Dear Dertonarm: +++++ " The moving coil was designed with a matching step-up being the 2nd part of the whole. It was used that way only the first 20 years of its existence. " +++++
well I agree but that does not means that SUT is the right way to go.
Here is my opinion on why exist a SUT:
http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1138829438&openflup&41&4
that I posted years ago. There are several threads and posts that speak on advantages and disadvantage of SUTs and any one can go and read it. This thread is no place to start again on the subject.
Btw, Travbrow: I agree with you on the subject.
Regards and enjoy the music, Raul. |
Dear pryso: You can read it here:
http://www.vinylengine.com/cartridge_database.php?m=Empire&t=mm&mod=&sort=1&Search=Search&sty=&ovlo=&ovhi=&can=&dclo=&dchi=&stid=&masslo=&masshi=¬es=&prlo=&prhi=
and I can read it too in my Empire operation manual. Now my 4000DIII is the original one not the Gold that could be a little different and I say " could be " because I can't be sure till I have on hand the Gold one.
Regards and enjoy the music, Raul. |
Dear Dlaloum: That 100K/100pf is a good point to start but according each cartridge and your system you have to try with different values especially on capacitance.
In this page you can find different headshells:
http://electronics.shop.ebay.com/Cartridges-Needles-/64620/i.html?_trkparms=65%253A10%257C66%253A2%257C39%253A1&rt=nc&_catref=1&_trksid=p3286.c0.m14.l1581&_pgn=10
and ebay is full of headhsells.
There is no rules here sometimes the magnesium headshells works best but with other cartridges the aluminum ones works better. In all my reviews on cartridges I always point out with headshell I used and no I don't posted about which cartridge with which headshell. It is not only important the headshell build material but its weight too.
About the synergy that could be between cartridge body build material and headshells build material IMHO there is no rules here too, the cartridge/headshelñ/tonearm relationship at resonances/vibrations and dissipation level are very complex and in some way with out certainty so we have to try one and again.
Obviously that spacers ( any kind hard or soft ones. ) change that relationship I said and with no clear quality performance level I know for sure. Again only try it could put some " light " in the subject.
Welcome a board!
Regards and enjoy the music, Raul. |
Dear T_bone/Halcro: It is curios because last week my friend Fernando was hearing my system and for the first time he was hearing a MM cartridge ( at least in my system ) and his very first comment was exactly the same:
" hey it hears like an MC one ".
and this first time listener behavior is normal because the only reference he had is the MC alternative, he in a first take can't discern on other MM/MI specific quality performance " factors ".
The fact that all these guys said it that the MM/MI is at least or sounds at least like a good MC is really nice because all these people when they give them the opportunity to knows in deep the MM/MI alternative then they will be aware in a more precise way the greatness of this alternative.
Regards and enjoy the music, Raul. |
Dear Raul, sure that is your opinion - it just has nothing to do with what is actually taking place technical-wise and is as such the plain common habit to ignore at least one inherent technical phenomenon of the moving coil. But each his own....;-) .... Back to the MM of the month. Cheers, D. |
Raul, The specific quote I mentioned was regarding a specific cartridge and was made by one reviewer to two more reviewers. I inferred he was talking about people who might normally have experience with both. I inferred from the article that the particular cart(s) in question had an MC-like sound partly because of their design and execution. After I wrote that, I dug out the magazine and checked what I wrote against what was in the article and see no reason to change what I wrote. I also would not use that quote in any other general sense.
So far, in my personal experience, I have found that great carts sound great. I have heard lousy-sounding MCs and lousy-sounding MMs. Personally, I find that lousy-sounding MMs have a different way of sounding lousy than do most lousy-sounding MCs. As they get better and better, MMs and MCs start sounding similar. I do not find that MMs are better bang for buck than MCs when bought new. I do find that examples of great MMs from yesteryear can be found cheaper than great new MCs. This is not terribly surprising. However, I find that there are some great old MCs from yesteryear too which sound better than MCs which cost much more when bought new. There could be a whole long thread about those. It might not get to be quite as long as this thread but that wouldn't be for lack of merit, or number of great carts available.
