I can only say that the BluzBros "NOS" styli for the Acutex's are not NOS in the usual definition of that term, which means to me that they would be originally manufactured by Acutex in the era when the cartridges were being sold to the public. Nope. The fact that they misrepresented those items causes me to be hesitant to do other business with them.
Nicola, For what it's worth, Raul prefers the older blunt-nose version of the 320, called the "M320". The later version, which is the one I own, I think is called the "LPM320" for "Lowest Possible Mass". I own a used M312 (blunt nose) which I have never auditioned, AND one of those NOS 420s from Italy, initially shunned by the choir but now an object of group harmonic admiration. I have to say that right now, in my rig, I prefer the Grace Ruby and the Stanton 980LZS to the Acutex LPM320, but not because the LPM320 does anything bad. The other two are just more to my particular taste. The Acutex is a bit on the clinical side, compared to them. I want to try it in the Saturn V headshell, because I think it grips the cartridge body better than does the commonly used Acutex headshell adapter. I think we have to be very careful how we evaluate P mount types, because the rigidity of the coupling to the headshell adapter can have a major effect on sonics. That coupling should be totally rigid and never is. |
In the case of an M320 stylus, identification of a NOS example should be straight-forward: the plastic stylus holder is stamped "320 STR." |
Nandric, better option than Bluz Bros. The Pizza Seller has 320 STR and alleged, yes alleged M320 stylus available. Buyer beware as you well know from the Italian connection. Alex may be the only recourse where you acutally know what you are getting regarding the M320 stylus. |
Halcro, I never heard an AM10, merely making an observation. My experience with Signets is limited to TK-3, 5, 7s and a TK10MLII. Assuming that Timeltel's post is accurate and 780 is DC resistance, not impedance, then the motors seem close, if not identical. 812 is within 5% of 780. Unlike the Clearaudio MMs, there is the possibility of different wire resistance as there were 2 diff types of OCC, and possibly even different magnet strengths. It seems that the generators are the same on the 440ML and MLa, yet output is .5mV lower on MLa. It was ATs practice on occasion have counterparts in the Signet and AT lines. I don't know if this is the case here. From your description, I think they sound somewhat different, but this is to be expected with a different stylus/cantilever. BTW, AT first used PCOCC wire in '86 with the AT33ML/OCC. Regards, |
Dear Lew&Dgarretson, The M 320 , alias the 'flat nose' should have, as Dgarretson pointed out '320 STR' stamped on its nose. The 'lesser' (sorry Lew)'long nose' is not relavant in my case because I don't own this one. But I wrote 'lesser' because of Raul's opinion while I think to know that our Professor is very fond of the 'long nose' 315(?). There is no way to avoid such kind of 'conflict of interest' but I try my best to avoid them at any cost in case of my brother Henry. The persons who care much about aesthetics are very sensitive themselfs ,you know.
Regards, |
Dear Halcro: +++ " to test the high-frequency capability of an entire system….and especially cartridges…..I play the last track on side 1 of George Michael’s ‘Faith’…‘One More Try’. Behind the synthesiser/bass, guitar/drum-machine foundation and breathy vocals….there are the gentlest, softest cymbal ‘taps’ which with some cartridges, cannot even be heard? With others…..they are so faint that they appear to be illusionary whilst with only a handful that I have heard…..they are ‘clear’. ...................Why is it then…..that this peculiar delicate tap on a high-hat cymbal can vary in audibility through every cartridge I have ever played it through? " ++++++
I don't know if you remember some of my posts about my whole evaluation process I have for an audio item, well there I test a LP track with similar " problematic " sound of cymbal in the left channel of the Eagles Hotel California.
I use this track to be sure about azymuth set up and in the MM/MI ones about load capacitance.
There are some cartridges like my Colibri where I always hear the " right sound " and there are other LOMC cartridges where I have no-sound at all it does not matters what I attempt, normaly working on the azymut set up helps to have that " sound " but never in the same way than in the Colibri. So set up is not only the main factor about but the cartridge internal design.
With MM/MI the azymuth is important too but through my experiences about I achieve the " right sound " changing the load capacitance normally with higher capacitance.
As you, when this set up is " right " contribute a lot for the cartridge quality performance level be " right there " where we enjoy it the best.
In the other side, remember that AT/Signet owns the similar cartridge designs with some little refinements in between but nothing truly different.
