Hi Acman3,
The three cartridges all use the same styli, coupling method and are completely interchangeable.
I hope that helps
As always... |
Halcro, **If there is any "vibrational energy" transmitted from the cartridge......I would suggest you have more serious problems than 'resonance'?**
There's always vibrational energy at/from the cartridge. It's mechanical movements of the cantilever that trigger the electrical output of the generator. Those movements are severe, considering how the body is suspended and the weight stabilizing the tracking system. Hence the use of constrained layer damping coupling systems or exotic materials and/or potting used to isolate. New offerings like the Ortofon Anna or Lyra Atlas use titanium bodies and vibrational analysis to optimize performance. This extremely hard/rigid material and construction isolating the generator would tend to transmit even more mechanical energy to the arm, I would think. Transmission of vibrations to the arm is a widely accepted phenomenon. Regards, |
This extremely hard/rigid material and construction isolating the generator would tend to transmit even more mechanical energy to the arm, I would think. Transmission of vibrations to the arm is a widely accepted phenomenon. If there is any energy transmitted from the cartridge to the arm.....then that is information lost. In fact.....if any energy escapes the stylus/cantilever/magnet/coil/pole pieces motor assembly and enters the cartridge body.....it must be information lost IMHO? Can you explain how this may not be the case? Regards |
Regards, gentlemen: Thanks to all for your replies. It seems that I've a 4000 body of some description? If motors are the same, for all variations, then the cart can be accurately referred to as an Empire 4000? Equipped with the stylus, S-4000D/111 the cart would then be best identified as an Empire 4000 w/4000D/111 stylus? I can live with that. (Henry, I'm working on the ?'s)
Danny (Acman3), thanks for the Lenco Heaven link, filled in some missing info, and a good piece of advice. On my somewhat well-damped EPA-250 arm, to move the arm with the queuing raised resulted in a sound like a cat clawing a screen. In the discussion of styli, the example I have (I believe you're familiar with it?) is Empire Scientific, Manuf. by Empire Scientific, long tapered cantilever, referred to in that thread as "silver" rather than "gold". By lowering the all-plastic swing down stylus protector to a midway position it can be easily removed, the cartridge is transformed. Hfs more to the front and bass is tauter. Vocal glottals/gutturals are delivered with accuracy & the sometimes difficult to accurately capture "Sweet Baby James" is a delightful listen.
And thank you, Raul, for your encouragement regarding the cart. A very happy camper here!
Peace, |
Dear Timeltel: For several years and till today there is no single cartridge that does not benefit when we take out its stylus guard.
Your experiences with your 4000/D3 confirm about as the Ct0517 experience too. I think that today every one take out that stylus guard from every cartridge when on playback condition. This really works in favor of better quality performance level.
Regards and enjoy the music, R. |
I have little doubt that removing the stylus guard will benefit every cartridge.....just as you say Raul. My problem is psychological and practical. Ay any one time I am likely to have at least four cartridges with swing-down guards, sitting in four different arms on my two turntables. At least once a month I dust and vacuum around my turntables and the guards provide a modicum of protection against accidental stylus damage? As I play records and clean and remove them from the turntables.....there is also a slight chance of accidental damage? And finally........when I remove the headshells attached to the cartridges and interchange them and place them in their storage cases......there is an even greater chance of accidental dropping or damage incurred in that process. So I have not been able to overcome these practical fears and remove these damn (but useful) stylus guards? |
Dear Halcro, As regards your little discussion with Fleib re vibrational energy emanating from a phono cartridge, I would like to add my voice to that of Fleib. IMO, you are incorrect if you think that such a phenomenon does not occur. And yes, it can represent lost information, which is why tonearm and cartridge designers fret over how to control it. (Did you read the piece on how JCarr designed his latest TOTL cartridge, so as to minimize the resonant peak of the body itself?) The physics suggest that the problem would be worse for low compliance (MC) cartridges than for high compliance (MM or MI) ones, because the former type get a hard ride through the grooves, sending more in the way of shock waves up the cantilever and into the motor and cartridge body.
