Regards, Lewm. Thanks for your generous comments. As you follow these posts, you will find contributor Zuhweil231 much cleverer than I. I eventually scaled it out to find the source of error.
I did not mean to suggest raising VTA to increase hf's, it will, but at the loss of correct SRA, a slender margin with the line contact stylus and worth maintaining. Have you tried reducing VTF for bringing highs forward? As you concluded, cap. and load are also effective tools. I'm pushing mine like it was a Yugo. |
Regards, Zhuwei1231: "And I don't mind correction". I used 90 degrees as a take off, at 180 deg., the error is by one half, it is as you determined. 6.5mm up at 250mm length. Thanks for the double check. |
Regards, Raul: For those interested, a review of the Azden YM-P20E on the VE forum.
I was so taken by the P50VL that I purchased a second cart. and have been breaking it in for about two weeks now. For those seeking additional hf presence, you might experiment with VTF. Both of my examples open up between 1.05 & 1.1gm, tracing suffers at forces approaching 1gm. SRA is more easily found at the 1.1gm VTF range and has a noticable influence, tighter bass and hf's more forward. On a EPA-250 TA, 14gm. eff. mass., 6.1gm ADC magnesium headshell. As others have noted, it settles in after 20 hrs. (or so) of use.
Raul, thanks again for rediscovering the P50VL. When you receive the "E" stylus, would you find the time to give us your impressions? |
Regards, Raul: Sympathy for your bout with pneumonia, glad you're on the road to recovery.
I recently shopped for an inexpensive NOS pickup, selecting an Acutex LPM 412STR for $45.00. The cartridge was intended only for initial evaluation of used lp's, eventual destruction of the stylus was anticipated.
After several hours the bass firmed, the hf's began to gain definition and the soundstage developed. More attention was given to the character of the cartridge and after several weeks it has become a daily driver.
Perhaps the vitals will give a sense of the presentation:
Fr. resp: 20-35KHz
Separation: 30dB @ 1KHz
Channel balance: within 1dB @ 1KHz
Stylus: STR (modified Shibata, leading face is undercut)
Compliance: 24 x 10-6 cm/dynamic
Output: 3.5m V
Graphed response shows a 2 decible raise at 20 and again at 20KHz resulting in energetic bass and crisp hf's. The midrange is articulate and clear. Overall it plays somewhere between the lushness of the Azden and the sometimes excessive analytical presentation of a Shure V15-111/SAS stylus.
I am pleased enough with the Acutex to have sourced replacement styli. While researching I was refered to your original post, the Acutex 320-111 is mentioned there in the nearly-greats. Response for your 320-3 is 20-45KHz, separation is greater and compliance is higher than the LPM 412STR, output and VTF are also slightly lower. Have you had time to revisit your Acutex?
Please pardon the length of this post, the Japaneese built Acutex had not been mentioned by other posters and those who prefer a more detailed cartridge with an energetic character may find it pleasing.
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Regards, Raul: As to the Acutex, further searching finds references to your 320-3 as the cartridge of choice for several who commented on cartridge selection, but the primary market seems to have been in Japan for the high-end examples. Acutex provided a number of generic cartridges supplied with TT's such as Akai, Hitachi and Aiwa in the 80's, those with a square stylus holder are unremarkable but in 1983 through 1993 the LPM (lowest possible mass, 4.0gm) high-end design was produced. Acutex claimed the highest separation figures in the industry at that time, cross talk is undetectable.
The visual impression is of a flimsy body, the pyrimidal stylus holder is unimpressive to the eye but the tapered boron cantilever supports a tiny and very clear modified Shibata stylus, they were not inexpensive cartridges when new. BluesBro's (IIRC) offers a NOS 320STR at $290(+-), styli are $90(+-). How does the LPM 412STR sound? Out of the box, hf's are brittle, the mids grainy and the bass muddled. After several hours the suspension settles in revealing accurate and well defined highs, bass gains extension, is tight and very apparent without being overwhelming. There is a sense of the "smiley face" presentation found in the past when equalizers were a common component and most were set with the sliders higher at the extreme ranges. With additional exposure and acclimation to the character of the Acutex LPM 412STR, it's most impressive feature is the soundstage. Awareness of speaker location diminishes, presence and energy displace the distraction of a mechanical interface. Detail and drive at the extremes of response coupled with a warm and nicely layered midrange result in a thoroughly entertaining presentation in which my attention to the gear is secondary to the enjoyment of the performance.
The LPM 4xx series is a later version, your TOTL 320-111 would be a step above the 310, 312 and 315 designations. The 412's midrange wakes up at 100K ohms and 350pF total capacitance, positive VTA just above level and tracking at 1.2gm on a 9gm mag. ADC headshell. The leads are OEM and of unknown material. The chart that came with the 412 shows the X20 series has a flatter response through 45KHz and I would guess a lower capacitance figure might be appropriate.
If articulation, dynamics and MM warmth is prefered to a cool and analytically exact presentation, your Acutex might be worth a listen. My ancient SS rig, usual disclaimers, etc.
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Greetings, Raul: I trust my ears and audio experience, but your respected opinion is frequently a confirmation of my impressions. Please delay any positive statements regarding the Acutex line until I can find several replacement styli, as when you post prices rise.
For more information see:
http://www.turntableneedles.com/Acutex-M210-IIE-Stylus_p_3848.html
Scroll down to "Acutex Cartridge Catalog" for the 1980 product line and some interesting information. The section on stylus shapes presents some informative statements regarding potential groove damage from Shibata profile styli, which Acutex seemed to view as primitive.
I am exceedingly pleased with the midlevel LPM 412STR, apparently the last incarnation of the series before Acutex discontinued cartridge production in the analog "dark days" of the early 1990's and hope to find both of the TOTL models you have. For those who might be interested, be wary of replacement styli, many are conical and of poor quality but sold at high HIGH! OEM prices. |
Regards, Raul: Your posts concerning alignment are well put, applicable comments by others in that thread are also informative.
Let me go out on a limb: Different set-up geometries also slightly alter the heard characteristics of a cartridge. Baerwald seems minimally warmer, with Stevenson and then Lofgren B gaining progressively in analytical qualities. My old friend the Infinity Black Widow/SP25 deck with it's fixed headshell/SME base is specific to Baerwald, 15mm o.h. Technics specifies 15mm for my EPA 250/500 TA systems. This seems a contradiction to the usual advise that Japanese tonearms are engineered for Stevenson or Lofgren B profiles, frequently resulting in overhang in the 16-17mm range. Is overhang the first priority and alignment a contingency or is it the other way around?
To me this demonstrates the need to compare the qualities of different alignment systems in determining the most suitable outcome. What I cannot resolve is this: is "suitable outcome" a purists' mathematically precise, analytical and technically invariable placement, or, if you accept that different emphasises {distortions} result from different geometries, then a matter of an enthusiasts' personal preference. I tend to favor the "enthusiasts'" option but may not know better.