While I agree that there are several MM/MIs which are just plain great carts, I for one have not moved to MMs exclusive forsaking all MCs. I find some of my MCs to be preferable to any MM I have yet heard, and I have none of Raul's favorite MCs. It could be the phono stage and head amp I am using are better matched for MCs than the phono stages/SUTs/headamps used by people who find MMs better than their MCs. It could be difference in taste.
I, for one, am curious to know whether there are inherent design issues which make high-end MMs more pleasing than high-end MCs to some people. I have my suspicions, but they are certainly speculative, so I will leave them to myself for now hoping that I can discover the reason for myself at some point. |
Hi folks, thanks Raul for the response - I am putting together a small collection of varied lightweight headshells (5g to 9g) so I can experiment....
Is anyone familiar withe the Empire 4000XL ? How does it differ from the 4000DIII?
Also the famous Azden/Empire YM-P50VL / 875 - are new styli available for these? |
Dear T_bone: Only to clarify. I used SUTs for many years today I don't any more.
I think that if in any " dcent " audio system you can give what in specific are the needs/what a MM/MI are asking then it is IMHO a very very hard call to anyone to prefer the LOMC alternative.
We have to take in count here that in the last years the phono stage best designs were almost 100% LOMC dedicated almost no one goes in deep in a dedicated top MM/MI phono stage. This link makes a difference and even against this " heavy " handicap the MM/MI shows that is really a good very good alternative and beyond any one expectative.
A fair comparison can only made when in the same system we can fulfill both alternative needs and this means on phono stage too.
Regards and enjoy the music, Raul. |
Dear Dertonarm: There are at least three other persons in this forum that perhaps are not so " technical-wise " like you that in other threads and over the time already give an explanation why they prefer active high gain phono stages against SUTs: Jcarr, Atmasphere and Dougdeacon. There are several other with a high gain active phono stage preferences including me.
Take a look on those threads ( as numerous almost as the Fr ones. ) and see different opinions that your " technical-wise " one.
Yes, back to the MM subject.
Regards and enjoy the music, Raul. |
Raul, Just so you know, when I remarked that the experiences of our group with MM/MI cartridges vs MC ones has led me to wonder whether there was an association between solid state electronics and favorable impressions of MM cartridges, I in no way meant to disparage SS electronics or those who use them. On the other hand, I get the impression that you do mean to disparage tube electronics whenever possible, and from that you infer that those of us who use tubes primarily are somehow lacking in experience or judgement. This does not really bother me (as a tube lover) at all, because I have a fair amount of technical knowledge, 35 years as a listener, and enough self-confidence not to be shaken by anyone else's opinion. I do also try to retain an open mind about SS devices in the signal path. I think that in the last 10 years or so there has been a dramatic improvement in SS amplifiers and preamps, such that there are several I could now live with, if I had to. But I don't choose to, because for me tubes still give a little "je ne c'est quoi" (sorry, don't know the Spanish equivalent for that French phrase, unless it's "yo no se' que") that I don't get any other way. |
Raul, thanks for your source recommendation on Empire 4000DIII loading. It may be one difference between earlier 4000DIIIs and the Gold version (there is at least one other). At first I thought the 100K might have been a typo on the VE site. But I quickly scanned the three pages of Empire data and did find ONE other model with a 100K recommended loading, the 4000DI, so that lessens the chance it was a typo.
Again, none of this is to suggest one should not at least try the 100K loading. I'm just way behind in modifying my phono unit to provide that. |
Dean man: "However I consider the timbral characteristics of these not as colored per se, but as being within the normal/neutral range that one encounters through hearing acoustic music in a variety of recital and concert halls. Within that normal range I find them a tad warmish but completely acceptable in terms of timbre, very much like a recital hall I know pretty well."
