ZYX "House" Sound

House sound is a bit general as a term, since some models in the range have some differences. All are though on the warmer side in the mids but so nicely extended, have incredible detail and resolution, tight bass, are neutral, have tonal accuracy and speed. Technically they have great separation, great imaging, are extremely quiet on the groove, they are good trackers but not the best, their stylus lasts long and require medium mass arms. They are sensitive to VTF and AS. Now considering the new Exceed line, what i have noticed after listening to the 100, is a more lively treble compared to previous Ultimate. Still find my 4D Ultimate to sound superb. Anyway somebody else could give you an answer with better english and with more simple words. Still considered one of the few top manufacturers today along with Excel Sound, MSL and Top Wing.

I have been regularly impressed by the Sumiko Pearwood used on Origin Live Tonearms.

I was expecting a Rich Tone to be delivered from this Cart', maybe on par with a Miyajima Cart' I also get to have regular demo's of which is mounted on a Glanz 12" Tonearm. The idea of each having a Wood Housing influenced my presumption. I was wrong in this circumstance about the Pearwood. 

The Pearwood has a tone that I am quite attracted to, and very much to my liking. It has lean towards Rich, that is similar to a Ortofon Windfeld PW. Not overly but detectable when compared against a transparent lean Cart'.

The Pearwood is also very engaging, it picks one out and makes demands for  attention.

Dear @kevemaher  : I owned your today cartridges and I know what you are talking about.

ZYX  Exceed it's a way different sound and are excellent quality performers. You can't go wronggggg with ZYX and could be interesting to look the Lyra Etna Lambda . Both could even what you are looking for and are very hard to beat it.

Regards and enjoy the MUSIC NOT DISTORTIONS,

R.

@kevemaher 

You are looking at upgrading the wrong component.

Your Micro Seiki DD40 is simply not good enough for any of the cartridges you are currently using or proposing to buy.

You would be far better off getting a new turntable which will resolve more and provide a better foundation for any cartridge you purchase.

Start by looking at a Rega P8 or P10 package - it will easily outperform your current set up, even using your existing cartridges.

Please kindly tell me why the DD-40 is not good enough. It sounds wonderful to me with these cartridges.

I've had Rega tables before. I don't think much of them. What makes this Rega tables work for the Koetsu but not the DD-40? What makes a new table better able to resolve more and provide a better foundation?

Perhaps all we're doing is expressing personal preference. I find the DD-40 and MA-505 arm to be very good indeed, maybe not as good as the upper class Micro Seiki tables, but good enough for me.....and my Koetsu and my Shelter.

Primarily better tonearm - new, much higher quality bearings. The better the tonearm the more you get out of your cartridge. I am familiar with the 505 - I was a high end distributor for a few years and personally owned some of the micro TT's and arms including the 505. Very good arm, but everything wears out, particularly bearings.

The early DD micros are quite grainy sounding to my ears. If you prefer DD then get a new one with more advanced speed control systems than what was used on the 70's & 80's.

Basically a $500 cartridge on a top level TT will outperform a top level cartridge on an average TT. doesn't have to be a Rega - I just suggested that as a starting point. There are plenty of others such as SOTA, Feickert, Kuzma at various price points.

From 30 years of distributing high end audio and setting up 100's of high end TT's my advice - start with a better TT. Both of your existing cartridges, unless they are worn out, are capable of much more. I've also owned and or set up both of your existing cartridges.

The ZYX, if it has a family sound tends to neutral and resolving. On of my personal favourites is the Omega, it does sound a little fuller through the midrange compared to models above and below.

Why don't you find a dealer and ask them to demonstrate a very good TT ( $4k up ) with one of your cartridges mounted - the Shelter would be best since the Koetsu is less neutral. Find out for yourself. 

I don't have the audio reviewers vocabulary to do justice in describing my ZYX Ultimate Exceed 100 cartridge. My table is a highly Hot Rodded VPI Prime Prototype with a TriPlaner tonearm. I have to say that the ZYX is highly resolving with just enough warmth to still be open and natural. I think my arm and table combo are "high quality" enough to let this cart sing without being hindered. Detail, speed, bass, accuracy, are on the mark. I always get a sense of hearing what's in the grooves, nothing more, nothing less. I have no doubt that moving up the ZYX line will give incremental improvements, but that doesn't interest me, my listening isn't super critical. I already feel like I have "arrived". Good luck in your audio journey.