If I have made any misstatements, correction is, as always, appreciated.
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Greetings, Lewm: Your struggle with the Dyna. TA was somewhat on my mind as I laborously composed. You are absolutely correct in your response, alignment should meet the requirements of the tonearm. The problem is that there are four generally accepted systems, all meet those requirements but none agree.
Lew, I'm currently fiddling with a very long nosed Acutex cartridge. At the specified 15mm overhang for the EPA 250, the cartridge looks like it's headed to the stable but sounds glorious with Baerwald alignment. The stylus is very true to the axis of the cartridge, effective length of the tonearm requirements are met. Lofgren B and Stevenson (I failed to mention Pisha of Dennison protractor fame, or Seagrave and Kessler the mathmaticians) move the eff. length past manufacturer's specifications, Lofgren A not so much and yes, I do hear different presentations with the different alignments. This is why some prefer one alignment profile to another.
About stylus deflection, this for you to answer: The cantilever is in line with the cartridge and as perfectly positioned as I can place it on the protractor at two points. In action there is a slight deflection when the stylus lands on the record. When the tonearm's inertia is overcome the cantilever resumes it's unloaded horizontal position. Antiskating is 1/4 the value of VTF, channel balance is good. Seems near perfect to me. Where is the stress you surmise? Should one square the cartridge to the headshell, maintain 15mm overhang and have the cartridge distort, exibit sibilance and assume a diet of vinyl curly fries instead? Because it's prettier that way? Mr. Baerwald I trust. If Lofgren B sounded better, Mr. Lofgren B I'd trust. Even if the cartridge assumed (as it would) a different rake. Relating to music, my ears I trust above my sight. Square to the shell or not, tonal accuracy, controled sibilance and absence of distortion are the signatures of accurate alignment. As always, I welcome knowlegable suggestion or correction.
Strat1117: JICO makes a fine stylus. Several years ago I did plastic surgery on a N97he/SAS for a V15VxMR and thought it was an improvement over the good MR stylus I had for the cart. The same stylus did wonders for a M97xE. Shures are responsive to loading, you made that point. Thanks for your comments, experience and technology are not, as some would have it, mutually exclusive.
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Lewm: I intuit an apology may be appropriate. The above post was done late last night and after a full weekend of hosting overnight company. I may have been a little, um, testy?
First, the refered to cartridge with the stylus protector raised extends 9mm beyond the stylus, a small divergence of perhaps 1/2 degree outwards is very apparent because of the extension past the headshell. The next nearest alignment is Lofgren A, an arc protractor specific to the tonearm yeilds overhang of 15.478, Lofgren B and Stevenson are well past the Technics' designated 15mm. With them there is detectable grain in both the extreme inner and outer grooves but the cartridge does sit nicely in the headshell. Baerwald gives the best overall results with the EPA 250 and does most nearly preserve the 15mm overhang. Consequently, there is an audible difference between these alignment types, wether it is distortion or simplistically a matter of "tuning" makes little difference to the outcome.
It seems the visual discrepancy relates to the fact the headshells are of standardized dimension, the EPA 250 design comes later and does not utilize a headshell unique to it. Furthermore, all headshells are not created equal. In such a circumstance an adjustment must be made, choosing either appearance or function. Adherence to a 15mm overhang gives the best response. Using Baerwald, breakup and sibilance are essentially nonexistent. This is a priority for initial alignment, subtle nuance comes from "tweaking". It would not be logical to suggest that because the cartridge is not square to the headshell that alignment is then incorrect, just as it would be to state the cartridge must be canted for proper alignment. This now aside, we are in agreement on all else.
This brings me back to my first post on the matter. Overhang still seems the first priority, the most appropriate alignment system is the one that best preserves the elements of design. Accurate response is more desirable than appearance concerns and it may be necessary to do some exploring to find what works best. Makers seem reluctant to reveal this information, I speculate to protect themselves from criticism from fumblers, a clan I somewhat identify with. My few audio perfectionist traits remain in the aural arena, not the visual. Invoking Plato, function does indeed preceed form. Peace.
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Hello, Strat1117: Agree with all the above, one exception. VTA/SRA. On the fly VTA with the EPA tonearm systems make adjustment so simple, obsession overrides pragmatism and cartridge changes demand it. Mysteriously, the antique and difficult to adjust Infinity Black Widow hardly ever needs resetting. They just don't make them like that anymore. |
Regards, Raul: RE. Effective length, pivot to spindle, cartridge alignment.
Well said. Presuming the pivot to spindle dimension is correct and the effective length is accurate, I cannot see why alignment assumes such mythical proportions of difficulty. Either you have distortion or not. If so find the cause and fix it. It's all front, back, left or right with some up and down in between. I don't see how it could be easier. |
Regards, Raul: I can understand why you enjoy the Acutex LPM 315. Listening to the LPM 310E-111/M312STR hybrid, comparison to the elliptical reveals the superior quality of the STR stylus, enough so I that have found several of the M315STR-111 for replacements. A gentleman at Vinyl Engine has a small supply and was very helpful. Although he assures me the styli are interchangable in the "long nose" line, v.111, I know for certain the 41x version will not exchange. There is evidence that the 21x line is also dimensionally different, the stylus insert may have a Shure-like quill. The 412STR seems slightly more articulate than the 312 but consequently not quite as timbrally rich.
He has only a few. Cartridge bodies are more common and show up at that auction site from time to time. From the specs I think it probable that the stylus is responsible for the upgrades between models, as in the Orto. OM series. For those interested, if you search Acutex at VE, you should be able to deduce the source. Raul, you are so sharp I suspect you know all this already.
To refresh an earlier post here, the entire catalog can be viewed at:
http://www.turntableneedles.com/search.asp?keyword=acutex&search=GO
Find the M210-11E at the bottom right, click and scroll down to Catalog.
These stylii are rare, the 312 and 315 models will not last and the gentleman was in the process of rebuilding his web site and adjusting prices but agreed to send them at his original "hobbyist" price. I doubled my request. The M315STR-111 is nearly unobtanium now, when these few are gone, well, they're gone. In our communications, he also recommended the M320STR stylus but is not willing to release any of the few he has but is considering it.
Raul, as I understand you have the previous square bodied 320STR, should you find the TOTL "improved" version superior to the "long nose" 315, you may soon be crowning a new king. |
Regards, Raul: Interesting posts over the last several days, it seems "listening" is the theme.
