Lewm, When I indicate RFI I mean radio frequency interferance. When I switch to the MM input of my phono amp its almost like turning on the radio. I can clearly hear a radio station in the background and its from both speakers. This makes my MM experiment most frustrating. I currently have an Andante P-76 and an Ortofon M20 FL super. With my restricted loading of 47k and some talk show host blaberring in the background neither cartridge offers any satisfaction. I have on loan from a friend a Teac AH-500 SS integrated amp that has a phono stage. When I get home from work this evening I am going to put it into the system. If RFI disappears I can conclude it was a problem with my phono amp. Stay tuned! |
Montepilot: I have one turntable that sometimes receives a radio station in the evenings. It's a Thorens TD147 and I have an Empire 4000 D/111 cartridge mounted in the arm. The cartridge hangs out pretty much in the open away from the headshell so I'd guess that it could pick up RFI. BUT I think the problem may have started when I changed the interconnect cables that are soldered to a board under the table. Because the problem isn't severe or all the time,I never tried to troubleshoot it. But I'm wondering if it's a lack of shielding in the interconnects or cartridge that allows RFI to enter, but not hum because it's not a ground problem that woukld do so. |
Yep, that's RFI. Sometimes shielding helps, but one needs to experiment with the shield. Mike Percy sells some Texas Instruments sheet material that is very good for RFI and EMI. The product is called "TI Shield". Since it is flexible, you can fold or bend it around the element you want to shield. I use it to shield the phono cartridge from EMI that may emanate from the motor in my direct-drive turntables. |
Regards, Raul: Recieved a NOS Grace F9-L (luminal-trace stylus), the enclosed F9-x instruction sheet contains information some may find of interest. The F9-E, U, D, and P cartridges all have output of 3.5mv., the "L" is 5.5mv. Freq. resp. is as follows: (F)9E: 10-45,000, 9L: 10-40,000, 9U: 10-50,000, 9D: 10-35,000 and the 9P, 20-20,000. Also spec'd is the F9-F, 10-60,000, @3.5mv., described as "Discrete-4". Tracking for each is 0.5-2.0gm, recommended 1.2gm, except the 9P, at 2.5gm. Cart. weight is 6gm for all. Shingawa Musen tests were done with loading at 100k ohm.
The "Ruby" is not described. The S.N. on this F9-L is 3641, the F9-R may have been a later development. As the text is Japaneese (numbers are Arabic), I cannot determine if gold or silver body color is a factor regarding output. Only the F9-L is described at 5.5mv.
MM/MI cartridges pre-alligned on headshells for a Tech. EPA-250 tonearm were rotated (halcro, re. memory), using Supertramps' "Crime of the Century" as reference. The higher output of the F9-L delivered great bass impact and energy, with a musicality and soundstage superior to the F9E cartridge. The "E" stylus in the "L" body lost noticably in definition and the crystaline quality of the hf's. An Empire 1000ZE/X with a fresh S1000ZE/X-ERD stylus; an AKG P8E, both X8S or X8E styli, and a Shure V15-111/Jico SAS were also in this group. These were varingly more analytical and lacked the attention-grabbing soundstage and rich tonality of the F9-L. In exchange for the balance and headroom of the Grace, these others had their strengths in timbral accuracy and detail. My affection for the Shure, another high-energy cartridge, was supported but for non-fatigueing listening, immersive soundstage and warmth that draws one into the music, the Grace (my old rig, old ears, etc.) is superb.
Still fiddling with the M20FL, now at 400pF. I will not compare it until I can resolve the exceedingly recessed midrange of my example. An ADC magnesium headshell and the silver leads you referenced, and I thank you, are on the way. If these applications do not balance midrange presence, my sample will be considered defective, it happens. |
Dear Lewm: I always try to be consistent even in the test tracks recordings.
Same load, same cables, same internal tonearm wiring, same electronics, similar SPL, etc, etc. I use two tonearms the GS-940 and the AT 1503 and test the cartridges in both tonearms, I used similar headshells with each cartridge.
