Dear friends: who really needs an MM type phono cartridge?, well I will try to share/explain with you what are my experiences about and I hope too that many of you could enrich the topic/subject with your own experiences.
For some years ( in this forum ) and time to time I posted that the MM type cartridge quality sound is better than we know or that we think and like four months ago I start a thread about: http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1173550723&openusid&zzRauliruegas&4&5#Rauliruegas where we analyse some MM type cartridges.
Well, in the last 10-12 months I buy something like 30+ different MM type phono cartridges ( you can read in my virtual system which ones. ) and I’m still doing it. The purpose of this fact ( “ buy it “ ) is for one way to confirm or not if really those MM type cartridges are good for us ( music lovers ) and at the same time learn about MM vs MC cartridges, as a fact I learn many things other than MM/MC cartridge subject.
If we take a look to the Agon analog members at least 90% of them use ( only ) MC phono cartridges, if we take a look to the “ professional reviewers “ ( TAS, Stereophile, Positive Feedback, Enjoy the Music, etc, etc, ) 95% ( at least ) of them use only MC cartridges ( well I know that for example: REG and NG of TAS and RJR of Stereophile use only MM type cartridges!!!!!!!! ) , if we take a look to the phono cartridge manufacturers more than 90% of them build/design for MC cartridges and if you speak with audio dealers almost all will tell you that the MC cartridges is the way to go.
So, who are wrong/right, the few ( like me ) that speak that the MM type is a very good alternative or the “ whole “ cartridge industry that think and support the MC cartridge only valid alternative?
IMHO I think that both groups are not totally wrong/right and that the subject is not who is wrong/right but that the subject is : KNOW-HOW or NON KNOW-HOW about.
Many years ago when I was introduced to the “ high end “ the cartridges were almost MM type ones: Shure, Stanton, Pickering, Empire, etc, etc. In those time I remember that one dealer told me that if I really want to be nearest to the music I have to buy the Empire 4000 D ( they say for 4-channel reproduction as well. ) and this was truly my first encounter with a “ high end cartridge “, I buy the 4000D I for 70.00 dls ( I can’t pay 150.00 for the D III. ), btw the specs of these Empire cartridges were impressive even today, look: frequency response: 5-50,000Hz, channel separation: 35db, tracking force range: 0.25grs to 1.25grs!!!!!!!!, just impressive, but there are some cartridges which frequency response goes to 100,000Hz!!!!!!!!!!
I start to learn about and I follow to buying other MM type cartridges ( in those times I never imagine nothing about MC cartridges: I don’t imagine of its existence!!!. ) like AKG, Micro Acoustics, ADC, B&O, Audio Technica, Sonus, etc, etc.
Years latter the same dealer told me about the MC marvelous cartridges and he introduce me to the Denon-103 following with the 103-D and the Fulton High performance, so I start to buy and hear MC cartridges. I start to read audio magazines about either cartridge type: MM and Mc ones.
I have to make changes in my audio system ( because of the low output of the MC cartridges and because I was learning how to improve the performance of my audio system ) and I follow what the reviewers/audio dealers “ speak “ about, I was un-experienced !!!!!!!, I was learning ( well I’m yet. ).
I can tell you many good/bad histories about but I don’t want that the thread was/is boring for you, so please let me tell you what I learn and where I’m standing today about:
over the years I invested thousands of dollars on several top “ high end “ MC cartridges, from the Sumiko Celebration passing for Lyras, Koetsu, Van denHul, to Allaerts ones ( just name it and I can tell that I own or owned. ), what I already invest on MC cartridges represent almost 70-80% price of my audio system.
Suddenly I stop buying MC cartridges and decide to start again with some of the MM type cartridges that I already own and what I heard motivate me to start the search for more of those “ hidden jewels “ that are ( here and now ) the MM phono cartridges and learn why are so good and how to obtain its best quality sound reproduction ( as a fact I learn many things other than MM cartridge about. ).
I don’t start this “ finding “ like a contest between MC and MM type cartridges. The MC cartridges are as good as we already know and this is not the subject here, the subject is about MM type quality performance and how achieve the best with those cartridges.
First than all I try to identify and understand the most important characteristics ( and what they “ means “. ) of the MM type cartridges ( something that in part I already have it because our phonolinepreamp design needs. ) and its differences with the MC ones.
Well, first than all is that are high output cartridges, very high compliance ones ( 50cu is not rare. ), low or very low tracking force ones, likes 47kOhms and up, susceptible to some capacitance changes, user stylus replacement, sometimes we can use a different replacement stylus making an improvement with out the necessity to buy the next top model in the cartridge line , low and very low weight cartridges, almost all of them are build of plastic material with aluminum cantilever and with eliptical or “ old “ line contact stylus ( shibata ) ( here we don’t find: Jade/Coral/Titanium/etc, bodies or sophisticated build material cantilevers and sophisticated stylus shape. ), very very… what I say? Extremely low prices from 40.00 to 300.00 dls!!!!!!!!!!!!!!!!!!, well one of my cartridges I buy it for 8.99 dls ( one month ago ): WOW!!!!!!, so any one of you can/could have/buy ten to twenty MM cartridges for the price of one of the MC cartridge you own today and the good notice is that is a chance that those 10-20 MM type cartridges even the quality performance of your MC cartridge or beat it.
Other characteristics is that the builders show how proud they were/are on its MM type cartridges design, almost all those cartridges comes with a first rate box, comes with charts/diagrams of its frequency response and cartridge channel separation ( where they tell us which test recording use it, with which VTF, at which temperature, etc, etc. ), comes with a very wide explanation of the why’s and how’s of its design and the usual explanation to mount the cartridge along with a very wide list of specifications ( that were the envy of any of today MC ones where sometimes we really don’t know nothing about. ), comes with a set of screws/nuts, comes with a stylus brush and even with stylus cleaning fluid!!!!!!!!!, my GOD. Well, there are cartridges like the Supex SM 100MK2 that comes with two different stylus!!!! One with spherical and one with elliptical/shibata shape and dear friends all those in the same low low price!!!!!!!!!!!
Almost all the cartridges I own you can find it through Ebay and Agon and through cartridge dealers and don’t worry if you loose/broke the stylus cartridge or you find the cartridge but with out stylus, you always can/could find the stylus replacement, no problem about there are some stylus and cartridge sources.
When I’m talking about MM type cartridges I’m refer to different types: moving magnet, moving iron, moving flux, electret, variable reluctance, induced magnet, etc, etc. ( here is not the place to explain the differences on all those MM type cartridges. Maybe on other future thread. ).
