistake. They have the 64FX listed as 20g eff mass. I thought they were the same except for internal wire. Perhaps that number should be for the 66?
I just hooked up my 980LZ - what a nice cart. Wish I had a better stylus for it. I suspect this would be a good candidate for stylus/cantilever upgrade, a Soundsmith level 2 or 3 might be just the ticket. Anybody try something like that? It will have to wait till I get the Z1 squared away. |
Hi Don,
Yes, I have a D3001e - .2 mil nude elliptical. Sounds good, outperforms a Jico D81 shibata.
I'd rather try for something better. A .2 elliptical has the smallest contact area of any tip. All things being equal, will wear out fastest. I'm not thrilled with Stanton QC anyway and not sure about Pickering.
I can't help thinking this cart can deliver more. I already have the Pickering stylus holder, maybe it will improve with a ruby LC or micro.
Ever see David Dlaloum's web site? Check out the Pickering 7500 - same as 980LZ:
https://sites.google.com/site/zevaudio/turt/cartridge-comparison-list/pickering-xlz-7500-s
Regards, |
Jbethree,
LP Gear says the vivid line is from someone other than Jico. I'm guessing Nagaoka, said to be the largest manufacturer of styli in the world.
The price of Jico shibata is now about $140 and Gear is replacing all the Jico shibata with vivid and they claim identical tip dimensions.
I have read a couple of complaints, but mostly raves.
Turntable Needles might have a shibata if you decide on one of those.
Regards, |
Griff,
The company left out of that post is Ogura. They make the stylus/cantilever on many high end carts including ones from Lyra, Dynevector, etc. Most of their tips are generically called linetrace or micro types. They make a tip called pathfinder - might be the same as PA ?
Anyway, it seems Namiki, Ogura, and Nagaoka are the big 3.
I think Nagaoka might make bonded styli exclusively. Even the boron MP300 has a bonded stylus and maybe the MP500 ?
It could be that Jico gets SAS from Namiki (made to spec) and others from Nagaoka, but this is conjecture. They are jewel setters.
I read that the patent ran out on the microridge, but who else would tool up to make it? The shibata II was probably patented around the same time as microridge. With the resurgence, cart manufacturers might be scrambling for contracts?
Patents usually don't stop an audio manufacturer anyhow. They just call it something else.
Regards, |
Hello David,
Yes, that's very interesting isn't it - the relationship between compliance and HF resonance. To be honest, I've never owned a Shure cart although I'm somewhat familiar with a few. Wasn't there an earlier version of the V-15V with lower inductance? That might have been the one they used for 4-ch. I have no first hand knowledge of this and read that results were sometimes imperfect. The M24H sounds interesting. Do you have one of those?
A high inductance cart like a M97 really holds no interest for me, but I understand the appeal for those on a budget. I'm not trying to be elitist, just stating my preference. I like a clearer more detailed presentation and I invariably find high inductance carts to sound veiled. Even before I knew the inductance of a Stanton 681, I didn't like the sound. I also think the veiling is less obvious on budget systems.
The Stanton 980LZ is an interesting comparison to an 881. They're both MMs of somewhat similar design with interchangeable styli. There was a HO version of the 980, but I never heard it. I wish I had bought one of each when they were available. I was advised that the LO version was quite a bit better. The inductance is < 1mH and output is 0.3mV. Some people think it might be the best MM ever made, at least a contender. I think mine might be limited by the styli I have for it. I'd like to get a Soundsmith ruby/micro and try it with that, but it will have to wait. I have a Pickering D3001, a .2 x .7 elliptical and a Jico shibata. They both sound pretty good. The lack of inductance gives a potential for increased clarity w/o veiling, IMO.
Many modern HO carts seem to be cleverly designed to balance higher output/increased inductance, with optimised body materials, cantilever coupling and behavior etc, that sells carts. I really see no attempt being made to duplicate or improve on the vintage MM/MIs that are preferred by Raul and the other posters on this thread. If I seem to qualify all my statements it's because I haven't heard all the carts talked about, and have no frame of reference. I think the Nagaoka MP50/500 has similar inductance as a 2M Black. I've never owned either. But hearing them briefly, they seem pretty good.
Regards,
fleib |
From a theoretical viewpoint irrespective of amplification considerations, there may be benefits to low output beyond the lack of inductance. The few examples of low inductance posted above, are certainly not the norm. Today the trend seems to be going in the other direction. If you look at the inductance spec on modern carts, many are > 600mH. I think that limits their potential.
In general terms, depending on the magnet strength and generator type, low output is usually characterized by much fewer turns of wire. A high output cart can have as many as 3K or more turns. There's nothing to be gained by having high inductance as a property of the output, except the requirement for less preamp gain. So, what price high output? The only catch is having an excellent hi gain stage. All the nonsense about hum and cables has long been overcome by MC users. Indeed, my Genesis 1000 has .2mV and is dead quiet through my phono stage. My Stanton is .3mV
I'm really not interested in discussing what's appropriate for a newbie or all the nice carts available today. There's plenty of stuff about that and it's readily available. But if you're considering just how good it could be, the only thing to be gained by high output is the ease of amplification? It's said that a MC generates current rather than voltage. Does a low output MM/MI lack this current generating capability? Maybe a moderate output is appropriate, but in my experience Soundsmith knows what he's doing and the new Sussuro has .3mV
VDH made a couple of MMs, is anyone familiar with those?
Regards, |
Hi Dlaloum, I don't know what kind of marketing was associated with these carts. That's why I asked. Surely the ability to drive longer cables wasn't the only reason for their existence. BTW, I have the inductance spec for the LZS as < 1mH. LOMCs are measured in micro Henries.
I can't say if lack of inductance is the only reason for the supposed superiority. I think it was commonly thought that if one had high quality hi-gain capability, then superior results could be realized. That's what was indicated to me by someone who has experience with both. Now that you have a 980HZS, you can compare directly to the 7500, which is identical to the 980LZS. The styli are interchangeable, so you can get a pretty good idea. 450mH is not excessive for a HO cart, so it should be interesting. I would caution against jumping to conclusions especially if test conditions are less than ideal.