Listening for alignment: I've concluded that alignment graphs are simply an aid to "roughing in" a cartridge, there are too many variances in spindle-to-pivot settings and in the actual relation of the stylus to the cantilever or cartridge body for guaranteed perfection. The first priority seems to be overhang. Using the inside point of a simple printed Baerwald two point protractor to start, the stylus initially set 0.5mm short of the manufactor's spec. At this point the cartridge is visibly canted to the outside. It's wrong and I know it is. IGD is usually slight but very evident in the outside tracks. With the mounting screws snug but not tight the cartridge is pivoted in stages towards the spindle until OGD is no longer objectionable. The inside screw serves as a fulcrum, this arcs the stylus away from the pivot and very near to specified OH. At this time both screws are tightened and listening for error begins. Further adjustments are usually minute, equalization of dynamics between L&R channels and a centering of soundstage indicate alignment is close. VTA next, then a long term check for distortion. This proceedure is usually effective and efficient but may take several weeks to conclude. Having said this, I'll go hide for several days, until the purists stop throwing things anyway.
Raul: As to a listener's ability to discern "different/superior". From a commercial (no affiliation) site but still interesting reading:
http://www.mother-of-tone.com/listen.
The promotional contents in other topics found there are to be taken with the reader's discretion.
Listening for the "best cartridge": I've finally pulled together a Shure ML 140HE. A NOS N140HE last year, the cartridge body found last week. It sounds "different" from the cartridges discussed in this thread, those I have familiarity with: Rich, woody but not wooly mids, crisp and articulate highs. The bass has wonderfull presence and impact but it lacks the sophistication of the Acutex or Grace F9- carts. More punch than an Empire 1000 ZE/X or Azden YP-50VL and less subtle than the Orto. M20FL. Greater presence and impact than a AKG P8E/P8ES but not as analytical as the Shure V15-111. "Superior" in specific areas to any of the above, inferior in others. It is none-the-less a very good pickup, perhaps Shure's best. I suggest if you have the opportunity to own one you will not be dissapointed.
Pardon the post's length. My opinion, my antique gear, usual disclaimers & etc. |
Regards, Pryso: Your post concerning clip on tonearm dampeners brought me a smile, it reminded me of the clamp-to-the-headshell camel's hair brush used when ceramic cartridges and five gm VTF were common. I have one (or more) lurking somewhere. They just pushed any dust around. At that time, benefits of tonearm dampening had yet to be considered. Following the example of the Weathers damped tonearm, Bob Graham played around with foil paddles (one vertical, one horiz.) on a refashioned paper clip attached to the tonearm counterweight or stub, the paddles were then immersed in a tub of STP. Highly recommended tweak in the early '70's. IIRC, Tom Holman was another early advocate of this application. Many also used STP as a lubricant for tonearm bearings (I think stiction was the term). If he had thought to do so I believe Andy Granatelli would have suggested the same.
Franklin: The answer to your question may be primarially a matter of circumstance. Example: Matching the cartridge to the recording depending on genre or how it was mastered. The Orto. seems subtle and revealing of low level detail while the Azden is more dynamic and forward in the bass and mids, this is not to say the hf's are recessed. Keep in mind the Azden gains clarity and definition as it breaks in. While not bad "out of the box", I have two examples and both took thirty to fourty hours to find their voice, don't be quick to judge. Fewer links between signal and output is better, with any pickup. Raul mentioned in an earlier post that removing the sleeves the Azden's pins insert into in the mount and adapting leads to fit was an improvment in signal quality. |
Regards, LewM, Nandric: As Raul confirms, there are two designs for the Acutex. Both wear the 3XX-111 designation, a cause for confusion I'm sure. One is similar in apperance to a Orto. OM series body, this is the "LPM" (lowest possible mass) cartridge. The other is a "big block" configuration and bears the "M" reference, as in M 312-111STR. The LPM series does have the appearance of a P-mount cartridge, the body can be removed from the mount and inserted into a proprietary graphite headshell, in appearance much like an ADC XLM Integra pickup.
I've compared four variations of the LPM series. A 310-111E (elliptical), a 312-111STR, a 315-111STR and a 412STR. The elliptical is not noteable, rather lackluster as compared to the STR styli. Possibly I've not given it enough listening time to appreciate it. The 312-111STR is more articulate, the highs are crisp, transients are uncluttered. As compared to the 315-111STR, mids have the slightest halo of glare. This may be a capacitance issue. The 315-111STR has a wonderfull presence in the mids and bass. Compared to the 312/412STR stylii, the hf's at first listen seem recessed but I've concluded this is due to superb tracing and the minimization of audible distortion. There are no sharp edges anywhere. Curiously, the Acutex seems improved by isolating the cartridge from the headshell. A common dime surfaced and relieved for the mounting screws has done much to eliminate resonance. Your comments concerning this are welcome, please remember I never claim to be more than an enthusiast.
The LPM 412STR is marginally cleaner in its' handling of mids and highs than the 312, the bass has slightly more punch but less apparency. Like the 312, no objectionable "boof" or overhang. I've seen only one reference to a LPM 420STR, this in a review of a phono pre done in the '90's. As I remember, it was refered to as a "no ordinary cartridge".
The LPM 315-111STR has proven to be a winner. The absence of hf distortion, warm accurate mids, power in the bass and its' ability to ride quietly in the groove make it a good selection for long term listening, the usual fatigue factors just don't exist.
Nikola: pm sent. |
http://www.33audio.com/enter/stylii.html#Acutex
1978 catalog, "flat nosed" version.
1982 catalog, "long nosed".
Peace. |
Raul, if I may:
Raul said: "Dear friends: As time goes passing the good MM/MI vintage cartridge opportunities goes ( faster that I wish. ) down/less and less, especially in NOS status/condition."
There is still an availability of genuine NOS Acutex stylii for the LPM 3XX-111 series, TurntableNeedles or 33audio.com. Both sites offer downloads of various Acutex catalogs for identification.
Mark at 33audio indicates his small supply is nearly exhausted and he presently has only several each of the LPM 312-111STR/315-111STR/320-111STR stylii. Those who may be interested should be aware the "M" and "LPM" designs are not the same. Stylii upgrades are possible within the separate series but not between them. The Acutex cartridge, usually as a LPM 310-111E(elliptical), was supplied on Pioneer, Akai, Hitachi, Fischer and other turntables in the 'seventies and is routinely offered on ebay, listings frequently use the turntable mfr's designation.
For those seeking Empire replacement stylii or wishing to conserve their originals, JICO offers most Empire models in elliptical, HE, Shibata and SAS configurations.
I hope this may be of assistance. |
Hello, Jb0194.
Sonus Blue, Shure M97xE/HE or any V15, and in quoting a respected other (ref. my post from 07-10-10), an ADC XLM.
In a 1975 issue of "The Speaker", Boston Audio Society members highly recommended both the Sonus and the XLM-1, the B. W. was the suggested tonearm for either. In an upstairs rig, my first model B. W. is on a Tech. SP-25, the current M97xE/JICO SAS stylus is a good match for it, as was a V15-111/SAS. |
Regards, Raul.
On 02-04-10 Dgob wrote:
"Timetel,
Have you ever tried your Black Widow with an ADC XLM Super Mk2 (or other) and, if so, what are/were your impressions? Only I have heard very positive things from friends whose hearing and love of music I deeply trust."