I made all my very long ( time consuming ) cartridge tests using four different TT’s: Acoustic Signature Analog One MK2, Micro Seiki RX-5000, Luxman PD 310 and Technics SP-10 MK2, I use only removable headshell S and J shape tonearms with 15mm on overhang, I use different material build/ shape design /weight headshells. I test each cartridge in at least three different tonearms and some times in 3-4 different headshells till I find the “ right “ match where the cartridge perform the best, no I’m not saying that I already finish or that I already find the “ perfect “ match: cartridge/headshell/tonearm but I think I’m near that ideal target.
Through my testing experience I learn/ confirm that trying to find the right tonearm/headshell for any cartridge is well worth the effort and more important that be changing the TT. When I switch from a TT to another different one the changes on the quality cartridge performance were/are minimal in comparison to a change in the tonearm/headshell, this fact was consistent with any of those cartridges including MC ones.
So after the Phonolinepreamplifier IMHO the tonearm/headshell match for any cartridge is the more important subject, it is so important and complex that in the same tonearm ( with the same headshell wires ) but with different headshell ( even when the headshell weight were the same ) shape or build material headshell the quality cartridge performance can/could be way different.
All those experiences told me that chances are that the cartridge that you own ( MC or MM ) is not performing at its best because chances are that the tonearm you own is not the best match for that cartridge!!!!!!, so imagine what do you can/could hear when your cartridge is or will be on the right tonearm???!!!!!!!!, IMHO there are ( till today ) no single ( any type at any price ) perfect universal tonearm. IMHO there is no “ the best tonearm “, what exist or could exist is a “ best tonearm match for “ that “ cartridge “, but that’s all. Of course that are “ lucky “ tonearms that are very good match for more than one cartridge but don’t for every single cartridge.
I posted several times that I’m not a tonearm collector, that I own all those tonearms to have alternatives for my cartridges and with removable headshells my 15 tonearms are really like 100+ tonearms : a very wide options/alternatives for almost any cartridge!!!!!!
You can find several of these MM type cartridges new brand or NOS like: Ortofon, Nagaoka, Audio Technica, Astatic, B&O, Rega, Empire, Sonus Reson,Goldring,Clearaudio, Grado, Shelter, Garrot, etc. and all of them second hand in very good operational condition. As a fact I buy two and even three cartridges of the same model in some of the cartridges ( so right now I have some samples that I think I don’t use any more. ) to prevent that one of them arrive in non operational condition but I’m glad to say that all them arrive in very fine conditions. I buy one or two of the cartridges with no stylus or with the stylus out of work but I don’t have any trouble because I could find the stylus replacement on different sources and in some case the original new replacement.
All these buy/find cartridges was very time consuming and we have to have a lot of patience and a little lucky to obtain what we are looking for but I can asure you that is worth of it.
Ok, I think it is time to share my performance cartridge findings:
first we have to have a Phonolinepreamplifier with a very good MM phono stage ( at least at the same level that the MC stage. ). I’m lucky because my Phonolinepreamplifier has two independent phono stages, one for the MM and one for MC: both were designed for the specifics needs of each cartridge type, MM or MC that have different needs.
we need a decent TT and decent tonearm.
we have to load the MM cartridges not at 47K but at 100K ( at least 75K not less. ).
I find that using 47K ( a standard manufacture recommendation ) prevent to obtain the best quality performance, 100K make the difference. I try this with all those MM type cartridges and in all of them I achieve the best performance with 100K load impedance.
I find too that using the manufacturer capacitance advise not always is for the better, till “ the end of the day “ I find that between 100-150pf ( total capacitance including cable capacitance. ) all the cartridges performs at its best.
I start to change the load impedance on MM cartridges like a synonymous that what many of us made with MC cartridges where we try with different load impedance values, latter I read on the Empire 4000 DIII that the precise load impedance must be 100kOhms and in a white paper of some Grace F9 tests the used impedance value was 100kOhms, the same that I read on other operational MM cartridge manual and my ears tell/told me that 100kOhms is “ the value “.
Before I go on I want to remember you that several of those MM type cartridges ( almost all ) were build more than 30+ years ago!!!!!!!! and today performs at the same top quality level than today MC/MM top quality cartridges!!!!!, any brand at any price and in some ways beat it.
I use 4-5 recordings that I know very well and that give me the right answers to know that any cartridge is performing at its best or near it. Many times what I heard through those recordings were fine: everything were on target however the music don’t come “ alive “ don’t “ tell me “ nothing, I was not feeling the emotion that the music can communicate. In those cartridge cases I have to try it in other tonearm and/or with a different headshell till the “ feelings comes “ and only when this was achieved I then was satisfied.
All the tests were made with a volume level ( SPL ) where the recording “ shines “ and comes alive like in a live event. Sometimes changing the volume level by 1-1.5 db fixed everything.
Of course that the people that in a regular manner attend to hear/heard live music it will be more easy to know when something is right or wrong.
Well, Raul go on!!: one characteristic on the MM cartridges set-up was that almost all them likes to ride with a positive ( little/small ) VTA only the Grace Ruby and F9E and Sonus Gold Blue likes a negative VTA , on the other hand with the Nagaoka MP 50 Super and the Ortofon’s I use a flat VTA.
Regarding the VTF I use the manufacturer advise and sometimes 0.1+grs. Of course that I made fine tuning through moderate changes in the Azymuth and for anti-skate I use between half/third VTF value.
I use different material build headshells: aluminum, composite aluminum, magnesium, composite magnesium, ceramic, wood and non magnetic stainless steel, these cartridges comes from Audio Technica, Denon, SAEC, Technics, Fidelity Research, Belldream, Grace, Nagaoka, Koetsu, Dynavector and Audiocraft. All of them but the wood made ( the wood does not likes to any cartridge. ) very good job . It is here where a cartridge could seems good or very good depending of the headshell where is mounted and the tonearm. Example, I have hard time with some of those cartridge like the Audio Technica AT 20SS where its performance was on the bright sound that sometimes was harsh till I find that the ceramic headshell was/is the right match now this cartridge perform beautiful, something similar happen with the Nagaoka ( Jeweltone in Japan ), Shelter , Grace, Garrot , AKG and B&O but when were mounted in the right headshell/tonearm all them performs great.
Other things that you have to know: I use two different cooper headshell wires, both very neutral and with similar “ sound “ and I use three different phono cables, all three very neutral too with some differences on the sound performance but nothing that “ makes the difference “ on the quality sound of any of my cartridges, either MM or MC, btw I know extremely well those phono cables: Analysis Plus, Harmonic Technologies and Kimber Kable ( all three the silver models. ), finally and don’t less important is that those phono cables were wired in balanced way to take advantage of my Phonolinepreamp fully balanced design.