I haven't spoken to Peter Leiderman yet. That might take awhile. It's interesting that the TOTL MI is $4500 which is quite a jump from the HO versions. I believe his strain guage system starts around $5K including cart and preamp.
Regards, |
Hi Raul, Regarding arm mass and compliance, resonant frequency is only one symptom of the relationship of mass and compliance. I don't think a low resonant frequency is necessarily a bad thing. I think cartridges have to be evaluated on an individual basis for sound quality and optimal performance. Best mass compliance relationship seems almost arbitrary to some extent. For example, the 440ML has a cu of 10 @ 100Hz, so is equivalent to about 18 @ 10Hz. The M20 Super has a cu of 20 yet seems to do much better in med mass arms. The 440 comes alive in a low mass arm, the difference is dramatic. The 20SS has cu of 9 @ 100Hz so is slightly stiffer than a 440 but weighs 8g which puts it close to equal footing. Yet the 20SS seems to do much better in heavier arms. I did not find the improvement with low mass. Exactly why this is, I don't know. The DL-S1 is another example of a rather high cu cart that seems to prefer med mass arms. But surely very high cu carts (> 25 cu) have to be tried with a low mass arm. Such a design dictates optimal performance with low moment of inertia. When considering this if you substitute MOI for mass, you'll have a better idea of where I'm coming from. I must admit I haven't been able to devise any rules or adequate explanations.
Regards, |
Hi David, **the DL-S1 and capacitance - why not simply use a high quality audiophile high capacitance cable?**
I didn't know about the non permeable core at the time. I'm also not sure if capacitance at the input will solve the problem. According to J Carr that's the cause of the problem in the first place. Maybe more capacitance at input would lower the frequency and prevent oscillation or overload? At the time I just used a different phono pre.
The Denon 304 is also non magnetic core. It seems to lack the bass performance of the DL-S1 which detracts somewhat from that natural sound. Output impedance is 30 ohms for the DL-S1 and 40 for the 304. Both have output of < .2mV, I believe.
Regards, |
I suspect the 440MLa has not been given the consideration as some other favorites such as the TK-5, 7_. Put your beloved ATN155LC or ML on there and terminate with < 200pF and the cart is remarkable. I found there was no longer the need to load it down to 35K. Of course this was with a more appropriate low mass arm, a modified Sonus Formula 4, approximately 5.5g eff mass. IMO a cart can't be overly detailed unless it's not resolved adequately. This isn't a case of less is more. This is less is less.
IMO almost all you guys are compensating for your high mass arms with electrical load. I wonder how you get the results that you seem to get. MOI suffers with your heavy arms. A high cu cart wasn't designed to drag around all that weight. What's the eff mass of a FR-64, 35g? No wonder you need the suspension refresh. IMO Mass and removeable headshells disqualify you from making "ultimate comparisons". BTW, the cu of the 155LC is 16 @ 100Hz. The CA MMs have a 10Hz cu of 15. Think this might have something to do with their performance on med/heavy arms?
I haven't read all 123 pages of thread, but I've read enough to know that some results are weird. You run the M20FL or E with the tail way up in the air and loaded at 100K? This may not be the World's greatest cart but it can sound very nice. The original version was supplied with caps (300pF I believe) to bring up the treble/upper mids. It sounds somewhat distant under "normal" load, which can be nice. ALL carts should track with an SRA of around 92 degrees, depending on the record. You have an elaborate system of compensating for one misadjustment with another. I guess it works but I still question your results and ultimate compentancy.
Regards, |
Hello Timeltel, I was referring to performance with a beryllium cantilever. Ever try that? Yes, stock cantilever @ 47K is unacceptable for me too. Impedance is greater than 2600 ohms, but inductance (490mH)is less than some favorites? Aren't some of your Signets > 500mH? Do you think impedance is more important? IMO AT made a mistake voicing the orig 440ML OCC. The generator is the same as the MLa, but output is greater. However, weaker magnets don't seem to compensate enough for alum/ML stylus. It seems to me you wrote it off w/o trying a stylus substitution. Maybe I'm wrong about that, in which case I disagree about your assessment. I tried it stock at 32K and it's pretty good. I shouldn't post when I'm drinking my morning coffee, but it seems that you didn't give it the same consideration as other carts.
Regards, |
Hi David and folk, Thanks for your posts David.
Re: have your cake and eat it too.
If you get a resonance at 250Hz or close, that implies a less than rigid headshell/armtube. "Good" arms are designed to dissipate energy. Vibrations travel down the armtube and are met with a body of weight - the counterweight or arm pillar. Hopefully, it's not sent back to the cart. That mass will convert the vibrations to heat or it travels down the pillar. [Touch a vibrating tuning fork to a block of granite.] Using a removable headshell you're much more likely to have vibrations remain in the headshell as they hit the headshell coupling. I have some arms with removable headshells, and I think this is true. IMO it's better to avoid additional resonance, retain greater arm rigidity, and allow the arm to dissipate mechanical energy.
There are different kinds of resonance, but any resonance that shows up in the audible band is a problem. At carts primary high freq resonance there is a 180ᵒ phase shift. This phase anomaly extends at least 2 octaves (usually) and into the audible band, often more. This effects imaging and coherence. Most carts have a naturally rising high end that is controlled by damping. Ironically, the damping is the cause of extended phase shift. I'm not sure how other damping effects phase, but any additional resonance can only be beneficial as complimentary coloration. Like using high mass/MOI arms and compensating with 100K load, it's the wrong approach IMO. Reports of carts at wild angles confirms that.
Regards, |
A phono cartridge is a transducer. It converts energy from one form to another. In this case it converts mechanical energy to electrical energy. In order for there to be no excess mechanical energy, this conversion would have to be 100% efficient, or all the excess energy converted to another form of energy. That is not the case here.
