Dear Nikola, It seems you have slithered firmly across to the LOMC camp and have forgotten your allegiances to the 'low-cost' MM brigade? An Olympos........really? For that kind of money I could buy an SAEC WE-8000/ST tonearm and still have enough over for a UNIverse or 20 good MMs? Don't you find it absurd that nearly all the top LOMC cartridges cost more than the very best vintage Japanese tonearms? And the arms don't wear out...... |
Dear Nikola, you may consider stopping your advertisements for Slivowitz, otherwise you get moderated. I wonder why this thread is being moderated or are all threads under visit. Did anyone of you ask for moderation? Raul, I hope you are not guilty :-) I got never moderated except of my wife... |
There are obviously still those who believe in some correlation between the price and the quality of carts. The one of those whom I love, could also use as argument the FR-7 instead to show off with his Olympos with its Olympic price for which he nearly can buy a 1/4 of Australia. BTW I mentioned the AT 180 in my ranking and this one is, I am 100% sure, an MM kind. |
Dear Thuchan, In your place I would be very careful with jokes about Slivovitz. I know at least 67 jokes about your Schnaps while some of them imply that this trash is the cheapest way to commit suicide |
Dear Nandric, it is indeed the best way leaving this planet. this is why I am so cautious about "your product" rather than going for my "Mekong Whiskey" or "Banana Schnaps". But beware I am not selling these products, only tasting a little or maybe at the moment a little more. This happens when you are in the southern hemisphere. I built up a deep understanding for those guys even more south in AU or in NZ.
In your case I believe that you are paying Axel in Slivovitz which led to the problems you have with your new cart...don't you? |
Dear friends: A great cartridge, in ngreat condition at " great " price:
http://app.audiogon.com/listings/cartridges-bang-olufsen-mmc2-cartridge-stylus-and-other-2012-11-09-analog-97209
Regards and enjoy the music, R. |
Dear Lewm: No Acme here in México, I have to bought that or other " famed " fuses in USA. When I bought the Hi-Fi tunning fuses I made several comparisons against other fuses ( obviously not all the ones out there. ) and were the best " performers ". During those tests I learn that the changes in sound when we change fuses ( from new units. ) does not change after time but persist the same signature from start.
I don't have the time and IMHO I don't need to take 2-3 weeks to be sure about, I have a very precise and proved test evaluation system that permit to be aware of faster than in normal conditions. Yes, I compare the SR 20 against the HFT and this I made it in 2 days. I made it first with the amplifiers fuses and 2 weeks latter with my Phonolinepreamp and in two more weeks will test it with my subwoofers.
No, I don't test against a piece of wire and I don't take that kind of risk here because the AC is not absolutely under control as in USA, we have fluctuations all the time and some of theme really severes. Yes, I use " enhanced "lubricant and clean as good I can the fuse holders that in my Phonolunepreamp are better than the stock one but in my ML amplifiers and subs I'm using the originals ones and never thinking to change it till you bring this subject here, maybe I will do it.
Price goes from 59.99 to 69.99, not diferent from the HFT price. That's the rpice range on premium fuses.
Thuchan, every one is subject to be under moderator supervision, I was there for months and not only once but 3 times.
Regards and enjoy the music, R. |
Thanks for your detailed response, Raul. I understand perfectly why you would be reluctant to do the ABA comparison and especially why you would not want to bypass the fuses with wire. However, I am not as sanguine as you are about our capacity to make rapid objective judgements in situations such as this. (I include myself and the others, and I do not mean it as criticism; it's just a fact. Anyway, I also know you don't accept that notion.)
On the AC side, my OTL amplifiers, which pull 6-10 Amps from the wall socket, have huge fuses (two per monoblock for a total of 4), maybe 2.5-inches long and 0.7 inches in diameter. I shudder to think what would be the cost of replacing those with SR20s, if the latter are even made in that size and amperage rating. Also, was it here or on Audio Asylum that one major equipment manufacturer wrote he had determined that one or another boutique "audiophile" fuse was of inferior construction, not approved by UL, not acceptable for use in his gear, etc? I will try to find the post. |
Lewn, it was in Audio Asylum on the otl section by the Beveridge designer. In as much as I respect the designer, I do not share his reasoning. |
OMG,I really do not post much on this forum, but my post now has to go through the moderator. Hope he/she wakes up on time to read my post for approval. The essence of freedom in www will soon be lost in this forum if this continue. |
Dear Thuchan, I wish it was/is 'my product'. You should know that I may call as such 'jenever' (Dutch brandy)which is even worst than 'your Schnaps'. BTW I need to travel to Essen to get 'my stuff'. Axel is so impressed with Serbian Slivovitz that I get 30% discount. But I may have one new retip service in Italy. I am waiting for the details (styli,cantilevers, etc. and prices) and will inform our members as soon as I get this info.