This is disturbing and confusing.

I have thoroughly tested the MA-505 and the DD-40. Both are functioning very well. I have an MS in Physics and have spent my entire career developing very high end medical and communications equipment. I thoroughly understand the mechanics and electronics of TT and cartridge behavior.

I have tested the bearings on the MA-505 arms using my own techniques and using the WallySkater. Very fluid, no rough spots both vertically and horizontally.

I've recapped the TT. The rotation speed is rock solid. Test records indicates a very stable speed.

I have listened to the Koetsu on my WOW XXL table using a brand new Audiomods 6 arm. Both are very modern products. I very much prefer the sound from the DD-40 and MA-505. The arm that came with the table (Acoustic Signature TA-2000) has been removed because it is so difficult to use.

What arm and table did the people who purchased a Koetsu in the 80s use? Were all arms and tables insufficient then?

What else should I look for in the DD-40 and MA-505 that will  tell me that they're  not good enough for the higher end cartridges? I test every piece of equipment that I put in my system with a spectrum analyzer and an oscilloscope. I can measure and optimize distortion, anti-skate, tracking force, speed stability, and frequency and time domain response. Performance is very important to me.

In summary, what tests can I perform that will show me that the DD-40 and MA-505 are inadequate for higher end cartridges? I need to see some data before I am convinced that my older tables are insufficient.

Dover’s advise is usually spot on, but in this case I believe he’s a little too stern. Many folks here seem to believe that the new stuff is always better. Obviously technological progress does exist, but in the case of turntables, tonearms and cartridges this is much exaggerated. I’ve owned pretty high level modern turntables and tonearms, but have come to prefer the old school Japanese analog devices from the ’80’s and ’90’s. I use old and new cartridges side by side and there’s no fundamental performance jump with the newer stuff. There are incremental improvements as more advanced manufacturing techniques and new materials have become available. But more often than not it’s just changing tastes, like the rather loud ’extreme detail retrieval’ crowd which still dominates the audio scene.

In short I see no reason why the MA-505 would fail to deliver a satisfying performance from ZYX cartridges, provided they are a good match in terms of effective mass. Nakatsuka’s designs are fairly traditional Japanese cartridges with a medium compliance, so I don’t see any reason to be disturbed or confused. 

@kevemaher, It sounds to me like you have a speaker/room problem. Changing cartridges is only going to make marginal differences. The frequencies causing your problem are in the 3 kHz to 4 kHz region and these frequencies love to bounce around the room creating that "white noise" you mentioned. Makes you want to squint. While it is true that cartridges that lean on the bright side will make this worse the cartridge is not the primary problem. 

Systems that are tuned correctly will initially sound dull until you realize that the high frequencies are there right where they should be, over with the cymbals. Voices and violins sound natural without any sibilance. Acoustic foam tiles are dirt cheap. Buy a box of them and use double sided carpet tape  to tape them to the walls and ceiling at the early reflection sites. You will be shocked at how your sound improves. If you do not know how to find them message me and I will go over it with you. 

@mijostyn , thanks for your input.

I was referring to bad sounding cymbals that I've heard from past setups. I do a thorough alignment now so I don't have that problem anymore. Just bad memories. I don't care for the "clinical" sound some cartridges are known for. I have two very warm cartridges. I'm looking for a cartridge that is a bit more neutral without being "edgy".

I completely agree with you about room treatments. Last year I spend a small sum to outfit my room with Real Traps corner, first reflection, and wall traps. I'm very pleased with the result.

@kevemaher , then what you are looking for is an Ortofon like the Verismo or a My Sonic Lab cartridge. 

I second the Lyra suggestion.  The latest generation that started with the Delos and now goes all the way to Atlas are both detailed and full.  I am on my third one as I have been moving up the line.  I will probably stop here at the Etna Lambda SL.  However,  even the Delos is pretty good.