**And ‘heat’ is the first indication of energy dissipation and is easily measurable.**
No - heat is a likely indication or byproduct of energy conversion. A light bulb gets hot because the energy conversion is inefficient and heat is the byproduct. A florescent light is a more efficient conversion and still gets hot, but less so. It is likely that a small amount of heat is produced by a phono cartridge generator but most of the excess energy remains as mechanical energy. Dissipation is the channeling of that energy or vibration. Vibration is measured with a stroboscope, reed vibrometer, seismic-mass transducer, displacement pickups, velocity pickup, and acceleration pickups (accelerometer). It is verifiable.
Regards, |
Hi Nandric, Raul,
Re Genesis 1000: yes one of my favorite carts. It's fast, detailed, accurate and extended with near flat fr response. It's not romantic or interpretive - seems neutral (to me). A MKII version came out around '88 which was even more extended, something like >80K. I couldn't hear the difference. The cart has a diamond coated boron tube cantilever and Microridge. Mine was re-tipped by Soundsmith with his Optimum Contact micro-type tip on the original cantilever. It sounds very much like the original.
There was a model 2000 - Sigma Gamma or something like that. It has gold coils and is smoother than the 1000, but not as fast. Classical music fans might prefer the 2000. I mostly listen to jazz and like the 1000. If the cantilever is broken there might be a problem. The cart is very small and light. It's made out of some kind of low resonance resin and looks like there's no way to open it. I imagine the cantilever would be difficult to work on. I'm not a re-tipper. Transplanting an AT stylus/cantilever is a very different proposition.
The AC2 was also designed by Nakatsuka san. A friend had one - nice. It had a Line Contact and I believe, a boron cantilever.
Alpha Genesis 1000 - output 0.2mV, cu 15, separation > 30dB, impedance 4 ohms, VTF 1.5 - 2g. Good luck.
Regards,
|
Hi Timeltel, "If you or any of the better informed readers can resolve the two standards of measurment, I'd be grateful. I've not heard the 440ML, my 440MLa has resided in its case unused for three years."
DC resistance is the value you'd get by putting your digital meter on the + and - pins of a channel. In this case the DC resistance of my 440 is 812 ohms/ch. Impedance is a more complex measurement and the standard is at 1KHz. Normally impedance is given, not DCR. I was a little surprised at the figure, so I measured the 440.
Getting top performance from the 440 can be challenging. Break-in can be upward of 50 - 75 hrs and it tends to be overly bright. Total capacitance should be < 200pF. Many load it at 32K (100K parallel 47K). But, once broken-in it was excellent with a ATN152ML at 47K. Detail, dynamics and textures were first rate. It had a live sound, like Woody Shaw was in my room. Top to bottom was also good, like sitting up front in the Village Vanguard. I suspect you could get great results with a ATN155Lc, if the cart is broken-in.
Mine has also been sitting, and the body came off of the plastic top. The screw is hanging off the top, it or the insert is stripped. I'd like to make a wood top like a CA. I must have a million projects waiting and this would be a PIA for me. My 152ML broke anyway.....
Regards, |
Greetings Timeltel, What I was eventually working up to is a correlation of electrical parameter relationships. It is often agreed (it seems) that inductance < 450 - 500mH, impedance < 800 - 1K ohm, and yes output < 3.5mV, are indicitave of the best HO carts. This seems true regardless of mechanical parameters or generator type. But is there an ideal relationship? If all 3 parameters are very close in value (Virtuoso), is that indicative of a superior generator or a superior AT MM type, or coincidental? You seem well versed in this area. I have no idea about the spicific electrical parameters of most of the "best" vintage models and it may be difficult to get all the numbers. Just looking at AT, Virtuoso has 420mH, yet seems to outperform some others with 350mH. Is the high impedance of the 150MLX the problem? The V has 660 ohm impedance and DC is like 480. I've long suspected that CA ordered a close to ideal generator for this type. Gotta give them credit cause there's nothing special about the stylus.
The 103 mods that have become popular, inspired me to pot an AT-95. A tiny screw, acessable from the top, removes the plastic top from the body. This is the same body as the CA. Tilt the body back so the epoxy flows toward the pins. I used reg liquid epoxy. It doesn't take much. Then glue the top back on cause the screw hole is now filled. I'm not sure how much epoxy made it past the threaded insert in the body. I also made an aluminum top piece, out of an old headshell. Not exactly sure what did what, but it seemed to make a noticable improvement. A Gerry Mulligan record seemed to be much more like the sound of a master tape dub I used to have. It didn't have the detail of a top cart, but more enjoyable than before, surprisingly so.
Regards, |
Nandric, **My statement about the problems with the USA customs does not necesseraly imply a symmetrical relationship with Holland.**
Its return is what concerns me. Is that "retired lawyer"? Sorry if I misspoke.
Lewm, At times the cart seemed to be dull, uninvolving. I wouldn't call it dark. This could be due to lack of coloration? I'm not sure. I'll have to explore this further. I don't have much time on the cart. I also don't like the plastic stylus holder. The Pickering style is better IMO. I believe inductance spec is < 1mH. Could be quite a bit more than the typical MC.
Regards, |
Hi Nandric, the calibration of a cart does not include resistance and inductance measurements. Those are checked stationary. Frequency response and separation are measured "in groove" with a test record.
That requires a stylus, and would probably change (Fr response) with a different test record.
Regards, |
Timeltel, Time for me to reevaluate cartridge electrical parameters. I've come to think you were right concerning output impedance. Turns out, the PC110E is a high inductance cart, 1050mH. I've been looking at that PCN550ML stylus for awhile, and Raul threw me a curve when he thought it was a 120/440 type. It fits the AT-10 and 11. The plug probably fits the the AT-12 through 20, but some plastic trim is necessary for 15/20, I'm not sure about the rest.
I don't know if the PC-440 or 550 have the same inductance, it would seem odd with response to 45K, which makes me wonder that the 220 and 440 generators are the same. Maybe they both have less inductance than the 110E, but the 220 is an XE (.2 x .7), the same with a different tip?
I've come to think that 100K loading is the difference. How else could one add 300pF to preamp + cables on a high inductance cart? I'm awaiting the 550 stylus, but I don't care about the Precept body. I'm sure that for my purpose, loaded at 47K, there are a number of better choices with < 550 ohm impedance, including the 15/20. series. The best AT stylus I've heard is a beryllium/ML. I had a 152ML on a AT-440 and it turned a screech into music, like magic. I suspect the same on the 15/20SS. The shibata is nice, the ML resolves.
