Regards, Thuchan. Masquerade, indeed. Is it so transparent? There go my plans for taking over the world.
Interestingly, you comment on litzendraht wire. Not a fan of litz wire either, I took some time to find out why. Like most things, time has unlearned much.
IIRC, litz (coated & woven) wire has an advantage in resisting EM/RF interference, but offers more resistance than simple twisted wire configurations, and at the lengths involved for headshell leads, EMI/RFI is not a concern. At increased DC voltages skin effect can be a problem, but IIRC again, the copper wire skin effect depth for frequencies at 60kHz is .025mm, and at 60Hz is over 3.0mm.
Good for the longer lengths in tonearm wireing if RFI is a factor but the "old school" solution was to twist the TA wiring in pairs, L & R, and then again as a bundle. It's the parallel wires/cableing that act as an antenna. This is off the "top of my head", and as Raul has noticed it is very thick and sometimes things come out with unintended consequences. Someone correct any inaccuracies, please. I do like the AT-6101 PCOCC leads and need to put a set on the very pleasing AT7V, which is, in "house sound" terms, neither AT or Signet. Very well voiced with the (IMHO excellent) 155LC stylus, which, as Halcro wrote, is about to vanish from the usual vendors.
You mentioned the TK3e (TK3ea?), might you please follow up on this when prepared to do so?
And that Guru thing. May I permanently defer the title to Raul, as well as a number of others? Except Henry. He'll be too busy as ambassador for the 7V to do any meaningful Guru work.
Peace, |
Regards, Raul: There is no reason any of those who visit this thread would not be extremely concerned with the issue of distortion. Once identified it should become objectionable. It is difficult to believe there are those (other than the famously distorted guitar work of such as Carlos Santana or Joe Bonamassa) who would deliberately introduce such into their musical experience.
Possibly some insight into the difficulties experienced when trying to communicate the properties of a cartridge could be explained by this snip from a published work by Tom Holman:
While attempting to measure the transient response of preamplifiers, some rather surprising results were found. Many preamplifiers did poorly on a test which was not thought to be particularly severe-the reproduction of a 1-kHz square-wave spectrum. Square waves were chosen over other kinds of nonsinusoidal test signals as they were
found to correlate perfectly with asymmetrical signals, and the resultant spectrum is easy to analyze. As a test source, a fast square-wave generator with good symmetry was used. This square-wave signal was passed through a signal-pole 30-kHz RC low-pass filter to an accurate RIAA preemphasis network which incorporated rolloff in addition to the single 30-kHz real pole beyond 50 kHz. The signal, now at an rms level equivalent to the 3.54 cm/sec “0” VU sinewave test signal, but containing the sharp transients associated with the RIAA preemphasis, was applied to the input of the device under test. The output from the preamplifier should be a reconstructed square wave with only odd harmonics present. In fact, the preamplifiers had very different output spectra, ranging from identical to the input spectrum to a unit in which the second harmonic is down only 13 dB representing 22% second harmonic.---of fifteen currently available phonograph preamplifiers tested, all but one exhibited anomalous high-frequency behavior when fed a test signal from an actual phonograph cartridge.
Several sources are possible for this kind of distortion--.
Establishing a "common listening reference" would be a useful tool but the implementation a difficult task and might be equally descritive of components downstream from the cartridge. Still, watching with interest and appreciative of the intent.
Your last post on the matter is strong evidence that the well voiced and informed observations of an individual can be meaningful.
Peace, |
Regards, Dlaloum: Thanks, David, for your research into the relationship of cantilever resonance, damping, and the relationship to loading. Your easy to read style makes this understandable and takes away much of the mysticism many associate with cartridge design. The Tom(linson) Holman paper before the AES can be found (PDF) here: http://www.davidreaton.com/PDFs/Holman_AES_paper.pdfAdditional research is to be found in back issues of the Boston Audio Society. Thanks again. Peace, |
Regards, all: A Signet "top of the line" TK10ML has just been offered on ebay. Wether the description of its' voicing is accurate or not I don't care to comment on other than to say it is a most unusual description. TK10MLAcman3: The Signet 5.0e is a touch too aggressive in the mids for my taste (or perhaps it's the antique Japaneese SS gear) ;-). Smoother but not as attentive to detail (IMHO) with the standard 0.2 x 0.7 elliptical as compared to the 5.0me (minature elliptical) stylus, further improved with the AT155lc needle. It is definitely an accurate, dynamic performer and one I frequently enjoy. Danny, my listening has been dominated by the TK7LCa. I prefer "suggesting" another listener might enjoy a cartridge rather than "recommending" one, the TK7LCa deserves serious consideration. Thanks for the follow up and the evident concern. Peace, |
Regards, Henry: Was unaware of the authorship of the ebay description. I hope the seller does well with what, in a rig that agrees with it, should be among be the creme' de la creme' of MM carts.
As to the MR 5.0e, my response to Danny (Acman3) remains consistent with an earlier post. Transients and detail are excellent, the hf's are defined without seeming analytical. Bass notes do not run together, each is delivered as a single identifiable note without confusion or overhang, one of the measures of a fine cart. Please take into consideration my ancient SS gear is without any feedback circitry (or tubes) and as such the finer styli such as those with the micro or minature profiles can sometimes seem somewhat aggressive. Many seek these out and I understand this, however the less bright Shibata or line contact styli suit both the old rig and my preferences best.
I'm unable to comment on the TOTL (in the MR series) MR 5.0LC, the Signet styli are excellent and considering the influence of the stylus on performance, I'm sure the 5.0LC is an outstanding cart.
Apologies if anything I've written seems "malicious" and I will be attentive to this in the future, but must still remain constant with what I hear: My rig, my ears, IMHO & etc.
Peace, |
Regards, Raul: A "thank you" is in order. Your constant assertions of the quality of the AT20SS prompted the purchace of a hand selected, limited edition AT20SLa. It arrived with a generic (red grip Pfansteil) stylus but the cart itself was very clean and in unscathed condition. Following your recommendations, a pair of ATN20SS styli were on order as soon as the cart was purchaced. While awaiting the delivery of the AT styli (from LpGear, NOS, OEM and despite rumors to the contrary, in excellent shape) the generic stylus was used and resulted in a very disappointing experience. Flabby bass and hollow mids, uncontrolled resonances throughout the range of response. That it was mounted on a perferated headshell didn't help either, more (hello, In-shore) about this later.
The 20SS styli arrived two days later. As previously mentioned, both were in pristine condition and one was immediately installed. Ear splitting, piercing upper mids and hf's, bass was excessively recessed. Put on a Laura Brannagan promo lp, a 1987 club influenced digitally mastered Lp so compressed that dynamics were totally absent, and let the AT go at it (no amplification, sensibility sometimes prevails) all day. The AT6006a "safety raiser" tonearm lift earned it's salt that day.
The following day, bass was in evidence but otherwise still bright and with excess treble, the AT20 had another six or so hours of being punished with Laura, a Pavlovian approach to audio. Mid-day Thursday, a Yamamoto HS-3 headshell was delivered. Boxwood and 8.5gm, it and the cart's additional 8gm weight combined to push mass near the recommended range of the EPA-250 arm. The cart was installed on the Yamamoto headshell the following day (after another listen while still on the lightweight headshell) and the improvement was more than just noticable. The edgy/grainy character in the mids was eliminated, bass transients and decay firmed but the effect most heard was the reduction of glare in the hf's and improved clarity of detail across the entire range.