I'm with you on stylus guards. I have several cartridges sitting on a table next to my turntables, lying on their backs such that the slightest mishandling could crush the cantilever. Thus I am loathe to remove the stylus guards, altho I take Raul's point that it would be sonically beneficial. Interestingly, the only one of my vintage MM or MI cartridges that is "naked" is the Stanton 980LZS that I like so much. I removed its built-on brush early on when I first bought it, as well. |
Hi Lew, The physics suggest that the problem would be worse for low compliance (MC) cartridges than for high compliance (MM or MI) ones, because the former type get a hard ride through the grooves, sending more in the way of shock waves up the cantilever and into the motor and cartridge body. Please show me how the 'shock waves' travel into the cartridge body? And what ARE the 'shock waves'? I would appreciate you both pointing me to 'white papers' or scientifically published vector diagrams of these forces? Repeating meaningless phrases from marketing blurb or relying on the dubious fallback....."it is generally accepted".....is neither convincing nor scientific. |
Hello Danny i have a gold bought on ebay a few years ago nos. I bought a nos stylus assy from bluz brothers not long after its like Rauls review picture. I like the early version better than the gold and yes they are interchangeable but the shapes are slightly different and the two stylus require different vta adjustment. Mike |
How can I prove to your satisfaction that the tracing of a record groove by a stylus attached to a cantilever would impart energy into the cantilever and hence into structures to which the cantilever is attached, ultimately to the cartridge body? Since you are in the decided minority in your thinking that such a thing does not happen (assuming I am correctly stating your position), perhaps it is you who should prove to us that your position is the correct one. Sure, there is marketing hype about methods used to dissipate this energy in the most harmless way possible (vis Lyra and Ortofon, to name two companies that address this issue verbally and in their designs), but that does not mean that the phenomenon is not real. I have to say that for me the problem is so patently obvious that I cannot imagine your argument that it does not exist. Maybe we can start there. |
Dear Halcro/Lewm: Yes, I agree that in many ways can be non-practical and almost always the cartruidge is safe with the stylus guard attached but honestly I don't care about, I don't like to sacrifice quality performance level for " been practical ".
I have almost all my carrtridges: the ones mounted and the ones on " the waiting line " with out stylus guards.
Yes, it is " a pain in the ass " and I had " suffer " some " accidents but at least I can live with in favor of the music.
On this subject the LOMC carrtridges has an advantage due that its stylus guard is " removable ", I think that only my Fulton comes with stylus guard and if I remember some Denon cartridges in the past came with non-removable stylus guard.
I can't remember but one of my MM/MI cartridges came with non-removable SG and I mean it: non-removable.
The stylus guard is a resonance/distortions focus as is the body of the remvoable MM/MI cartridge stylus ( that hold the cantilever/stylus. ).
Some MM/MI cartridges comes with " removable " stylus guard ( like the LOMC fashion. ) and with non-removable stylus ( as LOMC ones. ) and IMHO the designers did it for good reasons The Technics P100CMK4, AKG P100LE, B&O, ADC TRX, Clearaudio Virtuoso, etc, etc are some of that kind of cartridges. As Ct0517 in some of my cartridges I glued the stylus/cantilever body to the carrtridge body and this makes a difference for the better too.
I know that that coukld be non-practical but again if you cares about quality perfoprmance level then you have no choice and need to do it.
Anyway, almost all of you own several MM/MI cartridges then try to give you the opportunity to test about with one cartridge and then decide by your self.