I had a theory about high inductance, that it was used instead of some mechanical damping which causes phase nonlinearities. Because of tracking considerations, I don't know how much damping could be reduced.
Raul, thanks for your straightforward reports of results. I don't see this as flavor of the month. It seems to me your choices are constitent with performance, even if the inductance of the Precepts seems strange. I'm glad MCs are now in the mix. They were overdue.
Regards, |
Hi Timeltel, No. Assuming Hagtech electrical resonance actually shows up in the measured response, is wrong. Yes, it does have the affect of lowering hf resonance, but nowhere near those calculated values. Others thought there was 180o phase shift at electrical resonance. That's wrong too. It's the mechanical performance that is the overwhelming determinate of resonance fr. Virtually all carts have a naturally rising high end. It's a combination of electrical and mechanical design and damping, that determines fr response.
There's an interesting Ortofon paper, it was in VE, on the imaging capabilities of MC vs MM. They measured phase nonlinearities and fr resp. The plots are pretty conclusive that electrical resonance causes neither primary resonance or phase shift. It may influence response other than lowering resonance fr, but that's unclear. It can't be determined from the plots. Many high inductance carts are "mellow", maybe that works with an AT generator?
The speed of sound through different materials has nothing to do with this. The stylus/cantilever is mechanically reacting to the groove, not a sound pressure wave. Eff tip mass would determine transient response and influence detail. Cantilever material influences character.
I don't understand all the aspects on performance of inductance and impedance. I always looked for low inductance and thought impedance was inconsequential. I think (not sure) the Precept impedance is low.
Regards, |
Greetings Prof, The Ortofon paper from '82, was based on an AES paper. I used to have a PDF copy, but that PC crashed and burned, taking the paper with it. I'll have to hunt it down in my mailbox. The paper Ortofon published for the public discussed imaging capabilities, with listener panels they concluded it's a direct result of phase integrity. They used an accelerometer to plot phase vs amplitude in their MC-200 cart and 5 unnamed MM. They concluded that mechanical damping was the cause of phase nonlinearities and loss of imaging, but is necessary to control amplitude response and I imagine, tracking. None of the 5 MM showed a resonance or phase shift within the audible band, but they all had worse phase performance due to the need for increased damping.
The MC200 has a hf resonance at 27K. Undamped, they said imaging was spectacular but the cart was unlistenable due to rising high end. Plots showed that damping to tame amplitude response, increasingly effected imaging negatively.
There's a thread on VE about loading. It's lengthy, but CarlosFM (an EE) asserts that mechanical performance is the overwhelming determinate of hf resonance, not electrical parameters. This is correct IMO, although electrical resonance can and does lower the frequency of said resonance, especially with high inductance carts.
OK, but it's not the transmission speed of sound, we're talking about mechanical transmission at diff frequencies, not sound pressure waves.
My first inclination is that a MM should not "see" capacitance or resistance through the arm ground wire it's not connected to. Maybe there is some interaction with capacitance, depending on length and proximity, or phono pre?
Regards, |
"We all got 'the same' hearing capability from the mother nature all the rest is nurture."
This first statement is untrue. All of us did not get the same hearing capability. All implies everyone and one exception renders your statement false. It's nonsense anyway.
"the operation of our ears are the same by each of us"
It's unclear exactly what you mean by this statement. If operation refers to the general way our ears function, it's true. If it refers to the function itself, it's obviously false. I cited two clear cut examples of exceptions of your words ALL, and EACH of US.
"If just one of the members of a given set does not satisfy the given condition(s)the whole statement is not true"
Your statements about ALL of hearing the same, are false.
Regards, |
Aceman3, I listened to the PCN550 on an AT15SS. I had to trim the plastic. It took quite a few hrs for the cart to settle in. Eventually it had a very dynamic "live" sound. But it stopped getting better which I didn't expect and it didn't have the resolution, inner detail and harmonic integrity of the ATN20SS.
I believe TTNeedles and LpGear have a working relationship. Once I ordered a stylus from LpGear and the return address was NYC. LpGear has 3 different web sites. I think both are basically honest, but like any business, will goose it whenever they can. I wonder how Needles sometimes comes up with a batch of long discontinued styli. Suspicious me thinks they're probably knock-offs from China. LpGear is nearly impossible to contact.
Regards, |
**BTW, Professor Timeltel is still being monitored by the KGB, and his post are being rejected as not " having in depth answers" and not worthy of being posted.**
That's troubling. It was the prof who pioneered the beryllium transplant from a 100 series (155LC) plug into the round plug of the 13Ea.
There was some controversy on Karma about the specs of the PC220/440. Because the output is 4.2mV, Timeltel and I thought the generator is similar to the 12E, 13E, 13Ea. They have 4.2mV and 1200 ohm impedance. Someone on Karma said he had one and DC was < 500 ohms. This would make it more like a 20 or even a 12S(a), but with greater output. Could someone with a PC220 or 440 measure DC resistance? It would help in identifying the generator and if it actually has an AT counterpart. It's not that I doubt the info from Karma, but it would be good to have verification.
Regards, |
Lew,
CA states they are using stronger magnets to increase output. The coils (inductance) remain unchanged. The impedance spec is increased a little - from 660 ohms to 700. This is kind of interesting because the AT440ML and the MLa have identical specs except for output.
The 981 is an entirely different design, but has a large amount of inductance relative to output which is .3mV and < 1mH. Most MCs with similar output have maybe 60uH.
From the information we've been able to gather, the PC220 and the 440 have similar, if not the same generator. AFAIK the orig 220 stylus is alum/.2 elliptical. I've never seen one, but I think it's a tapered cantilever/nude tip.
Regards, |
Nandric,
Perhaps your right. Here's what Raul said a couple of months ago, "In the Precept the 220 cartridge body shows different performance with the same 440LC stylus"
Watula told us the specs were the same, maybe he meant similar, or maybe Raul made a hasty observation, but chances are, the PC220 will never perform like the PC440.