Other factor is that like everyone I know very well my system and not only that but the " signature " of tonearms, headshells, loading, etc..
Lew, I'm very carefully not to deceive/cheat my self ( makes no sense to do it. ) and/or mislead other people on the subject.
My target is to build that ladder performance level with these kind of tests and finally adjust each cartridge ladder position with an strict " fine tunning " through our self design tonearm ( that is not already finished. ), at least the top 10s-20s.
Lew, till today I think that I'm doing more or less well because my findings almost coincide with the experiences of other people ( including you ), are not exactly the same due to system differences but overall near in between. Certainly that I can and have mistakes but you can be sure that I try to do the best " work " with the resources I have on hand.
Anyway, the best judge in what each one of us is hearing are each one of us.
This thread is a experiences sharing stage where IMHO we can learn on the whole MM/MI alternative subject to improve our each one enjoy at home.
Regards and enjoy the music, Raul. |
Well, I installed the Teac SS integrated amp. Plugged the Triplanar with the MM cartridge in the phono input and not an iota of RFI. I mean dead quiet. The quality of playback is much compromised compared to my Allnic, but it is still listenable. So is it fair to conclude that the MM stage in my phono amp is the culprit and not the phono cables?
|
Not necessarily. There may be some special voodoo at play when you hook to the Allnic that is not the fault of the Allnic. Try some shielding around the Allnic. You can wrap it in that TI Shield from Mike Percy. There are other sources of flexible RFI shielding, as well. Not only can you probably eliminate the problem, but you will also identify the source in the process. |
Dear Timeltel: Thank to bring that Grace information.
I never had/have the opportunity to hear the L model so I can't say how compares against the Ruby one that IMHO is the best Grace cartridge.
+++++" Still fiddling with the M20FL, now at 400pF. I will not compare it until I can resolve the exceedingly recessed midrange of my example.... " ++++++
well in my experience with the 20FL I noted that the cartridge presentation ( voives. ) are a little recessed in comparison with other cartridges like the Astatic MF-100 or the Sonus Dimension 5. " Esceedingly " could be a faulty cartridge and time to ask for a seller cartridge change.
Regards and enjoy the music, Raul. |
Regards, Raul: The Ortofon sounds as if the vocalists are outside, it's not the season for caroling. I will wait for the mag. headshell and silver leads, then try one with more mass. I have a developing sense that each M20FL has it's own personality. Mine seems to be the M20FromL.
The Grace is wonderful. Not quite as analytical as some others, but the speakers disappear. Music flows effortlessly. The house cat seeks the sweet spot, she knows when it's right. I think you used the description of "organic" presentation, no evidence of synthetic here.
Follow this link: http://www.bostonaudiosociety.org/pdf/bass/BASS-06-01-7710b.pdf.
BAS, Oct. 1977: page four for a ranking of cartridges and tonearms by Mr. Martin Collums, and some interesting findings for cartridge loading, page eight. Again, thanks to you and others for sharing knowledge and experience. |
My M20FL has no deep bass whatsover.Very frustrating as it has potential to sound very good judging by the rest of the sound. I'm using it with a Yamamoto Ebony headshell on Micro Seiki MA-505 Mk3 (S shaped wand) into either EAR 834P or MM stage of Allnic H1500SE.
Montepilot, No RFI issue with MM or MC of my Allnic here. |
Lewm, Thanks for TI tip. I have contacted Michael Percy and will see if the TI shield can help. Jaspert I live very close to downtown Boston, MA. It's the hub of RFI. Your location may have some influence on your lack of RFI |
We don't have a decently powerful radio station anywhere near where I live, along the Potomac River just outside of Washington, DC, to be any significant source of RFI. Nor do we have any heavy industry at all in this area. I've never had a problem with RFI. I can run unshielded cables with no sweat, altho I do shield my phono cables just for the heck of it.
Good luck with the TI Shield; I have read reports that it really does work well. |
Dear Timeltel: I can't go inside the link you posted, I can read that the " link is missing ". Could you help sending a more " direct " way to read that interesting information.?