Robert

Dear @kevemaher  :  Per sé no one could say if your TT/tonearm is good enough and the tonearm can match really good with any cartridge not only high end ones but you when you listen your new cartridge.

One thing is way critical and has a " heavy weigth " in the quality level performance of any cartridge and that's is the tonearm. Cartridge and tonearm is one unit and any cartridge/tonearm combination have its own signature/color, you change the tonearm with the same cartridge and will sounds a little different with different " colorations ".

What I can't explain my self is that you are using that vintage tube phono/SUT and you have too the Nova unit. Those RCA input/output connectors on the tube unit are not good enough but not god those additional input/output connectors, cabls and solder joint for that SUT and all those only degrades the cartridge signal quality level.

The cartridge overall quality perfomance directly depends in a critical way to the quality level of the phono stage and tonearm including the tonearm internal wiring and always will be better a phono stage active high gain that an external SUT no matter wahat ( everything the same. ).

Do you want something neutral? then you have to put at minimum everykind of system link distortions/colorations in your room/system chain. My take is that maybe when you have the new cartridge need to think a little in what I'm saying here in favor of you and your room/system whole quality performance levels.

R.

R.

@kevemaher  : Btw and due that maybe you made some up-date/up-grade changes in your Paragon  and made measurements on your system: do you know or measure which the RIAA inverse eq. deviation in that unit?

The main reason exist phono stages is because that RIAA and very low noise gain the units need it.

Today a normal RIAA eq. deviation is around: +,- 0.1 db . Which yours?

Down there starts neutrality.

R.

I have a ZYX Ultimate Omega and love it. I think it is more dynamic and a touch less bright than my Koetsu Vermillion. I am also using a step up transformer.

My main cart for the last few years has been a Dynavector XV-1s.  I ran it through an EMIA CU 20:1 SUT but now use the Jensen AT347 SUT built into my phono pre.   I also own and use a ZYX Airy3x.  Both are less warm than your existing carts but I would not consider them to be analytical as that's not the sound I like.  For me, the ZYX is extremely distortion free and background noise level is very low while the Dyna has a bit more air at the top.  I could easily live with the ZYX full time as it's resolving yet non-fatiguing to listen to in long sessions.  If I got another cart, the ZYX Ultimate 4d with the carbon cantilever would be at the top of the list. 

Dear @kevemaher : " What arm and table did the people who purchased a Koetsu in the 80s use? "

You choosed part of the Golden years of TT/tonearms and even cartridges ..

In those years MS was really good with its BD TT’s and great tonearms as the MAX-237/282 that with the J shape arm wand maybe culd be the best ever tonearm. Your DD 40 was an entry level TT/tonearm where Pioneer, JVC, Sony, Yamaha, Denon and many others had way superior entry level models. In those times almost no one cared about the DD40 because it was in an inferior league and that was the reality in those Golden years.

That you are satisfied with does not means could be the best for the today top cartridges can shows at its best and this is the issue that you will have to decide when you listen to your new cartridge along the phono stage/SUT.

Of course only an opinion.

Btw, in the next link you can look to any of those manufacturers I mentioned including MS where you just can’t see the DD40 but several other models:

The Vintage Knob - Online vintage audio museum.

Pioneer vaults or JVC could tell you where you are " seated " as the other manufacturers.

Btw, do you measure or know the frequency response range on your SUT?

R.

@rauliruegas  Thanks for your comments.

It turns out that I am the original owner of one of the DD-40 tables I own. I bought it around 1978 from a high end stereo shop. I was also eying the DDX-1000, but it was too expensive for me then. I was outfitted with a Grace F9L cartridge. So at the time, according to the stereo store (Century Stereo in San Jose, California, USA), the DDX-1000 was their top of the line TT. I bought the DD-40 knowing that it was one notch below the top of the line, but definitely not entry level.