Regards, |
Nandric, with your recent tales of cartridge woe, I can recommend going north for the water of life - Aquavit. A few drams are ideal for taming the top end of a pesky moving coil. If you need something more robust, try a couple of Harvey Wallbangers plus 2 shots of Aquavit. |
****The main difference is " power precense " and this means not precisely lower bass or deepest bass but " power presence " as we can hear ( near of it ) only through live music. This " power precense " is not a bass coloration but a true power precense. At the other frequency extreme the main difference is " definition " a littlke different but this " definition " is a kind of " power presence " where this " power " seems to me a " delicate " power.**** - Raul
I was going to comment on this observation in relation to my own comments about the Acutex 420, but decided to leave it alone as I did not want to resurrect the 420 debate (again). However, since Halcro did it for me.... BTW Halcro, your comments are exactly correct, the cartridge requires a very long break-in and only then shows it's attributes which, unfortunately, remain under-appreciated. Anyway, back to Raul's comment about "power presence":
In my comments about the 420 I referred to the cartridge's ability to reveal well recorded music's dynamic presence; the quality in music that sounds like a "coiled spring" ready to unravel and explode. IMO, the ability to properly reproduce the tension/release aspect of music is THE most important issue in music playback and any component. Music is, first and foremost, about dynamics. Without accuracy in dynamics to convey human expression it is simply sound. It may be beautiful, tonally accurate sound; but, just sound.
I think that the "power presence" that Raul refers to is exactly this quality. I have not experimented with exotic fuses, but to me it is not surprising that they (good ones) should make such an audible improvement. If we acknowledge that power cords make a difference, that good solid mechanical connections at every point of signal and power transfer are important, that loose cartridge clips cause distortion, that clean contacts make a difference etc., etc.; then, is it surprising that current that is suddenly forced to travel through a hair-thin steel wire in a generic fuse would degrade compared to one of higher quality construction? |
If the sound we hear is , uh , 'subjective' what about the persons we like and don't? Henry is without any question a 'likeable' person and he should be of corse as a architect. Otherwise the Olympos would be only a wishful thinking. But despite the fact that I like the guy very much: 50 hours torture + some questionable SAEC tonearm are really to much to ask from whomever. |
Dear Dover, You country may be suitable for wine but who have ever heard about any brandy from New Zeeland? BTW an Dutch name (Zeeland) probable one of 'our' former colony . The drink you named is a lady trink or such kind of persons. If you have never try Slivovitz you have no right to participate in a brandy discussion. BTW just listened to the Dgob's obsession: the Glanz 5. Unbelievable. I need to change my religion for the x time. As if a full orchestra is in your living room. The dynamics surpass the Miyabi and I have no idea what to do with all my LOMC's. Just bought an new Benz LP S ...
Regards,
|
Halcro, Frogman,
I also have a passion for the Acutex 420. I have well over 200 hours on it. I must add, mine did not truly present itself until after I gave up on the Graham cartridge alignment device (for my Graham 2.2 arm), and bought a Mint LP Best Tracker. The 420 is a bitch to correctly set up and "close enought" is NOT close enought when it comes to correctly setting up this stylus alignment. Best $100 ever spent. Regards, Don |
Nandric "Unbelievable. I need to change my religion for the x time" The power of Slivovitz |
Dear Frogman: ++++ " then, is it surprising that current that is suddenly forced to travel through a hair-thin steel wire in a generic fuse would degrade compared to one of higher quality construction? " +++++
exactly, why not?