I've developed confidence in ADC magnesium headshells (for EPA-250 TA) and several I've purchaced have come with cartridges. One, an ADC QLM-30 I did not care for. Another, an ADC Q361. Today I cleaned and inspected the Q361's stylus and was pleased to find it a nude elliptical on a tapered cantilever, and in good condition. Sounded pretty good for an elliptical too. Tried, the two stylii were exchangable. Piqued, I searched the internet and find this cartridge body is common to many different models, including the XLM-2's/3's, upgrade avenues are`through the stylus.
TTN.com has NOS ZLM (shibata) stylii to upgrade the cartridge to XLM-111 updated version. Jico offers a SAS version. Several reliable ebay merchants offer "genuine" replacements. That the ADC original is thirty years out of production is a factor. Compounding my dilema is that there are several NIB XLM's currently available, prices are close for any option. One concern is the reputation for failing suspension early XLM's have and another is, of course, performance.
Thanks in advance for any thoughts you (or others) may have, especially in comparing the XLM to cartridges frequently discussed in this thread. |
Franklin:
Agree with Lewm. The OEM headshell is rigid and resonance resistant, it has stood the test of time. You might however consider magnesium headshells as an alternative.
According to the VinylEngine library, eff. mass for the Mk-11 stock TA is 12gm., including 7.5gm OEM headshell. Cartridge wt. range with headshell is 13.5-17.5gm., you should be "good to go" with your Azden. |
Regards, Lewm: Eff. mass for the B. W. is 3gm, lateral friction 0.01, vert. friction 0.005gm, all measured at the stylus. Strong bass, nice sense of air. Midrange response was uncolored, the B. W. was considered superior to the SME in definition and with it's SME style sliding base was an easy transplant for pre-drilled units, thought of at the time an improvement over the ubiquitous Shure arm.
Largely immune to feedback from acoustic resonance, care with isolation needs to be taken as it can be microphonic to mechanical disturbance.
Knife edge bearings for vertical movement provide excellent tracking on warped discs, all B. W.'s I've seen have about 1 mm of vertical "slop" in the bearing seat. Ball bearings for the horizontal pivot are tight, the arm is easily adjustable for VTA. Capacitance for the supplied patch cord was 50 pF for 1.5 meter, the connection was a straight 5 pin DIN male plug.
First model was an aircraft quality alum. tube, sleeved at about 1/2 it's length to one of larger diameter. The intent was to disrupt the channeling of resonance at both ends, between the pivot and carbon headshell. Later version, "G" or "GF" had the industrys' first graphite fibre arm wand, sections of fishing rods were implemented by some for repair of damaged arms. The GF model also had a damping cup attached to the pivot housing, the paddle was clipped to the wand just ahead of the pivot and was adjustable for depth of immersion. With the right cartridge (certian Empire/Grace models) it can track accurately at 1/2gm VTF. Original wireing was silk wrapped copper of very fine gauge, as they were fragile it is unusual to find one that has not had the arm rewired.
The most popular application was on a Kenwood "500" series TT, the one with the resin/mineral composite plinth, this classic combination is still occasionaly seen.
Introduced at $200.00 and then rising to $400.00, production cost made it uncompetitive and it was discontinued sometime around 1984.
TAS issue #9 reports it was tested with Sonus, Supex, Micro Acoustics and the ADC XLM cartridges with improvement over other radial tracking arms in IGD and negative effects from warp/wow.
Now, about that ADC, no one here has any information to share? |
Regards, Dgob.
Thanks for your kind consideraton. ADC produced a number of sophisticated stylii, among them nude elliptical, line contact, nude micro ellipse, nude line contact "vital", HE, Shibata and Aliptic semi-Shibata (what ever that is). Your XLM Mk 11 is reported to be the best in the XLM lineup.
With the variety of stylus designs available, I'd like to know more about them before making a selection. Any information would be appreciated.
Also, a possible correction to the Black Widow's specs. The first version was documentated by Infinity at 3gm eff. mass, IIRC, the later graphite arm with the damping option was given at 4gm.
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Regards, Raul: Thanks for your reply. The TRX specs look very good. The XLM compatible Astrion stylus is a good suggestion. If I have it right, the Astrion you mention has a sapphire single chrystal cantilever and nude line contact stylus, similar to the TRX-1/2/3 but not with the TRX's "vital" refinement. Again, let me express appreciation for your willingness to share information and your experience.
On another "note", I've been comparing an Acutex LPM 320-111 stylus to the 315-111. The 320 is notably articulate in all registers. Bass is very "punchy", the effect of the 320's low tip mass and nude mounting leave me with the sense of hearing the texture of the leather covering the mallet used to strike a tympani. Deep bass is heard as individual notes, transitions are sharp and defined even in the lowest notes. The hf's are extended and very detailed without being "tizzy" or distorted, one can imagine the individual wires of the brush as they contact a high-hat cymbol. Mids have the same presence and smooth integration heard in the 315's presentation, there is no glare.
I'm reluctant to rank the two stylii as each has its' characteristic voice. The 315 is warm. Its' presence and delivery has the quality of allowing one to listen into the music, eliminating the distraction of evaluating the equipment. The 320 stylus lifts performance in considerations of accuracy in detail and transitions. Nuance is a showcased element, the impression is of technical mastery. The 315 stylus remains most enjoyable in long listening sessions as it's always entertaining in all styles of music and never fatiguing. The 320 is more of a virtuoso. Although never overly analytical, it is detailed to the extent that every note seems as apparent as that of a soloists'. The Acutex LPM 3XX-111STR series offers two rewarding options: The graceful 315 stylus for pleasurable extended sessions, or the 320 for exciting dynamics and a revealing and accurate performance. IMO, etc.
Raul, it seems you've been too busy to audition your M320-111STR, has anyone else had occasion to hear the Acutex? |
Regards, Raul, Dgob:
For those seeking information concerning ADC cartridges,
http://www.audiokarma.org/forums/showthread.php?t=305018&page=3
The gentleman who designed the Astrion cartridge and the LMF carbon fiber tonearm is currently posting and states he is agreeable to answering questions. |
Greetings, Aolsola. Regards, Raul.
Great information about ADC cartridges recently, and perhaps more importantly, justifiable opinion expressed by knowledgeable others. Does it get any better?
The Astrion is apparently a transitional cartridge, the designer (posting at AK) indicates it was a move away from the XLM series for which he had redesigned the failure prone pivot block shortly after Peter Prichard had left ADC. A few of his comments: "The Astrion was an evolution (away from the extremely high compliance cartridges). The ZLM attempt(ed) to recapture the combined warmth and sparkle of the XLM II --- the Astrion was conceived to solve the perceived lack of stiffness in the ZLM's tapered tube cantilever. The lawyers wouldn't let us use beryllium because of the toxicity hazard so I ended up going with a laser slotted single crystal sapphire with the modified elliptical diamond bonded in the laser slot", and: "A ZLM was the best tapered tube stylus we ever built with the same diamond as the Astrion and the same hand assembly. Only real difference was the sapphire cantilever in the Astrion".