Today, about twenty five hours on the 20SS stylus now, the cartridge is delivering a solid sense of layering. Soundstage is deep but not so wide as to hint at uncontrolled resonances. Voice is appropriate and harmonics are beginning to develop in a most pleasing fashion. Just finished listening to a first release of the Eagles S.T. album, it played clean, clear and most importantly, musically.
I suppose that there are three "Thanks" needed. First to you for your continued support of the AT20. Second, to Halcro/Henry for the initiative to explore and comment on the attributes of the Yamamoto headshells, and a third to Thuchan for his post on headshells which was conclusive in the decision to explore their contribution. There is nothing "B-stock" about the quality of the Yamamoto headshell, this includes the provided leads.
Still not yet fully run in, the AT20SLa/ATN20SS combination has already moved into the top-flight category of the 50+ MM carts in the stable here and the Yamamoto headshell has demonstrated the ability to reduce unwelcome resonance-induced distortion. 1.2gm VTF, 47k res. & 150pF total. Oh, yes!
At this time it's challenging the Acutex LPM 320-111STR and already having the ability to similarly capture detail, if the AT20 should continue to improve to the extent that it eventually gains the air and hf translusence of the Signet TK7LCa, I'll be pleased indeed.
Thanks again and,
Peace, |
Regards, Dlaloum: Have a TK9(LC) cart with a (supposedly) ATN25 stylus. I recently brought the neglected cart out and retried in on an ADC mag. headshell, the 6.5gm version. Much better than when on a standard Technics headshell, seems I need to reevaluate as I was previously not impressed. This will need to wait until the AT20SLa can be fully appreciated.
Siniy123, there's also an AT22 stashed somewhere, thanks for reminding me. Do I remember correctly, the AT24 has a finer stylus/less tip mass than the AT22 & 23?
Peace, |
Regards, Travbrow: I remember and still appreciate your assistance in obtaining a suitable stylus for my TK9, it took a significant number of hours to run in and does represent the qualities you observed.
I hesitated to pull the trigger on the Nagatron (lucky you) but did collect an AT12Sa, a pleasant performer which can still be found in NOS condition at a very reasonable price considering it's capabilities. A low inductance/output impedance 20SS "wannabe" with a nicely polished but bonded Shibata, it falls somewhere in the middle of the fine/fun range. It's very easy on the ears and might be a cart for consideration by those who want a "daily driver" for extended listening in a relaxed and non-critical manner.
Apologies for the late-at-night gramatical error ("two" -> "too") and also for the obvious generalities expressed. These influences should be considered on a case by case determination.
Thanks again for your assistance.
Peace, |
Regards, In_shore: Thanks. The loyal SP25/Black Widow is otherwise adequate for the purpose but in the small home office it's in and with the 170 yr. old pine board floors, both acoustic and mechanical resonance is causing woofer-pumping and feedback distortion. A servicable "plug & play" deck with a fluid damped arm is an attractive proposition and I do appreciate all the input.
AT15XE/headshell arrived today. For those who'd like to know: Fine tapered alu. alloy cantilever & nude .2 x .7 ellipt. Two hours in, this is a nice sound. Soundstage is starting to tighten up as channel balance improves. Hopefully leading edge attack will pick up definition as the suspension loosens up, a cart with this pedigree has no business sounding so, ummm, romantic.
Raul, the 15XE will stay mounted on the 12gm AT HS until run in but I'm looking forward to trying your suggestion, the 20SS on what seems like a good headshell matchup for the EPA-250.
Peace, |
Regards, Raul: Your opinions are never disregarded. Consequent to a small amount of seeking info. online.
ClearAudio Virtuoso:
Description: Moving-magnet phono cartridge.
Stylus profile: Not specified. (See below)
Frequency range: 20Hz-20kHz.
Output voltage (1kHz, 5cm/s): 3.6mV.
Channel separation (1kHz): >30dB.
Channel balance (1kHz): <0.2dB.
Trackability: >90µm.
Recommended tracking force: 2.0-2.5gm.
Electrical impedance (1kHz): 660 ohms.
Coil inductivity: 0.42mH.
Load resistance 47k ohms.
Load capacitance: 100pF.
Cantilever: aluminum.
Weight: 6.0gm.
Stylus contact area is given as 4 x 40 micrometers in this quote from Robert Weaver, "The Stereo Times", Aug 1, 2001: "This shape dates back to a late 1960’s Japanese design purchased by Peter Suchy" (father of ClearAudio's Robert Suchy, Robert was Weaver's source). This is consistent with a parabolic stylus. The electrical configuration would indicate the generator compares with the AT15, AT20, Shure Ultra VST-111, V15-V, Tech. EPC-207 and Nagoaka 200/300, some very good company and the extended cantilever is an interesting approach to MM cartridge design.
Raul, the only comment I found resembling even the slightest criticism was a single comment that one listener found the ClearAudio Maestro even better than the Virt.
P.S.: Thank you, Griffithds.
Peace, |
Regards, Griffithds: If you're thinking of transplanting the stylus be sure to take a look at the link Dlaloum posted yesterday. This is an effective visual aid. It is imperative that as much of the thread sealing paint, lacquer, whatever, is removed first. Gently scrape out as much as possible and clear the slot of the screw head as best you can. Ensure that the screwdriver fits the head of the screw precisely and exert no more than a modest force when loosening the compliance screw or you'll strip the slot. Should this occur, then you have a fine stylus for an AT15/20Sa-SLa, this requiring a minimum of modification as described earlier.
Dlaloum and Flieb are also familiar with the transplant proceedure and they both give good information. Like a teen's first romantic encounter, once done it seems fairly straightforward. I practiced first on a ruined model (stylus, a ruined stylus) and found it helpful to visually inspect for azimuth by viewing the assembly from the rear, sighting the level of the magnets relative to the horizontal plane of the stylus grip. Compliance is somewhat determined by the pressure of the round pivot block against the plastic grip so you'll need to apply force with a fingertip as the compliance screw is tightend. Too little and the pivot block will be inadequately supported and the magnets will ground against the pole peices when VTF is applied. It won't damage anything but you'll definitely hear it & don't be surprised if it takes more than one effort to get it right.
Peace, |
Regards, Nandric: There is perhaps an element of Socratic dialectic in your question?
Bertrand Russell distinguished "knowledge by acquaintance" from "knowledge by description". This might be somewhat analogous to Carolus Linnaeus' coining of the terms "methodists", those who care about the principles of classification (acquaintance), in contrast to the mere "collectors", who are concerned primarily with description and pay little or no attention to taxonomic arrangements.
To state that alu. has certain properties is quantifiable in the lab but when attempting to qualify its performance as a cantilever then it might be admitted there are conditional considerations. It then becomes somewhat like the belief "The sky is blue" is true, even if the sky this morning was red.
This is the sort of thing epistomologists have argued over forever but it might reasonably be tenented that theoretical knowledge in the matter can never be substituted for practical application.
I'm pleased to consider that you'd entertain such a Hegelean premise by hinting of alu. cantilevers being “raised” to some higher level of performance by circumstance. ;-)
Peace, |
For Nikola, who enjoys great literature.
Round about the platters go;
Into the mix fine details throw.—
Add VTF, that cartridge must have weight,
Must be an Ion,
Turns a minute, it has thirty-eight.