What do you note the first time you put your MM cartridge on the record?, well a total absence of noise/hum or the like that you have through your MC cartridges ( and that is not a cartridge problem but a Phonolinepreamp problem due to the low output of the MC cartridges. ), a dead silent black ( beautiful ) soundstage where appear the MUSIC performance, this experience alone is worth it.
The second and maybe the most important MM cartridge characteristic is that you hear/heard the MUSIC flow/run extremely “ easy “ with no distracting sound distortions/artifacts ( I can’t explain exactly this very important subject but it is wonderful ) even you can hear/heard “ sounds/notes “ that you never before heard it and you even don’t know exist on the recording: what a experience!!!!!!!!!!!
IMHO I think that the MUSIC run so easily through a MM cartridge due ( between other facts ) to its very high compliance characteristic on almost any MM cartridge.
This very high compliance permit ( between other things like be less sensitive to out-center hole records. ) to these cartridges stay always in contact with the groove and never loose that groove contact not even on the grooves that were recorded at very high velocity, something that a low/medium cartridge compliance can’t achieve, due to this low/medium compliance characteristic the MC cartridges loose ( time to time and depending of the recorded velocity ) groove contact ( minute extremely minute loose contact, but exist. ) and the quality sound performance suffer about and we can hear it, the same pass with the MC cartridges when are playing the inner grooves on a record instead the very high compliance MM cartridges because has better tracking drive perform better than the MC ones at inner record grooves and here too we can hear it.
Btw, some Agoners ask very worried ( on more than one Agon thread ) that its cartridge can’t track ( clean ) the cannons on the 1812 Telarc recording and usually the answers that different people posted were something like this: “””” don’t worry about other than that Telarc recording no other commercial recording comes recorded at that so high velocity, if you don’t have trouble with other of your LP’s then stay calm. “””””
Well, this standard answer have some “ sense “ but the people ( like me ) that already has/have the experience to hear/heard a MM or MC ( like the Ortofon MC 2000 or the Denon DS1, high compliance Mc cartridges. ) cartridge that pass easily the 1812 Telarc test can tell us that those cartridges make a huge difference in the quality sound reproduction of any “ normal “ recording, so it is more important that what we think to have a better cartridge tracking groove drive!!!!
There are many facts around the MM cartridge subject but till we try it in the right set-up it will be ( for some people ) difficult to understand “ those beauties “. Something that I admire on the MM cartridges is how ( almost all of them ) they handle the frequency extremes: the low bass with the right pitch/heft/tight/vivid with no colorations of the kind “ organic !!” that many non know-how people speak about, the highs neutral/open/transparent/airy believable like the live music, these frequency extremes handle make that the MUSIC flow in our minds to wake up our feelings/emotions that at “ the end of the day “ is all what a music lover is looking for. These not means that these cartridges don’t shine on the midrange because they do too and they have very good soundstage but here is more system/room dependent.
Well we have a very good alternative on the ( very low price ) MM type cartridges to achieve that music target and I’m not saying that you change your MC cartridge for a MM one: NO, what I’m trying to tell you is that it is worth to have ( as many you can buy/find ) the MM type cartridges along your MC ones
I want to tell you that I can live happy with any of those MM cartridges and I’m not saying with this that all of them perform at the same quality level NO!! what I’m saying is that all of them are very good performers, all of them approach you nearest to the music.
If you ask me which one is the best I can tell you that this will be a very hard “ call “ an almost impossible to decide, I think that I can make a difference between the very good ones and the stellar ones where IMHO the next cartridges belongs to this group:
Audio Technica ATML 170 and 180 OCC, Grado The Amber Tribute, Grace Ruby, Garrot P77, Nagaoka MP-50 Super, B&O MMC2 and MMC20CL, AKG P8ES SuperNova, Reson Reca ,Astatic MF-100 and Stanton LZS 981.
There are other ones that are really near this group: ADC Astrion, Supex MF-100 MK2, Micro Acoustics MA630/830, Empire 750 LTD and 600LAC, Sonus Dimension 5, Astatic MF-200 and 300 and the Acutex 320III.
The other ones are very good too but less refined ones. I try too ( owned or borrowed for a friend ) the Shure IV and VMR, Music maker 2-3 and Clearaudio Virtuoso/Maestro, from these I could recommended only the Clearaudios the Shure’s and Music Maker are almost mediocre ones performers. I forgot I try to the B&O Soundsmith versions, well this cartridges are good but are different from the original B&O ( that I prefer. ) due that the Sounsmith ones use ruby cantilevers instead the original B&O sapphire ones that for what I tested sounds more natural and less hi-fi like the ruby ones.
What I learn other that the importance on the quality sound reproduction through MM type cartridges?, well that unfortunately the advance in the design looking for a better quality cartridge performers advance almost nothing either on MM and MC cartridges.
Yes, today we have different/advanced body cartridge materials, different cantilever build materials, different stylus shape/profile, different, different,,,,different, but the quality sound reproduction is almost the same with cartridges build 30+ years ago and this is a fact. The same occur with TT’s and tonearms. Is sad to speak in this way but it is what we have today. Please, I’m not saying that some cartridges designs don’t grow up because they did it, example: Koetsu they today Koetsu’s are better performers that the old ones but against other cartridges the Koetsu ones don’t advance and many old and today cartridges MM/MC beat them easily.
Where I think the audio industry grow-up for the better are in electronic audio items ( like the Phonolinepreamps ), speakers and room treatment, but this is only my HO.
I know that there are many things that I forgot and many other things that we have to think about but what you can read here is IMHO a good point to start.
Dear @travbrow : Yes that " older " Empire D3 is better than the Gold one, many years ago some owners posted the same in this thread.
Btw, the Empire D3 was designed to look 100kohms. Look for a way to do it in your system because the rewards are really high and worth to do it with that 4000 D3.
Raul, I think the 100K recommended is for playing CD4 quad channel records, because of the need to read the highest frequency spectrum for the quad channels. It sounds balanced and extended with 47k with my setup. I could change out the loading resistors at some time but I have other models to try that recommend the normal 47k loading.
Halcro, If there were deficiencies in the FR tonearm vs the Dynavector, would they be audible via a Youtube quality recording of playback? I am dubious. However, I share your rejection of Raul's constantly repeated criticism of the FR tonearms. Like you, I hear no problems at all related to lack of damping. And in fact I think they ARE damped, at the bearing, which is packed with some sort of greasy lubricant. Furthermore, the counter-weight is decoupled from the arm wand, another form of damping. And finally, the B60 base adds mass, improving energy dissipation.I have my FR64S on a Victor TT101 sitting right next to my very tweaked Lenco with a Dynavector DV505, so I have had many opportunities to compare the two tonearms, albeit the 505 is not quite a 507 MkII. Each has strengths relative to the other.