I had the opportunity to heard the AM30 and its coloration level is lower than the one you posted in its little brother but what I heard was not something really different from other Signets or some ATs.
Anyway, good experiences with your AM10, maybe is time to send it to Axel.
Regards and enjoy the music, R. |
Dear Pizza Lovers,
Actually, the M320IIISTR (short nose) will have an applied tag on the underside of the stylus body marked '320 STR' and the M320IIISTR LPM (long nose) will have '320' and the Acutex symbol screened on top of the stylus body. These are the type of details that should be confirmed when buying from any seller, including the Bluz Broz.
John
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Dear Tubed and John, I checked the 'pizza seller' but there are no more any interesting Acutex carts there. Regarding the Axel's upgrade. His upgrade consist of gluing the new cantilever/ stylus combo in the (pre)existing tube in the stylus holder. If the stylus holder is not original what then? |
Regards, Halcro: Let me say (write?) how much I enjoyed your post. Next, (excuse me, Raul) disregard Rauls advice to send the AMS-20 stylus to Axel. Remembered from several years ago, Raul posted his opinion of the AM-30, he wasn't impressed. Raul stated that the AM series were the succesors to the AT-22/25 - Signet TK9/10 carts, and were not viewed as an improvement. (Raul, I hope it would not be considered a criticism to observe that you hold yourself to some very exclusive standards.)
Henry, if you enjoy the OEM styli as is, then don't fix it as it ain't broke, the diamond quality is superb. Even if you might have to squint to see it. The assembly's configuration is comprable to any number of AT P-mounters, these will provide relatively inexpensive donor vehicles for Axel to perform his magic upon, should you choose. A BTW, the cantilever for the AM-30 is tapered alloy, the AM-20 a straight "Micro mass" alloy tube. The 40 an LC on beryllium, the 50 is ML on gold-plated beryllium.
The specs given (Fleib) were from a Signet publication. If one refers to the brochure accompanying the AT440MLa, output impedance is given as 3.2k ohms. If you or any of the better informed readers can resolve the two standards of measurment, I'd be grateful. I've not heard the 440ML, my 440MLa has resided in its case unused for three years. There are other carts that are enjoyed on a regular basis, a Signet AM-20 among them. It's a matter of personal preference so draw your own conclusions about the carts, styli, or this listener. It should also be noted that the AT440 engine is on a plastic mount, the AM carts are fixed to a solid metal bar similar to the TK9/10 carts. This makes a difference.
Since Acutex is once again fashionable, I accidentally "tore up" a Shure M75E-T2, then intentionally did the same to an Acutex LPM415 ;). The Shure is an old stand-by, a work horse with a solid bass, compeling mids & non-intrusive hf response. Pulled the cart on it's headshell out of the pile to listen to some vintage vinyl & the thing fell apart. The engine just dropped from it's plastic shroud. Hmmm. Out to the shop, fired up the table saw, drill press, belt sander & chisel. Hacked up some cocobolo wood & epoxied the M75 engine in, snugging the stylus assembly to the wood as the adhesive set. Bass is less pronounced but somewhat tighter, hfs are reduced, mids gained an immersive warmth. Pleased to report the results were very un-Shure.
There's this Acutex LPM415. I can listen to it for most of one side of an LP then it's got to go. Reminds me of irritatingly poorly rendered digital. Can't use the 415 in the car so it just sits there alot. IMO, the Acutex tri-pole engine is noteworthy for its absence of IM distortion, channel balance and soundstaging ability. It is also frequently described as "flimsy". The previous LPM3xx mount, if examined, is sturdier. An exchange of engine/mount between the two results in an audible difference. For those prone to fiddling with such, a note of caution, PUSH the cart out of it's sleeve from the rear, don't PULL it out as the backplate with the out-pins is prone to seperation. Don't bother to ask how this came to my attention. Fortunately, no harm, no foul.
Three or so weeks ago global warming took a teeny little break, so out to the shop I went to try my hand at some cart warming. When Edison was asked if he felt he has wasted time in all those failed experiments in producing a workable incandesent bulb he replied; "No, now I know XX ways not to do it". I resemble that statement. FYI, the engine is (nom.) 5/16" wide, hardware is (nom,) 1/8" ea, on a 1/2 mount headshell, the remainder is 1/16" or a max. of 1/32", each side. That's some pretty skinny wood. The OEM mount is not a suitable model for anyone inclined towards wood buchery but it can be rigged to work. Sorta'.