That is exactly what I said in my previous post. The term "color" is too often considered a negative, eventhough music is full of timbral color. Whereas "neutral" too often is used to mean lack of the natural color of live music; what, to me, sounds gray or bleached. Many audiophiles simply are not familiar enough with the sound of live music. Sorry, but it is true. |
Dear Raul, Jonathan Carr is involved in cartridge manufacture and as such his goal has to be to keep the prospective "field" of customers for his products as wide as possible. Smart and logic. Furthermore he does not concentrate on LOMCs either (i.e. - 0.2mV and lower output). Atmasphere does design and produce good hybrid stage phono input preamplifiers with high gain. As such he must be "located" - I would do the same in his position - by nature of the situation rather in the high-gain-hybrid-phono-stage-input "camp". Again - absolutely logic. If I remember right, you co-designed a high gain phono stage too a few years back. So that automatically leads to..... ? A technical relationship isn't depending on how many people do support it of how much it is favored by industry. But I agree - back to MM .......... Cheers, D. |
The Empire 4000D/III coloured? Yes.......just as coloured as that Boiullabaise from the Old Port in Marseille whose aroma and taste still remains viscerally 40 years later. Just as cloured as the blues, pinks and whites of the cliff-hugging structures on Santorini. Just as coloured as the Bob Marley concert from 1979 whose internal-organ-induced bass vibrations can still be recalled today. Yes.....just as coloured as the Berlin Philharmonic under Simon Rattle playing Mahler's 1st symphony as heard from the centre of Row K. Frogman is spot-on. Real music is emotional, visceral, real and.........colourful. Not some bleached out synthetic pale imitation high-lighted by exaggerated high frequencies intended to present the illusion of 'detail'. Would you describe the Lyra Helikon as "coloured" in comparison to the Titan i? Some would....especially the audio reviewers. When one hears the 4000D/III reproduce the 'air' and the 'gestalt' of real music it is tempting to call it "coloured" because we have become anesthetized by the sanitised sounds of the MCs which have been foisted upon us for the last 20 years. "Coloured"?........the 4000D/III? I'll give you "coloured"!!!! Whack on the AT-155LC or the Signet TE3ea/155LC or even better, the FR-6SE. Each one more "coloured" than the one before and each one approaching the reality and emotion of 'music' in a way I haven't experienced for 20 years. Give me "coloured" and give it to me in spades for I have tired of the world in 'black & white' that is forever moving coil. |
Regards, all: Gestaltism: "A theory of mind and brain positing that the operational principle of the brain is holistic, parallel, and analog, with self-organizing tendencies. The Gestalt effect is the form-generating capability of our senses, particularly with respect to the recognition of whole forms instead of just a collection of simple lines and curves". Wikipedia.
If a particular range is dissimilar to others, there is then a lack of continuity. This phenomena can be described as an anomally. It makes no difference how it's achieved, elimination of these anomallies is the imperative. Once effected, the outcome is a correctly balanced configuration in which the whole is greater than the sum of it's parts. A system capable of tonal accuracy and realistic harmonic blending is said to be correctly voiced. It makes little difference how this is sourced but when done well, this might be described as synergism.
The greater the number of links in the audio chain, then the greater the number of factors requiring control and the more difficult it becomes to achieve synergism. In a vinyl based analogue system, MM/MI (etc.) cartridges are the most direct means of transduction. It's an entertaining concept, comparing a $5000.00+ MC/pre to a $200.00, 30 year old MM cartridge. Listener satisfaction seems pretty evenly divided. For that last 2% of hypothetical improvement in performance, I'd prefer putting the $4800 elsewhere. A month in Santorini sounds pretty good, too.
Peace, |
While some would describe Halcro's post as hyperbole, to me, it demonstates much of what is missing in a lot of the banter on this forum (actually, this particular thread is a notable exception; sometimes): passion, with the emphasis on the music. Refreshingly eloquent.