Dear @travbrow : Yes, almost all manufacturers advise is to load at 47k but just before I started this thread and because I always like to think and makes things " out of the box " I started to test different vintage MM cartridges ( not like the D3 for CD4. ) loading it to 100k and was a great surprise and discovery for me because almost always all cartridges performs way better for stereo ( not CD4 ) with 100k. Period.
So, you could try it with your D3 and other ones you own and decide about. You can't know it till you have first hand experiences and you know how to do it in your phono stge. What can you lost?
Lewm, I am not sure how to accomplish this. I spoke with Gold Note and they told me it would require internal rework on one of the boards. They can do, but it would not be something the user can do.
For every phono stage I have ever examined, the "re-work" requires de-soldering the 47K resistors and then soldering 100K resistors in their place. That does require removing the top of the chassis for access. Gold Note understandably wants to discourage DIY by incompetents, I guess. Any good tech could do it in 30 minutes.
@lewm The Gold Note has a Software, PH-10 settings must be done via Digital Interface on display. I think this is why it can be more complicated compared to 100% analog phono stages. Gold Note is analog phono stage, but user friendly interface is digital. Maybe this is the reson?
@halcro : I can see that you are in a hurry. I have no doubt that you are the inspiration for any one of masochism and the best today specimen of that.
You was who started with that post and as I said before you return for more and due to your followed posts to the " first " one you deserve that kind of pleasure but will be when I decide about not when you need it.
Don't worry what I will post will be something for you can really live and masochist orgasm exactly as you ask for.
How are the videos going...? Do you manage to keep your AS Analogue One turntables at the correct and constant speed yet...? That's probably the reason you prefer Digital to Analogue...... It's refreshing to hear 'constant' speed control isn't it...?
Raul, Your listening room is really a disaster.... No wonder you have to do 'near-field' listening.... And the racks which support your turntables are an embarrassment for anyone who knows the importance of isolation from Structure-Bourne Sound Transmission. I also suspect your high-range hearing may be restricted to 8K Hz which explains your liking for 100K Oms Resistance loading for all your MM cartridges. It also probably explains your liking for those screechy MM cartridges like the AT-20SS and Signet TK-10ML....AND your preference for MC cartridges and Digital?!
Dear @lewm : " via a Youtube quality recording of playback? I am dubious. "
Of course you are rigth.
About the undamped ( because is not damped at the bearing, that grease was and has not that fuction. ) subject is very easy to be aware if you own a true damped/resonances’s killer as a tonearm to make comparisons. No one of your tonearms has that design characteristic in the way I’m talking about and in other side your priorities are not exactly as my priorities.
Some of us are more tolerant with some music/audio characteristics than others or for whatever reasons some of us are more sensitive to be aware of some kind of resonances/vibrations/noise or some kind of distortions.
Added to those each one of us ( I hope. ) have our dedicated and self trained for it test/evaluation/comparison whole proccess and this subject could makes some differences in what each one of us are or not aware of some music/sound listening system characteristics.
Your new audio item tells you something of my very low tolerance levels and as that that to tigth/low tolerance levels by my self happens all over each single link in my room/audio system and that evaluation whole proccess I talk about comes according what I’m telling here and at least with that tiny example you have on hand.
Other thing is that my target " truer to the recording " makes things different from yours. Remember that what microphones in the recording proccess are " seated " a really nearfield distance from the source where music is agressive and brigth not soft or organic or or other audiophile adjectives that all are wrong adjectives. My room/audio system is voiced according that target and till today no one that listening to it never had any single complaint, people ranginging from music lovers, audiophiles, music players and even " gurus/experts " and rookies too.
Still working to be nearer to that target that inrinsically permit you to be nearer to the live event. I’m lucky to learned all what leave me to stay HERE today and still learning every single day. I never stay sticky with nothing but MUSIC and nothing less than MUSIC and its meaning.
About the undamped ( because is not damped at the bearing, that grease was and has not that fuction. ) subject is very easy to be aware if you own a true damped/resonances’s killer as a tonearm to make comparisons. No one of your tonearms has that design characteristic in the way I’m talking about and in other side your priorities are not exactly as my priorities.
He's still doing it......blah, blah, blah But NEVER proving anything. Let's HEAR these tonearms without the resonances in your 'superlative' system..... Instead of BS babble......make the videos! Make the videos.....make the videos...... It appears to the world that you're scared sh..less 🤣 And you have good reason to be.......👺
Lewm, I wrote a long Post answering your questions about YouTube videos but for some technical reason....it's refusing to load up. A'Gon are trying to resolve this and hopefully you will be able to see my answer......?
What an impressively massive conversation! It took me a month to just scan it.
My interest in vintage cartridges is based on availability of advanced technologies in the 80s that are not really available today as well as excellent prices you can often get these gems for. My current stable is:
Koetsu Rosewood Long Body Audio Technica AT33e Technics EPC-P205cMK3 Technics EPS-310MC Realistc RXT6 JICO SAS Grado Prestige Gold P-Mount
Tables are Sony PS-FL77s and FL1, as well as Rega P9 and Pioneer PL-L800. Phono stages are PS Audio, Musical Fidelity, LCR units from the middle kingdom, all in pairs. Amplification is Emotiva pre and 4 monos driving Eminent Technology 8Bs, monos with balanced tube buffers using Marantz 7 ciecuit. Pair of inexpensive HSU Research subs.
Dear @dimitry : Welcome a board. You have a very nice audio system and those inexpensive HSU are very good. HSU are or were very well regarded subs dasigns not only for home systems but for proffesional market.Your 205MK3 is very good and the MK4 is a little better and the last top MM cartridge by this manufacturer.
On the LOMC try to find out from them too its vintage design 305MK2 in stand alone version.
My interest in having different tables and cartridges is to experience differences in sound, as opposed to "seeking the best." After 30+ years in this hobby, i seek a range of expression. Hence i decided i need a great vintage AT moving coil, Shure moving magnet, an original Koetsu, etc. I also have a Soundsmith Boheme and a great vintage BO table (in the basement system) with a fully rebuilt MMC1.
They all sound different and its both fun and educational to listen to the same recording on several front ends.
Halcro, If there were deficiencies in the FR tonearm vs the Dynavector, would they be audible via a Youtube quality recording of playback? I am dubious.