Other comments regarding the XLM reflect your (Aolsala) concern regarding tonearm matching: "OldADC" (username) admits admiration for the Black Widow and recommended it for the XLM/XLM-11 cartridges even though the B. W. was in competition with ADC's LMF low mass tonearms. If I have it right, XLM-111's were a BSA product, Prichard was busy with Sonus by then. Later styli (BSA) were made in Japan, original ADC's were of USA manufacture. A quote from elsewhere: "the tas guys had already been gaga over the adc25 and wary of its delicacy or rather lack of robustness of durability. when the XLM came in the scene, they jumped on it".
Other esoteria to share: All ADC bodies with a similar configuration will accept all similar stylii: A ZLM will exchange with the Astrion, a XLM, QLM, K-8, RSZ, RSX, RXL, etc. Turntableneedles has a good offering of NOS stylii and although the XLM-11 seems universally admired, I've selected a ZLM stylus for assessing the two working ADC bodies I own through happenstance.
Aolsala, I wonder if you might be aquainted with "OldADC", he was with ADC from the late '70's into the early '80's, he gives Eric as his first name. I hope some of this is usefull. |
Regards, Montepilot--
Exactly.
Many thanks for your kind response (and refraining from calling me, umm, "special").
Enjoy your P-76. |
Regards, Raul, Dgob:
Dgob, I'm sure you'll find your Point 4 worth your investment, congradulations and let us know your impression of the cartridge.
Raul, I've seen but not heard the Astrion, it is indeed a beautiful work. The packaging is indicative of the pride the maker took in his product. I was tempted to obtain the Astrion stylus but refrained for a reason some might consider self-defeating. This relates to a comment read long ago in which the author stated that some "audiophiles" concluded that it was possible to utilize a cartridge that was so analytical the level of detail and separation presented became a distraction to enjoyment of the selected music.
This is under no circumstance an indictment of the Astrion, which I understand is a wonderful cartridge and one I've not heard. It is a reflection of my own taste and experience, the Astrion is an unknown to me. I continue to enjoy the Acutex LPM 320-111STR, a cartridge that offers remarkable extension in the hf's and precise transitions throughout the audible range. I listen to the 320 for perhaps 15 minutes, then exchange it for the 315-111STR bonded stylus. I'm becoming familiar with the Shure ML 140HE, a delectably neutral cartridge. Also precise, extended and free of detectable distortion or unwanted resonance. A recent find was a NOS stylus for the ML120HE, just a small step down from the highly polished MASCAR nude tip of the 140HE. In both examples the lesser quality stylus softens any perception of "edgyness". While clarity, transients and definition are detectably diminished, the lesser stylii seem (to me) to have the effect of burnishing the music, avoidance of long term listening fatigue is enhanced and I'm less involved with critiqueing the equipment. I'm quite aware performance is diminished, when I wish to listen critically the better quality styli are implemented. Please don't think I'm suggesting one should intentionally seek out "second best" but I'm curious if any who read this might have similar thoughts. Just as a leisurely drive on a soft day can be as rewarding as driving a high-performance machine in a spirited manner, there are times when I find "full throttle audio" tireing.
You've hinted at another topic suitable for "discussion". In the early '90's, it seemed cartridge design had become influenced by the sterility of CD's and the unique qualities of infinite harmonic interaction and the vitality of analog were sacrificed in a misguided attempt to compete with the "perfect sound" of digital. As a consequence, and in spite of the advances made in technology and application of materials, the cartridges I give consideration to are typically those developed between 1970 and 1990. It is probable that my expectations are tuned (contaminated) by long term exposure to vintage equipment and transducers, but then it isn't called the "golden age of audio" for no reason. This is in no way intended to be provocative but again, I would be interested in reading the opinions of others regarding the correctness of performance of these then TOTL relics as compared to contemporary pickups, of which there are several (Aolsala, Grado is one) of note.
Raul, I'm grateful for your continued support of this thread, it is a valuable platform for the exchange of knowledge, application and experience. |
Regards, Aolsala:
Interesting read about the Sig. 111, thanks. Tonearm/cartridge matching is a constant concern and not an insignificant factor. Insights are always welcome. Relating to the suggestion you make about the use of copper IC's, would this be a capacitance or a cartridge voicing concern?
Incidentally, "preaching to the choir" is an oblique way of saying "heard it all before". Also, a very small apology is due, and offered.
Peace. |
Dear Aolsala: I think you are suffering a misapprehension. The thread is about MM/MI/IM/MC cartridges. We are fortunate to have so many from the past to rediscover, age discrimination does not exist here. Please make appropriate contributions as you are able. If you know of a MM cartridge worthy of consideration (such as the Grado Sig-111 you mentioned) then tell us WHY, we'll enjoy the input.
I do not believe there are many neophytes among the posters to this thread, you may find yourself viewed by your contemporaries as "preaching to the choir" and most are much more interested in which is better and WHY.
ADC cartridges have been a subject of exploration for only two weeks, Peter Prichard is also a relatively new name to the exchanges. Next week there may be much said about Grace cartridges, those who have the correct information might enveigh us with the entire history of Shinagawa Musen, or perhaps someone will reveal that Piezo of Japan contracted cartridges and styli for Empire, Azden and Acutex.
Please consider your past few posts. In one, you state as an absolute fact that vintage cartridges cannot begin to compare with modern, material and technological advances exclude them from consideration. You then proceed to identify specific tonearms and speakers from decades past as competitive with those of today. As such, I find your statements opinionated, inconsistent and most importantly, unsubstantiated. And, you have the social graces of a bulldozer. This is of course, IMO, usual disclaimers, etc.
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Well, Lew: Dig that thing out & see if it still has the brochure with it. Share the info & if you're ever down this way I'll treat you to a seven course meal. Around here that's a hot dog and a six pack.
Peace, |
Raul: In the spirit of sharing information, your and Aolsalas' opinion of the ADC ZLM stylus came late. I'd ordered one two days previously and after twelve days (20+ hours) listening with several different tonearms and turntables I have to agree with both of you. Timbre, weight, and tone is good but due to the cantilever's apparent lack of rigidity there is an objectionable congestion in the mids and a lack of refinement in the hf's. Transients, and especially decay need improvement. There appears to be good information from the stylus but the cantilever just seems s-l-o-w. Best results on an ancient Dual 1219 idler. EPA-250 & EPA-500H tonearms were too revealing of the ZLM's lazy response. Tonally, a nice effort from ADC but no winner's cigar.