Although I think you may be right in this instance, in general you couldn't be more wrong, especially with AT.
Regards, |
Don,
It was Timeltel, our absent professor who transplanted a 155LC into a round plug and tried it on a 13Ea. Those old round plug ATs with 1200 ohm impedance seem very listenable with a 1/2 decent stylus, if not having the last degree of resolution. I used to have an ATN152MLP on my AT440 body. That was more than a little bit better on that body. Detail and finesse were greatly improved, which seemed to make a bigger difference than a loss in dynamics. That's why I think the ultimate might be a magnet transplant on an exotic stylus. These AT model numbers are easily confused w/o the prefix.
I'm beginning to wonder if there was ever a "real" PC550. No one has even heard of anyone who had one, let alone seen one. Maybe they planned to come out with the PC550 and discontinued the line. It seems like the end of the Precept line might have overlapped with the Signet line. Round plugs were eliminated entirely after the initial Signet offerings. BTW, looking at the PCN100E and 110E at LpGear, it seems the plastic is a different shade of grey. It is possible that AT had different styli for the Precepts, and put them in different color plastic. We tend to associate a specific stylus with a specific body, but these are all interchangeable and it seems there were multiple styli for each model, who knows?
So far, the prof was successful in transplanting a beryllium from a 100 series into a round plug. AFAIK, no one has successfully transplanted an exotic into a 3400 series plug. You have a unique and possibly groundbreaking opportunity here. You could be like Neal Armstrong or Dr Christian Barnard and forever go down in history as the first man to moonwalk a 3400 plug. Maybe that should be the Michael Jackson of cantilevers.
Regards, |
Hi Lew,
On the face of it you make a good case, but IMO you're wrong.
You say, **As you note, the positive and negative halves of the signal are treated separately. Thus, so far as the full sine wave or complex wave form that is music is concerned, it has not been "processed" by twice as many parts.**
This is completely incorrect, or nearly so.
In your analogy the 10 coffee beans are split in 2 and taken to the kitchen by separate doors. Maybe each bean goes through only one door, but do they arrive at the same instant?
You hold the beans loosely in your hand and I hold them tightly in my sweaty grip. Same temp?
The analogy depends how you look at it, your 10 coffee beans, single ended are only 5. Seems to me there's a difference between regulating the (-) side of the signal, and amplifying it with duplicate parts.
A consumer balanced phono stage tends to be very expensive and made with the "best" parts etc. That's why it's good IMO and not because it's balanced. Tubes are a special case because they're noisy and inappropriate for phono amplification now that there are superior devices for that. You get common mode noise rejection where it's not needed, at the input using a short cable. That is noise common to both sides. Tell me this, what happens to things that are not common to both sides, differences?
I didn't have the pleasure of reading Mark Kelly's post. He probably shed more light on this subject than I. Please don't think I'm anti tubes, I have a wonderful custom tube amp built by Dan Fanny. But when it comes to phono.....
Regards,
|
Griff,
** I just want to know if there is a tell tale sign (No, not "here's your sign"!), but a way to tell at first glance, yep, that's beryllium!**
First glance? No.
Second glance? Possibly.
Ways to tell if it's beryllium:
1) Look up info on the cart and see if it's listed as beryllium.
2)Date of manufacturer. Everyone stopped using beryllium around the time Signet carts hit the market, or shortly thereafter.
3)Look at the cantilever under some magnification (see above) and determine if it is aluminum. If it's not aluminum, chances are it's beryllium, boron, ruby or sapphire. If that is the case go back to step 1.
4)Break the cantilever in half and stab yourself in the forearm with it until you bleed. If you start stuttering and see images upside down, it's beryllium.
5)If step 4 seems a bit much and you still haven't identified material, do its horoscope (you asked for it). For this you need location and time of its manufacture.
For example - Osaka Japan, 10:45 AM. Look up rising sign for that place and time. All beryllium cantilevers are born under the sign of Scorpio, boron is Aquarius and ruby is Leo.
Regards,
fleib or flieb I know who you mean |
Nikola,
My apologies for the assumption. I don't know what the situation is so I'll butt out. Glad to hear the ANV is working out. Last I read it was a poor tracker and I thought you were disappointed.
A gorilla escapes from the zoo and runs into a suburban area, where it climbs up a tree belonging to Mr. Jones and won't come down.
Naturally, Jones is a bit worried about the gorilla, and calls the local gorilla handler.
The handler arrives with a shotgun, chains, and a big mean doberman.
"Mr. Jones, is it? I hear you have a gorilla problem. Well, you see, my assistant is out sick today, and I could use your help. Can you take me to the gorilla, first of all?"
Jones leads the handler to the tree where the gorilla is.
"Okay," says the handler. "I'll need you to hold the shotgun. I'm going to let the dog loose, and climb up this tree. When I get to the gorilla, I'll give the branch a good shake and he'll come falling out of the tree. Once he does, ol' Fido here is trained to jump on the gorilla and bite good and hard into his nuts, and he'll be helpless while you put the chains on him."
"I see," says Jones. "But, then, what is the gun for?"
"Oh, the gun is the most important part," says the handler. "If by some chance, I should fall out of the tree instead of the gorilla
...SHOOT THE DOG!"
Regards,
|
" Lets refer to this level as early stages of the transplanting transformation. The Frankencartridge has to begin somewhere and dewinging is as good a place to start as any!"
Lets not. You can take the cantilever out of the plug, but you can't take the plug out of the cantilever. No, that's not it.
Dewinging might be necessary for a transplant, but a transplant isn't necessary to use a replacement stylus.
There, I think that's it.
|
Back to nature, isn't it grand? At least eight grand
I would think a paltry sum for a natural sourced innovation.
First we had the cactus cantilever now offered by Soundsmith. I believe the origin of this
innovation was DIY internet based. Now we're getting the feather quill cantilever which has a distinct advantage. It's a tube.
No one has made tube cantilevers since the '80s. Beryllium is passé due to toxicity and health premium costs, and boron is rather old hat, wouldn't you say? Besides, they say you couldn't pay Namiki or Ogura enough to manufacture a tube cantilever. So where does that leave us, $10K carts that resonates at 27KHz? Might as well get a horse, Horsefeather that is.