I also have a modern table, an Acoustic Signature WOW XXL. The table works fine, although there is no means to adjust the rotation speed. The arm on that table, the AS TA-2000, is a disaster. It is very difficult to use day in day out. There's a poor arm rest that makes moving the arm out of the rest an adventure (very tight), a finger lift incorporated on the cartridge mounting plate which can move because of the difficulty with the arm rest (goodbye alignment), very low effective mass, clunky arm lift that does not fit correctly into its mounting hole, It looks great. It maybe performs well but is a #$#%* to use. I've rewired it because the cable that came with it was unshielded for part of its length. I installed a 5 pin connector at the base. I will probably put it up for sale.

I have no respect for most current tables and arms. They're ridiculously overpriced, are not designed to function well but do look good, and do not work as well as some vintage tables and arms, such as the DD-40 and MA-505. All sizzle and no steak.

I'm not sure that Vintage Knob with all its great info and pretty pictures is a great authority on quality. There's plenty of equipment that's left out. I don't think it was designed as a review medium. Seems to me that Vintage Knob is there for one to look at the pretty products of the past. 

I measure frequency response with an A/D running at 48/96. I measure from 10 Hz to 50KHz using a software based Real Time Analyzer on my PC. The Koetsu with the SUT and Musical Surroundings Phenomena II used in MM mode.on the DD-40 with the MA-505L arm measures "flat" out to just past 20KHz. Response below 50Hz drops a bit, about 3-5 dB, I estimate.

It is difficult to measure the FR down to +/- 1dB. The signal change due to 1dB is about 10%, very difficult to hear. The noise in the system creates  readings that vary with time by a few dB, It is possible to average a large number of readings. I haven't done that yet. The FR curves provided by some cartridge manufacturers show very smooth response. Either they are averaging, filtering, or making it up.

Hum and noise is about 60dB below the reference signal. Without the tube amp, the other cartridges in my system are even further down, about 80 dB or so. These measurements show a very quiet system. In fact, I can only hear the hum and hiss when I am within 15 cm or so from the speaker driver (even with the tube phono pre).

Rumble will show up as an elevated low frequency response using an unmodulated groove. I've measured all four of my tables (DD-40s, WOW XXL, and a Denon DP-57L). The spectra are almost identical. This probably means that the sources for the rumble are not the tables, but something else in my system or room.

I've mentioned in another post in this thread that I've tested the arm bearings using the WallySkater, which uses the pendulum effect to detect bearing play and stickyness. The MA-505 and 505L measure better that my other modern arm, the Audiomods 6. Don't know about the TA-2000. It is buried somewhere in a box.

I've measured distortion at 1KHz with a test record and the RTA. For all cartridges it is about 1% (about 40 dB down from reference). Some cartridges measure a bit better, about 45 dB down. These similar measurements means that there's a fair amount of distortion on the test record itself.

In summary, I have directly measured all my table/arm configurations for FR, rumble, rotation smoothness, rotation accuracy, and tonearm stiction and looseness. All the tables perform well (even the WOW XXL with the Audiomods 6 arm).

I have measured my system for time and frequency response and distortion using REW. Note: the phono circuits are not used during this measurement.

Please suggest other measurements that might show me where my tables and arms are lacking in performance. I will have a go at measuring those.

Dear @kevemaher : Well, I’m not against your choices but only trying to help with a different points of view.

This is the DD20 that’s " almost " the same DD40 where bothare true entrey level by any standard in the DD MS models of that time where the top of the line was the DQX 1000, the DDX 1000 was inferior to the DQX:

https://www.vinylengine.com/library/micro-seiki/dd-20.shtml

I’m not saying that you are wrong, no one can do it, because that’s what you like.

Now, you own the 57L by Denon and if you use the DD40 over the 57L then for you the DD40 is better than the Denon. Which " characteristic/problem " mades that you prefer the MS over the 57L?

Today TT are not exactly high price ones if you know what to look for:

https://us.technics.com/products/grand-class-direct-drive-turntable-system-sl-1210gr

If you want or needs references of vintage products specs the vintage knob it’s very good site with some comments to take in count. No it’s not a reviewer site but along VE gives you a " entry level " information for those products.