Good discussion on tonearms, think it best to start within compliance/mass parameters, go from there if potential improvment is suspected. I have a concern about delicate suspensions on a high eff. mass tonearm, 'nough said. Nandric (regards, Nikola) always has well deliberated comments. Headshell material has an influence in resonance concerns, I've been trying cartridge isolators of different compositions recently. Metals, wood and fabric all influence a cartridges' character, some like maleable metal, the Orto. M20FL, burlap and a 12gm. headshell, silver leads. Grace F9-E and -L on cherry next, a few peices of cocobolo, walnut and oak to play with too. Matter of opinion if any are an improvement, entertaining exploration for a retired instructor/cabinetmaker when it's too hot to fish for trout or play on the tractor.
The Acutex LPM 320-111STR is top-notch. Brilliant extended hf's, sweet mids and strong bass. At 250pF transients are delicate or impactful as recorded thoroughout, decay seems as if it will extend into the next cut. The LPM 315-111STR is still lush at 300pF and remains a favorite, LPM 312-111STR & the last of the breed LPM 412STR are in your face rockers. Has anyone else sampled one?
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Regards, Raul. Several comments were made concerning the ZLM stylus, perhaps three weeks ago. It is entirely possible that I had misremembered and the comment was made by another. Apologies.
The Acutex: the 315 diamonds' profile is 0.3 x 1.6 x 0.6, compliance 38x10-6, fr. resp. 20-40khz, tip mass given at 0.6mg.
For the 320, stylus profile 0.3 x 1.6 x 0.5, compliance 42x10-6, fr. resp. 20-45khz, tip mass 0.5mg. The lower tip mass for the 320 is due to the diamond starting from a rectangle rather than a square before the modified Shibata "tri-radial" STR profile is ground. As the 320 "Vital" is wider than deep, Acutex stated stylus weight is reduced by 40% and also has a positive influence on the integrity of the stylus in it's nude mount.
The 315 rolls off slightly below 50k. The 315 is flat from 50hz to 2k, then a 2dbl drop to 15k at which point it returns to flat through 20k.
The 320 stylus is a consistent 2dbl high from 20hz to 2khz. and again from 12 to 20khz with a slight drop off between, practically the opposite of the 315, but they are never more than 4dbl. apart.
The 315 is warm and relaxed with no evidence of confusion, however the 320 is more articulate. The 2dbl. increase above 15k with the 320 is apparent with an A/B comparison and the smaller tip mass is evident in transitions and decay. Slightly heavier, the 315 does demonstrate more energy and encourages one to listen into the selection. The 320 is crisp and agile in the groove and has the same quality of voice so attractive in the LPM 315-111STR.
A purist (esp. for classical, "Mozart Serenade in G" is inspirational) would have to say the 320 is better but for extended listening I find the 315 very pleasing.
Ecir38: There is currently a NOS stylus for your Grace F9-L, (gold body/clear holder) offered on Ebay, the F9-L cartridge is of higher output than the F9-E and these line contact styli are rare. Should you wish to consider expanding your collection, there is also a Sonus V with stylus, no offers after three days. Another of the Peter Prichard (after leaving ADC) designs, this one is being offered as a "DJ" cartridge. This is unusual because they have the reputation for quality sound but I have read Mr. Prichard didn't approve of the resonance generated from a tie wire and so the cantilever sometimes falls out. NOS styli are not expensive should you wish to consider it. Disclaimers, etc. |
Raul: An apology. After my previous post, I accessed the V.E. reference you gave and wish to avoid any appearance of argumentivness. I am now less certian about the stylus profile given for various Grace cartridges. There is a note at the bottom of the manual stating specifications may change without notice. In an effort to be "Grace"ful, any error is mine by fault of inadequate research, so be it. |
Greetings, Lewm: As some suspect but have been too polite to say so, I am deaf as a telephone pole. I have trained myself to enjoy audio by observing the action of dust motes in the air. The problem is, when my humble abode is overly sanatized the quiet is distressful.
Voltaire: "Opinion has caused more trouble on this little earth than plagues or earthquakes". Where is Axelwahl? |
Dgob: The best information I can offer comes from Empire Sci.: Empire states all styli fit all cartridges within that family. Specifically listed are the 1000/900 series. Empire cautions that although the cartridges can be upgraded through the styli, the cartridge retains it's character.
Perhaps of greater help, output voltage for the 1000Z/EX is given at 5.0mv., 999V/EX, 999T/EX @ 6.0mv. The 999S/EX, 99E/X, 909E/X and the 90E/X @ 8.0mv output.
Some Empires in this range have the cartridge designation printed on an adhesive film label. Perhaps your example came with similar identification but it has fallen off?
Anyone familiar with Signet cartridges? Information/opinion specific to the AM (Analog Master) or MR (Maximum Resolution) versions would be appreciated. I've happened onto a number of NOS stylii for these, the AM20 (nude minature elliptical) is very nice but I've not been able to find a cartridge for the MR 5.0 (5.0 basic, 5.0-e and 5.0-mr) series for which I now have a redundancy of styli. Packaging for some are the Signet U.S.A. label, others show AT, made in Japan as the source. Apparently these, as well as the OC-9 and the 440-ML were Signet designs and continued by AT when Signet was purchaced by them in the ?early 90's?. Thanks in advance for any information. |
Regards, Raul. It seems to me that from simply observing audible and visual cues one can determine if the tonearm is appropriate for the cartridge in use.
Just as over-damping of a low mass tonearm will result in excessive flexing of the cantilever and result in audible tracing or tracking problems, a tonearm not suited to the cartridge (by reason of mass or bearing friction) will cause the cantilever to move outside of its optimal position. This results in the cartridge percieving a false signal generated by inertial/momentum induced tonearm movement (or failure to follow the groove) and not from the recording. Excessive wear of the the stylus and vinyl are likely, damage to delicate suspensions is also a possible consequence. This applies, of course, to the discussion of high compliance cartridges.
Resonance concerns aside, your advice to try it and see lacks the specificity we are seeking but is most appropriate. Your comment on the position of the counterweight is also noteworthy. IMO, best audible results occur when, with proper VTF applied, the weight is approximately midway between the extremes of available adjustment. Headshell weight and composition, TA mass, bearing friction, to damp or not, cartridge weight, isolation and compliance are all "points of interest" on the road to good audio. Like a Key West waterfront juggling act, one just can't know how it'll come out until it's done!
Signet. Anyone? |
Regards, Raul. You ask a simple question, to answer it requires your patience.
From authoritative sources:
"The net effect of a poor tonearm/cartridge combination, whenever a large undamped resonance
falls within the audio band, is that oscillations may be excited by the recorded signals, producing a
rising bass characteristic with distortion and mistracking, and whenever the resonance is below
10 Hz, disc defects such as warps and ripples will throw the arm into gross oscillation, thus producing
severe variations in tracking pressure and dramatically reducing trackability. This
results in distortion and a lack of detail.