Apparently I was wrong about the suspension wire gauge. The transmission was garbled. Hopefully, this was referring to the information and not transmission/suspension which are one and the same? More information is coming in from our mole in the Dominic Harper Laboratory, but we have yet to learn if it has air core coils or a magnet as part of the suspension. I understand there are live donor birds of prey in the laboratory. Hopefully they won't eat our mole.
Regards,
|
Hello Dgarretson,
*Indeed, Quo vadis, Raul? I'm pumped about receiving a Pass Labs XP-25 phono stage later this week. This unit spans the wide gain structure of 53db-76db, enabling comparison between MM/MI and LOMC through the same phono stage without the variable of a step-up. So far I've been using a modified 48db ARC PH-2 for MM/MI and a modified high-gain hybrid Atma-Sphere MP-1 for LOMC. So far the .12mv AT ART7 reigns supreme.*
I suspect Raul is running out of great vintage carts to rediscover. The HO field was relatively easy. Look at current offerings. There are only a few companies even trying to make a great HO cart.
Recently, despite the name of the thread (or does that allow it?), MCs became superior. This afforded the opportunity to rediscover another group of carts, and there was J. Carr's list.
Nandric thinks Raul's skill is in evaluation, not technical matters. I think it's neither. Raul has the tenacity of a bloodhound and we're all on the hunt. Hunting is the sport and the prey changed monthly. Now people cry, "Where's Raul? We have nothing to hunt."
Raul's listening to his DVD player
wouldn't you agree that it's better?
years ago I had a Kisiki Blue
lush and romantic, but I was playing the Who
I'm curious about your incoming Pass
and performance with Art cart
exceedingly good or somewhat crass
and will it capture your heart?
Regards,
|
Hi again Dgarretson,
Hope your Pass is settling in. I've heard the XP-15 and it seemed pretty damn good, and I imagine yours is better.
I was thinking about HO loading and Sonus came to mind. Capacitance loading for 47K is < 400pF, yet < 250pF for 100K (4-ch) operation. All 4-ch carts were low inductance. Most had shibata styli and low capacitance kept the load from interfering with ultrasonic performance and rear ch retrieval.
Depending on the cart, raising the resistance load from recommended (47K) often makes treble response peaky and those jagged lines of an unsmoothed amplitude response graph, exaggerated. A certain amount of capacitance is used for voicing and reducing it too much often exaggerates droop to peak differences. Loading down (resistance) a MM is very affective at taming an overly bright cart. Ironically, preamp manufactures give all kinds of options for MCs and virtually nothing for MMs where it's more important.
Sonus specs:
http://www-f9.ijs.si/~margan/Audio/Sonus_Manufacturer_Specs.pdf
1977 review Audio Magazine:
http://www-f9.ijs.si/~margan/Audio/Sonus_Blue_Label_Audio_Apr_1977.pdf
Tribute to Peter Pritchard:
http://www.stereophile.com/content/peter-pritchard
Regards, |
It will be interesting to see if capacitance loading does anything with the 981LZ. Although inductance is < 1mH, that's quite a lot for a .3mV output. To possibly save you some time, it seems to have better response loaded at 1K ohm or greater. Loaded down it's a bit dull. I wonder if it's the right choice for Pass after your experience with ART7. You might have better luck with a livelier LO. Maybe Pass needs more playing time. I guess you'll find out.
I must admit, I'm extremely fond of the 20SS. It's just so eminently listenable. I keep going back to it as my go-to cart for everyday fare. Most of my records are less than perfect recordings/pressings, and the AT does a great job of resolving, without undue emphasis on imperfections.
No denying Raul's contribution
it's other issues with no solution
Regards,
|
Lew,
I think the overall amplitude response of the phono preamp could determine RIAA accuracy regardless of filter considerations. The values of RC might remain relatively constant (although values tend to change with temp) but an aging tube could render RC values, moot.
Roger Modjeski said, every phono stage he ever saw had a simple RC network which is the inverse of EQ applied to the record.
The inverse RIAA has 3 time constants, 75us, 318us, 3180us that correspond to 2122Hz, 500Hz, 50Hz. There's a shelf between 500 and 2.122K, but I think one constant is normally used in filter design.
You can see how phase and amplitude are joined at the hip. Peter's SG has < 10o audio band phase error from cart to output. That implies some amplitude error, but what's the amplitude/phase error of your magnetic cart? At high frequency resonance there's a phase reversal approaching 180o in magnitude. The phase nonlinearity will normally extend down to 1 to 8KHz regardless of amplitude response. Phase clues are crucial for image localization and a sense of reality.
I think Raul is a nice guy and a tenacious investigator who didn't realize the implications of his actions. No point dwelling on that. Peter Ledermann is a nice guy too. We're lucky to have the input of Peter and Jcarr. I think this thread would have died out long ago, if not for Jcarr.
Regards |
Lew,
"Evidently Roger Modjeski never "saw" an LCR type phono circuit."
I think Roger was referring to commercial products. Up until recently there were only a couple of expensive stages using LCR and he probably didn't see the circuitry. I fail to see the point. My point is, if a phono stage is better with the inclusion of an inductor, it would be much better if you could eliminate RIAA compensation entirely. Wouldn't you agree?
Getting back to RIAA accuracy, how would you go about measuring this? Perhaps with a signal generator at the input of the phono stage? Or, you could use a test record, plot amplitude response and subtract cart error? That seems a little messy. You'd have to make sure the cart amplitude response is measured at test velocity, and ambient conditions are duplicated.
Okay, how would you measure RIAA accuracy of a phono stage without RIAA compensation? My response wasn't argumentative, it was holistic. The strain gauge is being held to a higher standard. You can only measure the entire system, cart to pre out. Any EQ in SG preamp is dedicated to the device. But you know this. You want me to point out Raul's shortcomings.
Regards,
|
Hi Jcarr,
If my last response to your cantilever analysis seems reactionary, it's because your comparison with the 1000A seemed entirely inappropriate. Increased tip mass compared to the lightest ever? I fail to see your point.