Isn't that typical of a certain type of audiophile....? Let's NOT believe what we can hear and see......let's rather believe what someone hypothesises (without any evidence).....because then I also can hypothesise without any evidence 🤗
About the undamped ( because is not damped at the bearing, that grease was and has not that fuction. ) subject is very easy to be aware if you own a true damped/resonances’s killer as a tonearm to make comparisons. No one of your tonearms has that design characteristic in the way I’m talking about and in other side your priorities are not exactly as my priorities.
Ok...so let's get this straight..... When Raul says that tonearms need to be damped to stop resonances and vibrations.....he means that EVERY tonearm (whether damped or not) resonates and vibrates unless they are special 'killer' tonearms with SPECIAL damping that only Raul knows about. So faced with a myriad of my videos (all with resonating and vibrating tonearms)....this self-taught 'Master Audio Guru' can't point to a single example where we can actually HEAR these resonances and vibrations? And Lewm prefers to accept that they are not audible via the Youtube videos....but they ARE there if Raul says so.....
And yet....and yet.....he refuses to upload any videos of his 'perfect' system to demonstrate to all of us, what a 'killer' tonearm sounds like?
And we all sit back and swallow this garbage.....? Raul has been banned from every Audio Forum on the planet (except this one) because he is a self-righteous bully and egomaniac. Even Michael Fremer has banned him from his Analogue Planet Blog with the epithet...."SO IF YOU DON'T BELIEVE TECHNICS AND YOU DON'T BELIEVE ME, YOU ARE LEFT ONLY BELIEVING YOU AND YOU ARE CLEARLY OUT OF YOUR GOURD."
@halcro While I admire your enthusiasm to put up videos of youtube of your system, your methodology of using a phone to record your system will not do any justice to really apreciate the fine nuances of your cartridges or specific arm resonances of your analog setup. Here are a couple of examples of needledropers using a Tascam DA 3000 recorder, connected to the output of the phonostage. https://www.youtube.com/watch?v=y72SZFJHvpI https://www.youtube.com/watch?v=60D3MFgBJyk BTW the Tascam da 3000 is about 1000 dlls on Amazon, Is peanuts money compared to the rest of your setup.
Trav, congrats on the new MFG-610LX. Chak, First correcting my little typos, of course I´m talking about GLANZ MFG-310LX (actually my first Line Contact cart in the early 80´s, very good sound way back btw, no listening fatigue which´s always a good sign) and my current and enjoyable MFG-51L w/ tapered aluminium cantilever + Line Contact. You obviously seem to understand my statement nevertheless. Anyway, as seen in Chak´s pics the MFG-51L has thinner and smaller and lighter cantilever than the cheap MFG-310LX. And is in other SQ level, way better. Basic audiophilia in technical terms. Chak, look at the pics very carefully you just posted. I owe a Micro Ridge "MR-100" stylus for my ASTATIC MF-100 cartridge. Naturally it´s way better than your "similar" Pyramidian 71L. You really are a funny guy because you actually say my sample is not what I say about.
I can hear a difference Shibata vs Micro Ridge, I always prefer Micro Ridge. I also can hear a difference Shibata vs Line Contact. Some other audiophiles here on A´gon also can. But you cannot. Btw, to me Shibata is somewhat smooth and nice but not accurate as Micro Ridge and Line Contact. You have compared all other GLANZ/ASTATIC carts to your MFG-61 ? Of course they all are inferior. But you have no idea what my MF-100 let alone MF2500 is capable of because you have NOT heard them. Your comments about comparing say an MF-200 is the same as an MFG-310LX actually means nothing."No difference in sound" is not true, and to me it´s rubbish. Well, seems to me your 100 kOhm setting must twist you judgements. Like it almost did mine a few years back. Now I use 20-30K, 47K max.
According to the manual, the MFG-71L has flattest FR and lowest VTF of all the MFG-XXX series.
What is your MFG-61´s VTF, surely is 1.00 - 1.50 g, optimum 1.25 g ? What is FR flatness, tolerance ? For the best it must have the best specs as well. Let us know.
You are so obsessed/biased to cantilever material/stylus shape that you have lost your common sense. It´s just one part of cart mythology. Cart´s performance level depends on various factors, and the most important is the deck itself, all the turntable construction defines a cartridge´s potential.
Try to find an MF2500, you have another hard job. It´s rarer than Hente´s teeth.
Dear @harold-not-the-barrel : It's useless to explain nothing when some one just can't understand what other people said when not even can read in focus what they read.
Take a look what in 2015 that same person in this same thread posted and my answer about and today 4 years latter still is sticky to his not a misunderstood but to that " just does not understand nothing ". And I have several examples coming from that person with similar results ? ? ? ? ? ! ! :
"
The Astatic mf 200 equal to Glanz mf 31L is a good one,
This is only my suggestion. Since these brands are clones of each other, ........................... The Astatic mf 200 equal to Glanz mf 31L is a good one, ...... """"
Where do you read or who told you that Astatic cartridges are clones of the Glanz? In my understood Astatic ( that's a very old corporation. ) only took the Glanz patent ( moving flux. ) and that's all about.
The " clone " you name it: MF 200/ mfg 31L is a good example that those cartridges are not clones. The output level on both cartridges is different 4.2mv vs 3.5mv. Inductance 90 vs 110. VTF: 1.75grs vs 1.25 grs. Cartridge weight: 6grs vs 5.5grs. Frequency response: 10hz to 20khz vs 20hz to 20khz with a 2 db deviation in both cases and I can go on with those differences. As you can see far away to be clones.
The Astatic MF 2500 was an earlier cartridge than the MF 100/200, even its inductance value is different in between and IMHO the 2500 is the best performer in the Astatic catalog.
As I said Astatic is an old and experienced corporation and did not to copy/clone Glanz in the way you posted.
""" Coil windings, materials used, coupling mechanisms and output are distinct across them. """
raul
A few days ago I posted what Steve/vetterone posted years ago that confirms what I said 4 years ago. As I said useless and futile to explain about because there is no understanding capacity .
@cardani, Of course I'm aware of the direct high-res uploads available with devices like the Tascam that you recommend (thank you).... My intentions for the video uploads are not to get a direct feed from the cartridge/tonearm/turntable combination (which is tantamount to a headphone listening experience)....but to try to simulate the actual listening-room experience of the whole hi-fi system. With your direct feed suggestion......one is not hearing the effects of interconnects, amplifiers, speakers, room materials and boundaries, soundstage (side-to-side and depth) nor the significant effects that air-borne and structure-borne feedback have on the real listening experience within the real listening room.
