Dear @syntax : """ For some it may important to quote wisdoms from a Designer but i am not interested what they say...........
The worst sounding preamps i ever listened to came from Lyra … so each his own. """
May I ask what’s your problem? have you asked by your self who really are you in the audio world?
For the gentlemans/audiophiles that know the long @jcarr history and his audio contributions he does not needs a defend about your opinion in the Lyra Phono stage.
First no one in the thread touched the words " phono stage " ( yes any one is free to post anything. ) so was unnecessary that kind of statement that I know you did it because ( almost always when something does not like to you. ) you must " crash " the opinion of that gentleman. This is your style.
Now, JC is co-designer of that active high gain SS phono stage and I can tell you that several true experts audiophiles die for it and I can tell you too that outperforms very easy your really bad tube French old design copy you own.
You can name it any vintage or today cartridge and you can be sure that JC owned or still own. He owns too several TT and one of them is the top Micro Seiki not the bs you own and I owned. He owns too any tonearm you can name including the FR64S and is close friend for years of Isamu Ikeda. Remember that as a cartridge designer he needs to voice their top designs in different systems and he is trully a professional about.
That you don’t care what JC said on an audio topic is your problem ( your words. ) and no one else.
Dear friends here you can confirm what I posted:
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367517#367517
Here when he voiced the Titan i using ( between others. ) the FR64S and his comments on the 345::
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367521#367521
Here you can read more about and here you can read that Mr. Ikeda preference of tonearm is not the 64/66. Read too how he damped his other tonearms but the 64/66, as JC pointed out: he learned:
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367539#367539
One man’s ceiling is another man’s floor …Or just being a pretentious ignorant?
One additional problem for the cartridges mounted in the 64/66 is that heavy mass that at the end it’s its inertia moment and during playback that heavy mass: from counterweigth to headshell is on movement and this dynamic mass is seen by the cartridge going in additional degradation other that the design is non damped one develops of high distortions.
Anyway, as syntax likes to say: not my problem. As JC I still own the 64 that I don’t use and years ago I sold my 66 that I bougth in new condition.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
The worst sounding preamps i ever listened to came from Lyra … so each his own. """
May I ask what’s your problem? have you asked by your self who really are you in the audio world?
For the gentlemans/audiophiles that know the long @jcarr history and his audio contributions he does not needs a defend about your opinion in the Lyra Phono stage.
First no one in the thread touched the words " phono stage " ( yes any one is free to post anything. ) so was unnecessary that kind of statement that I know you did it because ( almost always when something does not like to you. ) you must " crash " the opinion of that gentleman. This is your style.
Now, JC is co-designer of that active high gain SS phono stage and I can tell you that several true experts audiophiles die for it and I can tell you too that outperforms very easy your really bad tube French old design copy you own.
You can name it any vintage or today cartridge and you can be sure that JC owned or still own. He owns too several TT and one of them is the top Micro Seiki not the bs you own and I owned. He owns too any tonearm you can name including the FR64S and is close friend for years of Isamu Ikeda. Remember that as a cartridge designer he needs to voice their top designs in different systems and he is trully a professional about.
That you don’t care what JC said on an audio topic is your problem ( your words. ) and no one else.
Dear friends here you can confirm what I posted:
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367517#367517
Here when he voiced the Titan i using ( between others. ) the FR64S and his comments on the 345::
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367521#367521
Here you can read more about and here you can read that Mr. Ikeda preference of tonearm is not the 64/66. Read too how he damped his other tonearms but the 64/66, as JC pointed out: he learned:
https://forum.audiogon.com/discussions/fidelity-research-cartridges/post?postid=367539#367539
One man’s ceiling is another man’s floor …Or just being a pretentious ignorant?
One additional problem for the cartridges mounted in the 64/66 is that heavy mass that at the end it’s its inertia moment and during playback that heavy mass: from counterweigth to headshell is on movement and this dynamic mass is seen by the cartridge going in additional degradation other that the design is non damped one develops of high distortions.
Anyway, as syntax likes to say: not my problem. As JC I still own the 64 that I don’t use and years ago I sold my 66 that I bougth in new condition.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.