You've been most helpful with information about cartridge construction and I thank you for that once again, but it seems not everyone is interested in cartridge construction.
On another forum we had discussions about imaging and whether "superior" imaging came from better phase linearity or from a rising high end. Any comment?
For those unfamiliar with Lyra measurements referred to previously, here's a review with some measurements:
http://www.fastaudio.com/workspace/uploads/downloads/stp_04_12_sd_atlas.pdf
Thanks again for your input.
Regards, |
Hi Jcarr,
I located a photo of the Monster tip right here on Agon:
http://app.audiogon.com/listings/cartridges-monster-cable-alpha-genesis-1000-2014-06-21-analog-italy
In anticipation of your response, this is what you said about drilling through boron tube:
**I should mention that laser cutting or laser drilling has been largely avoided for these boron cantilevers. These cantilevers were / are preferably made of amorphous boron, because amorphous is physically more rigid than the more common crystalline form. Laser cutting or laser drilling applies enough heat to the amorphous boron to convert it into the weaker crystalline form, thereby weakening the cantilever precisely at the stylus joint where it needs to be strongest.**
On a different subject, the guys here don't comment on the test reports and now that Atlas amplitude response is posted, any comment? It seems to me this "flavor" is completely by design. Kleos looks virtually identical.
High frequency resonance at 20KHz ?
Response rise starts at 7KHz and is +6dB @ 20KHz
Seriously?
I never heard Atlas, but I bet that image jumps right out at you. Congratulations, you've invented 3D phono and everybody seems to love it. Most of the older people who can afford it probably can't hear above 7KHz anyway, so it's sort of a hearing aid cart. Brilliant design and one that won't go out of favor if or when the vinyl resurgence declines.
Regards, |
Dover, I just went through this for the umpteenth time on Asylum so please excuse me if I try to abbreviate.
With regards to amplitude response there are two types of MC, those with a rising high end and those with flat extended response. Many of the Dynavector or Accuphase/Monster models are flat. Probably ZYX also.
Because MM/MI carts have inductance as a property of output, it combines with shunt capacitance and creates what's known as electrical resonance. There is no phase shift at electrical resonance. Phase shift occurs at high frequency resonance in all carts. What electrical resonance does is lower the frequency of high freq resonance.
This lowering of high frequency resonance is used by MM designers to augment midtreble droop. A specific recommendation for capacitance loading is for just that, or to keep capacitance low enough not make it brighter.
There's a good article in TNT called "Load the Magnets" that illustrates this with a Shure M97. 250pF should be maintained and people report 62K load is best.
A MC like the Ortofon MC200 has high frequency resonance at 27KHz. There's a phase shift there approaching 180° and it extends down to around 7KHz. Typical MMs have a shift that extends down to possibly 1 or 2KHz (worst case among "decent" models). If you have a MM with a short or exotic cantilever and low inductance (some are < 100mH) it could have better phase linearity than some MCs.
We naturally think of phase nonlinearity as a problem, but it might actually be a design feature. Records have a rolled of response and a rising high end might make up for this deficit? If you go back and look at Sonus Blue test report you'll see what that cart looks like loaded at 100K. Response went up like a rocket ship and extended to 27K.
That's a low inductance cart and must have been way too bright for stereo. I don't think it was one of Raul's favorites. Load a higher inductance cart at 100K and you could tune it with capacitance.
The genius of Atlas is lowering high frequency resonance to 20K and the rise stops there. Not only that phase nonlinearity will extend down to mid treble. The phase error is + or forward and combined with the amplitude response the image should jump out at you. That's why I said it's a 3D cart.
The PDFs I post is what I can find. There are only a couple of European mags that have lab reports. The rest is vintage.
Regards, |
Lew, I must have missed that thread. I discussed this with John and we've seemed to come to an understanding although I don't know if he believes it. That has to do with electrical resonance a la Hagerman and its affect on phase performance. It's tied in with high frequency resonance and is usually the basis for these value judgments.
High frequency resonance is another way of saying cantilever resonance. If you have an extended amplitude plot you can see where it peaks in the high frequencies. Lighter and more rigid cantilevers will tend to resonate at higher frequencies. Cantilever length is a big factor too. Shorter cantilevers will resonate at a higher frequency just as a pipe organ high frequency pipe is short.
Because some MCs are made with exotic (boron) cantilevers they tend to have higher high freq res. For example an Ortofon MC200 has hi freq res @ 27KHz and this is higher than others with an aluminum cantilever of the same length.
It also seems fairly typical of boron cantilevered carts.
The desirability of extended response (beyond 20K) is a matter of opinion, but carts will tend to have response way past high freq res. I think Nikola's list of favorite carts is headed with ones with aluminum cantilevers. Is a Kisiki, Miyabi or DL-S1 inferior to all carts with more extended response?
Most carts made for 4-ch were MMs and had to retrieve rear channel info at 30 - 35K. This was somewhat of a challenge as the inductance of a MM will lower high freq res. The shibata tip was invented for this and all MMs intended for 4-ch retrieval had low inductance. The AT-12S has 250mH and the AT-12E, 13Ea etc. were around 1KmH.
This same aspect that "limits" a MM is also an asset. The designer can use inductance to tune response, and the end user has much more flexibility in that respect. With a MC there's not much you can do. It is what it is and loading only affects stage vs. focus/detail, with only odd ball exceptions. With a MM you can use resistance and capacitance loading to change amplitude response.
It's ironic that most high end phono stages have no provision for MM loading options, and of course the preamps have no tone controls. You're lucky if they even tell you the input capacitance. It's the fault of the press - their incompetence and of course the advertising dollars.
Tracking is another related issue and traditionally MCs were low compliance and lousy trackers. That's not entirely true today, but I have to take the trash out or I'll miss the collection truck. Later.
Regards, |
Leave it to a lawyer to put spin on the situation that seems favorable to his opinion. The Mexican didn't confess anything. He arrived at that conclusion after revising the high gain stage of his phonolinepreamp. He would probably be of that opinion anyway if his MC stage were better, but that's not how it happened.
