Dear friends: Good opportunity, Not easy to find in NOS condition: http://www.audiogon.com/cgi-bin/cls.pl?anlgcart&1280835719&/Empire-1000-GT
Regards and enjoy the music, Raul. |
Dear friends: I would like to know if any one are testing the Empire 4000 DIII and could share your cartridge performance experiences. All opinions are welcome. Thank you in advance.
Regards and enjoy the music, Raul. |
Hi Raul
I was trying to mount the Technics P100CMK4 onto my Graham Phantom last night with no luck. When you take the lead wire assembly off, the male pins are just too small to plug into the Phantom arm leads.
Any ideas, howeever it may be impossible without removable headshell.
I might need to mount in on the Ortofon if i want to listen with the TW Acustic AC-3. |
Downunder, if your problem is mating a std. female cartridge clip to a miniature male P-mount pin, you can use Bulgin p/n SA 3179/1 (USD$7.16 per 10-pack.)
http://www.alliedelec.com/search/productdetail.aspx?SKU=5654080
This is a high-quality gold over copper socket that mates perfectly to the P-mount male. The rear section fits well inside a std. cartidge clip, given a slight squeeze to tighten the cartridge clip. Alternatively this clip can be used to make a dedicated IC or headshell leads to bypass a P-mount adapter. |
Yes Dgarretson, thanks
That is the problem. the 4 male pins on the P mount are too small for the standard female clip.
I am assuming the female connection on the right side of the picture goes into the male pin?
cheers |
Yes, a perfect fit. The fit on the opposing side is just slightly loose, but can be tightened without distorting the female cartridge clip. |
Best to use Dave' suggestion to solder one end of the adapter clip directly to the headshell wires in place of standard cartridge clips, then use the female end to mate with the smaller diameter Pmount cartridge pins. That way you have only one pressure-fit connection instead of two. Sorry to butt in. Dave, you are a great finder of odd but needed parts. |
Dgarretson, thank you for sharing a great part find. Will these clips expand to fit a typical/normal cartridge pin as well? I've been looking for a quality clip for diy cartridge leads for a while now...
Regards, Jim |
Jim,
There are three sizes of these Bulgin sockets, the largest of which will work as a standard cartridge clip. It is tiny, but has slightly more beef than a cartridge clip.
http://www.alliedelec.com/search/productdetail.aspx?SKU=5656003
The fit is snug, and the metal is thick enough to fatigue if you try to pry it open to relax it. However it may be worth a try. I use these pins/sockets in DIY projects where it is desireable to have a quick disconnect of signal or power across one hook-up wire. To be trick about it you could mount a matching gold pin to the PCB of the phono stage and construct an IC with direct termination via mating socket. These connectors have the advantage of high-quality materials and low mass. |
Dear All,
Please excuse my going off-line as it were but I WOULD JUST LIKE TO THANK AND COMMEND THOSE RUNNING AUDIOGON FOR THE INTRODUCTION OF THE "THIS THREAD" OPTION. This finally means that one can navigate through any thread (even one as long as this one now is) with greater ease.
Great work and thanks again |
Dgob, Thanks for pointing that out. I had not seen that. It may be useful. I think it would be great to strike while the iron is hot and allow professionals to disclose their affiliations with an "affiliations/disclosures" link as well. It would allow professionals to disclose the brands they sell/distribute/have a vested interest in, would allow non-professionals to observe the professional affiliations without someone (Bill) calling them out on it and the thread in order to make it clear. It would allow professionals to speak about their expertise in good conscience, without fear of appearing underhanded. End of rant. |
There hasn't been a post here for a couple of days, which makes me wonder whether we have talked about and/or evaluated every possible worthwhile vintage MM or MI cartridge. Will there be no new revelations from here on out? I personally cannot think of a brand or top-line model that has not been mentioned at least once. Yet I am way slow to evaluate the cartridges I have purchased as a result of this thread. |
Dear Lewm: Certainly we did not, to many vintage MM/MI cartridges to achieve it.