Aligning now and sleeping not,
Rest not now, must see what I've got.
Stylus of diamond nude to stake,
on the cantilever to roil and shake;
Best is of ruby, aluminum is a log,
Wooly and fat, the hf's worry the dog,
Addled mids, and bass's-bloat it flings,
Of cantilevers beryllium,
The golden-ear'd in lofty praise sings.
Aluminum for an arm of powerful rumble,
Like a hell-broth of hiss,
And turns groove walls to rubble.
Double, double toil and trouble;
An Aluminum cantilever,
Could it ever be more,
More than just a vinyl shovel?
Oh!- the wonderful sound;
Digg'd I in the dark;
Euphony in play the exotic dowel was eclips'd;
The devil had in an aluminum thin wall slipp'd;
Make the thing of alloy;
And tapered to rid of flab:
Shibata nude and dragon tooth sharp,
Then it your heart with music will stab.
Add thereto some lower induction;
Next throw in a pinch,
Of compliance reduction;
These the ingrediants of our delight.
So for those who keep from aluminum in fear:
Double, double coil and V-magnet,
Platter turn and sound so dear,
Surely makes my CDP sound stagnant.
Peace, |
Regards, Halcro:
Whether 'tis nobler in the mind to suffer
The sibilance and glare of outrageous distortion,
Or praise pickups and arms amidst a sea of opinion,
And claiming subjectivity end them?
VTA on the fly, too steep, too little;
and by a slip to say we bend the cantilever,
then the thousand natural shocks that budget is heir to:
'tis a compulsion devoutly to be avoided.
Too little, too steep; Perfection, it's a dream –
Oy, cantilever's a nub!
When we have shuffled off our moving coils,
MM's give us cause – where's the respect?
And makes us rather hear that natural hue of resolution.
Surely tonearm pod and absent plith,
Have inconsequential movement;
With this regard pivot to spindle run not awry,
And lose the name of accuracy.
So off you now, the square Ortofon!
Acutex, in thy glorious harmonics;
Be all the muse's joys surrendered.
Henry: As always, pleased to share. YMMV.
Peace, |
Regards, Acman3: Not to worry. The well used LPM 420STR I found several mos. ago has impressive resolving abilities without seeming overly analytical, the sense of presence is noteworthy and like the LPM 320STR-111, tonally accurate. The Acutex do seem to have a distressingly long break-in period, IIRC it helped the 315's 20 yr. old suspension loosen up when a toothpick coated sensibly with Armor-all was touched to it (do so at your own risk). As previously commented, the 4xx carts offer a slight degree more definition in exchange for the "warmth" of the 3xx's. Both the flat-response 320 and 420 I have impress as a step-up from the 312/412, graphs show a rise in the hf's for both x12's. The 315 remains unique and the 415 I have is not yet broken in: Having gone in six hours from terrible to "just" somewhat sibilant, comment on either is inappropriate at this time. The beat-up 420 here is excellent but required some care in set-up, the cart does seem to like the 8.5gm Yama. boxwood headshell and 1.35-1.4gm VTF. Henry, I think, settled on a wooden HS too, the ebony version and after various other trials reported a positive impression of the LPM 312STR-111 on it.
Nicola, I'm makeing some notes as I listen while waiting for the 415 to run in and at this time have to agree with Danny, the hf's are definitely noticable with the NOS 415 cart but tonal balance is steadily improveing. Where'd I put that Armor-all---? The Acutex LPM carts are all interesting, exc. possibly the ellipticals, which are not quite as inspired. As always, somewhat reluctant to "recommend" a cart but if asked (IMHO, YYYM, & etc.), this is one worth investigating. You sound somewhat pleased with your aquisition and for that I'm pleased for you. Thanks from me too, Danny.
Peace, |
Regards, Nandric: I think the compliance rating for the Acutex carts is a myth, this cart seems to like a upper-mid mass TA. Tried the LPM 415 on a stand-by Denon DP-60L w/5.5gm eff. mass arm, it was a disaster. Too bad as the Denon is a very "airy"/clean sounding deck.
For comparison, a coincidental email from Mark Huffman (33audio.com) arrived last night, he had thought to inform me of the availability of the LPM 412STR and mentioned he was running his LPM 320STR-111 (40+ cu's) at some relatively high VTF's in the 2gm range. I believe he still maintains the Acutex 1980 catalog and other Acutex info. on his "hobby" websight. No association.
Henry: Patience is rewarded, and the 315 does require some listeners' acclimation. It's good to hear it's working out for you. Have you tried it at 300pF (+-)? Should you try one of the 400 series carts, the NOS 415 is finally starting to run in. It was beneficial to go over VTA again. Still a little brighter than I think it should be but the bass is starting to assert itself & the sibilance is gone. Almost. There are some experienced listeners who think the 315 is rewarding enough to settle down with. Packing up for three days on a favored Appalacian trout stream in the Dan'l Boone Nat'l Forest, native brookies and lovely German browns. Ya'll enjoy the music!
(Putina- isn't that Italian for "empty box"?)
Peace, |
Regards, Raul/Frogman: My Acutex 420 arrived yesterday. It shows the example I already had (and thought well of) was worn. I believe among those who ordered one there are going to be some very pleased listeners. Dynamic without unpleasant exaggerations or failings in the extremes of it's very respectable range. After four hours of play, it already shows good clarity in the bass, notes are distinct and solid. Greater presence than the LPM 320-111 STR without resorting to objectional tonal colorations. Portrays space around insturments and manages microdetail with assurance. It's a really good little cart, the kind that leaves one wanting to not turn the music off. Pleasing enough that, Raul, it might leave you reconsidering the thought that the older versions are superior. (Thanks again, Danny, for bringing its' availability to our attention.)
The 412 shares most of these attributes but lacks that final touch of definition, sharpness in initial attack and crisply delivered transitions. One needs to listen attentivly to distinguish the differences, the 412 makes a positive statement in over-all performance. Timbre and tone is accurate and it demonstrates Acutex's typical attention-attracting presence. It is lacking in only that final polish that elevates a cart into the category of highest quality. IMO & etc.
BTW, on the 415. Grainy mids and much too edgy in the hf's, a completely different character from the rest of the LPM lineup. I've requested another of the 420's but as to the 415, for this one I won't look for a spare.
Peace, |
Hi, Henry: Your experience with the LPM 315 just isn't typical of the cart and it is such a unique performer you have cause to be disappointed. If the cantilever remains on-axis when engaged, perhaps there's a fault with the stylus. Channel balance for the 315 is given as w/i 0.75dbl at 1kHz, hope you look at it under magnification before giving it your world famous, err, never mind ;^)!
The American Civil War General Rob't E. Lee said: "It is well that war is so terrible -- lest we should grow too fond of it". A shoot-out between the TK7lca & CA Virt is much less likely to draw blood but should you wait until your Acutex 420 arrives and then introduce it into the fray, oh, what a melee!
Peace, |
Regards. The Italin vendor still lists seventeen available Acutex 420STR. The 420 should meet most listeners' expectations for micro-detail, soundstage/layering is deep & just tall enough without being unbelievably wide, captures harmonics without loosing resolution. Bass isn't just "punchy", it's a knockout. Joni Mitchell's "The Hissing of Summer Lawns" NEVER sounded so good.
The 412 isn't far off the pace, needs a little more time to run in. Hf's are slightly brighter but one wouldn't know it without an almost immediate comparison.