Next attempt will be more in line to a glued up three piece open-front/open bottom style incorporating blind nuts to capture the screws. At the top, a 20* wedge tapering to near zero at the rear, about 3/4 (+-) long & wide. It should be obvious it's a work in progress. The 415 is transformed. Glare, grain, glass, gone! Hey, I can listen to it now, and I do. 415 mk.111 this weekend?
Henry, enjoy your AM10-20, it's a Sigmutt. For a little more in the mids & if you just happen to have one laying around, a 155LC stylus is compatible.
Excuse the length of this post & always,
Peace, |
Dear Lewm: +++++ " I prefer the Grace Ruby and the Stanton 980LZS to the Acutex LPM320, but not because the LPM320 does anything bad. The other two are just more to my particular taste. The Acutex is a bit on the clinical side, compared to them. " +++++
Well, obviously my system is diferent from yours but even that IMHO the LPM320 could be everything you want but " on the clinical side ". In my experiences with both 320 Acutex models both are top performers and certainly not " clinical " even against the Ruby and Stanton ones that I own too. Probably not the best match with the tonearm where you mounted the 320 or a " coloration " in your phono stage.
Regards and enjoy the music, R. |
Dear Timeltel: +++++ " Raul posted his opinion of the AM-30, he wasn't impressed. Raul stated that the AM series were the succesors to the AT-22/25 - Signet TK9/10 carts, and were not viewed as an improvement. " +++++
Many times we " see " new cartridges models in a cartridge manufacturer as an obvious improvement but many times it is not but only a different sound. IMHO the AM line is something like that and through the years a way to make things on AT philosophy. Canges in that philosophy we can seen through the AT24 or TK10MLMK2 or AT180 OCC but even here if we compare it against the 20SS differences are not like night and day.
In the other side the AM30 is in the middle line, is not the top of the line but if you " see " the AM50 design on cantilever/stilus is almost no different with other top AT cartridges. I agree with Fleib: AT likes to have at the same time " similar " models on the Signet line.
I advised to Halcro the Axel's touch because he as you die for the ( not me ) Signet's middle of the line models. My experiences with Axel and VDH cartridge re-tipping tell me that every single vintage cartridge fixed by them always sound/performs way better than the original: no doubt about. My best 315 is the one with the VDH's touch that outperforms any single Signet but the TK10ML2.
Regards and enjoy the music, R. |
Dear Nandric: I'm just waiting Axel's answer about this question: " if we have a generic stylus replacement can we achieve the same success when re-tipping ( cantilever/stylus ) as if the stylus replacement was original ? "
I asked because he has on hand two other G800 from mine and one of them came with generic stylus replacement and I want to know and be sure about.
I don't receive his answer yet and right now he in on short holidays but maybe next week we can have an answer about.
In this way maybe is better that you wait because maybe with a M320 generic stylus replacement ( for penauts. ) you could have a M320 better than the original one.
My second sample on the M320 is performing great but I own too a generic replacement and want to know about to decide if could be worth to an up-date.
Regards and enjoy the music, R. |
Dear Raul, I understand your intention with the Goldring G 800 because this is similar with the original Virtuoso which had also,say, mediocre stylus. The improvement by Axel's upgrade can be heard, so speak, by a deaf person. But I have no idea what Axel can improve on a good specimen of the M 320, except the suspension? Or are you considering the beryllium cantilever with Gyger II stylus?
Regards, |
Raul, All hypotheses about why one cartridge sounds different from another, based on one man's opinion, are possible. So your idea about why I might prefer both the Grace and the Stanton to the Acutex is not for me to challenge, but I don't want to be pigeon-holed for having chosen the word "clinical", either. This is why you may notice that I don't say much about how cartridges sound except to say "I like" this or that. I slipped up by using an adjective. |
Hi Timeltel, "If you or any of the better informed readers can resolve the two standards of measurment, I'd be grateful. I've not heard the 440ML, my 440MLa has resided in its case unused for three years."
DC resistance is the value you'd get by putting your digital meter on the + and - pins of a channel. In this case the DC resistance of my 440 is 812 ohms/ch. Impedance is a more complex measurement and the standard is at 1KHz. Normally impedance is given, not DCR. I was a little surprised at the figure, so I measured the 440.