Regards and enjoy the music, R. |
And yes, it can represent lost information… Interesting……..and yet compared to master tape, we seem to have lost little information? And compared to digital….we appear to have gained additional information?! The scale of microscopic movement involved with the electro-mechanical process of the magnetic phono cartridge is bordering on molecular. Do you realize the scale of mechanics involved in transmitting energy into the mass of a tonearm in comparison? It would be like the effect of a spider’s movement on the steel girders of the Brooklyn Bridge? And just supposing that it did occur?…….it would be logical then to assume that the maximum excursions of the stylus assembly would be the largest to be transmitted into the cartridge body and thence into the tonearm? These excursions occur with the bass frequencies so one would expect a much greater loss of bass in all cartridges? And ‘heat’ is the first indication of energy dissipation and is easily measurable. Please show me the evidence? Any studies?……any data?…..any?….any? But the best argument against your ‘lost information’ claim is not scientific. It is strangely enough….’Marketing’. Each manufacturer would have released new cartridges over the last 50 or so years with the claim of .………..’Less Information Lost’!!! But I have never seen it? How can I prove to your satisfaction that the tracing of a record groove by a stylus attached to a cantilever would impart energy into the cantilever and hence into structures to which the cantilever is attached, ultimately to the cartridge body? Please don’t worry about my ‘satisfaction’…..just attempt a proof….any scientific proof…..of your claim? |
I suppose you've heard the "solders marching on a bridge" that is able to send it into a resonant mode of undulation, despite the mass differential. Or is that an urban myth ? Have you heard of Newton's Laws ? Kinetic energy ? |
I've heard of many things Dover.....but I'm still awaiting some proof on the subject at hand? Have you heard of Santa Claus? |
Halcro, Try holding a light piece of paper against your tonearm while its playing and see if you can feel any vibration. That should tell you all you need to know about how much vibration travels down a tonearm.
Sean |
Actually I just tried that and it was not as effective as I thought. I just tried resting the hex wrench for cartridge screws lightly on the tonearm and that worked well for feeling some vibration. Of course you will want to mute the system so you don't get air bourne vibs as well.
Sean |
Halcro What about needle talk? There's definitely some acoustical energy given off by the needle in the groove...wouldn't there be mechanical energy as well? Where do you think the term 'tone'arm originated? Don't forget the earliest gramophones were mechanical devices and the needle had very low if any compliance. The energy from those tiny little grooves was transmitted to the 'tone'arm, then acoustically coupled by the horn to the outside air and could produce some fairly loud sounds. I'm with Lew in that I find it inconceivable that no energy travels down the arm tube. The argument about the spider on the bridge sounds a lot like the one denying that a tiny little needle could slow down a spinning 10kg platter. |
OK have a read of the Audio Feb 1987 review of ET2 on Vinyl Asylum. Tests show cancellations of signal at 40hz and 150hz, their view was there were resonances in the arm cancelling the signal at these frequencies. However they also state the air bearing is a barrier, but I recall clearly, since I owned one, that in Martin Colloms testing of the ET2 in Hifi News in the 80's he actually measured the resonances in the arm before and after the air bearing in order to analyze the energy transfer of the air bearing. He concluded that the resonance profile before and after the air bearing was negligible. Where did the resonances come from. Of course you could argue that the resonances landed on the arm via Virgin Airways, or some flooby dust dropping from the heavens was upsetting the arm, but I think the balance of probability is that some came from nether the cartridge and dare I say it the tip of that nasty LOMC they used. |
Calm down gentlemen. I think you're all confusing several phenomena without addressing the issue I've raised?
The tonearm is....in structural terms....a propped cantilever. It comes in different shapes and sizes and is constructed of varying materials. As a propped cantilever, it is subjected to known stresses all of which can be quantified. Every material has its own 'resonant' frequency depending on shape, material, Moment of Inertia etc and that resonant frequency is modified by the stresses induced. The tonearm is 'led' by the stylus/cantilever in tracking the vinyl disc and the compliance of the cantilever as it 'moves' the arm forms a relationship with the resonant frequency of the tonearm.
This has little to do with the micro side to side and up and down information retrieval movements of the stylus/magnet/coil interface. If there is ANY transmission of these movements into the cartridge body instead of between the magnets/pole pieces......it is information which is not sent to the phono stage and is lost forever.