I have now listened to the Empire for about twenty sides, and it is most definitely losing some of the plumminess in the midrange that I observed initially. Very, very nice; and moving in the right direction. |
I think Halcro's post is honest,he is a good writer and obviously passionate about music and this hobby.After all just like Raul and others posting to this thread none are trying to sell anything just being honest and trying to express the sound they hear from these great cartridges.Unlike professional reviewers(writers)and manufacturers who "are" trying to sell something.It really means something when highly experienced audiophiles who heard the best cartridges available(some which cost more than my whole vinyl set up!)think so highly of some of these old MM models made when vinyl was mainstream.
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Dear Lewm: I'm not saying that +++ " and from that you infer that those of us who use tubes primarily are somehow lacking in experience or judgement... " +++++
please read again my post where you can read that my main audio target is to achieve Excellence level and IMHO ( due to what I posted there. ) tube technology can't fulfill that quality performance level. IMHO SS in the way to go if we want to achieve that target. Lewm this is only an opinion.
The other subject is that maybe you are not heard yet SS electronics that fulfill that target.
Anyway, I said it that I don't want to touch the tube subject because is a very sensible subject. Now if you come back and tell me that tube electronics fulfill all the characteristics I neme it then maybe is time that I cange ( again ) my way of thinking about.
Lewm, remember that I have experiences with tube electronics too and I think that tubes has a lot more " color " ( read: distortions. ) that the right one that Halcro/Frogman are talking on the experience of listening music.
In the other side I'm not talking of what we like only but what we like and is right.
This subject always is " heavy " controversial and maybe we can't really achieve conclussions that fulfill any one priorities and targets. My post was more to point out that that SS/MM and tube/MC relationsship that Downunder and others talk is not necessary true but more because each electronic technology advantages, disadvantages, limitations and design but not because the cartridges it self.
regards and enjoy the music, Raul. |
Dear Pryso: I understand you. Normally all the cartridges of those old times that were designed for 4-channels reproduction ( like the Empire 4000III ) were designed with 100K on load impedance due the needs of that recording technology that goes beyond 50khz on frequency range.
Regards and enjoy the music, Raul. |
Dear Raul, I am sorry I brought up the subject of tubes vs transistors, but in my defense, I was only following on to your preceding remarks. In any case, the controversy has taken on a near religious quality, so best left alone. I will only say that the "distortions" to which you refer are I assume the higher amounts of harmonic distortions which are often measured when tube equipment (mostly amplifiers, not necessarily true of tube preamplifiers) are measured using a sine wave or square wave input and a THD meter. Lots of work done and published in the better audio magazines that still existed in the 80s and 90s demonstrates over and over again that those measurements are near to meaningless when it comes to perceived accuracy at conveying the truth of music. And there are solid engineering principles to support the notion that THD, or anything else we can typically measure in the lab so far, does not correlate well with the art of amplifying a music signal. Were this not so (1) the tube audio industry would be long dead, and (2) all amplifier development could have ceased with the advent of the Phase Linear amplifier, which had .0001% THD and put out 400W or thereabouts, back in the 70s. But I guess you would say you are talking about distortions you can hear, rather than distortions you can measure. To which I would reply that you may have a point, but only in the worst case scenarios of the lesser tube gear. Now I will shut up.
Dertonearm, FYI, Atma-sphere preamps use all tubes in their phono sections and everywhere else. There is no hybrid circuit. |
Dear Frogman: +++++ " The term "color" is too often considered a negative, eventhough music is full of timbral color. " +++++
yes indeed but IMHO that is because no one talks on the true and real " color " that music has, if there is a right " color " that's in live music that with out that full color just the soul/feelings/emotions that music can transmit disappear.