Getting top performance from the 440 can be challenging. Break-in can be upward of 50 - 75 hrs and it tends to be overly bright. Total capacitance should be < 200pF. Many load it at 32K (100K parallel 47K). But, once broken-in it was excellent with a ATN152ML at 47K. Detail, dynamics and textures were first rate. It had a live sound, like Woody Shaw was in my room. Top to bottom was also good, like sitting up front in the Village Vanguard. I suspect you could get great results with a ATN155Lc, if the cart is broken-in.
Mine has also been sitting, and the body came off of the plastic top. The screw is hanging off the top, it or the insert is stripped. I'd like to make a wood top like a CA. I must have a million projects waiting and this would be a PIA for me. My 152ML broke anyway..... Regards, |
Lewm, I prefer people to describe what they hear, and ascribe characteristics, even if others disagree. To me if you read someones review in the context of their system, or other comments, then that is more useful than "like" or "prefer". So let rip... . I think one of the great losses in magazine reviews compared to 20-30 years ago is the comparison between competing components. It's often through comparison's that we gain a more in depth understanding of a component, its strengths and weaknesses. Halcro's and Rauls comments on specific records are really useful in understanding where I am in my system development. |
Dear Raul, As you, when this set up is " right " contribute a lot for the cartridge quality performance level be " right there " where we enjoy it the best.
I think you are right about this. I recall with my Rega Planar 3 and Hadcock 228 Unipivot when I was limited to just one tonearm and cartridge..........whenever the 'cymbal taps' on 'One More Try' became indistinct......a complete review of the Hadcock's set-up parameters (and they are many) would often restore the status quo? But only up to a point! If the taps were indistinct with a brand new cartridge on its initial set-up......no amount of jigging would help? Also.....the cymbal taps appeared to 'fade' as the cartridge aged in usage? I also now try adding some capacitance to bring out these taps.....but again if they ain't there......it's not much use? There also is something intrinsic about the cartridge's ability itself as you quite rightly agree.......otherwise this phenomena would not appear constant across 9 arms and 4 turntables? Regards Henry |
Thank you Professor (Timeltel) for those kind words. I will indeed try the 155Lc stylus in the AM10s. This is one of my favourite assemblies and it never occurred to me that it was compatible?
With the graphic descriptions of you in your 'shop'.........I think your title may be amended to 'Mad' Professor! :-)
Thanks for all your help and knowledge in guiding me through my MM adventures.
Regards Henry |
Dear Nandric, If the stylus holder is not original what then? I was facing the same problem with one of my Garrott P77 cartridges where I broke the cantilever and foolishly threw away the whole stylus assembly. I sent Axel some photos and he replied that he could indeed fit a new stylus assembly to the body if I sent him the cartridge? I am doing so next week :-) So please ask Axel the question.....I think he can help you? Regards Henry |
Dover, I think one of the great losses in magazine reviews compared to 20-30 years ago is the comparison between competing components. I couldn't agree more! I think commercial pressures have rendered most reviews (and reviewers) to politically correct 'advertorials'? On the other hand......I just don't think that reviewers today (with a few exceptions like Art Dudley) get to hear any vintage gear or equipment outside the mainstream of 'the new'? And I don't think they have the ability or time to compare...crosscheck....and compare again....a multitude of cartridges in particular? And really.......to hear the very subtle differences in cartridges......one needs to be able to change back and forth quickly between a number of them. The time involved in dismantling one cartridge from an arm and installing and setting up another one correctly.....is simply too long to retain the correct memory of multiple sonic imprints IMHO? Regards Henry |
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Dear (Mad) Professor, Transplant is complete! The AT155Lc stylus assembly is in place in the AM10s......and you were right! The midrange is now THERE. In fact.....because the stylus is brand new....the midrange is almost 'shouting'? :^) But this Sigmutt is now a serious contender? I feel a little nervous remembering the parable......"Be careful what you wish for because you may get it?" But how did you 'know' that this stylus would bring some depth to the mids? What determines this factor?....and if you can predict and manipulate the sounds of various cartridges......hasten back to your 'bench' and invent another Sigmutt which I can try? :^)
Regards Henry |
Regards, Henry: Tele-tweak.
I'll get serious tomorrow.