Incorrect force, wether it is too low or too high, momentarially moves the cantilever out of it's optimum position. There may be repeated, if momentary, losses of contact with either or both groove walls and repeated instances at which force exceeds the bearing strength of groove walls."*
*James Brinton, Bureau Manager for the journal "Electronics", and President of the Boston Audio Society. Published in "High Fidelity" magazine, 1975.
"Let us consider the function of the tonearm. When the tonearm/cartridge system is in play,
we wish to have the stylus tip follow the record groove and displace relative to the cartridge,
generating an electrical signal. Meanwhile, the cartridge shell and tonearm should remain a
fixed distance from the local mean record surface, riding the warps and other inaudible low frequency
excitation as a cork might ride the waves on an ocean. Whether or not these objectives
are achieved in any system is a function of the dynamics of the tonearm/cartridge mechanical
system."*
*S.L. Phoenix, Assistant Prof., Sibley School of Mech. and Aerospace Engineering, Cornell University.
"Any stylus cantilever motion not due to groove modulations is -or becomes- distortion in the cartridges output. The cartridge, after all, can't be expected to tell the difference between motion caused by the groove and that caused by the movement of the arm alone"*
*Bob Graham, article published by the Boston Audio Society, 1975.
What I make of this (and supported by observation and common sense) is that a tonearm can respond either too greatly or too little relative to the vertical and lateral displacement parameters of a cantilever. In case of a warp, the ability to recover from high velocity modulation or disturbance, excessive mass has the effect of driving the cantilever out of it's optimum position or slowing cantilever recovery. This may also have the outcome of the stylus plowing through groove modulations or excessive stylus wear. Tonearms of too little mass (relative to cartridge compliance) have their own set of concerns. Again, obviously. In extrapolating from the words of Mr. Graham, changes in the position of the cantilever are responsible for the generation of signal, wether due to groove modulation or tonearm motion.
It is perhaps urban legend and I do not have a written reference at this time but the reports of ADC XLM(1) and Sonus Blue Gold cantilevers pulled from their pivots by inappropriate tonearms are plentiful, the most frequent suspect was "Tonearm too heavy". I am personally aware of one instance with the original XLM. There are also reports of these cartridges spitting the cantilever out for no apparent cause.
Although it would be great if one could simply crunch numbers and determine from remote a certain cartridges specific response to a given tonearm, there have been too many agreeable combinations which when technically considered would be thought a mismatch. One does need to be very aware of potentially counterproductive tonearm and cartridge partnering when making this choice. Of course.
This is about as complicated an explanation as my simple mind can provide. Simplistically, signal is generated by the movement of the stylus/cantilever relative to the position of the tonearm. When they start going separate ways, it's not a good thing. Whatever the cause.
Raul, perhaps I should have been more specific in the post you've questioned, in respect of your expertise you are owed this explanation. My statement was a reference to tonearm induced distortion as a tonearm generated spurious signal.
That's my story and I'm sticking to it. Of course, you're welcome to agree or not. |
Acman3: Greetings, Danny. Please do refresh on the Signet when you find the time. I have one MR 5.0 "basic" stylus, four of the "E" model and even more of the "ME" (micro elliptical, nude mount). So many of the AM10 & 20's I feel somewhat guilty but they practically followed me home.
Tonight I've learned there is also a MR 5.0"ML", thanks to your post. Rumors of nude Shibata, titanium and berillium cantilevers too. I've indications the output for all MR 5.0 series are the same except for the slightly higher output "basic" but there is a difference in the coil windings I've not yet been able to pin down. I think so, anyway. A favorable comment would add impetus to my search. My residence is in Kentucky, just south of the currently steamy Ohio River and I thank you for your kind offer. |
Regards, Raul. Open discussions of damping, bearing friction and eff. mass were just beginning in 1975, as was the popular understanding of the impact on playback quality. Designs available to the high-end consumer seem to have followed innovation by perhaps two or so years, application continues to build on this groundwork today.
I selected these references since they were descriptive of the concerns being discussed here and were presented in an understandable manner, even for me. My apolgies if my previous post was vague, and as always your response and questioning was mannerly and, under those circumstances, very appropriate. |
Regards, Acman3.
You're correct about the Tk9/10 sharing the same design as the AT25. Turntableneedles.com shows the same stylus for either application. Other than word of mouth I've not been able to find much accurate information. Thanks for the needed correction, anything you or another can provide is welcome.
I've been enjoying the lavender colored ML stylus from a AT440MLa in the AM20 body, as well as with a recently found AM10s cartridge. Either is a rewardingly accurate combination, boron cantilever and nude ml stylus for the 440MLa, IIRC. Even with my antique all SS rig, voice and piano are smooth, the splashy hf's that had prevented my enjoyment of the AT440 cartridge are absent while still retaining good extension. There is satisfing weight in the bass without seeming ponderous and imaging qualities are among the best I've heard.
I find the 5.0me stylus slightly edgier than the AM20me (minature elliptical), the 20 has a glow about the mids and is less analytical, this may be a consequence of the AM20's less bulky/rigid plastic stylus "sled". Rick Wakemans' and Al Stewarts' sometimes piercing vocals are nicely delivered. All permutations seem well matched to the 12gm eff. mass Tech. EPA-250, sounding especially good on a 6.5gr. mag. headshell at 1.4gm VTF. The variations I've tried all seem slightly muddy on the lighter EPA-500H arm which does best when tracking at a lower downforce. Keep in mind, other than the 440MLa stylus, none have more than 15 hours of use at this time.
I'm not sure how I've managed to overlook Signet in the past, all other cartridges in my collection are currently being neglected. |
Acman3:
Danny, all. An addendum to the previous post: the cantilever for the 440MLa is tapered alloy. Nude square shank micro line stylus. It is probable there are similarities in cartridge body dimensions of the MR5.0, AM10/20-50 but output differs, the 440 at 4.0 mV, the AM series is 5.0 mV. From the cartridge data base, VE. Output for your MR5.0 is not listed. Output for the much accoladed Tk/e design also differs but styli are reportedly exchangable for models below Tk-9.
There are rumors the body for the Tk/ea is slightly wider than the Tk/e, which of these is comparable to the cartridges discussed above and also wether this is accurate will require additional information. |
Regards, Raul.
As it is said, experience counts. I applaud your generosity in your willingness to share yours.
The last electronics store in the area to carry analog related items offered me their entire stock, an "offer I couldn't refuse". Included in this bewildering assortment are over 400 styli and 16 cartridges of various quality. Among the styli is a NOS stylus for either the Signet Tk9/10 or the AT24/25. The small aluminum block (approx. 3 x 10mm) that carries the suspension and miniscule catilever is anodized in red. Other than color, there is no numerical identification, unlike the example at ttn:
http://www.turntableneedles.com/Audio-Technica-ATN25-SIGNET_p_760.html#
I am perplexed and as I've just "won" an AT22 I would appreciate your opinion as to wether I've commited to the wrong model for this stylus. Would you have any insight? Thanks in advance, and for any other information or opinion you (or others) may care to express concerning Signet.