I know that are a lot of Agoner's that till today don't share yet their very valued experiences, I hope that in a near future we can have part of those valued experiences/opinions that help to our each one learning grow on the subject. I'm not sure what happen: after the Empire 4000 DIII review I invite/asked to other cartridge owners to share its experiences with no answers yet!!. I'm still enjoying this Empire.
From my part I was very busy testing and " thinking " with our self tonearm design that I'm in a " hurry " to finish.
In the other side VdH told me that next monday they will ship my AKG P100LE and I'm really exited about. I know that this cartridge belongs to the very top performance rank, we will see if can confirm the expectations about.
Regards and enjoy the music, Raul. |
Since I was not able to put the technics P100CMk4 onto my Phantom until I buy those adaptors I installed it onto my Ortofon AS309-S 12 inch arm/ TW AC-3 table. I also put onto a Sumiko headshell that has a bit more room than the ortofon headshell. Still sounds really wonderful and proabably a bit better match than the Exclusive P3. Might be the headshell, but probably more the belt drive TW table. The P100CMk4 is just a little more relaxed now overall and really shows its midrange magic.
I think synergy is quite important as the Ortofon M20FL is sounding very good on the P10, where as it seemed a little out of its depth with the P3. Go figure?
I even have a Stanton 881E running on my Linn LP12/Naim ARO and that is sounding open and lively. Ivor would not be happy!! I have a NOS real Stanton D81MKIIS stylus coming in to try.
Anyone heard or own the Stanton 881 cartridge?
|
Stanton 881 is identical to Pickering XSV3000 that I've been listening to for a month or so. Your D81MKIIS stylus may be the same as the NOS Pickering D3000SP stereohedron stylus that I purchased from a Scandinavian web site. The Pickering versions are easier to acquire on ebay than the Stantons and are typically cheaper. BTW there is a vendor who is buying up most of the used Stantons at ebay auction and relisting them at much higher fixed prices.
This is an open and lively cartridge with lots of resolution and excellent LF definition for an MM. It may lack the last measure of treble refinement to elevate it into the top rank, but nonetheless it is a very clear window.
This week the XSV3000 sounds even better after installation of a new ultra-lite arm wand on Terminator that is 10g lighter than the old one. The entire horizontal moving mass of carriage, wand, and counterweight is now 35g, which I think is unprecedented for a linear tonearm. This raises a general point that may be worth exploring in the thread. Which tonearms reliably excel with the widest range of high-compliance MM/MI cartridges? Is there a single model that is consistently a winner, and is this due to very low effective mass? |
Dear Downunder: Seems to me that in your Phantom the 100C can shine even more.
That in the new Technics set up the cartridge performs better IMHO could be mainly for three factors: one a different headshell/tonearm, different internal tonearm wire and the other a different TT platter or TT platter mat, these three factors are critical and always makes a difference. Yes there are other factors that have influence too and one of them is the differences in the TT suspension/footers/plinth and how these ones handle the TT vibrations.
As you point out and as we all know synergy is " the name of the game " and in the analog stage probably more critical.
I find through the time something that I posted several times: lowering distortions ( any kind and anywhere.) in our systems always improve the quality performance. IMHO we can't know how good a cartridge can or could performs till we try to lower the cartridge " surrounded " distortions trying that through that " lowering distortions excersice " the cartridge shows it self.
This is not easy to achieve, we have to know where are those distortions and how we can lower them and when we are near of that target or when " we think " that are on target then the cartridge quality performance ( any ) and what we heard/hear in our each one system acquire a new ( totally new ) dimension that no one of us can/could imagine till we achieve that target.
This " new dimension " it is not only a better and different quality performance like what the cartridge Technics 100C owners are experienced or what Halcro experienced through the Empire 1000 ZE/x ( remember what he posted about? ). The " new dimension " I'm reffering goes beyond that: it is a 2 new audio world " and I mean a totally new one that today we can't even imagine.
I don't know in precise way which is the whole target of each one of you but mine certainly is this " new dimension audio world " where in the time I'm near and more near to achieve it: this is my quest, which's yours?