Regrads and enjoy the music, R. |
Dear Nicola, Although my favourite cartridge (Signet TK7CLa) is difficult to find........it at least is POSSIBLE?......I just bought a NOS one on EBay. But with your and Dgob's mythical Glanz 5 and 7 cartridges......I have not seen one on EBay, HiFiDo, Audiogon or TopClass? It reminds me of Thuchan showing us his super rare and unobtainable SAEC WE-8000/ST tonearm which took him 5 years to find? I would dearly love to sample these Glanz 'wonders'........but if they don't exist, can you hear one if it falls in the forest? |
Dear Henry, you know I went through all shops in Tokyo, Osaka, Nagoya, Fukuoka and did not find the WE 8000 and then I waited 5 years?, not really but when I got it I learned on Audiogon threads that this arm is not very exiting... what a different world to my own experiences in my studio...
I think you went for an excellent arm, most modern arms look very old against this masterpiece of Japanese tonearm building. Built for broadcasting all the best technical designs were put into broadcasting in these days, at least in Japan and Germany. We as amateurs could not afford this superior technology. Today it is different but still many among us believe it is better going for amateur tools...
I love my TK7CLa too. |
Dear Henry, Thuchan posted to me 63 pictures of his, you know which TT (from your contry?), with this huge and impractical, but very expensive and rare WE -8000/ST. So he is obvioulsy very proud of both. However I have seen the WE -8000/ST on ebay, I think, but never Dgob's 'mythical' Glanz 5 or 7. And than on 'his own' ebay.uk there was this 'myth', listed as NOS and for 10 days with me as the only interested party. Dgob's own Glanz 5 got 'kaputt' (means broken in English) , his search for the Nirvana was successfuly accomplished, so he had no reason to watch his own ebay and that explains how I got the 'treasure'. I hope nobody will tell this to Dgob. Meanwhile Lew wrote to me that the 'Glanz brand' was resurrected as a new Japanese brand with two interesting tonearms, among other. Then my Italian friend Valerio (my source for the American Miyabi) told me that his best friend Roberto is the Italian dealer for the new Glanz. The 'big question' for Dgob and me is if this Japanese Glanz has any connection with the German Glanz brand? If so Dgob may get the original stylus + cantilever for his 5 and I the Glanz 7. What is even more Roberto owns a retip service which may have some more interesting propositions than Axel. So it may be the case that some 'myths' become the 'real' reality. BTW I thought that you are teasing me with your Signet TK 7cl so I checked my .'Alas' my is the topline TK 9CL. Regards, |
Addendum, My 'big question' should be put otherwise. Namely: if this Japanese Glanz is in any way connected with the Mitachi Corporation which made the carts for the German Glanz as well for the American Astatic . Our own Thuchan speaks Japanese and is, as such, the right person to investigate. Thanks in advance Thuchan. |
Dear Nandric, you mean Hitachi? I have no information about the relation of these two companies, maybe someone else can help? but there was and is always a magic cooperation circle between Japanese, German, Swiss and American cart makers. It seems they share parts, diamonds from Switzerland etc. |
Dear Halcro: As Nandric posted that SAEC 8000 can be find it on ebay any day you want, not big deal.
SAEC had a very high quality control on their products and SAEC tonearms were very well regarded in Japan, I bought mine because of that and I bought the to6 and 423 too. That was when I was on " euforia " for the Japanese tonearms like SAEC, MS or Audiocraft.
After time I learned why japanese people like it over MS or Audiocraft. No doubt that the 8000 or 506 are very well made and very good looking items but thye double knife bearing on its design gives them an " agile, dynamic, powering " signature that IMHO and after several experiences with ( I own those SAEC tonearms. ) my conclusions were and are that these models has higher non-controled distortions that other top tonearms. For me it is not any more a top contender, yes it is a good tonearm but IMHO nothing more than that. Of course could be a cartridge that can makes the best match with but that's through my experiences is not the rule with SAEC tonearms.
Thuchan has other experiences with, well his music/sound priorities are different too and more and more nearer to the japanese audiophiles. Nothing wrong with that.
Regards and enjoy the music, R. |
Dear nandric: I seen you put on sale your Astatic MF-200, obviously you was not satisfied with. I don't know if was touched or not by Axel but that MF-200 IMHO has nothing to envy to the Glanz as the MF-100 ( this the top of the line. ).