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Travbrow:
Thanks for the insight. Without the mfgr's documentation it is, for me, frequently a guessing game in reviving these well regarded classics. I confess some of my efforts have resulted in questionable re-incarnations but suspect I'm not the first to "swop" styli around. This cartridge/stylus deserves better.
As to the AT22, the cartridge body (from photos, cartridge database) has the same cover plate for the cantilever assembly as the AT23/24/25, also the Signet Tk-9 which another member was kind enough to send an image of. As I'm proceeding as though the two are compatible, would you know if there is there anything I should be apprehensive of in removing this cover when confirming fitment? |
Regards, Travbrow.
Thanks for the installation tips and the gift of your time needed to respond. I hope replacement is not required and if so, that my "windfall" stylus is correct for the application. |
Regards, Downunder: For your AT25, another option:
http://www.pickupnaald.nl/?page=shop/flypage&product_id=382&category_id=
You may find it interesting to view (scroll down the page, your querry about both assemblies being silver might be answered):
http://www.adelcom.net/SignetStylus1.htm |
Regards, Raul, Downunder: I've been listening to a recently acquired AT22, articulate without being agressively analytical, nothing in it's response is exagerated. Downunder, I like your description: "just a tad laid-back". 250pF allows the AT22 a hint of excitement but 150pF total cap. seems correct.
A Signet Tk9 with a broken cantilever is on the way. Already having the correct replacement stylus makes it seem a matter of synchronicity and I'm looking forward to hearing this "bookend" of the AT22. From the impression the 22 has made, the AT24/25 (or a Tk10) with their cantilevers of exotic materials and sophisticated stylii must be wonderful pickups.
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Regards, Raul, Travbrow. I've enjoyed listening to both the AT22 and Tk9, exchanging styli has little outcome concerning the performance of either, both are micro elliptical. The AT cartridge has greater mass and seems slightly more refined, the Signet almost unnoticeably more forward.
Travbrow, I appreciate your post. I'm not comfortable without at least one replacement stylus for a cartridge I favor and ordered (following Downunders' research and Raul's recco., thanks, both) an ATN25 last week from the source D.U. mentioned. I'm relieved to hear the ATN25 works well with your Signet. The Tk9e and AT22 are two of the most neutral performers in the repertoir of cartridges here, imageing and soundstage are commendable with either. Lacking Raul's keen ears and ability to make quick assesments, it sometimes takes me several weeks to fine-tune a cartridge to my satisfaction. Consequently I'm gradually increasing VTF and found both cartridges really open up at 1.2gm but haven't gone beyond this as I'm not fully familarized with what I'm hearing now. What VTF have you settled on? Did you try increasing downforce with the Tk10ML-111 stylus? I heard a little of what you describe with lesser VTF with both these cartridges.
Raul, I'm looking forward to your comments concerning the AT24. |
Regards, Raul: Following Downunder's suggestion, I've increased downforce to 1.3gm and am rewarded by an increased robustness in presentation. Both the Signet and AT are very unforgiving of set-up error, phasing is more evident than with any cartridge I've aligned, perhaps a contributing factor to eithers' immersive soundstaging qualities. Capacitance at 250pF total seems right, 300-350pF resulted in distortion induced stridency in the mids, bass resonance diminished. Resistance at either 47k or 100k according to taste/system.
The relatively lower output Tk9 and AT22 are cartridges for the cultivated listener who appreciates neutrality, detail and accurate timbre without being drawn to the moths' candle-flame of "slam" and cantilever resonance induced warmth.
I'm looking forward to your impressions of the TOTL AT25 and particularly the Signet Tk10ML with the still available micro line stylus. |
Hi, Travbrow. Why? Differences can be subtle, many cartridges will do fine at around 200pF, but (manuf. data):
ADC XLM-11, 275pF.
AKG P8E, 400pF.
Empire 2000Z, 300pF.
Orto. VMS20E, 400pF.
Shure V15-111, 400-500pF.
Stanton 680E, 275pF.
It's pretty much that you don't know it's wrong until you've heard it when it's right. As Edinwestoc noted, it does function as a low pass filter, but dampit, IT'S ALREADY THERE. The only change is in value, this is what moves midrange resonance down and tames the hf's in the V15-111, making it more than just listenable.
An alternative: The Advent Model 300 reciever was traditionally used (Tom Holman designed the phono section) as a phono pre. It was designed to eliminate impedance interaction between preamp and cartridge, thereby assuring that RIAA equalization/frequency response is always that of the cartridge used. The tuner was legendary, too. Here's a link to a marvelous paper Mr. Holman presented to the AES convention, 1975, you'll be pleased you read it:
http://www.davidreaton.com/PDFs/Holman_AES_paper.pdf
Trav, you also asked a technical "how" question, time now for me to bow out of this one. Peace. |
Lew(m): Hope all is well with you, thanks for the response and yes, the VE thread answers most questions. Pages 14 through 17 are the "Cliff's Notes" portion but the development of the thread over a two-year span has been interesting to follow, the OP's initial proposition of lowest (capacitance) is always best is "soundly" refuted.
It seems most who frequent this thread tip-toe around the subject, one that enthusiasts should be aware of the effect of, if not the cause. Aparently the introduction of resistors/capacitors in ->series-> is the main contributor to disrupted signal. Without proper application to achieve needed res. (k Ohm) & cap. (pF), cartridge performance will not meet electrical criteria and the potential of the cartridge will not be heard. IMHO this is the source of so many descriptions regarding, for example, the AT440MLa as "ear bleedingly" shrill or the Shure V15-111 as sounding "dead". With proper resistance/capacitance neither is so.
A side-bar: Last night I enjoyed a mint first pressing of J. J. Cale, "Troubadore" using a Shure ML140HE, a N120HE stylus instaled. Smooth, relaxed, great blues inspired guitar and quirky lyrics. Later, Sadao Watanabe, "Rendezvous", a laid-back sax driven jazz influenced album. Roberta Flack performs vocals on three tracks, very torchy. Japaneese pressing and played with a Signet AM20, nude minature elliptical (me) stylus. Excellent recording and mastering technique with both albums, both performances are exemplary examples of artistry as opposed to commercial commodity. Each cartridge is well suited in timbre and harmonics for each Lp and each require a different capacitance value for cartridge optimalization. Those who dismiss MM cartridges as second-best should invest a little time and effort in examining their opinion for unwarranted industry implanted bias, plug and play MM's it ain't.
Edainwestoc, Ed: Is it possible you have made improvments to your rig since 1979, perhaps you might dig one of your old cartridges out and give them another spin?
Dgarretson, I enjoyed your comments, will they get a rise from (regards,) Raul? |