This is RAUL'S TURNTABLE The Acoustic Signature Analogue One Mk II Now you may ask......why Mk II? Because Mk I found it impossible to maintain correct and constant speed. So Mk II was introduced to try to correct this 'oversight'.... It also failed creating the necessity for Mk III...😱
Of all the inept belt-drive turntables which flooded the world in the post-Linn boom.....the Acoustic Signature was probably one of the saddest.
Why is 'correct' and 'constant' speed so important in a turntable? To quote from the late Peter Moncrief:-
Why is speed so important? As you know, the primary job of any record player, including turntable, arm, and cartridge, is to accurately reproduce the waveform of the music as it was originally recorded onto a vinyl record.
The turntable is fully responsible for actively supplying half of the music waveform, and the other half comes from the cartridge. This puts turntables in a whole new light. If a turntable's job is to actively supply half of your music's waveform, then it had better be doing its job right, otherwise your music will obviously and dramatically suffer -- to an extent you wouldn't have imagined when you thought that music's entire waveform came from the cartridge.
It's like a gentleman's agreement. The record manufacturer actually gives you only half the music waveform in the groove, for your cartridge to read, namely the vertical amplitude axis. You agree to supply the other required half of the music waveform, the horizontal time axis, by agreeing to employ an accurate turntable to play back the record manufacturer's disc. The turntable that you chose to employ literally supplies the time axis half of the music waveform, while your cartridge reads the amplitude variation half (and only that) furnished by the record manufacturer, as the groove is passed underfoot by your turntable recreating the time axis half on the fly.
What happens if the turntable speed is inaccurate in any way (momentarily or over the long run)? The waveform of the music would be distorted!
It would be a distorted, inaccurate version of the music waveform.
The lesson is clear. You could buy the world's most expensive, most perfect cartridge, that exhibited perfect accuracy in reproducing the amplitude half of the music waveform from its side to side swings in tracing the record groove. But, unless your turntable is perfect in creating the time axis half of the music waveform, the final music waveform you hear will be distorted. The right amplitude played at the wrong time will distort the music waveform as surely as the wrong amplitude played at the right time.
@halcro "With your direct feed suggestion......one is not hearing the effects of interconnects, amplifiers, speakers, room materials and boundaries, soundstage (side-to-side and depth) nor the significant effects that air-borne and structure-borne feedback have on the real listening experience within the real listening room" If i want to really listen to the to the specific analog setup (cart,arm,TT and phono pre) I would stick to the "Direct feed "methodology. I agree with frogman coment,s on the description of your system as a whole, and you can get a general idea of what the system will sound like, the ear-brain makes up for it (phsycoacoustics). Its a superb high end system in a living Room ( with its compromises, like the leather chair in front of your speaker direct axis ) just as Raul system is also a superb system in his living room with its compromises ( coffee table in front of the sweet spot) . In both of your cases I still feel the direct feed is a better evaluation methodology for the anaolg front end,s. Now, I you want a better AV recording of your whole room-system I would suggest a zoom recorder which at least gives you 16/44 pcm resolution mounted on a tripod at your sweetspot.
Personally i don’t trust OP’s recommendations in this thread anymore, he slagged off his own choice of excellent cartridges many times over the years, so in my opinion every cartridge claimed to be "the best" by him must be avoided nowadays, because next year he will say it was the bad ones and will "promote" something else with his special "reviews" written especially to sell what he's got (and listen to digital which he claimed to be superior to analog).
A person who keeps posting that "Astatic is an old corporation and not copied Glanz" don't even understand that the patent for unique Moving Flux technology belog to its creator Mr. Tsugikuma Minamizono (Japan) and all cartridges designed by Mitachi Corp., (not by Astatic and not by Glanz).
Mitachi is OEM of both, they are designed and made everything which was branded Astatic, Glanz, Jamo, Azzurra ... you name it!
It doesn't matter how old is Astatic or Jamo or Glanz, because Mitachi Corporation invented and made all MF cartridges for everybody with very tiny difference between them.
Without Mitachi Corporation in Japan Astatic could not make a Moving Flux cartridge. This is fact! Face it.
The biggest difference compared to all of them is ONLY the Glanz 61 (and 610LX) wich have completely different cantilever (and completely different stylus on 61). The rest of the models are based on the same Mitachi design.
Moving Flux invented in Japan, not in Canada and not by Astatic.
@halcro. Yes sure, I have heard several times Raúl, s system, through out the last 10 years. He has been very kind to invite me over several times I have happend to visit Mexico City. (I live in Xalapa) about 400 km from him. Yes I can say it’s a superb sounding system, considering it,s domestic living room enviorment. Thanks to him I have been able hear top cartridges like Allaerts, Dynavector Xv1, and several others. About your comment or concern of speed stability in his Acoustic signature tables I have not noticed any flaws with pitch, every time I have heard them they are spot on; and I,m quite sensitive to pitch being myself a profesional doublebassist in one of the better orchestras here in Mexico.
Dear @cardani : " with its compromises, like the leather chair in front of your speaker direct axis ) just as Raul system is also a superb system in his living room with its compromises ( coffee table in front of the sweet spot) """
Very good point on what the video says like does chairs that makes the very first speaker reflections but the metal/glass table is a huge one compared with mine that’s ow wood material with a cotton carpet and like one third/fourth lower size.
But Cardani do you know where are those system Halcro subwoofers?, yes that’s rigth in the worst place to have it and ask him what and at what distance from his chair listening position is what exist behind it.
As you know here in our country people say ( not as an insult but friendly. ) when a politician or any one else " attack " to other person that : """ that person has tail ( in this case: very long tail. ) step on /walk on "" and the other one: " a donkey talking of " ears " "
@cardani , do you think that as he posted that a person ( me ) that only can listen to 8khz can build a room/system with the quality levels you listen at my place several times?
@halcro not only my Acoustic Signature Analogue MK2 units has no single sign of speed unstability ( never ) but no one of my DD TTs neither.
Btw, Cardani is not only a symphonic orchestra active player but a young man too with excellent " ears " and his classical music conservatory studies he did it not only in México but at foreigner countries.
@halcro he never listened my room/system at near field seated position and he never listened any signgle digital recording trhough my system.
When we meet at my place we stay a few hours listening not only classical MUSIC but jazz/blues female singers and like this last time the drums on the Pamarita LP recording: impressive for say the least.
I always learn " something " with Cardani and this last time when we were listening to Gary Karr LP ( Albinoni's Adagio. ) recording that is the instrument Cardani plays I told you that the GC instrument that was a gives for him was an Amati and GC thougth the same by him self but it’s not an Amati but a very good French instrument. Cardani has all the details about.