Till you have those three cartridges in the same system and test it is very dificult to make a whole evaluation. In the other side we have to remember that your MF-200 and MF-100 are stand alone designs made it by Glanz/Mitachi where Astatic bought the Glanz patent design. The Glanz integrated headshell designs could sounds more dynamics because its additional distortions due to those very old internal connections and obviously that integrated headshell where the Astatic ones have not.
Antway good that you find out that " nirvana ", at the end that's what we are looking around.
I wish I could be there as you some day.
Regards and enjoy the music, R. |
Dear Timeltel: I have a lot of experiences to share with all of you but time was my " enemy ". I will take that time to post about but in the mean time two of my cartridge references are two LOMC vintage cartridges:
Ortofon MC 2000 and Spectral MCR Signature.
Regards and enjoy the music, R. |
Dear Raul, As you already discovered in connection with my willingness to help by (menace) of death by drowing and other accidence by which I used my Armani suit as exuse not to get involved , you shoud think twice about your assumption. The case is simple. Thanks to you I was able to sell the MF 200 for $380. But I own exactly the same cart in the 'form' of an Glanz 31 L for which I would hardly get $60. Such kind of persons are those damn Balkanese.Anyway thanks Raul!Thanks to you I made some profit on my 'gear' for the first time in my life.
Regards, |
Regards, Halcro: Masochist? Did someone whisper in your ear, the cursed EPC-U25 was given another chance to prove itself listenable?
Although flagellation is, in certain circles, an acceptable practice under no circumstance is this particular torment to the ear justifiable. In contradiction to it's (from memory) low impedance/low inductance, both in the 500mH & ohm range & a "should be ideal" 2.5mv output, there is a peculiar resonance in the 12k range due (I suspect) to the combination of boron cantilever, SAS/ML stylus and the dreaded plastic mount. It makes the Acutex LPM 415 sound warm (quite an accomplishment) and it's available, CHEAP!
Congratulations on the TK7LCa, the OEM line contact styli are of exceptional quality and quite difficult to source. As to the LPM 420, the cart continues to justify it's chameleon genes. When things get slow with the MM thread a mention of "Acutex" is sure to inspire comment.
While the TK7LCa remains my "go to" cart, the Shure ML140 HE, Acutex LPM 320STR or Empire 4000D-111 might be selected for an evening of good listening. Not much mention of Nagatron or Nagaoka? The Nagaoka MP500, boron cantilever/LC stylus & 3mv output looks interesting.
Just curious, anyone have information on the configuration of the 4000D-111's stylus? On the packaging my example was supplied with it's described as "4 Dimensional". The Empire, previously somewhat turgid in the bass, moved to a Yamamoto boxwood headshell and with particular attention to alignment the cart has gained in clarity, tonal balance and a quite welcome reduction in unwanted resonance. Should a "recommended cart list" ever be compiled from the favorites mentioned in this thread, the 4000D-111 might find a mention?
Peace, |
Regards, Raul: Thanks. I'm familiar with the Orto, about five grades above the MC20 I'll occasionally drag out. The Spectral, unheard.
Thanks again,
Peace, |
Audpulse, Thanks for reminding me it was Roger Modjeski who made negative comments about some brand of boutique audiophile fuse. Like you, I am not sure whether to take his word for it or not. But on the other hand, he was not rendering an "opinion". He claimed to be reporting on a direct observation after having dissected one of the fuses.
So, Raul and Frogman, just to take the Devil's advocate position, the difference between all those tweaks that you listed and the tweak of a fuse in the AC line is that all the former ones are in the signal path, whereas a fuse in the AC line is "behind" the entire power supply with respect to the entire signal path. (Mind you, I have no opinion of the effect of fuses on the AC side; my observation is that a quality fuse in the signal path of my amplifiers does certainly make a difference.) So if you hear a difference with a silver/cryo/ceramic fuse on the AC line, tell me this: have you tried to hear a difference based on the "direction" of the fuse? As you may know, real "tweakers" claim that fuses have polarity. This idea makes zero electrical sense to me.