Thank you in advance.
Regards and enjoy the music, Raul. |
Dear Jaspert: maybe a different ( metalic. ) headshell could help because the bass on the 20FL is a good one.
Regrads and enjoy the music, Raul. |
Jaspert, re M20FL: Too impatient to wait for delivery of my order, I borrowed a Sumiko magnesium headshell with silver leads, placed a thinned peice of mastic (modeler's clay) on top of the cartridge and seated my M20. Nylon washers between the head of the screw and the face of the nut. Alligned to Baerwald two point graph, checked azimuth, then started with SRA and VTF. Settled in with level arm and 1.2gm VTF, loaded @100k and 300pF total cap.
VTF was the most influencing factor, the rest may be overkill. Due to ageing and condition of suspensions, and as this is a moving iron cartridge, adjustment was needed to position the tail of the cantilever correctly in relation to the "cross" of magnets in the engine. This isn't your typical MM "more VTF = more bass" affair. Antiskating was determined by observing lateral movment of the stylus when cued to the lp and then adjusted for balanced output. Fine tuning resulted in, as Raul assured, a balanced and very listenable cartridge. This could be edited down to "first, try changing VTF, check antiskating". Hope this helps. |
Apologies, Raul: Mr. Colloms' (1977 production only) recommended/not lists and your choices are not far apart. The info. concerning cartridge loading is somewhat technical, but agrees with your findings.
www.bostonaudiosociety.org/pdf/bass/BASS-06-01-7710b.pdf, (dosn't work for me either)
Can be accessed by: Google-> Boston Audio Society-> click on BAS Speaker, scroll well down and click on 06-01-7710b. Lots of good reference reading to be found there, I keep the BAS link in "favorites". |
How's Sonus Blue gold comparing to Sonus D5? Is latter a big step up? |
Dear friends: Well I tested/try my Ortofon M20E Super. As I posted this one was the cartridge that impress me and my first " touch " with these Ortofon models more than a year ago.
I made comparisons against ( mainly ) the 20FL Super. Both cartridge has the body on gold. The comparison was made " everything the same " because I try both cartridges with both stylus and the results were the same.
In my sample cartridges the 20FL has a different output than the 20E, around 3db higher.
No doubt about the M20E Super is a better performer an IMHO a step a top the M20FL Super and a step below the Astatic MF-100 and the B&O MMC2.. This was in some way a surprise to me due that I was thinking that the 20E was in disadvantage for its elliptical stylus shape against the line contact in the FL.
In the 20E and over all the frequency range the music flow more easy with better " continuity " . The 20FL in comparison sounds more " rough ", like if the 20FL had more " trouble " on tracking ( that it does not have. ). The 20E has lower distortion over all the frequency range and this characteristic gives a truer music presentation and a feeling of " loseless " recording performance. The 20E is less edgy than the 20FL but with a more natural music agresiveness, its more " soft " ( not really soft but I don't have other word. ) sounds makes that you can enjoy it for more time an even at higher SPL.
I make the tests with an average SPL , at seat position , around 85db with peaks at 92db. Normally I make tests at lower and higher SPL range. At an average SPL 93db with peaks at 99db that 20E " lower distortion " makes the differences very clear because the 20FL performance at this SPL shows its drawbacks in better way.
Overall the 20E quality performance is more refined with better " class ".
Regards and enjoy the music, Raul. |
Dear Zhuweil231: Yes, the latter is a big step up. Both are different ( more refinements. ) designs, the stylus replacement in both cartridges are the same when you see it but if you take the one fromm the Gold Blue it does not works ( it fits. ) in the Dimension 5.
Regards and enjoy the music, Raul. |
Yikes, The $500+ just paid for an NOS B&0 on ebay has brought many more sellers out of the woodwork. |
I fitted the Nagoaka MP-50 and IMO it is quite a bit better than the M20FL Super.
The M20FL is a little forward in the upper midrange and as Raul said, it is a little coarse in the high frequencies. The MP50 has better transparency and a more refined realistic treble. It also seems to be better balanced than the M20Fl with no forwardness like the M20FL.