Btw, @cardani could you tell to all these audiophiles how do you compare my room(system quality performance against a system you listened that has first rate and very expensive audio items as YG speakers and Gryphon electronics?
@cardani , Thank you for the Link to the Zoom Q2n recorder. I've ordered one and am excited about the improvement potential over the humble iPhone microphone.....
I'm also impressed to learn you are a trained musician and particularly trained on the double bass......one of my favourite instruments 🤗 I don't doubt your 'ears' and hearing ability and it's gratifying to me, to have not one....but two trained classical musicians describe my System as "superb" just by hearing it over YouTube videos with all the inherent limitations 🙏🏽 You can perhaps imagine how much better it really sounds 'in situ'...👍
This particular discussion began when Raul, here on this Thread, described my System as "mediocre"..... Your description.....having heard Raul's.....serves to illustrate that Raul is wrong (again) and had no idea what my system sounds like, despite proclaiming that he did over many years 🤥 The fact that you can hear no 'resonances', 'ringing' or 'vibrations' from the undamped (and damped) tonearms employed in all the videos.....demonstrate that Raul's perennial claims about the 'ringing, undamped FR-64/66S tonearms are also wrong!!
As you have rightly pointed out....the Youtube videos can hardly do justice to the actual experience of hearing a particular System. That's why I have challenged Raul to a one-on-one Youtube comparison between both our Systems. As you and Frogman agree.....a great deal can still be discerned despite the limitations? As you are well versed in the recording and uploading aspects associated with making such videos.....perhaps you might be so kind to offer your expertise in making some of Raul's System? At least that way, we will have a direct comparison between the two (complete with their compromises)....😃
Once again @cardani....it was a pleasure to read your contributions and I sincerely hope some more will be forthcoming 🤗 And thanks again for the recording advice you gave me....
This Post was written a week ago but could not be Posted due to A'Gon technical problems...
Lewm, I also wondered whether YouTube videos could convey the ’true’ sound of a HiFi system in a meaningful way until I went to THE Show in Munich 2017 where my iPhone videos of various rooms reflected quite accurately the ’sound’ I had actually experienced. Of course the ’real’ experience within the actual listening room is far better in terms of:-
Soundstage (width and depth)
Imaging
Bass Impact
But things like ’ringing’, ’resonances’, and particularly ’distortions’ are easily discernible. Just read what a trained musician like Frogman was able to discern from my videos on THIS THREAD. And Raul (don’t forget)....has ’trained’ himself to hear every detail and every nuance from any system within 30 seconds.... Moreover.....he is able to ’pinpoint’ WHERE the flaws and problems lie within a system. For years he has claimed to know exactly what my system sounds like yet when faced with the actual sound via the videos......where is he???!!
Do you imagine for one instant that Raul can match the ability of Frogman (who has REAL training)? His silence speaks volumes.... And his reluctance to post videos of his system on YouTube is an admission to the fact that his system is less than mediocre.... His ROOM is a disaster (no wonder he has to listen ’near-field’), the RACKS on which his turntables sit are an embarrassment to anyone who knows the importance of ’isolation’ for a turntable. His phono/line preamp is an amateurish ’garage-built’ joke which only 3 people bought (and subsequently sold)... But most importantly.....his TURNTABLES (Acoustic Signature Analogue One MkII) are two of the worst belt-drive turntables ever made. They cannot maintain accurate speed...nor even CONSISTENT speed. With the Timeline Test...it is all revealed Forget playing with two or three tonearms at the same time.....his AS Analogue One can’t even maintain speed with ONE arm. THIS is what his turntables sound like......
And we’ve all been taking this ’Guru’ seriously for all these years.....🤣
Let me try to put this damped/undamped debate to rest. I am an MIT trained aerospace engineer with over 30 years experience in R&D.
Undamped systems have higher amplitude ringing (high Q), but very narrow power bandwidth. Damped systems exhibit lower amplitude but wider frequency response in their peaks.
Theoretically, damped systems offer lower energy transfer, because some energy is transferred to heat. However, in most practical systems, the heat energy loss fraction is low. Also, the presence of damping implies exta mass, which by definition lowers the resonance frequency.
At the end of the day, undamped systems offer higher frequency/higher amplitude/narrow bandwidth response, while damped systems have lower frequency/lower amplitude/wide bandwidth response.
Both methods can be used to achieve superb sound. Rega is an example of high stiffness/low damping approach, while Well-Tempered and many others is an example of a damped design.
halcro over the years I have turn to this very pleasant thread to learn and enjoy. Raul has motivated me to buy some excellent cartridges which have improved my system and saved me money. IT'S A HOBBY- CAN I PLEASE ENJOY IT?? There must be other places you can peddle that anger. PLEASE.
To others- if you ignore this guy he may go away after a while. The reason I don't post is that I'm not much of an expert and everything you say is subject to attack and ridicule- audiophiles in person are almost always respectful and pleasant (except for the occasional salesman that tells you everything you have is trash and you must buy HIS stuff). Anonymity has bred contempt and arrogance.
Thanks, Raul, for having shown me a world where I can actually afford 8 cartridges that are fabulous, fun, and unique. I am still not an expert but I have learned and most importantly ENJOYED! Isn't that the idea?? -Raul (another one, not you)
Thank you @dimitry for adding some much needed science to the discussion. Just to be clear......from your understanding of the science....as long as the implementations are well handled, there is nothing inherently better between an internally damped metal-tube tonearm and one which isn't?
@manorraul , Thank you for your plea to "peddle my anger" elsewhere..... Just for my information.....where is your same plea to Raul for his anger, humiliation, insults and degradation to dozens of Posters here on A'Gon over the years....?
It's useless to explain nothing when some one just can't understand what other people said when not even can read in focus what they read.
Is futile to waste time when some one not even can read what a link says on it ! ! !
As you said don’t waste your time. Ignorance levels always speaks for any one of us:
You started in this thread a " battle " that just before your OP you had totally lost. No matter what.
it’s incredibkle that you still want to win when you can’t do it.
Your way of thinking on the CD/LP subject is a dead way of thinking and you are not alone , all those gentlemans that " die for vinyl " are like you: totally wrong
Dear@downunder : I think that you as@billstevenson want to win this discussion and both of you along those japanese tonearms that use ST alignment are way wrong. No, boths of you are wrong because in reality did not READ what other gentlemans posted. Got it? or have to repeat again.
as I said it: that's what you like it and was not me who used the BS expression. Every one has what his knoledge levels permit and what you have is exactly that. BS or not you can't do nothing against facts and you have no single fact that proves what you posted other than the BS: " That's what I like it ", this is real BS. Don't you think? where are your facts? where?