One possible effect of a fuse on the AC line could be via its electrical resistance to current flow. If a fuse has significant resistance, it could conceivably rob dynamics. But I have never detected DC resistance in even the cheapest fuse, when measured with my meter in open air. Nevertheless, we could posit that silver fuses have lower AC resistance than conventional ones, when operating below the current limit. It actually makes some sense. But this is easy to measure and I wonder why no one has brought this simple fact to light, if true. |
Raul - personal experience of Spectral MCR, purchased new, white, bright, opaque, lacked transparency. If you can imagine sitting in a dentist chair and and the anaethestic is wearing off whilst you are getting a root canal done - thats what the Spectral sounds like. The Madrigal Carnegie One was far more transparent ( soundstage and detail ) and musical. If this is your reference I can see why you prefer MM's. I wouldn't even pay $100 for a NOS MCR. It is interesting that both your MC references are very neutral in balance but uninvolving. |
Timeltel with my sample of the Empire D3 the factory information states the stylus is white and is a .25 x 2.5 nude para-linear, further the cantilever is gold coloured on my sample. It's been awhile since I played any records with the empire though my memory of it I found the Yamamoto boxwood head shell in combination with the Micro Seiki 505s arm to be a very good match.Off the top of my head playing ome of my testing records Reference Recordings Berlioz symphony Fantastique I was thrilled with what I heard with this combination and for so little money invested , It waltz through all four sides with no smearing, no hicups and for base freaks this RR recording has it. The music was well presented using the Empire and it certainly kept my attention. With other fine recodings I never once felt the D3 failed to deliver.There are better arms and cartridges of course for much , much more but who does not like a bargain. |
Dear Lewm: That fuse direction ( as with cables. ) I think was promoted by some fuse sellers/manufacturers. There are some people that swear they can hear a diffrence on the fuse " direction ", I test it with the HFT and SR 20 and makes no difference. The designer/manufacturer on the SR 20 claims there is no difference.
The question about AC fuses is IMHO still in the " air ": why the SR 20 ( or other fancy fuse. ) makes a difference makes an improvement?, I have no precise answers and as like you only speculations with out real foundations.
Anyway, the real and important subject about fuses is that can makes an important difference on quality performance level. In the case of the SR 20 those differences are not a tiny ones but significant. When I received my first SR 20 I was testing my Audioquest 7000 Fe5 that even that's a good performer IMHO was a little on the warm side, that coloration disappear with the new SR 20 fuses and its performance was enhanced. I prefered my XV-1s over the Fe5 till this change on fuses where the Fe5 now is nearest to the top performance level of the XV-1s that I audiotioned with the SR 20s in the system.
Things with fuses are confused or gives no-reasons and build that " confusion ". Frogman pointed out that the fuse scenario is similar to the cables one and no one has precvise answer about. Every cable manufacturers claim several advantages of their designs but : all them are right. all them have reason?, some claims about preclude advantages when are compared against the claims of other cable manufacturer: whom is right????
Regards and enjoy the music, R. |
Dear Timeltel: I'm familiar with the Orto too, I owned/ own or listening every single LOMC Orto cartridge and the MC 2000 is different has not the Orto " signature ", not even the A90 ( I don't heard yet the Anna in my system. ) is " similar " in some ways. The whole design MC 2000 characteristics were unique to that cartridge and some of them never used after the MC 2000. Even some of those design characteristics were one against each other: the cartridge is a " heavy " one ( over 10 grs. ) with a high compliance 20cu and a ridiculous output level of only 0.05mv. Normaly the cartridge with almost any tonearm always is out of that ideal resonance frequency range: 8hz to 12hz. Even that it is a winner tracker and beats in this regards to many top MM/MI cartridges that suppose are better trackers than a LOMC cartridges.
The Spectral even that is a LOMC with 0.2mv performs different but for me is a " reference " cartridge.
As I posted I will take the time to report all my last months experiences with LOMC/HOMC and MM/MI cartridges and a stock vintage tonearm that I can't know why I never " take care " on it when is a first rate tonearm by IMHO any tonearm standards.
My each " day " audio item discoveries is mainly with my attitude to stay " disatisfed " always looking for better quality performance level. I meet no Nirvana as some other people because in that first moment that I think Imy system achieved that Nirvana my quest ends. My common sense tell me that in this absolutely imperfect audio world and more specific on analog world the Nirvana is far away that what any one of us could imagine.