Regards and enjoy the music, Raul. |
One thing I think is true, Raul. When you do find your new dimension audio world, it will be YOUR world. Nirvana will be slightly different for each of us. Just think of the wide differences among the speakers and amplifiers we use, for starters. This is not to mention differences in our ability to hear and differences in bias due to brain function. |
Dear Lewm: Certainly that's what the AHEE already teached but what I'm refering is a " little " wider, a little different and with less " limitations " overall.
Lewm, think on this example: many of us already find a " new dimension " ( part of it ) through the MM/MI analog source alternative and this is only the tip of the iceberg.
Other example: it does not matters what audio system you own or what are your priorities or how good ears you have: as you lower your system distortions as the performance improve and you will be near that " new dimension ", it is not your " new dimension " it is only a : new dimension "!
Why always we have to think through the same paradigms? when we are free to change it or at least try different ones. Please try some time to " live " out of the AHEE that IMHO is the only way to grow up.
You, many Agoners and me are " talking " in this thread thank's that " years ago I decide to think and take actions out of the AHEE. I'm a " free audio man " that today don't permit any more that many " old " AHEE paradigms decide my " audio life " and his course/direction.
This kind of " thinking/attitude " let me to make me many questions like: hey what if instead to load my MM cartridges at 47K ( like the AHEE told us. ) I made it at 100K? or if instead to follow using non removable tonearms I change by removable headshell tonearm designs? and I can give you a lot of these kind of examples.
IMHO I think that all the audio high end industry needs and urge a in deep " refresh " in favor of we customers and in favor of a better lot better quality performance experiences that what we have today.
Regards and enjoy the music, Raul. |
"follow using non removable tonearms I change by removable headshell tonearm designs"
I am not sure how you can say the removable headshell is a step forward in sound quality. It is a step towards user friendliness and sometimes an opportunity to better match your cartridge if the fixed headshell dersign does not.
My P3 has both fixed headshell and removable headshell arm wands. After I put my A90 back into the P3 I have used the removable headshell arm wand. In overall performance the straight fixed arm wand seems to be a little better than the removable headshell armwand. Makes logical sense given the less physical wire connections.
cheers |
Dgarreston
Yes, I have read that the some of the Pickering and Stanton cartridges are the same. Have you seen the link where one of the guys who worked for Stanton gives some history and facts. Quite interesting.
http://forums.audioreview.com/showthread.php?t=28162
It would certainly seem that the original Stanton/Pickering styli are a different and better breed than the non original. The guy I bought my 881 off warned me about buying the non original if i could fine an original. |
Downunder, yes the following quote from that thread is germane and as identified by the dimple & discoloration, the tie-wire is a feature of my D3000SP stylus.
"In the replacement stylus for the 881-S, or the Pickering XSV-3000 from whence the 881-S came, there is an important element missing in all of the knock-offs, and that is an internal tie wire. The tie wire is affixed to the end of the cantilever, and is connected to the extreme end of the metal tube that fits into the cartridge body. Its purpose is to stabilize the movement of the cantilever, and to prolong the flexibility of the entire assembly, among other things. It is also a patented feature, that's time consuming to install during manufacturing, and has never been used in a knock off stylus.
In order to connect the tie wire to the end of the metal tube, a special clamp was used during assembly which did a few things: it held the assembly in place for accurate connection of the tie wire and did so by crimping the tube and leaving a characteristic "dimple." Since heat was applied to the tube, it also usually discolored slightly.. NO replacement was ever made in this manner, and the shiny appearance of the tube on the knockoffs is a dead giveaway it's not an original.
I knew the young engineer who designed the XSV-3000, and he was quite proud of the fact that the stylus assembly alone had a whopping total of 12 patents. The tie wire is a key element of the assembly, and without it, performance suffers." |
Hi Dgarreston
I have not yet received my Stanton D81MKIIS. I cannot see any tie wire on my E stylus.
I am assuming it is only on thier S replacement stylus? Is it easily noticable on the S ?
Do you use the brush? And what tracking weight do you use? On the E I don't use the brush and track at 1.5gm
cheers |
Downunder, I believe the tie wire is not easily seen. Magnification reveals what might be a wire soldered across the cantilever hinge. In any case, about half way down the outside of the cantilever tube is dimpled on both sides at what were presumably clamping points. Both D3000SP replacement stylus and the original elliptical stylus have these markings.