Fleib: It's specifically the process of vapor depositing beryllium that poses an extreme health hazard. Beryllium in both wire and sheet are available from suppliers. Shearing or stamping apparently presents less of a health concern. I would imagine that with adequate safety controls a beyrillium rod cantilever is still possible but to produce a be. pipe may present the fabricator with more potential for liability than they'd care to be subject to. Now, let me see, just where is that elusive Central America off to today?
Peace, |
Regards, Halcro: Henry, I heard a little of that with my example, it was necessary to re-align after several hours. Grain & glare, hf's & mids, image off center. Twisted cart slightly counterclockwise (the OGD was greater than IGD), & added a touch more antiskate, centering vocalist by ear. Also double-checked azimuth. Leveled the headshell, lowered the stylus on the shiny side of a CD. Inspected with a jeweler's loupe, the stylus and it's reflected image composed a "perfect" hour glass configuration. Nailed it, now good to go.
If any of this helps, I'll be pleased. As one who is sincerely concerned only with that which is in your best interests, my advice is to align the Acutex 420 by ear and send your otherwise excellent alignment 'tractor to me, just so you'll not then be tempted to rely exclusively on it ;^).
Peace, |
Regards, Fleib: No. A little attention to skating, alignment & VTA, a very solid soundstage is the result.
The LPM 320STR stylus is a known 0.3 x 0.5 x 1.6mil. Presuming the same for the 420, this is a very fine diamond. Minor/major radius for a typical conical is 18uM (microns), for a good .2 x .7 elliptical, minor radius would be somewhere around 5uM. An extreme Shibata or line contact, 1.6-1.2uM. The STR is a modified "Shibata, tri-radial". STR refers to a third cut, at the back of the stylus. The stylus footprint is deep but not at all wide. This resulted, for me, in some significant time invested in set-up. Twice.
A reputation for elaborating on the obvious must be preserved, there's VTA. Not quite this simple but let's say that "pitch" raises when the pivot is and as the pivot is lowered, so is "pitch". VTA is said to be right when the hf's meet the bass and it's a good thing, right? Ok, think about soundstage and the stylus with it's "deep but not at all wide footprint" bridging groove modulations.
In response to your curiosity about any evidence of a diminished convergence of "center stage", try a fine tuning of VTA and listen for any influence on soundstage. If it's spread left and right but without a solid center image, a couple of thousandths VTA adjustment can make a difference, the stylus is that fine and it can be a pain to dial in. Twice. Get it ALL right, macro/microdetail and imaging stability with the 420 is excellent.
The biggest consideration is acclimating to it's "BBC" sound, a midrange openess (Dgob and Griffithds comments?) I identify with an IM design. IMHO & etc.
Peace, |
Regards, Dgob: Thanks for your measured response. Over a period of time one tends to compartmentalize and make associations.
Recognizing the dangers of generalization, there is no great surprise should an IM or MI cart be more easily described as musical rather than analytic. James Stewart or Gregory Peck- one knows what to expect, both good enough that who is the better actor just might be a matter of set/setting.
As to the Acutex 420, an excellent cart, a great value. Detail is there, it's just not a dominate feature. Outstanding? Jimmy or Greg is a much safer topic and surely one can appreciate either actor without resorting to agrument as to which is "best". Stewart, usually associated with as a middle class bumbler, could also play a mean western role as a ruthless character and was the first Hollywood figure to join the military, just before WW11 erupted. A Colonel(active duty) & then Brigadier General in the United States Air Force Reserve, he also served in Vietnam and earned the Air Medal, the Distinguished Flying Cross, the Croix de Guerre and 7 battle stars, as well as America's highest civilian award, the Presidential Medal of Freedom.
The details are there, just not flagrant.
Peace, |
Rdgards, Pryso/Nikola: Pryso, a latitudinal cross section of a conical stylus is round, an elliptical's cross section is, well, err, elliptical. Apologies for not being consistent in terminology.
Nikola: I would imagine stylus shaping is done now with CNC & lasers, the polishing may still be done by hand. Even if robotic, the requirements for reduction in range of movement are phenomenal. Anyone know for sure, speak up?
Peace, |
Regards, Dgob: I'm still maintaining the 420 is a chameleon. It seems no two descriptions are the same, other than a capability to deliver a stable soundstage and solid imaging. My example has been on four arms and three decks, it's doing best on a somewhat damped sounding Tech. SP-15/EPA-250 arm and Sumiko 12gm headshell. VTA is important.
In every configuration there is a consistent impression of not just aisle A, but instead table, front & center. Close to the stage and in a small venue. Those who enjoy delicate shading or the subtle detail of the oboeist turning the sheet music will not be enthralled with the 420. If one's pleasure is closely miked sax, harmonics evolved from female three part vocals or the raspy elements of a well resined bow on cello, the 420 will fulfill.
It does improve with use. On first play cymbols sound like the rush of pressurized air from the can of black spray paint Danny is using to upgrade his styli. Bass is a sonic BOOM and vocals, well, I like Tom Waits anyway. Approaching thirty hours on mine now, crackle and boof are receeding nicely but even with the well used example that came my way this summer, voicing retains a very forward, brassy element, this the purist is sure to notice.
Speaking of Tom Waits, one of his quotes is: "My kids are starting to notice I'm a little different from other dads". He has a consderable following so can we just think of the Acutex 420 as the Tom Waits of cartridges, just a little different? (And, no one HAS to like Tom Waits).
Peace, |
Regards, Lew(m): "why would I get rid of that rare and precision tri-radial stylus, Timeltel?
Because it's so blasted difficult to align. SOME of the guys who are hearing those "clicky-hissy" sounds in the hf's & sharp transients should stop complaining about a certain cartridge (I thought to not mention it again but it is very similar to the LPM 320) and consider what they know about alignment and sibilance. Does anyone really think Acutex would release a cartridge, designate it TOTL and let such a GLARING error pass? Think about those groove modulations and the stylus's minor radius. When this minor radius is small enough, and if misaligned, instead of horizintal deflection left and right, the stylus's opposite shoulders meet opposing groove modulations at the same time due to the diagonal error in alignment. Then what do you get? Sibilance. When done exactly right, and if the stylus is fine enough, micro-detail is the result. We're talking in terms of microns here, where anything larger than 1.5um starts looking pretty big. (It's also very likely that, due to age, suspension/compliance concerns may exist.)
Once broken in, there's nothing wrong with response, either. Dammit.
If front row presence is a concern, find some dainty little over-damped cart that will tinkle all over your music. ;)
All in good humor & done with the (unmentioned cart) subject.
Peace, |
Regards, Nandric, Pryso: Attributed to L.H. member "Analogfuture": "Back in the 1990s I read with great interest a couple of articles by Reto Luigi Andreoli, in "HiFi Scene Schweiz" ("The Truth about Cartridge Sound" etc.), where, after a thorough analysis of the geometry/mechanics involved, a major conclusion is that a spherical stylus point of appropriate radius should result in lower distortion - and that in his opinion most of the fancy "audiophile" (VdH etc.) stylus profiles appear to sound more detailed and with better HF extension BECAUSE OF added non-linear distortion in the upper octaves." Pryso, hopefully this link will take you there: http://www.lencoheaven.net/forum/index.php?topic=705.0Peace, |
Regards, Raul: And thanks for the add'l info. The description reads "Top" cart, nice ellipt. stylus & beryllium cantilever, output same as the EPC-100s. Not in the market for another cart right now (esp. one I'm unfamiliar with) so I'll take your word for it but from the given data I'd have thought it a better cart than the 202, the "Special Products" designated items aren't usually entry-level.