Peace, |
Dear Dover, I agree with you about expressing one's opinion so that others might benefit, but it is rare to find a reviewer, here or in the audio press, who is up to the task. To do it well requires a lot of time and thought. Very few guys get it right. You could fairly say that I am too lazy to try most of the time. OK, so I will try to say what I meant by referring to the Acutex LPM320 as "clinical", only in comparison to the Grace Ruby and Stanton 980LZS: The latter two cartridges give me more information about the ambience of the recording venue and about what the supporting musicians are doing, particularly this is so for the Stanton. The Acutex does a great job with the spotlighted lead performer but is not as good at transmitting those cues just mentioned. The Grace and the Acutex are auditioned on my Lenco using my Dynavector DV505, with different headshells for each cartridge. The DV505 feeds a modified Silvaweld SWH550, with a revised output stage. The Silvaweld feeds the Atma-sphere MP1 line stage section. The Stanton is mounted on my Reed tonearm on my SP10 Mk3, feeding directly the (hi-gain) phono section of my MP1 preamplifier, which has been modified many times and uses a hybrid SS/tube input gain stage. The MP1 feeds my Atma-sphere OTL monoblocks, which drive my Sound Lab 845PX loudspeakers. Lately I and others were able to work out a scheme using an after-market ESL step-up (made in Oz, Halcro) such that there is no crossover network in the 845 circuit. This has made a huge improvement in "continuousness" and in efficiency. I daresay that a 50W tube amp could drive the modified 845s to ear-splitting levels. Anyway, I quote here the system components, because it can be seen that the differences I perceive among the three cartridges cannot be due to "coloration" of the Silvaweld phono stage. This is not to say it has no coloration, because IMO nothing has no coloration. However, differences between Grace and Acutex could be due to headshells, loading, etc. There is always some uncontrolled factor that could cause one to wrongly ascribe the sound quality to one component vs another. I am going to build in some switchable load capacitors and alternative load resistors into the Silvaweld for just that reason. |
Lew, you and I are in similar situations, insofar as we have separate phono stages for high- and low-output cartridges. Like you, I have a modified Atma MP-1 with a hybrid cascode for low output cartridges like most MC and the rare low output MM like Stanton 980LZS. For high output MM/MI it's a modified ARC PH-2. Subject to its 48db gain limitation, this unit unexpectedly surpasses any stock ARC phono stage that I've heard including their current Ref. The more the system has improved, the harder it has become to ascertain which phono stage is more "colored." This is with all cartridges through the same tonearm, tonearm cable, and TT. Of recent mounts, I think I prefer the Acutex 420 STR through the PH-2 to the Stanton 980LZS through Atma. Despite its virtues, the Stanton signature is in the end darker and less alive. To futher assess the contribution of the phono stage I can resort to a few medium-output cartridges that will work with either phono stage(Lyra Helikon and Sumiko Virtuoso DTi). However, earlier comparisons between these two cartridges and some of the better MM/MIs leave me limp about remounting either of these MCs to satisfy an academic curiousity. I agree that proper test conditions for definitive comparisons between cartridges are a bear to set up and find time for. |
Hi David, How good is your ACUTEX M 320 III STR now on Tomahawk ? I´m glad to say I´m also running The Terminator T3Pro with Tomahawk. How good is your Audio-Technica AT20SS ? I´ve just bought an old AT20SLa, unknown playing hours. It sounds very trebly/peaky and too sibilant. The sound is otherwise ok and the stylus looks ok, although the cantilever is very slightly bent horizontally and don´t have a microscope. Is your AT too sibilant, hopefully not ? Fascinating saddle there ! Cheers |
Guess I'd better break out my 420STR. I think what you are calling "dark" in the Stanton sound is what I call "rich" (in ambient details). Also, the SP10 Mk3 probably slightly brightens up the Stanton, compared to a belt-drive. |
Dear Lew, You see: if you care for your literary talent there is no way to avoid adjectives. I can't imagine literature without this, uh, grammatical category. Besides the expression 'clinical' has for me scientific connotation so I don't understand the 'negative intonation' which is somehow connected with this 'term' in our forum. As a medical scientist you should forget the 'emotive' and explain to the people the true meaning of this term.
Regards, |
Nicola, To quote myself, "OK, so I will try to say what I meant by referring to the Acutex LPM320 as "clinical", only in comparison to the Grace Ruby and Stanton 980LZS: The latter two cartridges give me more information about the ambience of the recording venue and about what the supporting musicians are doing, particularly this is so for the Stanton. The Acutex does a great job with the spotlighted lead performer but is not as good at transmitting those cues just mentioned."