You are rigth and for the ignorance of some gentlemans is totally useless to post to them because no one of them that showed here their very low knowledge levels ( in the OP specific subject. ) are not willing not to learn but just " can't read " .
Ignorance is the " mother " of all wars and here we have several gentlemans with extremely low knowledge levels on many audio/MUSIC citical subjects and no one of them posted ( till today ) any single fact that could proves what they posted. Only subjective bla, bla, bla,etc with out true and serious foundations.
In what century do you think we are living? Did you took in count that we are living at the started 2 0 1 9 ?
Btw, some one said in the thread that the ones that likes digital are " stupid ", well then I'm " stupid " and so what?. That person is less stupid because dislike digital? . Maybe the other way around, ignorance/poor knowledge levels always exist.
Dear @madavid0: Obviously you don't want to understand what other gentlemans posts including my last one explain to you becvause you still are asking the same no-sense question.
And these snippets from Raul are just in 2019.......... Go back another 10 years and compile your own dossier of 'bile and anger'.....
Or is there a different 'standard' that you reserve for your 'beloved' Raul?
Dear @manorraul : " The reason I don’t post is that I’m not much of an expert ... "
this is not a forum ( Agon. ) for experts but one where each one of us can learn every single day.
To achieve that each one of us needs to be willing to learn because if we don’t have it then we can’t do it. So you don’t be afraid to post, just do it in any thread. No one of us know everything about evry audio/mUSIC subject.
Always exist persons as this Halcro with a way different attitude but not only that but that just can’t understand or read perfectly what is in the posts coming from almost every one.
He had several years ( I don’t know why. ) trying to hit me at any price, trying to gain credibility ( that he has not. ) attacking me but because he has no facts and low overall knowledge levels he never had/has success and always finishs/finished our " dialogues " totally frustrated. But seems to me that he like, again and again, to hit him self. Even he lost everytime due that I use his words/posts and videos with what he can win, so before he starts his " battle " already is defeated by him self, go figure !
I’m not started yet with him this time, I will do when I have the time because is boring to , again and again, write low knowledge levels. Unfortunatelly he always comes back for more.
Thank’s for your kindness words and the post where he gave you an answer is part of his game.
Each one of those comments by my self has an specific reason/facts and people that received it is because deserve it. You can ask Halcro that he shares with you those threads for you can attest what I posted here.
The other problem with this person and other one out there is not only to hit me/attack me but to win the " dialogue " and both do not understand that they never can win . The only thing I " admire " from them is their " constant insistence " to lost.
Thanks again for the wonderful thread. Can you please tell me, you or someone else, if the B&O mmc4 is a good choice, or the MMC20E ?
Actually guys, not that we needed another layer on this cake, B&O Cartridges are not MM nor are they MC. They are MI - Moving Iron. MMC standing for Moving Micro Cross. That said, they are high output, and for all intents & purposes, should be considered an MM.
It should be noted that the MMC4 & MMC20E have different tonearm mountings and are not interchangeable. They are both a few notches down the Totem Pole from the top of the line MMC20CL and MMC2 / MMC1.
Other than the casings and mountings, these Cartridges all share identical Fixed Coils, Laser bored Sapphire Cantilevers and Nude Contact Line Styli. The MMC1 & the MMC20CL have identical Tec Specs. All 3 are serious stellar performers and worthy of a listen.
I should have mentioned that even though the 20CL and the MMC1 equally Stellar, the 20CL has a price tag of about half that of the MMC1. So, if you are going to fit it on anything other than a B&O Deck, using an adapter, the MMC20CL is a great value.
Dear @halcro : This is only as an " aperitif " , my overall dialogue with you will comes latter:
you took this statement from one of my posts here trying to following your ridculous " attack ":
" In other threads you and me already had several dialogues about with facts why is a mediocre system. Starting with your room, followed by the subs room position and that non reference phonolinepreamp. """
I can add that big metal/glass table and those chairs exactly at the speakers/high frequencies side and first reflextions and followed for what you have at less that one meter behind your seat position. Can you share with all the gentlemans in this thread where are your subs in the room and its playing range frequency and the playing frequency in your speakers?
Now, through your ipod you try to say that your room/system is not a mediocre/average one comparing two different LP recordings ( btw, that Albinoni’s Adagio was the same LP @cardani listened last time at my place. ) with two different cartridges in two different tonearms and by coincidence in that SAEC 8000 you are using its dedicated ceramic headshell that you in this forum agree with me that is " terrible/bad " headshell material for say the least . ! ! ! ? ? ? ? Yes, you have the shorter bad memory shorter time I’m aware from every person in this forum.
Btw, how any one could has an idea of any system with your videos with two cartridges in two tonearms that maybe no one owns or listen to it before? how they can compare ir to its true and real quality performance levels of each cartridge? how?
So, with all those you are trying that I take you seriously?, well I will do but according the very low knowledge levels you are showing in this and other threads.
Nothing I said here is a lier but your words or posts.
@halcro good to know that you order the Zoom recorder, they are quite good and economic, i have the older model Q3 . I am far from being "welll versed" or having any sort of "expertice" in recording . But those simple recomendations of the Zoom or Tascam recorders you will sure enjoy them. Concerning my comment of your system where I mentioned "Its a superb high end system in a living Room ( with its compromises, like the leather chair in front of your speaker direct axis ) just as Raul system is also a superb system in his living room with its compromises ( coffee table in front of the sweet spot). I use the term supeb to denote the your highly regarded gear: Halcro electronics, Dynavector 507,denon Dp80 etc.. and how by the use of a phone recording you were compromising the final production of your youtube videos. I also mention the inverse leather chair in the middle of the speakers and the implicit acoustic compromises to encourage you to do the "direct feed " method of recording from preamp output. Just as the needle dropers from the links I posted, In which one of them achieves a great production with a modest Technics sl1200 and an ortofon M series cartridge. I want to mention again that when I have heard Raul system through several sessions with non of his TT i,ve noticed any speed stability issues , and that includes his Acoustic Signatures, M. Seiki 5000 and a Luxman (can,t remember the model). I know in the past he has had 3 Technics sp10 which are highly regarded for speed stability which i can attest since i also own one that i recently bought. So I have no reason to think that there is a an issue with speed stability otherwise Raul would have dissmissed them right away. Anyhow I hope you both calm down and stop attaccking each other, this is a hobby, and let,s get back on track with this intresting MM thread.
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