So we have to make a distinction between music real color and audio system " color " that are mere distortion levels. problem is that many people attend so little to live events and 99% of their listening is trhough home audio systems and their references are a little different that what live music can shows us.
regards and enjoy the music, Raul. |
Dear Lewm: As I said it: a very " sensible " subject. I can argue with facts about but only till you hear a good SS audio system set up you could understand what I mean other than specs figures and the like. Lewm, I think that music lovers are not prepare and with the mature need it to discuss with out biasing on the tuve/SS whole subject, that time sooner or latter will comes.
Never mind, we all are ready waiting for your reports on all those cartridges that you have and because the failure in your system you did not.
Regards and enjoy the music, Raul. |
Dear Dlaloum: This could be a good Azden source stylus replacement, you only have to ask if it is and after market replacement or an original one:
http://www.pickupnaald.nl/?page=shop/flypage&product_id=586
Regards and enjoy the music, Raul. |
Dear Dertonarm: The Atmasphere phonolinepreamps are fully tubes ones not hybrid.
regards and enjoy the music, Raul. |
Shure Cartridges (M and V family) - reading a number of forums with regards to these in particular...
A number of people are strongly suggesting impedance of around 60 to 70k with cap around 100pf.
Comments and measurement reports appear to show a midrange suckout / drop with impedance of 100K.
Does this reflect peoples experience here? |
Dear Raul, I had seen several Atmasphere preamps the last years which were - apparently due to modification then - featuring cascaded tube/JFet phono-input stages. Cheers |
Dear Raul: The "color" that I am referring to is timbral color; the distictive SOUND of instruments. While distortions in this area can affect the "soul/feelings/emotions that music can transmit", that aspect (soul/feelings/emotions) of music is something that has to do more than anything else with the dynamic characteristics of the music, or the audio components trying to play it back. I can listen to a live performance, or stereo system, from the room next door, not have a clear sense of the tonal qualities of the music, and still be able to get a very good sense of the "soul/feelings/emotions" of the music; or it's absence. I have heard audio components that get the feeling of the music right, but the "sound" is all wrong. The "gray", bleached sound of some Audio Research components comes to mind. Of course, as we all have found the hard way at some point in our audio journey, sometimes there are those rare components that are TRULY neutral enough to show us that the problem lies in the sound of some other component in the system. The challenge is always in determining which ingredient of our sonic soup is the one to keep. |
Dear Frogman: Yes I agree. If you read about my priorities along tonal balance is at the top and yes that's the timbre " color ", with out it the sound could be " all wrong ".
Regards and enjoy the music, raul. |
Dear Agon's friends/community:
MY BEST WISHES ON THIS CHRISTMAS DATE AND THAT 2011 BE A NEW YEAR FULL OF HEALTH AND HAPINESS FOR ALL OF YOU AND YOUR DEAREST FAMILY!!!!!!!!!!!
Sincerely,
Raul. |
Dertonearm, "Cascaded tube/JFET phono-input"? I am guessing that was a typo and you meant to write "cascOded". I am not aware that Atma-sphere ever used anything but a cascode and all-tubes in the phono input stage (a dual-differential cascode), but it is possible I guess. I personally modified my MP1 to use a hybrid cascode input, with an MAT02 transistor on the bottom and an ECC99 on top. So someone else might have done the same to the unit(s) you owned. Sorry for OT remarks.
FWIW, further comparison of Azden to Colibri leads me to favor the Colibri most of the time. But I find that Colibri needs to "warm up" during each listening session before sounding its best. Having started with marked positive VTA on the Azden, I have gradually reduced VTA toward neutral (tonearm level with LP). This did not help; I think the Azden is best with at least a little positive VTA. I would appreciate hearing about others' experiences in that regard. This is confounding me a bit, because in the DV505 owners manual they explicitly advise against using non-level VTA for the tonearm, but no explanation is given. There is a drawing showing that they recommend that the horizontal part of the arm and the vertically pivoting part must be in the same plane. Then there is Raul's remark that suggested the Dynavector may have too high bearing friction to work optimally with MMs. |
Dertonearm Your such an ASS... ***This thread you label cartridge of the month club.Why do you care , whats it to you? What are you trying to sell because nobody can top your approach to home entertainment like you.