Well and only for me. What you measured on FR with the PS/SUT is really bad because MUSIC in a home system belongs to the bass range. Ok, I know that the Nova RIAA eq. is +,- 0.25 db on deviation but the whole FR of that products combination in the bass range is a " little " inferior and it’s that quality level of what you are accustom too. Maybe you need to listen several other systems with better whole quality performance levels and you must do becaus e if not then: how will you know that your new cartridge really performs in the big league?

R.

@rauliruegas Thanks for showing me the Technics table. Very good example of good value. If I didn't already have four tables, I might seriously consider it.

I don't use the Denon as much as the DD-40, primarily because I don't like the look. The big blockiness of the arm pivot area is a turn off for me. But the specs on the table are very good, in fact great. Much better than the DD-40, I agree. One test I will do Is to use a different arm in a stand alone "pod". 

It is very difficult for me to audition other systems. There aren't any people around here with good systems and high end shops are non-existent. And I find it hard to make a thorough, honest evaluation in the store.

My only recent experience has been at a show. I didn't hear any system that was significantly better than mine, but shows are not the place for critical listening.

Could you explain you comment "MUSIC in a home system belongs to the bass range"?

I appreciate your comments. You've stimulated a bunch of thoughts.

I don't want to set up an argument between those who favor measurements and those who do not. Nobody wins that argument. I am troubled by the comments that say my system is not "high end" enough for the cartridges I have. It's not because I disagree but because I don't have a means to test that argument. I wish I could listen to a different system.

@rauliruegas  The Technics Sl-1200GR you post a link to has grabbed my interest. It does look like there's a lot of value for a very reasonable price. Thanks for the reference.

Will the Koetsu, the Shelter and the ZYX cartridges shine on this table?

Dear kevemaher, you are an audiophile extraordinaire, and you merit admiration by nearly all of the rest of us. What I think you’ve revealed is that traditional measurements, such as those you have made, don’t tell the whole story. Else why can we yet hear difference among cartridges, turntables, tonearms, and all the rest of the gear that measure so similarly? You also in passing reveal the “dirty little secret” of audiophilia, that in fact we often don’t know what we’re doing. One reason the DQX1000 should be obviously superior sounding compared to the DD40 would be that the former TT incorporates a quartz crystal reference which ought to enhance its performance vs the DD40. Have you assessed speed constancy? Virtually every DD table made since the heyday of the DQX1000 uses a quartz crystal reference. I think Denon were the first to do that, in their DPXX series.

@lewm  That is the slyest compliment I've ever heard. Gave me a chuckle. Thanks.

I do agree that the components with moving parts will affect the sound and sound a bit different as they age. I consider speakers, phono cartridges and the listening room to be the primary influence on sound. The tonearm and turntable are secondary, and all the others have a very small influence (as long as measured performance is in spec). Preamps and amps (except for tubed models) have little influence.

So my Denon DP-57L is a keeper?

It would be wonderful if there were more "guidelines" for matching equipment as it is difficult for me to separate good from bad advice.

Is the Technics SL-1200GR a good match to the Koetsu RS, the Shelter 901 and the ZYX Omega or 4D cartridges? What would be the entry level table for these cartridges?

Dear @kevemaher : This resonance frequency could help for your question after you made the automatic calculation:

Cartridge Resonance Evaluator - Vinyl Engine

Other Technics model is the next one that comes with what in theory is a better tonearm build material: magnesium and more " solid/damped " plynth ".

Direct Drive Turntable System SL-1200G-S (technics.com)

With both models could be need it to change the tonearm internal wiring and the headshell wires too.

Btw, " to be the primary influence on sound. The tonearm and turntable are secondary, and all the others have a very small influence "

Could be and yes transducers are " definitive " about. Before I posted that tonearm/cartridge is a " unit " and is a unit because all the cartridges during playing can pick up maybe the 80%-90% of the recorded MUSIC information but at the same time develops a lot of additional " resonances/distortions/feedback " that are transmited through the cartridge cantilever and then to the headshell/tonearm wand/tonearm bearing and so on that's why same Technics tonearm builded with magnesium material puts different " colorations/modulation " than an aluminum tonearm material.