Regards and enjoy the music, R. |
Timeltel, I forgot: that Empire " 4 dimensional " stylus shape design means nothing for you, me or any one and I think that you have the same Empire brochure I have and all waht it say about is: """" miniature nude diamond with .1 mil tracing radius. The cartridges are designed for 100kohm terminated impedance. """ and that's it.
R. |
Dear Frogman: +++++ " Music is, first and foremost, about dynamics. Without accuracy in dynamics to convey human expression it is simply sound. It may be beautiful, tonally accurate sound; but, just sound. " +++++
yes and many of us have or achieved only " sound ". That " power presence " I talked about seems similar to what you expressed as " dynamic presence ". Problem with these " new " audio vocabolary is to understand what it means and how can we aware of it against " only sound "? because that " only sound " has its own " dynamic/power presence " level.
Thinking a little about maybe all of us are aware of that " dynamic/power presence " but at different levels. You touched a condition " sin-equanon " when you posted: """ with out accuracy on dynamics """", this is an elusive subject because we all are accustomed to several audio distortions and this fact makes really dificult to know if what we have is true " accuracy on dynamics " or only distortions that I like it. IMHO we have to learn about, I'm learning I'm in that every day process.
regards and enjoy the music, R. |
Ah Professor, It is appropriate that you re-introduce the Empire D4000/III to this discussion? I well remember that after re-mounting the only MM in my possession (Garrott P77) after reading this Thread......the first 'new' MM cartridge I purchased via EBay was the Empire 1000ZE/X followed closely by the D4000/III. I thought I had reached Nirvana (as Raul says).....and so I bought another one thinking that would last me till I died? Well......we all move on and learn more (as Raul says).....but still.....those two D4000/III get regular air time chez Halcro :-)
And that Shure ML140HE you steered me to?.........gives my Signet TK7LCa a fair run for its money. Regards |
Greetings Thuchan, I'm pleased you like the TK7LCa?
And Raul.....that SAEC WE-8000/ST you just saw recently on EBay....is sitting happily upon one of my solid bronze armpods surrounding the Victor TT-101. And might I say........I appear to like all the same 'distortions' as Thuchan and the Professor. Not that there's anything wrong with that......? |
Hi Raul,
Cannot speak freely, I fear I am still being "moderated". However, I received an e-mail that the Oppo BDP-105 is now available. Should receive my Jico SAS stylus for the A&R P77 any day now. I am excited but worried that the "moderators" may not allow me to share any information. Will try contact again if I can find a safehouse.
J |
Dear Thuchan, Despite your encyclopedic knowledge about all kinds of gear your obvious Achilles heel are MM carts. Not Hitachi but the inventor of the Moving Flux technology the Mitachi Corporation. I just become rich by selling one of their specimens: the MF 200. But more thanks to Raul than this company. However both are of course involved in my luck . BTW I am not sure if Mitachi was willing to share anything with enyone but this company was obviously willing to produce some carts for the German Glanz brand and the same carts , as I discovered thanks to Vetterone and the owner of the Glanz thread,for the American Astatic brand. I become even richer with my acquisition of the (NOS) Glanz 5 and MFG 31L (alias MF 200).
Regards, |
Dear In_shore: I think Timeltel can confirm this: the D3 you bought was not the Empire original design ( that's what Timeltel and other people including me have. ) but a second design named Gold and yours is a little different from the original.
I own the original and heard in my system the Gold and for whatever reason you could think I prefer the Original D3 but as you said your Gold is really good too.
Regards and enjoy the music, R. |
Dear Dover: ++++++ " Spectral MCR, purchased new, white, bright, opaque, lacked transparency. " +++++
I respect your opinion. Now, I don't know when was the latest time you heard the Spectral MCR-1 and how was the cartridge surrounded on its whole set up.
When I received and mounted to give a listening my first reaction was that I bought a great name cartridge with a poor quality level performance: too warm and lacking dynamics, but I forgot that a LOMC cartridge needs " time/hours " to settle down from new and this one was out of play for many many years. When the cartridge settle down first thing I been aware was the rigtness bass management I ever heard on any cartridge and that " accurate dynamic/power presence " that frogman and I were talking about comes to " light " and shine: soundstage, transparency, detail, trasients handling, balance tone, " pitch ", decay time, etc, etc. name it any sound/music desired characteristic in a top top cartridge and you have it with the Spectral MCR-1 as you never heard anywhere at any price ( at least with my sample. ) and remember that the cartridge was the " baby " of Professor Johnson whom marketed way before digital Spectral items and of course very well regarded SS electronics and producer and techical engennering on those beautiful Reference Recording LPs and the Spectral cartridge was to show what analog can do. Yes, this cartridge can shows better its " magic " with top SS electronics with tubes the cartridge shows the tube limitations not the cartridge limitations because for me is near to a " perfect " cartridge.