Without the brush I've been tracking 1.1-1.2g. I found a bit of sibiliance >1.5g and <1g. I have not yet tried the brush, but was intrigued by the Stanton exec writing that the brush was meant to stabilize and dampen the arm-- not to collect dust as implied by "Dust-a-matic" trade name.
Regards, Dave |
I have a Azden YM-P50VL cartridge that I bought but have not taken out of the box to mount. My concern is that I will not get the full potential out of this cartridge since I would be using the adapter so it can work on my rega 300 arm. I am not handy with a soldering iron and do not want to attempt the fix that many of you were able to do. Several of you have suggested that Azden and M20FL are very close in terms of quality with perhaps the Azden being preferred. My question is would the Azden still be preferred over the M20FL if you had to use the Azden with its adapter so it can work on a half inch mount. Thanks |
Dave, many, many years ago some company offered an accessory damper attachment to clip to the headshell. As I remember it there was a small, soft pad to contact the record to assist in stabilizing the arm. I never heard one so cannot comment on effectiveness.
Also for years Max Townshend has advocated the use of a damping trough at the cartridge end of the tone arm, rather than near the pivot as SME and a few others offered.
http://townshendaudio.com/home/products/turntables/the-rock-v.html
So it seems that a number of designers/engineers believe such stabilization or damping may be worthwhile. |
Pryso, I've thought about Townshend's approach and may try it. It could be argued as well that given the turbulence caused by compressed air in a linear tone arm, there is merit in damping close to the bearing. It's the messiness of the silicone (and ugliness of the trough) that gives me second thoughts about the frontal location. |
Regards, Pryso: Your post concerning clip on tonearm dampeners brought me a smile, it reminded me of the clamp-to-the-headshell camel's hair brush used when ceramic cartridges and five gm VTF were common. I have one (or more) lurking somewhere. They just pushed any dust around. At that time, benefits of tonearm dampening had yet to be considered. Following the example of the Weathers damped tonearm, Bob Graham played around with foil paddles (one vertical, one horiz.) on a refashioned paper clip attached to the tonearm counterweight or stub, the paddles were then immersed in a tub of STP. Highly recommended tweak in the early '70's. IIRC, Tom Holman was another early advocate of this application. Many also used STP as a lubricant for tonearm bearings (I think stiction was the term). If he had thought to do so I believe Andy Granatelli would have suggested the same.
Franklin: The answer to your question may be primarially a matter of circumstance. Example: Matching the cartridge to the recording depending on genre or how it was mastered. The Orto. seems subtle and revealing of low level detail while the Azden is more dynamic and forward in the bass and mids, this is not to say the hf's are recessed. Keep in mind the Azden gains clarity and definition as it breaks in. While not bad "out of the box", I have two examples and both took thirty to fourty hours to find their voice, don't be quick to judge. Fewer links between signal and output is better, with any pickup. Raul mentioned in an earlier post that removing the sleeves the Azden's pins insert into in the mount and adapting leads to fit was an improvment in signal quality. |
I feel comfortable enough to weight in on my Azden YM-P50VL. Raul has already documented the specifications of the cartridge, so no need to cover that aspect again.
For perspective the first MM/MI cartridge I installed on my Triplanar VII,mk2 was the Ortofon M20FL Super. From the begining of its use I detected some very fine audio qualities about it, particularly in comparison to my MC cartridge at the time. However I experienced some extremely bad RFI problems that I never was able to rectify with my phono stage.
I purchased a Ray Samuels SS phonostage and had him set the parameters to favor MM/MI cartridges. It was then I begin to appreciate what a fine MM cartridge could deliver.
After the Ortofon M20 Fl super, I installed an Andante P76, which outperformed the Ortofon in most areas of frequency response except lower bass. This cartridge has a smoothness of delivery very much like live music but still maintaining transient snap. No fatique in listening at all. The first cartridge I have experienced in many years that allowed me to listen with enjoyment to the music without deconstructing its sonic character. I would occasionally swithch to my MC cartridge which was mounted on a second arm on my TT for comparison. My MC would highlight aspects of the music that would jump out of the sonic picture and on first listen would seem exciting. But I soon grew tired of listening and would return to the natural music timbre of the Andante. The MC rarely gets played as it has become upappealing now.