I maintain that there is no information lost from this stylus movement in any competent modern cartridge. If information was lost in the way you are claiming, vinyl playback as it has existed for 70 years would be impossible? If you believe that there is information lost......please provide the evidence? In this world of Google and the Internet......this information should be readily available? But please do not flail and muddle about with seemingly related phenomena.......because it simply reveals the lack of relevant education and qualifications in a field which requires precisely that!
You are all creating a model which I believe has no basis in fact, In other words....you have created a myth and your 'faith' requires a defence of this myth. I am easily destroyed. Supply the evidence? |
"If there is ANY transmission of these movements into the cartridge body instead of between the magnets/pole pieces"
So you're saying that there is NO transmission??? So that the elastomer suspension does a PERFECT job of isolating the cartridge body from the vibrating cantilever??? If I had access to this PERFECT isolating elastomer why would I bother making piddly little phono cartridges that I sell for $10k...I'd licence it to Rolls-Royce or Mercedes-Benz for use in luxury car suspensions in which you never feel ANY road bumps whatsoever. I'd then retire to the Bahamas and actually be able to afford to spend $10k on a phono cartridge.
"I maintain that there is no information lost from this stylus movement in any competent modern cartridge"
So there is NO loss in the cantilever of any competent modern phono cartridge? In that case there really shouldn't be much difference in the performance of different cantilever materials should there?
Anyway, an experiment would be to put a stethoscope to the base of the tonearm while a record is playing (with amps not powered up)and see if you can hear the music. If you had a removable headshell you could experiment with cartridges of varying compliance to see if there are differences. Unfortunately I don't have a stethoscope but surely someone here does (Lew?).
Maybe Jonathan Carr can chime in on this topic.
Halcro, I hope I'm not coming across as being nasty... just trying to debate here. I really enjoy your posts, especially those in the speed accuracy thread. |
A phono cartridge is a transducer. It converts energy from one form to another. In this case it converts mechanical energy to electrical energy. In order for there to be no excess mechanical energy, this conversion would have to be 100% efficient, or all the excess energy converted to another form of energy. That is not the case here.
**And ‘heat’ is the first indication of energy dissipation and is easily measurable.** No - heat is a likely indication or byproduct of energy conversion. A light bulb gets hot because the energy conversion is inefficient and heat is the byproduct. A florescent light is a more efficient conversion and still gets hot, but less so. It is likely that a small amount of heat is produced by a phono cartridge generator but most of the excess energy remains as mechanical energy. Dissipation is the channeling of that energy or vibration. Vibration is measured with a stroboscope, reed vibrometer, seismic-mass transducer, displacement pickups, velocity pickup, and acceleration pickups (accelerometer). It is verifiable. Regards, |
So you're saying that there is NO transmission??? So that the elastomer suspension does a PERFECT job of isolating the cartridge body from the vibrating cantilever??? Errr......yes. Why, do you have other information? You're not nasty Lespier. I also enjoy the discussions. We can all imagine various scenarios and models of the analogue playback system.......but from what I've read here and elsewhere.....there is very little science behind these models? With the nature of the Internet.......all these printed 'models' become dangerously accepted by some who propogate them into 'fact'. Enough is enough. Back up your models or please keep them to yourselves. I think that's fair enough? Regards |
A phono cartridge is a transducer. It converts energy from one form to another. In this case it converts mechanical energy to electrical energy. In order for there to be no excess mechanical energy, this conversion would have to be 100% efficient, or all the excess energy converted to another form of energy. That is not the case here. Maybe not quite 100%.....but pretty close? What's your exact figure? Regards |
So there is NO loss in the cantilever of any competent modern phono cartridge? In that case there really shouldn't be much difference in the performance of different cantilever materials should there? Performance?.......since when did that question raise its ugly head? 'Information' is what I thought we were discussing? Are you suggesting that differing cantilever materials provide more or less 'information'? Regards |
**Maybe not quite 100%.....but pretty close? What's your exact figure?**
Close to 100%, is that a joke? If vibrations can be detected in a tonearm, and they certainly have, then they come from one of two directions. Either they are going down the armtube from the cartridge or the other direction being transmitted from the base of the arm. Vibration has acceleration, velocity and displacement. Other characteristics are amplitude and frequency. Direction can be determined by observation of the vibration(s). Although analysis can be complex, direction and nature of the vibrations is proof of their existence.