If it were possible to edit the post above, I would add that it is this difference in portraying the ambience of the musical venue that caused me to use the term "clinical" with respect to the Acutex. The Acutex, to exaggerate, seems to cut out the lead performance with a very sharp scalpel and hand it over to the listener, whereas the Stanton and Grace give me a wider rougher chunk of the music. Thus the lead performance is more submerged in the mix. I happen to prefer the latter presentation. On a practical level, if I am listening to a great saxophone player, I like also to hear what the bassist and drummer are doing behind him or her. If it's a big band, I revel in the massed brass sections. (As you know, I am no surgeon.) |
Hello Harold, my M320 is still in the shop, so no comparison to M420 available as yet. It's been a long time since mounting the AT20SS. Unfortunately I didn't take notes and thus need to revisit it. I don't recall that my example sounded peaky(I used 100K loading and never tried adding capacitance). However somewhere along this thread I think there are posted impressions similar to yours.
In the spirit of Raul's recent investigation of vintage MCs, I eBayed a Technics EPC-300 now en route from Oz. It's low output(described variously as .1mV or .14mV) should make for an interesting comparison to other low output types like Stanton 980LZS and Denon DL-S1. |
Dear Lewm: +++++ " if I am listening to a great saxophone player, I like also to hear what the bassist and drummer are doing behind him or her. If it's a big band, I revel in the massed brass sections. " +++++
well not only you but almost any one of us and in a live event that's what we hear.
Now, if you are not hearing that through the 320 then IMHO: your cartridge has a wrong set up somewhere ( that DV505 could be the culprit between other links in your system. As my system yours is not perfect. ), your cartridge is out of specs or your electronics are to colored. I know you are not deaf and only a deaf man can't hear what you states, so IMHO something wrong down there and IMHO both the Stanton and the Ruby can't even the 320 quality level performance.
Dgarretson posted: +++ " Despite its virtues, the Stanton signature is in the end darker and less alive. " ++++
I agree with him about.
Regards and enjoy the music, R. |
Dear Harold-no-the-barrel: IMHO and through my experiences with the 20SS is not an easy cartridge for a " perfect " set up but when you are " there " the performance is first rate, very alive and never peaky.
Now, some AT 20SLa that I saw it through ebay came with an after market stylus replacement, not always with the original one.
Here you can buy a new original 20SS stylus replacement for your AT cartridge: http://www.stereoneedles.com/audio-technica.html
http://www.lpgear.com/product/ATSAT0020SS.html
Regards and enjoy the music, R. |
Dear Raul,
Thanks again for the info on the Goldring G800, it may be the best sounding cartridge that I own. Bass is incredible as well as dynamics and micro-details. This is all without a re-tip. I am using an NOS aftermarket Astatic stylus with a Shibata tip and getting excellent results.
http://www.ebay.com/itm/REPLACEMENT-STYLUS-NEEDLE-FOR-GOLRING-110EE-USED-IN-GOLD-RING-G-800E-CARTRIDGE-/350587042905?pt=US_Record_Players_Home_Turntables&hash=item51a09dbc59
John
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Dear Lew, I am really sorry to hear (sic!) that you are deaf. I know that this is not much of a consolation but sometimes even the 'small things' count. I am interested in your Sound Lab 845 PX and your Kenwood 07D so you can at last get your Alfa assuming that your vision is still OK.
Ragards, |
Hi Raul,
I still intend to have Axel do a re-tip on a G800 stylus but I am waiting to get an original OEM Goldring. I was unable to order from the Dutch seller, so still waiting to locate one. The Astatic will be quite satisfactory until then.