Even with several MM/MI cartridges in the queue I was reluctant to pull out the Andante,but feeling energetic one evening I did, replacing it with the Azden.
Right out of the gate the Azden was big and bold. No shyness about making its presence known. I particularly like a front row seat or near to it. The Azden's bass is phenomenal. This is the first time I have been able to obtain strong and tight bass equal to what I get from compact disc. Whether its Ray Brown or Christian McBride on acoustic bass playing jazz or bass drum & timpani on symphonic recordings. Recently reading Arthur Salvatore's review of the Lenco turntable he referenced the last track from the soundtrack Emerald Forest. I have had this record for years but never listened to it in entirety. There is a massive bass drum whack on that cut that made my eyes pop wide open. It filled my living room with its reverberation. Without a hint of distortion or breakup. The Azden renders bass with excellent clarity. No boom or overhang. A beautiful natural decay. Simply breath taking.
Percussion instruments display that sharp transient attack such as when an instrument is first struck or strummed as in the case of a guitar. Its sharp transients are not like my MC cartridge which can give that feeling of discomfort and ringing in the ears because of its sharpness. No, but it is sharp and natural. I can turn up the volume to increase this affect with no ill effects at all. I believe Raul has offerd the reason for this as extremely low distortion of most MM/MI cartridges.
The Azden started out sounding very good, then went through a period where it did not sound so good. Now with each increasing hour it sounds better and better. It is a cartridge that needs some break-in to achieve its fullest potential. I do not believe I have as of yet reached its peak performance.
Currently it delivers the best aspects of all my previous cartridges. Having said that, if I did not have the Azden I could happily live with my Andante P-76 which I still have great admiration for.
After a few more weeks with the Azden I will install either the Empire 4000D/III or the Acutex 312.
In the meantime I would like to get Raul's impressions on his Audio-Technica AT20SL, limited edition. It has a Shibata nude diamond stylus.
It is very possible that I will be abandoning MC cartridges all together. It seems I would have to spend a considerable amount of money to purchase a MC cartridge to equal these MM/MI performers of yesteryear. I simply have no desire to pursue that avenue anymore.
This has been a wonderful discovery.
Regards, |
IMMHO. Montepilot...the Andante P-76 is the best cartridge if you do not have a acoustically damped room your NOT hearing what this is capable of...its the most neutral cartridge i have ever played with....AND it plays information like no other PERIOD!!! but you need a good tonearm
keep tweaking your p-76.... I don't use pivoted arms to many problems! not good enough
Good Listening!! |
Franklin, I liked the M20FL a lot and then tried the azden. I personally liked the azden better except for etching in highs on certain records. I got frustrated about this and went back to the M20FL for a while[ may have needed more break in]until I noticed Raul recommend the Empire4000.
The empire is the best yet IMHO. Has not left my turntable.
Of all the records I have played only McLaughlin's Shakti has not sounded better,more real. Sounds beautiful but the edge to instruments is gone. All others are the best I have heard on my system.
Have not heard the andante yet but with Montepilot's recomendation I will start looking.
Danny |
I am still running 47k instead of Raul and Empire's recommended 100K load impedance so it could be even better.
Danny |
Lharasim, The Triplanar is not a pivot-bearing tonearm but a gimbal-bearing tonearm. I was not quite sure if you were implying that I was not getting the best performance from the Andante in part because I was using a pivoted tonearm. Just wanted to clear this up.
I did not go into a lot of depth on the Andante but I should make it very clear that in my opinion the Andante is a top performer. I have every intention of returning to it as I still do not feel I put enough time on it and only removed it to give the other cartridges I have an audition. I agree with you that there is much more to be extracted from this cartridge with time and attention to setup.