Yes, I like MM/MIs but I like more this Spectral LOMC. I think that if you have a chance you could give a second opportunity to this Spectral cartridge, after all I assume your today system is a " little " better than in the " golden years ".
Btw, I own both Carnegie's the 1 and 2 but I don't listen it yet.
Regards and enjoy the music, R. |
Raul, Whatever you may imagine to be the "limitations of tubes", it cannot be that they take a cartridge that is (initially) "too warm and lacking in dynamics" (your words) and make it sound like it's "white, bright, opaque, lacked transparency" (Dover's words). The cause for the difference between your and Dover's experience of the Spectral MCR must lie elsewhere. "Tubes" per se don't do what you infer they do do. Yes, it's doodoo in my book. |
Hi Lewm,
If you want an original blue bodied Spectral Moving Coil Reference (MCR-1) cartridge with all its original packaging, I have one knocking about.
Sadly, I sent it to Italy for inspection by a potential buyer and it was returned 'without' its stylus. Nothing that Axel could not mend/replace I dare say. I spent many years with mine and I am sure it can be brought back up to full operation. If you are interested, email me off site and I am certain we can come to some agreement.
As always... |
Raul - It went into a system using a Burmester preamp that had been seriously modded with external power supplies and onboard regulation etc, unlimited loading options and run on both pivoted, Syrinx PU3, and tangential arms ET2. Although some of the white glaze disappeared, I thought it never really lost that white sound. Maybe a bad sample ?? I was the agent for MIT/Reference Recordings at that time and, knowing Bruce Brisson & Keith Johnson, obviously was very surprised at the lack of resolution. Bruce/Keith/Damian/Steve McCormack and a couple of others from that California area colluded a lot in those days - listening & designing together. |
Many thanks to you Nandric, for all you do. |
Dear Lewm: Forgert about tubes ( what Dover heard it was how his system performed not the cartridge. ). Differences between what Dover heard it and what I heard on the same cartridge is due mainly: when the cartridge was heard by him? last week, last month, last year, 10+ years ago?. I'm listening to this Spectral gem right now.
The other reasons are the differences between Dover and I music/sound priorities and what kind of distortions he and I are willing to tolerate and of course in which overall set up he and I heard the cartridge.
If you can find out this cartridge do it a favor a buy it and if you don't like it I promise you that I can buy from you.
Regards and enjoy the music, R. |
Dear Halcro: +++++ " .I appear to like all the same 'distortions' as Thuchan and the Professor. Not that there's anything wrong with that......? " ++++++
of course nothing wrong with that. Certainly there are differences in the kind of distortions all three likes. IMHO you are nearer to Thuchan than Timeltel in the same way that IMHO thuchan has now a japanese oriented sound signature. The thuchan sound signature I think was choosed inside what his group likes that I think is not the Timeltel case.
Anyway, good that any one likes what they like. Nothing wrong with that!
Regards and enjoy the music, R. |
Raul - beware the Carnegie 1, the suspensions are the weak point, they can sit very low. The cantilevers are from memory triple layer of carbon, beryllium & aluminium, easily retipped, Garrots did a few for us, but the cartridges are too difficult to repair for anything else. We always ran the Carnegies into 47k, tubes of course. The Carnegie 2 is a different cartridge - it's an early Benz, whose dad was Japanese, and had a Dutch stepbrother. |
Dear Raul, I am not disputing that the Spectral MCR may be a great cartridge. I am only disputing your hypothesis regarding the cause of the difference in opinion between you and Dover. Tubes, for those who believe that tube gear cannot be absolutely accurate, certainly do not color the sound in the way that Dover has perceived the Spectral to be colored. That's all I meant.
How about that Madrigal Carnegie One; it certainly has been well regarded for a very long time? |