There can be no one figure that represents the efficiency of different phono carts. Lewm had it right in the first place. It's not our job to prove the world is round. Prove that it's flat. Regards, |
Sometimes we can be captivated so profoundly with the beauty of analogue that it feels like young love? Even after 35 years? 11pm on a soggy Saturday night.........and I'm playing Tom Waits-Foreign Affairs on the TT-101 with the Empire 1000ZE/X on the FR-64s. This was the first Empire cartridge I ever heard and it was the beginning of a love affair that still continues. Not having quite the refinement or accuracy of the 4000D/III Gold, the 1000ZE/X has a character and warmth that is addictive. Liking a loading of 60K Ohms and a fair bit of Capacitance......it provides a connection to the music which simply eludes most modern LOMCs. As I sit here mesmerised......I wonder if most audiophiles addicted to the shining etch of their MCs would actually recognise this presentation....let alone appreciate it? This is a much under-appreciated cartridge....able to be picked up for a pittance. Professor........I believe you would really dig the midrange gravitas of this shining beauty? |
If vibrations can be detected in a tonearm, and they certainly have, then they come from one of two directions. Either they are going down the armtube from the cartridge or the other direction being transmitted from the base of the arm. There you go again......positing nonsense under the guise of authority? No information.....no evidence....no proof.....no referral to any studies? Perhaps we should just listen to the armtube and forget the cartridge? There's precious little information left there according to you? But boy....that armtube has a two way street of information that would put the new Atlas to shame. Yes there is a Santa Claus. Prove there isn't? |
Henry, Your retorts are ridiculous, but I love you for your persistence. Once you get a bad idea, you hold onto it for dear life. Since we are each separated from one another by thousands of miles, it is not practical to devise a real world experiment to prove (my/our) point, but if and when I think of one, perhaps I will make a video and put it on Youtube. However, theoretical physicists accept thought experiments within their discipline. Those are usually accompanied by mathematical proofs. How about this: if what you say were true, then we would not be fussing around with dozens of combinations of tonearms, headshells, armboards, platter mats, etc, and we would not be arguing about whether mounting an arm outboard of the turntable on a pod is a good or a bad idea. All these vagaries of LP reproduction are in some way or another related to the fact that spurious forces are generated whilst the stylus traverses the groove. By "spurious" I refer to forces that are extraneous to the reproduction of the music signal that lies therein. It's not so much that signal is lost by this phenomenon as it is that spurious information may be added to what was really recorded, altho I am sure that in extreme situations, music signal is both lost and distorted. It is the job of a good tonearm/headshell/mount/platter mat to dissipate this energy as harmlessly as possible. Does that score any points with you?
OK, here's another idea. Would you concede the validity of the math that is used to calculate tonearm/cartridge resonance, which is based on the compliance of the cartridge and the effective mass of the tonearm? (I know you seem to be able to combine any of your high compliance cartridges with your FR66S and get great results, but for the rest of us, "it's the law".) The premise of that equation is that there IS unwanted resonance. For this resonance to occur, there must be a source of spurious energy. Where else can it come from if not.... the cartridge? |
Why would I want to prove there is no Santa Clause, when I have evidence there is? He's all over the place every year in December. Santa Clause exists as a concept, if not as a individual person. On the other hand, you misrepresent my position. **Perhaps we should just listen to the armtube and forget the cartridge? There's precious little information left there according to you?** I never said or implied that. Your post on the Empire 1000ZE/X was interesting, informative and well written. In keeping with the topic of this thread, I won't continue this discussion of vibration. Regards,
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Thanks to all with the Empire 4000Dlll stylus information. I have been listening this morning to the two (or three) different styli. The Gold is smoother and has a more full soundstage presentation with less pinpoint instrument imaging (although still good) than the older dark stylus. As usual I like both.