You and your little tag team buddy Syntax should start up your own audio web site fashioned after Romy the cat's, just think the both of you can set the World straight.
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Lewm. You prefer the Colibri to the Azden ? Must be your crappy tube gear, or your tonearm or ??
Or could it be possible that the Colibri is the better cartridge in your system regardless.
Don't worry, I suffer from the same dillusions, but maybe one day I'll be able to save up for a great SS system so I can truely throw away those MC's and tubes.
cheers, enjoy the festive season all :-) |
Lewm, I thought the highs on the Azden were etched on some lps when I first tried it but it seemed to settle down after 10-20 hours. The next time I tried it the suspension became weak and I have put it away for now. It sounded real good while it lasted.
So far it is the only NOS cartridge I have purchased to fail like this, although I did buy a bad Technics 205MK3 on Ebay.
Glad your enjoying your music again. I would go crazier without mine.
Danny |
Don't worry, DU, I am truly delusional. I favor the Urushi over either. Go figure that one. But no one is saying that the Azden is the best of the MM/MI bunch, so I am fully prepared to be more impressed by some of the others I have not yet heard but own. I have Friday off from work and plan to do some more auditioning then. |
Stiltskin, while I certainly enjoy your down-to-earth version of the english language, which apparently matches the level of your systems sound quality, I didn't meant the phrase "cartridge of the month" in any way negative.
This thread was initialized to somehow re-discover a cartridge design principle which was sadly neglected the past 30 years and has seen very little support by high-end designers.
There are a good number of useful informations in here, but in such a long thread - and with the path followed - there is a natural evolution into a kind of "what is the next MM "sleeper" we haven't discovered yet". You won't have to go back any far in this thread to find very similar comments by some of the strongest supporters to the topic.
That the inherent humor escaped you isn't anybody's problem. BTW - even if one could set the world straight (which I doubt for various reasons which are way too complex to explain to some) -he/she wouldn't. Not because the "world" wouldn't want so, but as represented by you (I am certainly no philanthropist...;-) ...) it isn't worth the effort. |
Lewm/DU,
It seems to me that Lewm has already demonstrated the impact of system deficiencies when it comes to judging cartridges (or possibly any component) and that is something we can all be grateful for.
Merry Xmas and a prosperous New Year to all on Audiogon.
Dgob |
Lew, I would luv to get a Urushi. I feel it would be a great match with the P3. But which one ?
My Rosewood is very nice, yet lacks a bit of extension and refinement. |
Hi Lewm,
Are you going to try the EPA 500 tonearm on your Lenco?I would guess your Dynavector is a better arm,but maybe it would be interesting to try the Technics anyway.I keep wondering what I may be missing not owning a better tonearm.
And for you guys that like your three grand MC better than this Azden,IMHO your Azden must have a bad suspension,or you don't have a good tonearm "match",or you don't have it set up right,or your system isn't "good enough",or loading issues,or(most important)you have to many crappy tubes in your system,and it could be one or any combination of the above problems or maybe even all of them.
PS:Just messing with ya.
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Stiltskin, while I certainly enjoy your down-to-earth version of the english language, which apparently matches the level of your systems sound quality, I didn't meant the phrase "cartridge of the month" in any way negative. Well, that has got to be sledge of the month :-) very Funny Dert Mery Xmas |
Dertonarm Come on it's Christmas!,I was being kind, Ahh ,how would you possibly know how my current system sounds like. Hmm, spooky. Let me explain, Audiogon is nothing more then a play ground for you and your little buddy syntax, "The land of audio morons" as your friend syntax loves to chant about on other sites. As a matter of fact when Thomas A.K.A.Syntax discovered Romy's site he fired off an e-mail to me, he was beside himself with glee.