Loading all his MMs at 100K, it seems obvious he liked the rising high end of most MCs. Whether you like the accuracy of master tape performance or the added "clues" of a MC is a matter of opinion. To each his own.
You could look at this another way. His preference coincides with prospective sales. I'd prefer to think the former reason is correct.
Regards, |
Nandric,
In Americia, even when we were young there were such things as public libraries. You didn't have to own a particular book to read it.
Moving coils are much more susceptible to large variations in output with a small change in coil size or magnet strength. If there's a 5mm discrepancy in wire length, it will have more affect on a coil with 12 turns of wire than one with 2500 turns. That's why major manufacturer MMs are much more likely to be within a small percentage of specs. Not so much for MCs, depending on the manufacturer.
Here's what Kiddman had to say about it:
http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1392385752&openfrom&1&4#1
"Come on, nearly all of these manufacturers make up the specs. Measuring lots and lots of high end analog, I've found the specs are dreams and wishes. MC's that show flat but have a rise of 8db by 14khz. Turntables that quote .01% wow + flutter but are really .3%."
"I've measured, using state of the art equipoment (with AC test signal, the only way to do it right) 30% differences in impedance with some brands. Yes, "mass produced" ones, if you can call the bigger premium MC makers "mass produced".
A few manufacturers are quite consistent, and very consistent in sound. And with many manufacturers, I've never heard 2 sound close to identical, tested one right after the other"
Kiddman isn't John Curl. Curl is a famous electronics designer who designed the Vendetta phono stage. He made the statement on DIY audio that he couldn't find two MCs of the same model that sound alike.
Neither one was talking about MMs.
Stanton and Pickering were sister companies and there are duplications in some models. The two we're talking about were TOTL models. Although they are low output, tolerances were checked. The 1 designation on the last Stanton digit is testing and matching to a stylus, like the 20SS is a matched 15SS.
I think this is about more than characterizing your MC carts as romantic. You haven't disputed that, only my credentials. I wasn't aware I needed credentials. It's about how much money is currently invested in carts? I can answer that for you no problem. As little as possible and still get great results. I wouldn't trade my 1000 for any of your MCs except maybe the 88D, but I listen mostly to MMs now. I'm with Halcro on this and I suspect that's what you don't like.
Peace,
|
Nandric, This is a quote:
"I quoted your own statements. If I 'mistate' what you have stated you should say so and correct my quotation with your 'real statements'. I stated that your statements are contradictory while your other statements were insinuations about my assumed character based on two carts which 'proved' my preference for the 'romantic' carts while two 'identical carts' proved that I collect carts like (kids) trains."
Those are your exact words (above). You haven't quoted what I wrote. Instead you incorrectly paraphrase. You have me making insinuations about your character when no such insinuations are made. I don't think cart preference has anything to do with one's character. I already explained that. If you think I was mistaken, why don't you say so?
I don't think it makes much difference one way or the other, but apparently you do.
The 7500 and 980 are identical models. The specs, output, resistance, inductance and body are identical. The stylus holder is different. That has nothing to do with tolerances or deviation from specs.
The lab report on the Clearaudio Concerto that I linked to looked like it deviated greatly from specs. There was a sharp roll-off at 10KHz and the report said the diamond was misaligned by 10°.
You're taking statements out of context.
"My analogy between a library and and an cart collection induced you to make the most strenge comment I have ever seen. In America nobody needs his own library because the books collections are in the public library. You missed totaly my intention."
I didn't miss your point, and everyone has seen your collection. Apparently you missed my point. You don't necessarily have to own a particular cart to know what it sounds like. I owned a Kisiki. I also owned a TK10ML2. I regret selling the Signet. It was a long time ago and I don't think I had enough hours on it.
Does that disqualify me from participating here? You probably have some carts you haven't played in years.
You talk about logic but seem to miss the distinction between models, specs and deviation from specs. They're different things. That's why I suggested comparing them with the same stylus. I thought it might be interesting. This continued exchange is tedious.
Regards, |
Nandric,
"If you and Jcarr continue with revealing the complexity and faults of carts I will buy a CD player (grin)."
Is that another one? Maybe you should get one of those Denon all-in-one DVD players that Raul likes so much.
I take it you sold your AT170 ? Do you have a favorite cart? What is your favorite(s) and why do you like it more than the others?
Feel free to wax poetic. I'm genuinely curious.
Regards, |
I picked up a Signet MR 5.0 ML. The MR series has the same basic generator as the 440 - 490mH, 790 DC, 3200 ohm imp.
I really bought it for the stylus which is beryllium/ML, to replace the 152ML I broke in transplant. The MR series has a 120/440 series plug, but requires a slight plastic trim on the side, to fit.
The Signet only sounded so-so. The DC was off, being around 809 in one ch and 830 in the other. It also has a small metal body. I put the stylus on my 440 and it was excellent, much like the 152 stylus. I was trying to figure out why the MR body is subpar. Just a bad sample or does the metal body have something to do with it? My 440 measures close ch to ch on DC resistance.
All the ATs I've messed with seem to be greatly improved with a boron or beryllium cantilevered stylus. High inductance ones are easier to manipulate. Like Timeltel's 13Ea with a 155LC stylus is greatly improved, and I think without having to change loading. I used to load my stock 440 at 32K to tame the high end. With the exotic stylus it sounds great at 47K.
Heavier aluminum cantilevers resonate in the audio band and often augment response peaks. The exotic ones resonate near the limit, or past the audio band and also have greater detail/resolution. A lower inductance generator like the 150MLX (350mH) will be harder to manipulate. If it's too aggressive I suspect judicious lowering load resistance is the answer. All AT MMs need < 200pF shunt capacitance which is important to keep the high frequency resonance from being lowered and augmenting treble.
Regards, |
C'mon guys:
http://www.jetcityamplification.com/#!retrovalves/ctjr
They're marketed for musicians.
http://www.amazon.com/s/ref=nb_sb_ss_i_9_9?url=search-alias%3Dmi&field-keywords=jet%20city%20retrovalve&sprefix=jet+city+%2Cmi%2C207
Regards, |