Regards, |
I am not sure that anyone really answered Franklin's question. He wanted to know whether the Azden in its adapter would lose some of its magic (compared to the M20FL Super) if the end-user did not take some of the measures recommended by Raul and me to reduce the number of physical contacts in the signal pathway. (Is that correct, Franklin?) My opinion is that because of the relatively high output signal voltage, the Azden in its adapter mount will suffer less signal degradation than might be expected for a very low voltage signal, such as that obtained from an MC cartridge. So, try it. And by the way, nearly all of us ARE listening to the Azden (and I suspect the Andante, which is also a P-mount) via use of an adapter in a standard headshell. Just clean the contacts with Pro-Gold or something similar and use a contact enhancer, which IMO will help a lot. When a physical contact cannot be eliminated, I use Walker Audio SST to great effect. |
Lewm
This is exactly the question I was asking. I was concerned that going thruogh the P Mount adapter would degrade the sound to the point where a lesser performing 1/2 mount cartridge would give me a better performance. Thank you Lewm for your response.
I do have an additional question. My phono stage (ray samuels nighthawk) is more suitable for moving coils and has only one setting for MM which is 47K. My question is how well will the M20FL or Azden perform at the 47K setting. Thanks |
Montepilot I am sorry i was not clear.... what i meant was a good tangent arm like a Rabco (not an air bearing) linar arm is leaps ahead.... everyone seem to be talking about Lowering distortions etc..well from what i can see most of you before you even start are cutting yourself short! if your lucky you may have 2 points on the record that are tangent (distortion free)....the rest is distortion IMMHO...
Good Listening!! |
Franklin,
Permit me to chime in on your message to Lewm. If you read my post above on the Azden you will note I am using Ray Samuels Nighthawk phono stage. When I purchased it from him I had him set it to 100 pf. I also had him substitute a 100k setting for 1000 ohm setting. To be honest I have not noticed an appreciable change between 47k and 100k.
I think this phono stage is superb. It has tremendous dynamic punch, clear and distinct transient response with no solid state glare or edginess that I can detect. It picks up micro details that I am sensitive to when they go missing in action. Above all it is completely free from RF interferance, something I have been plagued with on the MM section of my tubed phonostage.
There is currently a review of the Ray Samuels Nighthawk on 6moons. The reviewer seems to favor the Nighthawk with MM cartridges. Although I don't think he had his unit optimized for MM/MI as I have. In my system I would rate it much higher in performance than he did even though he did give it an award. When I purchased my unit it was with the express purpose of using it for MM/MI playback.
If you go back and read my assesment of the Azden & Andante cartridges it was with the Ray Samuels phonostage installed.
As far as removing the pins from the P mount to accomodate a direct connection, I did it once on the Andante and found that the pins of the cartridge were just to small for the tonearm leads. I did not want to solder the pins. So I am using the mount with all of my cartridges. A purist approach would be to eliminate them and I have no doubt this would be preferable as Raul has noted. Since I will be experimenting with several cartridges over the next couple of months this would be too cumbersome for me. If ever I reach a point where I have settled on my reference cartridge for a given tonearm then I could see soldering the tonearm clips to the cartridge pins.
Regards, |
Guys
I really do not think we need to worry about the P adaptor. Just use it as is and enjoy.
If you are using the P adaptor with a fixed headshell design, you are allready ahead of Raul and co who use removable headshell as far as the number of connectors go. cheers |
Montepilot
I agree with your assessment of the nighthawk-it is a fabulous phono stage. I feel the 6 moons reviewer violated the first dictum of any reviewer: to make sure your system is maximized to match the component under review. This reviewer instead used a denon mc cartridge that needed to be loaded at 300 and the closest setting on the nighthawk to this idea setting is 500. Perhaps if the reviewer had used a mc cartridge that needed a loading that matched what the nighthawk offered he would have liked the nighthawk better. As it was he preferred the grado cartridge that he used because in reality the grados recommend 47K loading which the nighthawk offers. If a person was to read this review they would decide that the nighthawk was best used with high output mm cartridges, which i feel would be a mistake. In reality the nighthawk seemed to be built more for mc rather than mm in regards to its versatility unless they do what you have done and had it modified so it could also work with more mm cartridges.