Finally someone that exposes the hobby and most of the people involved in it for what it really is. Romy the cat must be a hero in your mind though even your hero has been caught with his pants down on , now you can relate to this thinking Dertonarm,...Don't let the facts screw up a good story.
Now back to Syntax , he went as far as coping some of Romy's rants word for word here on audiogon and claimed it as his own.
Little do your followers know that they are also viewed with contempt.
Wake up downunder, its a bait and hook game for these guy's and your nothing but a joke to them.
Now I have better things to do with my money then blowing it on mega dollar home entertainment components, like taking advantage of the desperate economy across the border in the U.S.
Hmmm lets see, a really good musically accurate stereo OR Prime Ocean front vacation property at a heavy discount. Well its cool down here today I may have to wear a light jacket to walk the beach, that bloody arctic wind from Canada, |
Now I feel like Raul, having to respond to several different questions in a string of posts. Dear Downunder, It is difficult to get good information re the differences among all the Urushi models. I tend to think they are all nearly the same. I once heard that the Vermillon used silver-coated copper coils. My own is either a Wajima or Tsugaru version. Anyway, it is black with the gold flecks in the paint. If I had it to do over, I might by the Blue, just because I like blue. At one point I read that the Blue has silver coils, but I am not at all sure that's true.
Dear Travbrow, I think I will have to mount the EPA500 on either the SP10 Mk3 or the Kenwood L07D. The Lenco has a solid slate plinth with no cut-out for any arm board; one can only use surface mount tonearms with it, like the DV505, Triplanar, RS Labs RS-A1, Reed, Talea, etc. (I don't own all of those, of course.) For MM/MI cartridges, I am not at all certain that the DV tonearm is superior to the EPA 500. I bought the latter for its potential to use very low effective mass arm wands and for its lower friction compared to DV.
Acman, I agree that the highs on the Azden are etched compared to the Colibri or any of the MCs with which I am familiar. Sometimes that difference is beneficial, sometimes not, IMO.
Dgob, You are so right about the many reasons why my assessment of the Azden could be off-base. Wish we could all go back in time and try these out again. Just as regards aging, I was thinking last night that my Grado TLZ has clearly gone down hill from what it once was 20 years or so ago when I bought it, and that is a cartridge that has been mine since new, was always stored in its original container, in a climate-controlled environment. The Azden was NOS when it got to me, but lord knows where it has been all the years before my purchase. This is also why Raul's experiences may be so different from any of ours, as regards cartridges he has had rebuilt by vdH. |
Dear Lewm: I support the Azden like any other top MM/MI cartridge. I agree with Acman3, it needs at least 20 hours and after that play a little not only with VTA/SRA but with capacitance loading where you must try different values. You can try too a different headshell and if all that does not works then a different tonearm.
I like the Colibri but even its very high quality performance my Azden is a little better and I say my Azden because we all know the Azden failure from new with the Halcro's one.
The other subject is that the systems where we are hearing the Azden are differents but even that there is a common opinion: very good performer, yes better than the Urushi that IMHO it's outperformed by the Colibri.
As always just my opinion, the good one is yours.
Regards and enjoy the music, Raul. |
Dear Stiltskin: This is the best time for you move here to our loved México: Puerto Vallarta, Huatulco Harbors, Can Cún, Los Cabos, Oaxaca and the like, of course with outthat " artic wind from Canada ".
Have a good time, as this time your forum contributions always appreciated.
regards and enjoy the music, Raul. |
Loading a MM cartridge at 100k or anything higher than 47k, when ther manufacturer specifies 47k, Is that classed as using you own equalisation to hide faults in the MM cartridge,your system or to get it to sound more MC like in upper frequency extension? |
Good question Downunder,I think maybe why I find my Technics P100C MK4 more than just a little better than my Empire 4000DIII is because of the design of the the 100C which I think is not that sensitive to loading.It is a low inductance design with resistance loading within 10k to 1Mohm and capacitance within 100 to 500pf,quite a bit of range.Also the Empire "should" have an edge over the Technics because it is on a rewired armwand soldered direct to the cartridge pins and the Technics is on a stock wired armwand.