Interestly Raul re the M20e Super - this cartridge is cheaper than the M20FL Super. It does have tracking of 1gm vs 1.4gm. |
Dear Downunder: You can buy the M20E stylus replacement and use it with the 20FL cartridge.
Regards and enjoy the music, Raul. |
Dave, I paid $500 for my NOS B&O MMC1 several months ago. I am glad to know that my investment now makes sense.
Re the MP50 vs M20FL comparison, I have no basis for confirming or disputing your conclusion, but if we scroll back up the thread a bit, I think someone else posted a contrary conclusion not too long ago. How about P77i vs MP50? If I have another $500 to blow away, which one would you suggest and why? |
Lew, The more so as an MCC1 sold yesterday for $600. Reminds me of an old Don Henley lyric that goes something like, "It was a great little town before guys like me came here and ruined it." |
Lewm
I can only state how a cart sounds in my system. Not that the M20FL sounds bad, it doesn't, it sounds good.
I have not heard a p77, let alone a p77i.
Buy both and let us know what you think.
You also need to buy a Ortofon 20E now as well now it is superior to the M20FL :-) |
Raul
From your email I am assuming the M20FL & 20E have the same generator but different stylus?
Frankly, the 20E is only around 80 Euro, so not expensive if one was to buy. |
Dear Downubder: Yes, only differ on the stylus shape/compliance/VTF.
regards and enjoy the music, Raul. |
How much for the M20E stylus assembly alone? I hate to be a slave to fashion, but....
Raul, Is the AT20SS up there in your top tier these days? I bought a very used and very cheap AT15Sa and then an NOS ATN20SS stylus, several months ago but still have not put them together. I noticed you listed the whole series of Audio Technica's in the 160, 170, 180 series as being among the best. |
Dear Lewm: You can buy here for 99.00: http://cgi.ebay.com/Ortofon-D-20-E-Super-Stylus-M-20-E-FL-Super-NOS_W0QQitemZ400089498518QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item5d27314396#ht_2178wt_1165
The AT20SS is a good cartridge but I don't try it in these " different " times/days.
Regards and enjoy the music, Raul. |
Dear friends: I tested/try again my Empire 1000 Ze/x.
I mount it in my 10" AT 1503 in a Belldream magnesium headshell, with out stylus guard, no antiskating, no-add phono stage capacitance, 100K on impedance, 1.0grs on VTF and the VTA/SRA set up at/up 19mm over a level/even cartridge/record position ( till today this is the highest VTA/SRA that I used with any cartridge. ).
In this " new " stage/phase of testing cartridges this baby a long the Sonus Dimension 5 are stand alone at range 9 on a 1 to 10 range quality performance ladder ( I'm " building " this performance ladder each range characteristics. ), the main characteristic in that 9 range level is: efortless/seamless.
By comparison the Astatic MF-100 and B&O MMC2 are at 7 range level, the M20E Super at 6 range level and the 20FL Super at 5 range level. I leave empty the 8 and 10 range level because I have to try yet several other cartridges. The good sound in this performance ladder start at 3 range level. There is nothing absolute on this each range levels and cartridges over time and with new experiences on each one can change on range performance ladder level. The target is to have something that could give us a " general/enunciative " reference: it is not the Bible, no it is only a " sign " that could be help for some of us.
This Empire 1000 Ze/x not only makes everything what the other range cartridges makes at its best but with improvements. In other thread some one posted that this cartridge has no highs, I respect that opinion but my experience with is that we have everything with the Empire that is in the recording including those highs. I'm testing it trying to find a cartridge drawback and I can't find it yet, if I put me very exigent maybe I could ask for a little more output over 10K-12Khz but nothing important.
The quality performance with any kind of music is just stellar with this Empire in my system with that set up.
Regards and enjoy the music, Raul. |
Dear Raul., how's the Empire 4000D/III sound? |
Hi Raul,
Where can one buy the Empire 1000 Ze/x or the Sonus Dimension 5 cartridges?