Peace, |
Regards, Travbrow. Re; the EPC-102SP. Historically, single play means in a manual fashion, as opposed to stacking lps on a changer. As always, enjoying a good mystery. Do you have a new TA (Moerch DP-4)? If so how's it doing & always good to hear from a gentleman. Thanks, Bill.
Griffithds: Don, you need both. I thought to try one of the SAE1000LC HOMC offered here, not enough time on it to say for sure but for now it seems like one of those books that are all middle, but a good one. Hoping for a surprise ending but comparatively the mongrelized TK7SU is sounding extraordinarily good tonight. Maybe it's the weather?
Peace, |
Regards, Dlaloum: If one tried hard enough to do so, supporting evidence for your proposition can be found here: http://www.bimat.org/assets/pdf/nu_04_95chen.pdf"(F)undamental resonance could be observed easily; observation of the overtone resonance was found to depend on the ratio of the fiber length to the cross-section diameter." (Tapered or sleeved tube/pipe?) It's interesting to speculate that high mass arms and low compliance carts at relatively greater VTFs are influenced in that: "(S)oftening behavior results from the effect of the beam momentum in the axial direction (low mass, high cu). The axial force is developed by the transverse deflection---. The effect might be negligible for small amplitude--but it results in nonlinear effect when the amplitude is large. For the doubly clamped beam, the axial force will bend the amplitude-frequency curve--- when the amplitude of the vibration is greater than the critical point. This has been known as the ‘‘hard-spring effect.’’ The axial force has a more significant effect on the overtones than on the fundamental." Hmm. Two approaches, to mass couple and thereby drain resonant energy, or to reduce the initial amplitude. Boundary resonances are also have their effect, shifting their frequencies as demonstrated in other investigations and sometimes in increasing in amplitude. Since carbon fiber is mentioned, the authors examined the resonant qualities of microfibers pulled from a quartz rod but made the point that "we have chosen to study micro scale (quartz) fibers as a way of qualifying the mechanical resonance method for obtaining Young’s modulus values for the ever-growing class of newly synthesized nanoscale fibers, wires, and tubes. If there are ‘‘problems’’ associated with microscale samples, it is likely that the same sorts of issues will arise with nanoscale samples." A good case could also be made for reducing boundary resonance through cartridge isolation devices in specific circumstances. Poem. By Henry Gibson: In New Orleans dwelled an audiophile Creole Who was asked if his cart sounded reole. With a tug of his hair Depends, said he, on how you feole If you call what you hear is air Instead of harmonic squeole. Peace, |
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Regards, Raul: Just about to post the same. Have the P8E cart, the X8S stylus is a perfect fit. Lost my data but IIRC AKG had recommended the P8 ES for only the highest quality of gear in order to extract the cart's potential. Possibly our multi-lingual Nikola could elaborate? It's been a while since last listening to the cart but from what I remember the X8S stylus is capable of extracting minute detail and nuance, harpsichord, double reeded instruments and bowed strings were portrayed well but was somewhat polite for the tasteless "classic" rock some of us persist in listening to. The X8E stylus offered a slightly more robust presentation, the difference heard in the more refined presentation of hfs with the X8S compared to the added presence of the X8E.
Output for the P8E is given as 4.0mV., the P8 ES as 3.75mV. Measuring from the termination of the iron slug at one end of the cantilever to stylus, the X8E cantilever is a (nom.) 1mm longer than the X8S cantilever, 8.7mm vs. 7.7mm. If definition and layering are priorities the X8S might be preferred. IMHO, antique rig & etc.
Your information comes from the small scroll-like "Stylus data and info. sheet" that comes with the OEM stylus replacement package?
Peace, |
Regards, Nandric: First: http://www.ebay.com/itm/AKG-X7E-X-7-E-Stylus-Needle-P7E-NOS-/400111206297?pt=LH_DefaultDomain_0&hash=item5d287c7f99#ht_2233wt_1189Pay particular attention to the construction, the description is: "This stylus fits the following cartridges: AKG P6R, P6E, P7E, P8E and P8ES." I'm wondering if you may not have purchased a mislabeled stylus? You had described the "four magnets" where the cantilever inserted into the cartridge, although the AKG is a moving iron cart the end of the cantilever for the P8E/ES terminates in a small cylinder, not the "cross iron" configuration you MAY be describing. The appearance of this stylus is identical to both the P8E & ES styli in my possession, they both function with my P8E cart, which is labeled as such. The information Raul is relaying is correct. Relax! Peace, |
Regards, Nandric: No relation to the vendor, but you might look here: http://www.ebay.com/sch/m.html?_nkw=akg+cartridge&_sacat=0&_odkw=akg&_osacat=0Although the series seems to be somewhat confusing, it's a "tempest in a teacup" compared to attempting to navigate through the myriad of AT/Signet/HiTec & what was that other AT budget cart, Proceed? The X7E was offered for comparison with the X8E you'd linked to, the appearance is the same other than the lettering on the stylus guard. The same is true for the P8ES, on the guard is X8S, "X" being AKGs' reference to the stylus assembly, NOT the cart. Grace used the prefix "RS", Empire "RD", AT is "ATN", Signet "S" (stylus) & so forth. If you click on the link I've offered, you'll see the cartridge bodies share the same geometry but are red or black for the "6", and clear for the "7". The "8" is also of clear plastic but the generator is gold plated instead of the bright metal of the "7". It might be convenient for the purposes of this particular discussion to simplify identification of the cart as simply "P8E" or "ES", just as when referring to the Shure V15-111, it's not always necessary to specify "MR", "HE", "DU" or whatever, the V15-111 is what it is (and remains one of my favorites, SAS or HE, either is pretty listenable). So, here's what we know so far. P6, fat elliptical (E) or conical (R), VTF 3 or so gm, output 6.25mV. The P7, (X7E .3 x .7 ellipt. stylus only), 1.5gm VTF, 4.5mV output. The X8E/X8ES styli are .2 x .7 nude ellipts., FR is either 10-23k or 10-28k. Tracking at a nom. 1.0gm, output is either 4.0 or 3.75mV. Following Lews' train of thought, the difference between the 8E & ES may very well be in the stylus assembly. The X8S is shorter, does not extend into the body as much, and thanks to Raul we know the cantilever wall is thinner. Nikola, about the only thing I could further mention is the interchangeability of styli and bodies. Within this specific series I wouldn't wager against it. How they relate to Nova, Super Nova, VDH, or any other AKG cart I've no idea. I confess though, it'll be interesting to read Raul's comments concerning the cart with the X8S stylus. I suspect our golden eared guru will be pleased. Peace, |
Regards, Fleib: Off to a dinner engagement last night so a hurried post. Apologies.
The Signet 5.0 stats were from a stored download, a search turns this up, post #4:
http://www.audiokarma.org/forums/showthread.php?t=577672
A few to add to AT's paratoridal coil carts: 5v, 7v & ANV150.
Peace, |
Hi, Fleib: If you're going to have overhang, offset is required. Straight arms, no overhang, no offset, fat cantilever and a conical stylus the size of a 16d nail are popular down at da' club. Extend a line in the other direction (they have two ends ya know) until it intersects, that's your offset angle. Overhang came first. Offset was it's love child.