You own the 57L and through your measures it measured similar to the DD40 even that manufacturer specs are way different. I posted before if you listen a " trouble " if any in the 57L that your prefer the DD40, till now you are " dead silence " about and is your privilege but could be " healthy " ig you can give an answer on that issue. Thank's in advance.

R.

I do use the resonance calculator. I always check before installing a cartridge. I have a number of headshells and weights, so I can tailor the mass to obtain resonant frequencies between 10 and 7 Hz. That is, if I know the arm's effective mass. I understand that this is not the only item that needs proper arm/cartridge matching.

I won't quibble about the arm/cartridge matching. I do think that the cartridge contributes much more than the arm does. I don't have any data, just a "feeling".

I don't use the DP-57L much because I don't like the arm's looks. A silly reason, but that's the one I've got. Perhaps I should mount the Koetsu or Shelter on it and listen. The adjustment of arm height is a bit of a pain.

@kevemaher : I can give you that tonearm characteristic but with all respect you need to make yur research that at the end it’s a learning and fun " trip ": the effective mass Technics tonearm is 12 grs.

Yes, the transducers are the more critical and important link in the audio system, I posted before in agreement with you. NO the tonearm can’t has the cartridge direct influence in the signature of what we are listening .

Good decision to test your cartridges in the Denon 57L that looks as really good TT/tonearm:

Denon DP-57L Servo-Controlled Direct-Drive Turntable Manual | Vinyl Engine

R.

Try Dynavector, I had an XXII before my Koetsu Rosewood Sihpgnature and it sounded like what you’re looking for. Mine was on a VPI. Good luck. 

@rauliruegas : Thanks for the discussion. I've learned a lot. I appreciate your patience with me. I am looking at the Technics SL-1200 G and GR. The prices are reasonable. Performance looks exemplary.

I come from a technical background - Optics, Electronics, Physics, so I take an analytical approach. Gotta have data to make a decision! I've learned here that I need to consider different, less technical means for evaluating my systems and components.

I will mount the Koetsu and the Shelter cartridges on the DP-57L, one at a time. And then give them a good listening evaluation.

I should figure out a way to quantify the table noise, especially wow and flutter. The wow and flutter test should be revealing.

Dear @kevemaher  : Good. In the other side and in this analog forum could be that medium and major knowledge level audiophiles are oriented for subjectivity opinions, not all maybe the 80% and in other internet forums even more.

Through my audio life I learned that to really enjoy at maxium my home system MUSIC experiences we  need  and is a mut rto have a good equilibrium between objectivity and subjectivity and through this equilibrium and step by step is how I  " manufactured " till today my room/system.

I know and is true that everything in audio can measures even if some special audio characterisrtic no one  intented to measure. Subjectivity could be measured too but way way complex to even intent it.

I belive in some of the system spec characteristics and as you know those system links ( almost any in the system chain. ) can or could be improved by each one of us and I did it with my system and I understand you did it and do it with yours.

There is no magic in audio and our target should be to achieve that equilibrium between objectivity/subjectivity to really enjoy our home audio experiences.

R.

I, too would be interested in more discussion of the ZYX house sound and especially any comparison to other brands. I have read a user of an Ultimate Omega describe it as 'jarring' compared to his Koetsu Urushi. 

Having owned ZYX airy 3, Ultimate 1000, and Ultimate Omega, I can subscribe to the notion that there is a house sound to the brand: neutral and even handed. However, I also have an Audio Tekne and a Transfiguration Proteus, and I would say that these two cartridges exhibit the same sonic characteristics as Ultimate Omega, with different levels of resolution and dynamics. I assume that Koetsu and Miyajima would be on the warm side of ZYX while lower level Lyras' would be on the 'lean' side. 

But even within the ZYX range that is the 'normal' Ultimate, and now the Exceed range, and in the US the Universe range. How does the old Universe ii, say, compare to the Ultimate Omega? How does the TOTL Ultimate ( or Exceed ) Astro compare to the Universe Optimal? Two different house sounds or ......? 

Looking forward to answers.