Regards Henry |
Dear friends: I forgot to post about the P77 ( that I try it again. ) and the MP-50. Well the P-77 is now on 6 range level along the 20E Super with the MP-50 border 6-7 range level.
I already receive some emails asking for LOMC ranging. My experiences and opinion is that the Lyra Olimpos and Allaerts Formula One belongs to 8 range level where the A90 and Coral are border line 7-8 range level, NO no single LOMC that I heard belongs to the 9 range level. The Xv-1 is clear a top 7 range level.
Regards and enjoy the music, Raul. |
Dear Halcro: Unfortunatelly there is no know source about: ebay, Agon or other net sites.
The Sonus Dimension 5 is extremely hard to find and the Empire 1000 Ze/x is a little more " easy " but not so easy.
Regards and enjoy the music, Raul. |
Hi All,
I think individual scales/rankings of performance are always interesting. Many will remember Martin Colloms' practice of using the most expensive ancillaries in assessing and awarding rankings under his particular marking system.
Of course, Martin's decisions came down to his own hearing abilities and preferences. They could never address the distinct venues at which other listeners might have heard the same musicians perform differently. Such is the joy of real music and such is the pleasure of listening to other people's opinions.
I'm surre there's a cavaet in there somewhere!!
Enjoy |
Now how would you rate the Empire 1080LT next to the 1000 Ze/x? |
Hi Raul
Either you are consistently contradicting youself or you agree with me about LOMC's being better sounding devices over the recently discussed and readily avalable MM's.
Raul quote
" No, the MC are not more " revealing " but has a higher distortions ( due too many factors like tracking distortion where the MM/MI are a lot better or its high frequency ringing, additional gain stages, etc, etc. ) and in audio systems that are more accurate those high distortions comes out. In a less accurate audio systems those distortions are hide through the less resolving and more " colored " system.
So, IMHO what Axelwhal, me and others are hearing is precisely that: are " nake " it the real LOMC quality performance where I agree the top MM/MI has one step a head.
Donwunder, for many many years the King ( LOMC cartridges ) was alone with no one and nothing that can/could challenge it. Ours audio systems and ears were totally equalized to LOMC ones, the audio system set up in all our home systems were made for an overall set up right on target for and only for: LOMC cartridges, even the phono stages almost all were designed to cope not the MM/MI needs but the specific ones for LOMC cartridges.
It is a huge merit that with all these big disadvantages the humble MM/MI cartridges performs so well. "
now we have your ranking
Raul quotes
" Dear friends: I forgot to post about the P77 ( that I try it again. ) and the MP-50. Well the P-77 is now on 6 range level along the 20E Super with the MP-50 border 6-7 range level.
I already receive some emails asking for LOMC ranging. My experiences and opinion is that the Lyra Olimpos and Allaerts Formula One belongs to 8 range level where the A90 and Coral are border line 7-8 range level, NO no single LOMC that I heard belongs to the 9 range level. The Xv-1 is clear a top 7 range level. "
You now seem to have two MC's I own - dyna XV-1 & A90 ahead of the MP-50 & M20FL. Something I have said consistently from the beginning of the journey.
enjoy the music. |
�Sorry guys, and with all due and real respect, Raul, I cannot buy this ranking of cartridges on a 1 to 10 scale. There are SO many variables involved that I think the best one could hope for in this type of discussion, among individuals who are scattered around the globe and who own such disparate audio systems, is "bad, OK, good, better, best". And we would argue all day even about those fuzzy distinctions. Not only does Downunder make a good point, but also this leaves the Empire 1000 as the finest sounding cartridge that Raul has ever heard in his system. (It's the only one that got a rank of 9, far as I can recall.) Perhaps this is the case.
By the way, what does the "ZE/X" mean at the end of the Empire model designation? |
Dear Downunder: I confirm and agree with each single word I posted that you are refering on your last post, I repeat I don't change any single word I posted
I'm still thinking in that way: ++++ " where I agree the top MM/MI has one step a head. " +++++
Over the whole thread I always speak of MM/MI alternative never like " the only one ". I speak that both alternatives are not perfect and due to that has their each own trade offs.