The Healy is in the last shed way down at the end of the driveway. Sliding plexiglass side curtains instead of cranks for the windows. If you wanted to hang an elbow out & look cool you had to take them off & put them behind the seats. Wore out the big straight six in 1971, painted it B. R. green & rolled and tucked the bucket seats, had some solid motor mounts welded up & dropped in a Ford 289 HO. Alu. pistons & chrome rings, solid lifters and 11 to 1 compression. Edelbrock hi-rise, Holley 780 & Mallory dual coil ignition. Needed a big three core radiator to keep it cool so coat hangers as required. A hair in the air screamer, spring loaded Hurst shifter on a big three speed tranny. Tore out few rear axles back in the day. Plymouth Valient/first gen. Barracuda axle was a bolt-in fit but they're somewhat scarce anymore. Some day I'll get it going again. Maybe.
Peace, |
Regards, Fleib: Just to clear this up, extend two lines, to infinity if necessary. They will intersect. In the given example, 22* is a ballpark number. Otherwise we're saying the same thing other than your comment about the "theoretical pivot point". The pivot is where it is and any arc described by the stylus is contingent to it. Altering offset does not move the pivot, not on any of my TAs anyway. Calculating offset from a hypothetical point is a different matter, it's entirely possible I'm reading too much into this comment.
The Healey, ran like a scalded dog in a straight line, understeer was life-threatening. Tore up the last ring gear in '74, busy trying to hoodwink my alma-mater into awarding a degree. As a typical broke college student, parked the Austin for a couple of years. Some scoundrel from "Midnight Auto Salvage" took the carb & hot Mallory dual point distributor & coils. The alu. doors & hood are worth $300 each so it still has value. Memories, too.
Last year was great, Axpona (Atlanta) and the spring SCCA meet at Dayton Int'l were in the same week. A black Lambo Superleggera and Aston Db9 in the lobby, room after room of audio gear for consideration. I bought a bottle of Last stylus cleaner :).
Finishing up on a new 12A wankel in the vintage or showroom stock class '80 RX-7 but have a distressing coolant leak at the exhaust manifold gasket, needs bushings for the rear sway bar, shocks/struts all around. Axpona, Jacksonville & Daytona are three weeks apart this year so it looks like one or the other. Old dude that I am, at either location I just get in everyone else's way. "Torn between two loves".
Probably best to get off the auto thing. Raul is teasing us about alignment (I've a suspicion about where he's going with this) & Danny is posting subtle hints.
Peace, |
Regards, Fleib: Just to clear this up, extend two lines, to infinity if necessary. They will intersect. In the given example, 22* is a ballpark number. Otherwise we're saying the same thing other than your comment about the "theoretical pivot point". The pivot is where it is and any arc described by the stylus is contingent to it. Altering offset does not move the pivot, not on any of my TAs anyway. Calculating offset from a hypothetical point is a different matter, it's entirely possible I'm reading too much into this comment.
The Healey, ran like a scalded dog in a straight line, understeer was life-threatening. Tore up the last ring gear in '74, busy trying to hoodwink my alma-mater into awarding a degree. As a typical broke college student, parked the Austin for a couple of years. Some scoundrel from "Midnight Auto Salvage" took the carb & hot Mallory dual point distributor & coils. The alu. doors & hood are worth $300 each so it still has value. Memories, too.
Last year was great, Axpona (Atlanta) and the spring SCCA meet at Dayton Int'l were in the same week. A black Lambo Superleggera and Aston Db9 in the lobby, room after room of audio gear for consideration. I bought a bottle of Last stylus cleaner :).
Finishing up on a new 12A wankel in the vintage or showroom stock class '80 RX-7 but have a distressing coolant leak at the exhaust manifold gasket, needs bushings for the rear sway bar, shocks/struts all around. Axpona, Jacksonville & Daytona are three weeks apart this year so it looks like one or the other. Old dude that I am, at either location I just get in everyone else's way. "Torn between two loves".
Probably best to get off the auto thing. Raul is teasing us about alignment (I've a suspicion about where he's going with this) & Danny is posting subtle hints.
Peace, |
Regards, Pryso: Skating force is relevant to the audiophiles position. ;)
Before Lew explodes: First, the speed of a revolving object is greatest at the outside perimeter. If the rpms are constant, velocity as measured in inches per second (ips) decreases as the center is approached. Stylus friction, groove modulation, skating & ALL the relevant etc.'s are contingent to ips's.
As it applies to our concerns, let's change some of the parameters. We'll tie the end of a rope to a point anchored outside the rim of a merry-go-round. Imagine that our volunteer audiophile has given us just enough rope to hang him, err, to sit him, harnessed to the other end of the rope just past the capstan of said ride, now give it a clockwise spin. If he is facing the outboard anchor he will be subject to forces from two vectors. The first (from his perspective) will be from front to back. The consequence is a tensioning of the rope. The second will be coincidental to the fact that his position is somewhat past the capstan. As the ride's platform continues around in its rotation there will also be an additional influence, this from his right to left. In this case there is a lateral force originating from his right, as the platform slips beneath him he will be drawn left towards the center capstan. As this occurs and due to the reduction of the platform's inches per second of travel as he is drawn closer to the capstan, the influence of this lateral, or centripetal, force will be progressively reduced.
Peace, |
Regards, Raul: From the Boston Audio Society, 08-04-'80, this may be of interest : "Bauer in the early '60s,--- found the VTA of most cartridges too high (average 28 o ) to match the then current 15 o standard. With the change to an 18 o standard, matters were moved in the right direction, but the average remains too high. A few notable exceptions occur among the data: cartridges measuring 20 degrees or less include all the Denons, the Audio Technica AT-15Sa, the EMT, an Ortofon MC-20 that was tracking at 1.75 grams but not one tracking at 1.45 grams (and not the Ortofon moving-magnet models), and the Stanton 681EEE (but not the 881S). In addition, a Signet TK-7E and an NAD moving coil were around 22 degrees. Shure models measured 28 to 32 degrees, and the Sonus models were the worst at 32 to 38 degrees. Note that tracking force changes the deflection of the cantilever, and therefore the VTA. Accordingly, Table 2 gives both VTA and tracking force. The audibility of changes in VTA is still under argument. The Sonus cartridge in sample 24 had 0.8% IM distortion at 32 degrees and 4% at 16 degrees. Whether this is significant on musical material cut at normal levels is unclear. It does not predict the subjective effect claimed by believers in the critical nature of VTA, namely that too high a VTA produces a bright, harsh sound while too low a VTA makes the cartridge sound dull. It is nevertheless interesting that the moving coil cartridges, which have a reputation for smoothness and transparency, have as a class much lower VTA than most of the moving magnet designs, although VTA is not the only possible explanation." Considering the usually meticulous reports from the B. A. S, that SRA is not mentioned is curious. Both "turntable clinic" edition are worth skimming over. http://www.bostonaudiosociety.org/pdf/bass/BASS-08-04-8001b.pdf, pg. 24. and concluding: http://www.bostonaudiosociety.org/pdf/bass/BASS-08-05-8002.pdf here. Peace, |
Regards, Stltrains: My last (ever) comment on AS. Fleib, as has Nikola (between the lines of his wry Balkan "humor"), suggest that an inspection for cantilever deflection as the arm is queued down would be a good idea. There was a photo offered on A'gon several weeks ago, the cantilever was permanently skewed from incorrect AS. No recollection if it was from too much or too little.