John
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Hi John, The Dutch seller don't use paypal so I bought the G 800 E for Raul such that they posted the cart to Axel. If you order one for the USA you will get 19% discount (-19% VAT ) and pay me back via paypal. Depending on the postage to the USA you can also obt for the direct posting to Axel. Regards, |
Dear friends: This could be useful for some of us:
http://www.ebay.com/itm/Digital-High-Resolution-LCD-Laser-Photo-Tachometer-Non-Contact-RPM-Tester-/270979985691?_trksid=m503&_trkparms=algo%3DRIC.CFNPRP%26its%3DI%26itu%3DUA%26otn%3D4%26pmod%3D221089398035%26ps%3D63%26clkid%3D1280961205775103414&_qi=RTM1053525#ht_2450wt_1265
Regards and enjoy the music, R. |
Dear Raul, You really ought to work on how you relate to others. Because you hear things differently from me or anyone else does not mean that the other guy's system is somehow inferior to yours. I take your point that the DV505 may interact differently with the Grace Ruby vs the Acutex LPM320. And you did not even mention the obvious factors that may be making a difference in my perception of the two cartridges: the headshells (they are mounted in two very different headshells) and the cartridge loading. Also, because I say that the Grace does a "better" job at presenting ambient cues than the Acutex does not mean that I can hear no ambience via the Acutex. Please read what I wrote; I said that the Grace (IMO) does a "better" job, not that the Acutex is a total failure. Moreover, this is not likely to be due to colorations or distortions of my electronics, since I AM hearing this difference between two cartridges. If the electronics were failing me, then no cartridge could make up the difference. Got it? Now I will stop short of criticizing YOUR system, because I have never heard it. |
Regards, Raul: Allow me to address your comments concerning mid level carts and what I "like". Raul, you wrote: "The AM30 is in the middle line, is not the top of the line but if you " see " the AM50 design on cantilever/stilus is almost no different with other top AT cartridges." It is inconsistent to label a cart "mid" and then state that with a different stylus, it is "almost no different" than other TOTL carts. Shall we look into this? Carts are electro-magnetic generators. The quality of the windings, construction of cores and the care with which they are assembled are important. Once beyond electron flow and resonance characteristics of the cart, the stylus assembly is the predominant influence on audible performance. Signet carts are hand assembled with more than the usual care encountered in production examples and although a good elliptical has its charms, the midrange clarity and delicate hfs of a nude LC or Shibata profile on beryllium are a personal preference. These are rarely described as "mid level". Let's keep in mind that for the AM20 through 50 carts the generators are identical. The AM10 is of lower inductance and build quality is equivalent. There are those who would consider the lower inductance cart preferable. Cost-wise, as with so many other carts the stylus assembly is the determining factor. Examples include Goldring x800, x900 & 10xx carts, the AT15 variations, AT20 series, AT22-25, Signet TK9 &10. Let's not forget about ADC carts, the QLM-30 through XLM for instance. The examples are numerous. Your comment, as written, is inaccurate. You are in error when you write: " -as you die for the ( not me ) Signet's middle of the line models". I'll not speak for Halcro, Henry can speak for himself and in relating his experience with a cart offering an unusual quality of performance, he did so and with his usual eloquence. I read that the strengths of the cart in question were elsewhere than the mids and while midrange performance was not objectionable, Henry found those other qualities commendable. Overly polite, it ain't. There was also reference to a headshell he'd not tried before & it was found to be of some merit. As apparently you and I are both familiar with the cart, the stylus and the headshell I wonder why we'd not agree there is much to enjoy from the presence, range of response and articulate performance this particular combination offers. Posts similar to Henry's, in the past, been referred to as "a learning opportunity". One might think to thank Henry for sharing the information? You are welcome to your opinions and they are respected as being your individual preferences BUT please refrain from ascribing, unheard, a diminished quality to anothers gear, or miss-stating the preferences of others to fit certain unsubstantiated preconceptions. This is not productive behavior. http://en.wikipedia.org/wiki/Straw_man |
Dear Nicola,
Thanks for your very kind offer, I may take you up on it if other sources do not come through. I contacted the pizza seller directly and he only has what is listed on eBay.it; the M312III however, was a incredible buy for the money and a no-brainer for friends and family recommendations, as well as checking questionable vinyl.
John |
Hi John, You should first check if the G 800 Super E is available. Write to Niko de Graaf by 'puckupnaald.nl' and mention Raul's arrangement with me. They have Raul's and my email address. BTW the price was 65,95 Euro postage to Axel included.
Regards, |
El Diablo! shirley you must have a retort to Timeltels post. Your opionion, knowledge and expertise is highly valued both within and outside of this thread. |
Any one having any luck sourcing that Acutex M320 NOS stylus? Dover? |
Dear Jbthree: That Goldring is " stellar " cartridge and cartridge motor.
Right now I own four of them because I want to test it right from the original to different cantilever/stylus combinations.