What do you want on a cartridge ranking? that I put the top LOMC cartridges below the 5 range level?, this is impossible and make no sense because all those LOMC that I name it has its each merits to be there where they are.
Downunder, I'm not a " deaf " man and can appreciate the quality performance of those LOMC cartridges as its drawbacks. That I prefer the MM/MI alternative quality performance does not means that I don't like the top LOMC alternative. I can live with any of those LOMC name it in my post but if I have on hand some top MM/MI ( that fortunatelly I have. ) then I prefer to enjoy the music through the MM/MI alternative, no single doubt about.
The Olympos and Formula One are the nearest LOMC performers to the very top MM/MI's.
So, IMHO there is no " inconsistency " in my words/posts, sure I can have mistakes or I can rectified on a cartridge performance but this does not means " contradicting ".
Downunder like you I'm not perfect.
Regards and enjoy the music, Raul. |
Dear Zhuweil231: Just by curiosity, I try to give you answers to almost all of your several posts in this thread regarding different cartridges performance: which of all those cartridges do you own?
Regards and enjoy the music, Raul. |
Dear Raul. I am using M20E Super now on 3009S2IMP (preferred over MF-200). I am not sure if it worth to get a MF-100 stylus and fit on MF200 body. I also got empire 4000D/III and 1000ZE/X body with bad stylus. |
Dear Zhuweil231: Good.
You need to find the MF-100, it does not works fine in MF-200 body.
Here you can find a NOS stylus replacement for your 1000 Ze/x: http://www.adelcom.net/EmpireStylus1.htm
The 4000D/III is very good but I don't try it for a long time so I can't be sure its " today " performance especially against the 1000 ZE/x.
Regards and enjoy the music, Raul. |
Dear Raul, having looked at your posted stylus replacement link I see "replaces also 1000Z/EX-ERD" --- any idea if the -ERD is a different cart / body / performance to the 1000Z/EX? |
Dear Axelwahl: I can't say it for sure because I never seen that ERD Empire cartridge but you can read here too that the stylus replacement is that: http://www.vinylengine.com/library/empire/1000-ze/x.shtml
Regards and enjoy the music, Raul. |
Dear Jaspert: I have to test the 1080 again to be sure about. I will do it and let you know.
Regards and enjoy the music, Raul. |
Dear Axelwahl: I have on hand the box where comes my original Empire stylus replacement that I'm using in that cartridge and I can read this:
" Replacement Stylus S 1000ZE/X Black "
Regards and enjoy the music, Raul. |
Well, my cartridge says on the lable of the cartridge-body "Empire 1000ZE/X" on the outer paper packing (inner is a hardwood case) it says "S1000ZE/X-ERD"
Could it be the "-ERD" addition is just the code for the stylus which is supplied in addition to the one in the cart body itself? |
I have both types of Empire 1000 ZE/X styli here. The Empire 1000 ZE/X original replacement stylus is marked as Raul says. The EDR (Extended Dynamic Range) version I see in front of me has a longer cantilever, which I presume allows it to swing wider amplitudes without the other end leaving the magnetic circuit's main region of focus (= Extended Dynamic Range). In the late 70's, I think it was easier for Empire to simply offer that EDR version as the 'right' replacement, as it was likely the same cantilever and elliptical stylus assembly as found on their Empire 4000 series-- they did not have to tool up to build any of the originals anymore. In the image at the following link, the cantilever's length matches the original Empire styli I have here (I do not know whether these people are selling an original Empire stylus assembly, nor if what they send you would be the EDR version): S-1000 ZE/XBecause the longer EDR cantilever's far end will move around in the magnetic circuit less on any stroke than the original stylus, that should reduce the output by perhaps 10%. I would not be surprised if the VTA is different. Mostly I see a potential for the EDR assembly to not allow the cartridge body to generate very small signals quite as well, since smaller motions are transduced less well by a magnetic circuit. I appreciate everyone's hard work in this matter, and I look forward to contributing as well. But I won't be able to compare the differences between the