The main reason I was wondering if the 4000d Lac used the same stylus as the regular 4000d is I have an Empire Ltd 750 which uses a LAC stylus. Mine is a sorry conical replacement with a bent stylus and I may stick a 4000d stylus on it just for kicks,rather than trace down a LAC stylus.
One last question. Has anyone tried the Empire D4000l and ll stylus on a D4000lll cartridge as they seem much easier to find and are less expensive? |
Regards, Halcro: My good friend Henry, I have to agree with your thoughts that if mechanical resonance is transferred from cart to arm or vice versa, something's awry. Your insistence on perfection is inspiring. As to mechanical resonance, like Custer, who probably thought things didn't work out perfectly at the Little Big Horn you're surrounded, in this case by members of the Itexists tribe.
The 1000 Z/EX, too long a time since last listen, thanks for reminding me.
Peace, |
Nandric may find it hard to believe but God has already solved the problem.
http://www.youtube.com/watch?feature=player_embedded&v=zwZbsFBBXO8 |
In MY system, the Grado Sonata was fuzzy, brown in color, and altogether not very good. A real surprise that didn't require a pre/pre is the Benz LP high output. In some ways I like it better than the LP. I know its expensive, but there is no need for a head amp. |
Thanks Fleib, I'm happy to call a truce :-) I always enjoy your posts. Informative and interesting. Kind Regards Henry |
Hi Lew, As Fleib and I have called a truce....I won't go on with it...except to address your last point. I have never said resonance doesn't exist. It exists in all materials and I would expect to see a resonant 'hump' at the junction between a FIXED headshell of a differing material to the armtube as well as where there is a detachable headshell. Resonance per se is not bad....it is something we need to control. The resonant frequency of the stylus cantilever is dependent on its compliance. Because the tonearm is a 'propped cantilever' structurally....its effective mass will excite the stylus cantilever into resonance. The frequency at which that occurs is determined by the formulae (more or less). And it is not 'spurious' energy which excites this resonance nor is it the cartridge itself. It is indeed the very energy of the stylus doing its job of tracking the groove and extracting the information.
As the good Professor is want to say... Peace? |
Dover Where did the resonances come from. Of course you could argue that the resonances landed on the arm via Virgin Airways, or some flooby dust dropping from the heavens was upsetting the arm, but I think the balance of probability is that some came from nether the cartridge and dare I say it the tip of that nasty LOMC they used.
Halcro And it is not 'spurious' energy which excites this resonance nor is it the cartridge itself. It is indeed the very energy of the stylus doing its job of tracking the groove and extracting the information.
Conclusion - :| |
Dear Ecir 38, Neat for HIM. One is usually glad when solving some problem. Your source however refuses to even try to solve my because your reference is not available. Besides If you think that I have only one problem you overrate my situation.
Regards, |
Nandri, didn't imply that you have a problem. Just thought the video pertained to some of the discission here and a hint of a way to test resonsance.
Try a direct link this time.
http://www.youtube.com/watch?feature=player_embedded&v=zwZbsFBBXO8 |
Henry, Let's smoke a peace pipe, but please do put something illegal into it. (Maybe in Australia that "something" is not so illegal.) When it comes to my actual listening, I am very much a nihilist. Arguing about theory is sort of a separate kind of "fun". |
Lew, I believe one can obtain a legal prescription if glaucoma is your complaint? I suspect Peter Tosh was instrumental in this amendment to the Laws of the State? |
And yet it appears that in Australia there is yet no law limiting the use of question marks. (We kid, because we love.) |
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Dear nandric: I read that you own an Alpha Genesis 1000 by Monster Cable and I can't remember if your sample is already with Axel for re-tip. Could you confirm about?
I just send to him my sample along my Accuphase AC-2 for re-tip ( cantilever/stylus. ) but I don't decide yet with kind of re-tip. Which do you choosed?