It is also good to know that you are getting stellar sound out of the azden even though you are using the P mount adapter. It is also good to know that the azden sounds good at the 47k setting. |
I'm sure the Nighthawk is an excellent phono stage, but I doubt that the difference between a 300R and a 500R load was responsible for what was apparently a less than ecstatic review of it. First, what Denon cartridge requires a 300R load? I know some load the Denon MCs as low as 30R, but I am not aware of a 300R optimum for any MC. (Personally, I would never go below 100R for any cartridge.) Second, there is just no accounting for another person's listener bias, and if you like the unit, fuggeddabout that reviewer's opinion. You've already done the in-home test. As to the Azden, I am not as crazy about it as some others, but I do see why people like it, and I do agree it produces great bass response. |
I have a Nighthawk too and the difference between 47 and 100kohm is subtle at best. Both Ortofon M20FL and Azden YMP50VL sounds fine at 47kohm with EAR 834P and Allnic H1500SE MM. Just install the Azden and enjoy it instead of worrying about P-mount or loading.:) |
Jaspert,
If you're enjoying those cartridges through the EAR 834P, I can strongly recommend you try the EAR 324 solid state phono. You can read the various reviews by googling it online and I really think you would notice the difference that a change in loading on these cartridges can make. I only mention this because I made that move previously and the gains in neutrality and flexibility that the 324 offered shocked me at the time. |
Dear Downunder: +++++ " I am not sure how you can say the removable headshell is a step forward in sound quality. " +++++
this is not exactly what I say, you did.
As always different audio options/alternatives have different trade offs, which/what can/could be more im portant?: a good/right/precise matched cartridge/headshell/tonearm or a non so good matched cartridge/tonearm with less wire connections?
Through my " live " on the subject experiences the match between cartridge/tonearm seems that almost always gives a little better quality performance.
Certainly IMHO the best way to go is with a matched cartridge/headshell and no additional wire connections.
This is the way I have it: no additional wire stages only one and direct wire connection from cartridge pin connectors to phonolinepreamp. So IMHO I think I have the best of both " worlds ", don't you think?
Regards and enjoy the music, raul. |
Dear Franklin: Last night I test the Ortofon 20fl Super against the Azden with the P-mount adapter in normal fashion connection and IMHO the Azden continue showing that's superior to the 20FL.
Btw Lewm, I was thinking that your Azden sample maybe is not performing right on specs ( due to age. ) as other Azden's out there where many of us find out that the Azden is way superior to the 20FL when for you really are near each other performance or the cartridge/headshell/tonearm was not the best one or that the Azden is " to much " for your phono stage that could be but I don't really think so.
Anyway, some way or the other we are lucky to own both cartridges.
Regards and enjoy the music, Raul. |
Raul
Thank you for taking the time to review these two cartridges again-this is much appreciated. |
Dear Raul, Two nights ago, I took my system "down". Everything was sounding lousy. I have a problem somewhere. Thankfully, I have the knowledge to find and cure the problem myself. The Azden did begin to sound great just before it and every other cartridge I own started to turn sour. But now I don't blame the Azden. I was planning to send my Sound Lab M1s back to the factory for a long overdue replacement of the mylar diaphragms. Perhaps I waited a bit too long. The screens have many tears and imperfections. Possibly that is/was the problem. They will go back to Utah while I take apart my preamp. But so far I can find nothing at all wrong with my MP1, Next comes the very heavy Atma-sphere amplifiers. But it is unlikely that both monoblocks would go off at the same time. (The problem is in both channels.) I will be out of commission for a couple of months, sadly. Unless of course I buy another pair of speakers in the interim. |
Dear Lewm: Maybe one of the two Soundlab today top of the line could help you, I heard it and are great sounding speakers.
I have to say that I'm not a fanatic of planar speakers ( I owned Apogee Scintilla's and heard almost everything out there like Maggie's/Martin Logan/Acoustat and more. ) but the Soundlab's performs in great way with out any " planar " electrostatic signature like almost any other non Soundlab planar speaker.