I would like to add adjustable loading to my phono stage sometime to experiment with different values.Now it is 100K loading and have no idea what the capacitance is,except it is low value.
I think my Signet/AT25 would benifit from a lower resistance value,it sounds a little bright and both the Empire and Technics are better,also like Raul reported these Signet and AT cartridges are better with their original stylus.All my other models work fine with the 100k loading,but again I could be missing something without having adjustable loading.
Can anyone explain what adding capacitance does to the sound?I think lowering the resistance will warm up the sound a little,right?
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Regards, DU: The venerable Shure M44E is bass heavy. Capacitance at 300pF and res. at 100k helps in balancing midrange harmonics, hf apparency. The AT440MLa has, for many, the effect of fingernails on a chalk board. Many reports of a more satisfactory experience at 32k. The Shure M97xE at 62k. Etc.
If one could achieve (hypothetically) the same outcome with a nude ML stylus on a beryllium cantilever for the M44 or a .3 x.7 elliptical/straight alu. cantilever with the 440, would this be a form of EQ or a matter of optimalization?
Peace, |
Raul,...Gracias amigo.
Pensamiento que se apreciar io i habia a dicen. Will speak with you into the new year....Keep up the good work guy's. |
To paraphrase my favorite rock 'n' roll performer, the very great Chuck Berry,
Roll over Urushi And tell Colibri the news:
Acutex rules!!!! Piano, sax, and trumpet are to die for. But now I really hear a piano, most of all.
This morning I replaced the Azden with an Acutex using an NOS 320 STR III stylus assembly. I installed in 6-gm Denon headshell on Dynavector DV505 on Lenco, level VTA, 1.55 gm VTF, Stevenson alignment, 47K load on Ayre p5Xe set for lowest gain, feeding my MP1 linestage. I warmed up the Acutex using my Cardas test LP, tracks 2a, b, c, twice over. Then I started playing familiar LPs. Holy cow!!! I am totally hooked. How much better could this thing get after real break-in? Or if I were to optimize the load R and C?
Thank you, thank you, thank you, Timeltel. Without your input, I never would have even heard of Acutex. I have the Saturn V headshell; is that worth trying?
Raul, You should make an MM-dedicated phono stage with front panel adjustments for capacitance load and resistive load. If you can keep the price at or below the $3K range, it would sell, I think. (I know it is not a purist approach to have switches in the signal path, but it could be done with relays, if one wanted to get really anal, and besides, it seems that these high output cartridges are less sensitive to switches and contacts in the signal path, compared to LOMCs.) The headshell wiring is the decades old stiff stuff that came with the used Denon headshell I bought off eBay; yet it is not an obstacle to listening pleasure. |
Dear Lewm: Good that finally one MM/MI cartridge works for you.
Yes Acutex top of the line cartridges are better than almost any other cartridge out there, that's why I made the LPM model review ( late Acutex model that yours. ). I own that 320 too and maybe it is time two hear both again. I don't when I will finish this MM/MI " adventure " with all these experiences you all had.
About the Saturn headshell you can try it. B&O made a similar headshell for the MMC20CL model and makes a degradation to the overall quality performance of the cartridge against this same cartridge mounted in a regular/universal headshell type but as I said: you could try and see what happen.
Regards and enjoy the music, Raul. |
Raul, I think this is the LPM series, but maybe not. Anyway, it's the one that fits the Saturn V, not the earlier fatter one. I also have a 412, which I don't expect to be as good as the 320. Do you or does anyone know about optimal loading for these? I do not assume that 47K is best, but it sure does sound fantastic with 47K. |