Thought I would pick this up as having recently purchased the ZYX Ultimate Exceed Omega and running it in, and believe  me if you doubt break in process is real this will make you a believer, I would say for me, in my system, the Omega is a goldilocks performer

 Lean, warm whatever, the cartridge has presence. Bass is there, voices to die for. Best "they are here" heard in my system to date and I've been chasing this just like most of you. ET2 arm and as to resonances non existence. My previous experience is somewhat limited, Fuuga, Airtight Supreme, Krell 100 ( Miyabi). Will be checking out the Allnic Amber to compare once Brian Walsh makes it by next month to set up a new Kuzma arm. JMO of course.

@dentdog I too am familiar with the impact of the Break In Process on both Phonostages and Cartridges.

I find a 100 Hours is where the magic happens, and for a period following this, there is a final structuring to the sonic being produced.

No matter what is said by those that don't endorse the notion, there is a optimisation for the properties of certain components/materials used for an interface, resulting with a Sweet Spot that reveals itself.

Ignore the comments on the DD40.  Its a wonderful table/arm and sounds great using a Monster Sigma Genesis 2000 and other cartridges.  Denon 103R too but the cartridge lacks detail no matter what combo i tried it on.  Its a valued player in my table / cartridge collection and can keep up with more expensive tables.  my experience its the setup and matching, including the cable.  YMMV.

@linnlp12 Thanks for the good words about the DD-40!

I measured all the tables I had a few months ago using an app that measures and reports RPM and WOW and Flutter. One can quibble about absolute accuracy, but comparisons among tables does indicate which tables have lower W&F.

The DD-40 came out # 3 of 4. The Technics SL-1200G and Denon DL-57L were the best. By a big margin, the worst table was my Acoustic Signature WOW XXL. Its W&F was about 5x worse than the Denon.and Technics (0.1% vs 0.02%) I've since sold this table.

And I really love the MA-505 arm. I have three and one long verrsion.

Hello,

I have VPI classic 3 and Technics SL-1000R, both with Audio-technica Art-9.

The sound with Technics and with Art-9 is like a CD.

I prefer ZYX 4D last version with the Technics.

Hope this helps.

The sound with the Technics and the ZYX cartridge is warmer and sounding like a vinyl, not a CD.

I somewhat agree with @dover - usually these high quality cartridges are used in higher performing turntables - better tonearms and quieter turntables (plinth and platter).  But the OP shouldn’t panic, his current setup will work

I have a ZYX Bloom 3 that I use on my VPI Scoutmaster in rotation with a couple of other carts. It's a killer cart for the price.

I have been thinking of getting the Bloom 3 for my Sota Escape / Origin Live Silver iv.    Part Time Audiophile's pick for best value.  They said it sounds better than some $3k  and $4k carts.   

With Cart' selection, there is the presentation/sonic character of the Cart' being selected that is quite a important factor to consider.

Cart's can present as Transparent through to have a very noticeable Rich Tone.

With a MC Cart', I lean towards noticeably Transparent and add Tone 'as and when desired'. Platter Mat's, Phon's>SUT configurations, Cables and Speakers are all able to add or remove the presence of a Rich Tone, when understanding how certain permutations of these items in use are assembled.   

A Cart' with a Aluminium Cantilever in today knowledge for Cart' design, is using the Metal Armature to add Richness to the Tone, Brands that have a Cart' Range will usually have the Metal Armature to voice the Cart' different to the Boron or Ruby/Sapphire options.  

If an individual is sensitive to a Rich Tone being noticeably present, using materials capable of creating such a perception, and one that firther accentuates Richness of Tone in a system, might create a sonic where the presence of Richness becomes a constant distraction when listening.

It is each to their own, I know some who like very noticeable Bloom in the Bass, and some who like to hear a underpinning of the sonic, not too far removed from being Transparent.

Through my own offering of demo's, where creating differences to the influences of a Rich Tone is undertaken during a replay, there are always mixed responses to the impact of the Tone being produced from individuals receiving the demo'. My method's are not always capable of producing the deeper depth for the range of available Tone that certain individuals prefer.