Finally took the P8ES out of service, listened to three sides of Jeff Beck "Rock 'n' Roll Party", excellent quality vinyl but no "live recording" ambience. Back to the Signet TK7LC, fell in love (or lust) with Imelda May singing "Walking In The Sand". OoWhee!
Peace, Love & Barry Manilow |
Regards, Stltrains. Engaging. Hi, Mike. Not my best cart, someone might say a number of other carts I listen to are "finer", the P8E/ES, AT20SS, TK9LC with the ATN25 stylus, an AT22 or several others. Depending on criteria such as extraction of detail, rise time/overshoot & decay, I'd readily agree. Output of the above carts range from 2.0mV (Signet TK9Lc) to 3.5 (P8ES), transient speed and neutral presentation are commendable, their analytical/resolution of detail capabilities are excellent.
The TK7LC (or 7ea) is 5.0mV output, inductance (IIRC) 470mH and output imped./580 Ohms. Coils are PCOCC & hand wound, beyrillium cantilever and a very nice jewel quality nude stylus. Two things need to be observed. First is that in complicated or confused passages involving massed instruments, there is a hint of crowded transients. The second is an evenness in frequency response and fullness of timbre. The first of these qualities is related to higher output carts and is frequently noted, the second is related to both the very adequate output and the high level of QC in it's construction. The cart can be listened to for long sessions without a sense of being overly analytical or without calling attention to itself or supporting gear.
The AT7V is a near clone. PCOCC windings, coil inductance is 500mH, output imped. 650 Ohm. Upper-mids/hfs are slightly more forward without seeming noticeably bright. LpGear has it for $130 NIB, there is an AT7V offered on ebay this AM for $100 "never used", the OEM nude grain-oriented ellipt. stylus is also well received.
Perhaps because I've not heard the TOTL B&0 carts, the AKG P-100 or Tech. EPC-100C Mk. IV, the TK7Lc remains my "favorite" cart. It most certainly is engaging. The above specs are from memory, ignore or correct as appropriate.
Peace, |
Regards, Raul: About 20 hrs. on the SAE 1000LT. Bass is tightening up, hfs are clear without any sense of glare or rising high end. Ordered a second one today. Received a most considerate call from the vendor, Alfred, who wanted to make certain there was no confusion between the 1000LT & 1000E.
"Your previous purchase was for one of each, the "E" is a better cart", he said. "Yes (sez' I), I'm aware of the difference- the "E" offers more weight in the bass and the hf extension is more apparent, but the mids on the LT are showcased, almost luminous, without that "woody" or organic cloudiness so frequently heard with warm cartridges. "Coloration" or not, I'm an admitted pushover for carts with midrange presence". If one appreciates reeds, vocals or strings, the 1000LT puts them in the spotlight, timbre and resonance in the presence region is the LTs' strength. For those who prefer the sharp transients and body of brass, percussion, bells, ride cymbal or other struck instruments, the 1000E is a good choice. 2.5mV output, should be adequate for most phono sections, tracks at 1.8gm (+- 0.3) , fr. resp. 20-40kHz. The E is .4 x .7 mil, the LT .25 x 1.5 mil.
Alfred is quite willing to answer questions and when asked, indicated there are about forty of either model still available. Legend has it there was a cabinet full of these found in Denmark. The SAEs were built by Choral, in NOS condition and will soon be sold out. There is high praise (gushing over the LT is more accurate) coming from some very experienced listeners at the Vinyl Engine site. At the entry price, if curiosity were to get the better of one I don't believe many would be disappointed.
Peace, |
Regards, Raul, Fleib: The Stanton 881S specs are 10-25k, output imped. of 900, inductance 455mH, here's another for comparison: 535 output imped., 400mH coil induct., 35 dbl. separation, 3.1 mV output. With an exotic profile stylus, these specs would lead one to presume the cart has the potential for very capable performance. What cart? Keep reading. Meanwhile, concerning the "brotherly relationship" between Stanton/Pickering carts, an informative thread: http://audiokarma.org/forums/showthread.php?t=405437&highlight=stanton+500&page=2 "Pickering XV-15 and Stanton 68x are the same thing outside of the plastic and the brush - which are functionally equivalent? They're completely interchangeable. Just buy the best thing available at the price you want to pay - which is probably going to be a "Stanton" replacement. If anyone doesn't believe me, I'll be happy to stick a Stanton 681 stylus on my XV-15 and vice-versa, then record the results." And a little more from the same thread: "I know that the V-15 and 500 series are interchangeable, the XV-15 and 68x series are the same, and I think the XSV-3000 came out first, the 881s was a tweaked version of it, and then the XSV-3000 was brought up to matching specs." And the un-named cart above? The "lowly" Stanton 500EE. Peace, |
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Regards, Nandric: "(A}nd because English---is not my first language": Nikola, as far as english is concerned, your determination to communicate is laudable, possibly this is (a' la Freud?) evidence of subliminal "Anglo-envy"? ;^)
Jmowbray, your Signet (almost mine, I offered the first bid) is a desirable cart, esp. from a collector's perspective. As such, the ruby/LC rebuild would have been first option as it would respect the original design. An alternative would have been to try styli from either the AT22 or TK9lc already here. From the photos offered, there is a good probability that these assemblies would be a "drop-in" application. Replacements with the Be. cantilever and miniature elliptical are still available. If you go this route, there was a discussion of styli relating to this family of carts a year or so back, the result was a confusion of accurate identification & relating to vendors, caveats of various degree.
Jmowbray: I've measured some cantilevers, the TK9LC is 12mm, the AT-22, 12.5. An ATN155lc, 13mm and ATN20SS is 14mm. You might measure your remainder, a nom. 12mm from the base of the pivot block to tip would be promising. Even with a nitroglycerin capsule at hand to calm the palpitations, a cantilever transplant from closely related donors would seem a somewhat remote solution, I've had (questionable) success with a number of mutations but IMHO this cart deserves the best. Hope your example has simply "shed" it's stylus and one of the retippers can repair it with a minimum of alteration.
Peace, |
Regards, Jmowbray: Just looked at the pictures of the 100lc again, there are two screws just behind the cantilever pivot block. The first, set with red sealant, is the "compliance screw". From the picture, it appears the cartridge was subjected to excessive downward force, the cantilever was levered forward and now the v-magnets are nearly in contact with the front pair of poles. There also seems to be a slight cant, azimuth may also be off. It may be repairable by slightly loosening the compliance screw and repositioning the assembly. If this is the case, SS has a fine reputation and should the diamond be usable, SS may advise you so. This would be a best case scenario.
The second screw, this one bright brass, secures the block-like red stylus assembly to the cart. BluzBros has several photos of this assembly. It is entirely possible one of the AT styli for the 22 through 25 carts, or Signet TK9E, LC or TK10 through "Mk 11" (ML stylus) will be operational with your cart. But then, it would no longer be a Signet 100LC. This is NOT a recco. for BluzBros, just offered as a visual reference, suggest you take a look.
Looking forward to your report & meanwhile enjoy the TK7E (now TK7SU with the #3 stylus).
Peace, |
Regards, Nandric: Have received my proletarian cart, the two coil Stanton 500EE-11. Still debating the vivid line or JICO styli for upwardly mobile status. There is, elsewhere, a report of pretensions to class elevation through the retipping by Expert with a paratrace stylus.