Thank you.
Regards and enjoy the music, R. |
Dear Raul, You are as usual well informed. I posted to Axel among other (AT 180; Astatic MF 200: bent cantilever) the Genesis 1000 without stylus. Never heard about this one till Fleibs 'euphoria' reg. this cart. I got the Genesis from 'my' Italian source together with Krell MC 100 (akaMiyabi standard) and Sony XL 88. From the same Italian I also got an NOS Lustre GST 801 for $450. I asked Axel for advice reg. the Genesis. He should received those carts already but I heard nothing from him yet. As soon as I know more I will inform you.
Regards, |
Dear Lew, it would be very presumptious for me to say anything about English grammar. But I assume that punctuation is ,say, universal.Now why should fetish be allowed and ,say, some punctuation preference condemned? I have more things in common with Henry then our Slavic roots. I myself am very fond about the 'quotation marks'. I use them , so to speak, everywhere. It may be the case that the reason is that I am lawyer? Ie. I can always state that I was quoting somebody else. But if I was an architect I would prefer exclamation marks instead of question marks. From a philosophical point of view (aka phylosophy of science) questions in general are praiseworthy of course. But consider a customer who ordered his new home by an architect and got his first drawings, calculations and descriptions with all those question marks...
Regards, |
Dear banquo363: I understand you own the Astatic MF-200 but I can't remember if you posted your experiences with this cartridge.
I think that could be interesting for many of us to add/share those MF-200 experinces here. Could you?: thank's.
Regards and enjoy the music, R. |
Hi Nandric, Raul, Re Genesis 1000: yes one of my favorite carts. It's fast, detailed, accurate and extended with near flat fr response. It's not romantic or interpretive - seems neutral (to me). A MKII version came out around '88 which was even more extended, something like >80K. I couldn't hear the difference. The cart has a diamond coated boron tube cantilever and Microridge. Mine was re-tipped by Soundsmith with his Optimum Contact micro-type tip on the original cantilever. It sounds very much like the original.
There was a model 2000 - Sigma Gamma or something like that. It has gold coils and is smoother than the 1000, but not as fast. Classical music fans might prefer the 2000. I mostly listen to jazz and like the 1000. If the cantilever is broken there might be a problem. The cart is very small and light. It's made out of some kind of low resonance resin and looks like there's no way to open it. I imagine the cantilever would be difficult to work on. I'm not a re-tipper. Transplanting an AT stylus/cantilever is a very different proposition.
The AC2 was also designed by Nakatsuka san. A friend had one - nice. It had a Line Contact and I believe, a boron cantilever. Alpha Genesis 1000 - output 0.2mV, cu 15, separation > 30dB, impedance 4 ohms, VTF 1.5 - 2g. Good luck. Regards,
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A question for our erudite fraternity....
Is anyone out there still making exotic tube cantilevers?
The Genesis1000 is described by fleib as having a diamond coated boron tube cantilever, The Talisman S had a Saphire tube cantilever, and the top Technics carts had Boron tubes.
All the info I read out there nowadays seems to be talking about rod cantilevers rather than tubes. Tubes have both rigidity and mass advantages... but are obviously a lot harder (more expensive!) to make...
So is anyone out there still making exotic tube cantilevers?
I certainly have not heard of any of the retippers having such cantilevers available either...
bye for now
David |
Dear Fleib, I was able to see that the cantilever is a boron tube (the most are solid) but not if the stylus was broken of togheter with a piece of the cantilever. Alas Axel is still not able to provide microridge styli. I made much effort to contact Ogura for this purpose but despite the help from J. Carr and Thuchan (speaks Japanese) I was no able to get some address on which Axel could order those styli as well as 'diamond coated boron cantilevers'. My quess is that Axel will retip my Gensis with super elliptical stylus because those are as small as the microridge. On my Vertuoso with the boron cantilever I can hardly see the stylus even with my (hand) microscope (50 x). BTW very interesting to know that the same person also designed the AC2.
Kind regards, |