IMHO is a truly hard to beat performer. I think that every one of us must to have and experience it while last, especially that we can get for 30.00-50.00: to say at that price is a bargain could me an misunderstood, it is a unique opportunity.
Regards and enjoy the music, R. |
Dear Raul, I am happy that you are happy with the Goldring G 800 (E?). But you forget to mention what kind of cantilever/stylus combo Axel put in your G 800. I am supposed to wait till your post about Axel's upgrade. BTW I checked the 'pickupnaald.nl' for John but there are no more Goldrings G 800 of any kind on their site. I own one and am willing to exchange for the M 320 original stylus.
Regards, |
Hi David, Hardly can wait for your comparison about your ACUTEX carts ! Glad to hear your AT20SS is not peaky. Very interesting hear your comments about it on Tomahawk ! Also our Professor has an AT20SS and he says it´s not an easy cart to perfect set up but when it is the sound is first rate, very alive and never peaky. I understood Raul had had some problems but he added ceramic on headshell and it "tamed" the somewhat too up-front sound. So there´s something wrong with my stylus and I will buy a new original 20SS replacement as he advices. Cheers |
Hi Raul, Glad to hear your AT20SS is not peaky and it is at the same time very alive, that´s very promising. You are quite right, there´s something wrong with my stylus, very likely it is not a Shibata at all. I take your advice and will buy a new original 20SS replacement stylus. Thank you ! |
Dear Lewm: +++++ " does not mean that the other guy's system is somehow inferior to yours. " ++++
I don't say that, I'm sure that you are hearing what you posted and that's why I said that IMHO something could be wrong there including something in the cartridge set-up ( this included the headshell that's part of any cartridge set - up. ).
+++++ " this is not likely to be due to colorations or distortions of my electronics, since I AM hearing this difference between two cartridges. If the electronics were failing me, then no cartridge could make up the difference. Got it? " ++++
No I did not. IMHO all audio systems ( inluding both of us. ) have its own distortions/colorations and always permit that we be aware on differences between any two audio items under evaluation.
The Acutex LPM 315 is a great performer and the 320 is even better and both IMHO are little better than the Ruby one and I'm not trying to dimish in any way the Ruby that's very good too. I tested all these cartridges in an " universal " tonearm/headshell with no advantage one to each other.
Now, the point is that you own the LPM320 and I know for sure that you will have a future opportunity to hear the best the cartridge can shows.
Lewm, I was temted to put on sale my 420 but after readed the Frogman and Acman3 experiences I decided to give me a new opportunity with that cartridge. Problem is that for what other reported needs around 70 hours on it before I can make a serious tests and normaly I can't stop that time with a cartridge especialy when did not showed nothing especial. Anyway, I will try it again.
Regards and enjoy the music, R. |
Dear Timeltel: Inaccurate?????, I can't see or read why. The AM30 did not showed to me nothing " new " against AT/Signet top of the line cartridges. I named the AT 180-OCC and the TK10ML2 and the hand selected 20SS. I don't have in hand the AM50 but I know almost for sure that can't surpass the 180-OCC or the other two.
Normaly the top of the line cartridges are top of the line because performs a little better than its little brothers in the line. The AM20/30 are in the middle of the line.
Again, I can't see what are you " fighting " for or with.
Good to know that you don't die for those Signets, my error.
++++ " I wonder why we'd not agree there is much to enjoy from the presence, .... " ++++
maybe because our music references are different or because I like other kind of distortions and not those ones.
++++ " unsubstantiated preconceptions " ++++, I have not preconceptions other that what I experieced.
When I writed that you die for... I was sure I readed somewhere in the thread but I already posted: my error, my mistake.
Regards and enjoy the music, R.
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Dear Dgarretson: ++++ " investigation of vintage MCs, I eBayed a Technics EPC-300 now en route from Oz. It's low output(described variously as .1mV or .14mV) should make for an interesting comparison to other low output types ... " +++
I hope that EPC-300 could satisfy your LOMC expectations because that model was the Technics LOMC entry level that appeared in 1977. I own the Technics top of the line 305MK2 that appeared in 1981.
In those times the 300 had a Japan's price of 15K Yens against the 50Ks on the 305MK2. I like my 305 and I'm sending to re-tip to Axel.
Btw, the DLS1 is very good and I like it a lot.
Regards and enjoy the music, R. |