Regards and enjoy the music, raul. |
Among "planar" speakers, the Apogee (ribbon) and Maggie (quasi-ribbon) are way different from the Acoustat, ML, and Sound Lab (all ESLs), as I am sure you know. Not only do they sound different, but their respective electrical properties are very different. Among those 3 stats, the Acoustats might be the most reliable ESLs ever built but they don't do bass very well and the soundstage is narrow. The MLs are unique for their curved stators, but they present a horrendous low impedance for my OTL amplifiers, and I don't like hybrids. The Sound Labs are problematic, too, but represent the best compromise I have ever heard. I auditioned some Beveridge speakers recently. In some ways (soundstaging, depth, etc) they are fantastic, but this particular pair had a low midrange coloration that I could never live with. So, yes, I am stuck on the Sound Labs. My long postponed plan is to have my present pair re-skinned and then maybe exchange them for a pair that use the PX technology. I presume that is what you heard, Raul. This way, I can sell mine, if I do sell them, with a clear conscience, knowing they are in first-rate condition. I don't really know whether the sudden deterioration in sound quality of my system was due to the Sound Labs, but I have pretty much eliminated the preamp and amps from blame, so it's quite possible, for example if one of the bias supplies in one panel crapped out. Sorry for the OT posts. I feel comfortable chatting with you guys. I will desist. |
Dgob wrote earlier :
Jaspert,
If you're enjoying those cartridges through the EAR 834P, I can strongly recommend you try the EAR 324 solid state phono. You can read the various reviews by googling it online and I really think you would notice the difference that a change in loading on these cartridges can make. I only mention this because I made that move previously and the gains in neutrality and flexibility that the 324 offered shocked me at the time. Thanks for the suggestion. EAR 324 is nice and i regret not getting one when i had the chance earlier on. Now I was referring to the subtle difference between 47kom and 100kom loading with Ray Samuel Nighthawk only, not making a broad statement as i know how much loading can alter the sounds with my other phonostages. |
Hello Raul, and greetings from Scotland
I came across your original, intriguing piece on Moving Magnet cartridges and their derivatives when I was searching for new needles for my Empire LAC600. Until I read it, and parts of the apparently unending response to it, I thought I was, as one acquaintance put it, a bit of a Flat Earther, and pretty much going the way of the dodo.
Having spent vast sums on hi fi equipment over 30+ years, and having been sadly disappointed in much of it, sometimes to the point of physical suffering, I returned several years ago to the system I began with, and made judicious DIY modifications.
Having resurrected my rebuilt Lenco L75 in a handmade plinth which weighs about the same as the Space Shuttle, and is just as pretty, re-wired, with extensive modifications, my Rega tonearm, tuned up my Dynatron 10-watt Mullard mono-blocks, and wired it all to an Audio Note M7 Phono pre-amp, and AN-K Spx speakers, the music was stunning... but...
But... something was still bothering me...
A little
Somewhat
This was a feeling with which I was familiar, of course, from my adventures in hi fi, and those who have closely followed the saga urged caution. Leave the bloody thing alone, they said. And I did. Until my expensive MC cartridge began to misbehave.
As I was changing the cartridge anyway, I decided to experiment, and dusted off some of my old Moving Magnets by Empire, Audio Technica, Elac, Stanton, and all the usual suspects. In the end, the Empire cartridges did it for me, and this... how shall I put it... is the judgment of a mature mind. The LAC600 and the 900 GT (Golden Touch) are my pick-ups of choice, along with the 750 LTD... majestic, involving, ebullient, peerless tone and timbre, detailed, beautiful and moving... Magnificent.
Blimey... think of all that money squandered... no, don't.
I'll start to cry.
Of course, there are little niggles. Now that my income is woefully inelastic, I suddenly find that an original S600LAC stylus is selling for over 200 US dollars. Even 'slightly used' needles are commanding serious money.
And, really, Raul, I blame you. I'm sorry, but I do.
You are, in my estimation, largely responsible for turning the tide on these fabulous pickups, and others almost as good, and, in the process, have cost me a pretty penny.
There, possibly, I might crave permission to leave the matter.
Except to say, a good secret kept is usually an advantage.
Very best regards, Will
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Dear Lewm: Thank you for your planar speaker info that I already know it. I not only was a Scintilla owner but had in home two different Magie models and at least one from ML.
Btw, I heard the Beveridge one many years ago and I dobn't have very clear its performance but for what I read these speakers are a fine example on planar speakers.
Regards and enjoy the music, raul. |