Empire styli for a while longer, nor my MP-50 and others, but I shall report back. The most likely turntable for this will be our Micro Seiki BL-91 with a "Platter Matter" mat and its MA-505II arm into a Croft Vita tube preamp. Part of the delay is that I must first change the load in the Croft from 47k to 100k, and of course, figure out what capacitance I have in the cables and input circuit. I have several headshells to try- magnesium ones from Micro and Nagaoka, and the ADCOM carbon-fiber one as well. I do highly recommend the Platter Matter mat, which come up on eBay from time to time-- mine is green/blue. Wash it with dish soap once it awhile, and it sticks to the LP's vinyl as if there was a vacuum system employed- dead but quite firm. Dampens aluminum platters well. Short background- I bought my first Empire 1000 ZE/X in 1971. Eventually it went to someone else as I began working full-time in the audio industry- first in retail, later in manufacturing, then back into retail, then into pro sound, then finally to manufacturing for now 20+ years. From 1971-1983, I had daily experience with almost every high-end cartridge out there, including those from A-T, B&O, Dynavector, Empire, Grado, Goldring, Nagaoka, Nagatron, Ortofon, Satin, Shure, Signet, Supex... Osawa was the importer for Nagaoka back then, and our consistent opinions of Nagaoka (Osawa-branded at first) in that retail store, was that the Nagaoka MP-11 was fine for most people, as it sounded good and did not tear up records, the MP-20 was much more clear, the MP-30 a little bit bright but even better, and the MP-50 very quick and detailed with only a small hint of brightness. But back then, although alignment, VTA, and capacitance were being set as we all do now, we did not have much opportunity to change loading to 100k. We typically used Thorens, H/K, and Micro Seiki turntables, usually into Mitsubishi, SAE and Harmon/Kardon preamps. In my own system at home, I first replaced the Empire with an ADC XLM in 1973 (I don't know why- the lure of having the 'latest technology' I think). In 1974, I changed to a Sonus Blue Gold (a better-sounding ADC I remember thinking), and then to a B&O MMC6000 in 1975 (because I thought its super-wide bandwidth would be important, but its sound seemed bland/polite). I followed that with a Goldring 900-SE in 1979 (great) and then switched to the MP-50 in 1980 (liked it a lot), followed by the original ADCOM XCLT in 1981 (really great). Finally in 1983, I switched to a Garrot Brothers-modified Panasonic strain-gauge cartridge (van den Hull stylus/boron cantilever) into a Jeff Rowland strain-gauge preamp (marvelous). The original stylus assembly of the Panasonic did not track loud high-frequencies, such as on the Harry James' Sheffield discs. I stayed with this latter setup until 1993, when I stopped using turntables on a daily basis (by then, at the factory - too much dust). Over the last few years, in anticipation of setting up the turntable for regular use again, I purchased a lightly used MP-50, an ADCOM XC-E, several complete Empire 1000 ZE/X cartridges (as there seemed to be some 'slop' in the way the stylus assembly fit into some bodies) and a couple of spare 1000 styli (hence seeing the ERD difference). I still have the Strain-Gauge system (which needs a new diamond) and a Signet medium-output moving coil, so there will be lots to listen to... I hope this information helps and I look forward to contributing later this Winter! Thanks to everyone participating in this thread. By the way, can anyone remind me what capacitance (total) they have come to prefer for the 1000 ZE/X and also for the MP-50 when running either into 100k? I know it would be personal taste in the long run. This is such a long thread in which to locate this information-- I would appreciate anyone's direct feedback to get me started! Best regards, Roy Johnson Designer Green Mountain Audio website |
Axel
If you look at the manual on vinyl engine the replacement stylus is listed as S1000ZE/X-ERD.
So you have the correct one.
So is this the new Emperor ? |
Royj,
Wow and I am grateful for your presence. I will watch your discoveries and contributions with real interest.
I think this is the type of thing (first hand experience, humbleness and a willingness to continue to learn) that makes Audiogon a great site.
Thanks |