The bourgeois XV-15 cart/D750 stylus is breaking in very nicely, the hfs are smoothing out and the bass bloom is receding, low bass is taut. Its midrange voice reminds me that Norman Pickering was a well respected violinist. The XV-15 has the potential to elevate to the upper class through the acquisition of either the D1800S (stereohedron) or D2400Q (quadrohedron) styli, but here there are capitalistic issues, the concern is basic need vs. elitist want. There is an informative Stanton/Pickering thread running on the AK forum, one even more so at Lenco Heaven, from which I gather there are 130 various styli to select from.
Pi' Sant informs me that as I'm merely a thick-skulled human and prone to humor of the frivolous kind, also too slowwitted to respond to the comments of my intellectual superiors, of which she assures are legion. She is familiar with Orwells "1984", her greatest impression was that of steel capped boots striking the pavement and as she is a rather long tailed cat prefers avoiding such, as well as rocking chairs. In a rare departure from her feline dignity, she also assures me that if I persist in political discussion she will sh, err, shed in my middle most shoe, for others the one on the extreme right or left, as appropriate to political persuasion. I naturally wish to avoid this.
For those considering the low impedance series of carts, Pickering UK offers XLZ-3500 & 4500 carts and replacement styli, the 981's twin (to the best of my knowledge), the XLZ-7500, is no longer available.
Pax, |
Regards, El Diablo (Grin): Watching the Asatic for the fifth time, will probably continue to vacillate until it's no longer available, then regrets. The XV-15 is not the be-all/end-all of carts but it is a very honest, "true to the recording" cart. Punchy. Considering D2000Q stylus (quadrahedron, 4 channel) or JICO Shibata. There's also currently a tempting 881S offered at a very reasonable B.I.N., a C.A. Virtuoso up for bid too. Must remind myself, "patience".
Without having yet heard the 500EE, with it's excellent (for a two coil cart) specs, the probability of the Asatic 300 being a better cart is accepted through it's numerous positive reviews. Anticipate the 500 performance to be in the neighborhood of the Shure M75E T2, a most entertaining cart & will be happy to add it to my collection. Unearthed a 3-5gm VTF conical stylus in my kit, will audition it soon on a sacrificial Lp. The Astatic will most likely join the ranks too, your recommendations are not without influence.
In the continuing objective of increasing knowledge concerning these largely vintage pickups, I appreciate reading the comments on other Pickering-Stanton carts. The stout cantilevers are more capable than they appear, light & rigid, special coatings. I'm about to conclude that W. O. Stanton & Norman Pickering knew their business.
Peace, |
Regards, Dlaloum: Apologies for yesterdays hurried post, the reference was, as you surmised, measuring tip mass through resonance without taking into consideration material used in cantilever construction. Your posts are always informed and substantiated. The reply was intended as comment, not criticism. Please don't think it's presumed you're unaware of resonance qualities of differing materials. Mea culpa.
Your post did open the door to a different matter, I should have addressed the forum rather than "Dlaloum". Allow me the opportunity to remove my foot from my mouth and instead step into that opened door. :)
Regards, all: In the past, a cartridge exhibiting any discernible degree of microphonics was personally disregarded. Detail retrieval and transient behavior has been a focus, these others have been viewed as colored or euphoric but just why have so many of these been considered among the best of the breed? Those I have with stamped metal mounts, plastic or clip mounts such as the Empire 1000 Z/EX. Pickering XLZ/4500S, XV-15/D750, Phase 4 (interesting 4 coil design), Stant. 500E-11 (2 coil), Grace F-9 & L, even the entry level Signet TK(x) & TK(x)a carts are in this "microphonic" category. Another, the Empire 4000D-111, hit the vinyl with remarkable results, even though not yet run-in. Reportedly, the well thought of 881S & XSV 3000 are also microphonic.
Six turntables, seven arms (three of which are interchangeable on two TT's), 25+ headshells and 50+ carts results in nearly 14,000 possibilities, not involving the miriad of compatible stylus exchanges. Giving it some thought, here's what seems to be going on.
An electric current will be induced in any closed circuit when the magnetic flux through a surface bounded by the conductor changes, whether the field itself changes in strength or the conductor is moved through it. Vibration modulates the magnetic flux linking the coil, thereby inducing an alternating current through the coil. Some high-output pickups employ very strong magnets, thus creating more flux and thereby more output. This can be detrimental to the final sound because the magnet's pull on the core can cause problems with intonation as well as damp the cantilever and reduce sustain. High-output cartridges have more turns of wire to increase the voltage generated by the cantilever's movement, this also increases the pickup's output resistance/impedance, which can affect high frequencies. Moving tip mass is another factor.
A cartridge doesn't care where it's signal originates. In the case where there is a mismatch of cartridge compliance/TA eff. mass or if the cartridge is not isolated by a buffer of some description, then tonearm, plinth, turntable, headshell or acoustic resonance is returned to the cartridge. The relevant amplification factor depends on the shape, material and mass of the article through which the resonance moves and it's commonly recognized that by adjusting its characteristic properties one may optimize the response of the system. The appearance of resonance is common for systems and isolation, damping and noise play an prominent role. This constitutes an important consideration in the characterization of these systems and can put to use for *controlling their basic properties*. Hmmm.
When considering resonance, four factors are taken into consideration. These are:
1. wavelength 2. plain wave propagation 3. reflection 4. phase matching.
Destructive resonance occurs when waves interfere with each other, A+B=0. In a situation in which constructive resonance, or constructive interference exists, A+B=AB, this is a condition in which enhanced resonance is observed. Resonance, depending on the degree the cartridge or tonearm is damped or performs as a vibrational sink (open or closed system) may to some degree be either in phase or not. From a listener's perspective, with corrective loading styli assemblies from the relatively well-damped and neutral AT & Shure carts can be exchanged with relative impunity. Stanton/Pickering carts seem to be much more resonant tuned. Phase anomalies are audible with such exchanges, do so with trepidation.
Martin Collums reviewed cartridges, tonearms and turntables in his 1977 book, "Hi-Fi Choice Turntables and Cartridges". Raul provided a link to a table listing those cartridges reviewed, unfortunately I've lost the link to the Vinyl Engine file but there were a number of carts with high marks in the usual technical specs downgraded from his "Recommended" list on the criteria of "listenability".
Tube amplification and straight-through MOSFET (zero NFB) also have audible resonant characteristics. In the perpetual debate between accurate and musical, maybe a little "listenability" is a positive attribute?
"(and that wee little resonance can't be such a big deal can it ?!)"
Peace, |
Regards, Griffithds: Relaxed. Similar words: Warm, mellow, easygoing, laid-back.
Antonyms: Tight, hard, rigid, harsh, severe.
In audiophile-speak, warm, romantic or organic are "buzz words" implying a lack of accuracy, coloration, wooden, wooly, smearing or the shearing off of sharp attack. The ATN15XE is, relative to the ATN20SS, "warmer", the term "relaxed" was deliberately chosen to avoid these negative connotations.
Having both the AT15Sa/ATN15XE & the 20SS, try "focused" or "detailed" (which the 20SS certainly is) before "analytical", this can also suggest clinical, aggressive or bright. Both carts are in frequent rotation, which cart is preferred depends on music, mood and inclination.
That brings us back to subjective vs. objective, a strong argument can be made for either case.
Peace, |
