Strain gauge vs Zyx 4D/Atmos

Dear Leicachamp;

If the Lyra sounded better, that's great. THe whole purpose of this endeavor is to find what works for you.

As to the differences between the Strain Gauge and the Sussurro, I would say that They are day and night. 80 percent of fols who hear the two prefer the SG. About 2 days per month, I prefer the Sussurro. The Sussurro has gotten very high marks, for with we are very glad. We have a new top of the line MI cart being introduced at RMAF called the Hyperion. It is a collaboration with Frank Schroder, and we are excited to play it for folks. It does lots of things the SG does, so.....exciting.

I somewha agree with the statements made above, but, the statement about micro detail I would take some issue with, as if you will read in the owners reviews, that was one of their strong points about the Strain Gauge. I am happy to discuss the responses to magnetics VS. SG carts with you on the phone - I will be in the office tomorrow and part of wednesday, but then leaving for RMAF. Please feel free to call.

Peter Ledermann/Soundsmith

One addition note -I do not deny anyone's tastes -however, I question the statement about lack of upper order harmonics. The SG cart has lower distortion than most magnetic carts, a near perfect square wave, and amazing phase accuracy in terms of grip delay and lack of perturbations in a small region. Tube gear sounds more " musical" to many in part because it generates harmonics. I submit that some MAgnetics sound more welcome not because they are accurate but because they are possibly less so. Have these gentlemen taken spectrum analysis of the two or is this a tech statement based on listening??

Peter/Soundsmith

I am on a boat -typing is HARD HERE! GROUP DELAY was what I was trying to type -Peter

Raul et al,

Your argument on equalisation is irrelevant. Strain gauge cartridges have a non linear output and therefore require different "equalisation" to achieve a flat response. My understanding is that the output is close to the inverse of the riaa curve and the compensation required from the phono is not far from flat.
Nonwithstanding that, you actually need multiple phono preamplifiers to reproduce records properly as there are differences arising from the use of different cutterhead angles from label to label even for standard riaa. I have a colleague who has analysed the cutterhead angles across the various labels and recording studios, and has a built phono stage with adjusted riaa compensation for the various cutterhead angles. Records I have heard that supposedly conform to standard riaa, for which the riaa compensation has been adjusted for the cutterhead angle have been revelatory.

Possibly a better way to think about the SG is this: when RIAA is applied to a magnetic cutterhead, it reduces the low end,and boosts the highs. This is done for various reasons, but the result is basically a contant displacement groove modulation for a flat, swept input from 20 to 20K. Since the SG is sensitive to DISPLACEMENT ONLY, and not velocity, it reproduces a flat signal from a constant displacement groove calling it non-linear is not descriptive enough.

It is somewhat serendipitous that the RIAA curve evolved in such a manner as to cut a nearly flat displacement groove from a flat swept input signal.

As regards EQ; one has to realize that many records are mixed in such a way as to allow the engineer to EQ each instrument, not to mention the coloration for varied mics,not to mention the final EQ that ALWAYS gets done so the the losses incurred from the multi-step process in making records is compensated for, not to mention to two BAD resonant points well in the audio spectrum that cutterheads suffer badly from and are EQ'D out (mostly.....) and the list goes on and on.....So what we finally listen to can often bear little or no resemblance to the orignal EQ of the live instrument or performance.

I am always amazed that it goes so well most of the time.

What I can say is that when I cut a lacquer dub on one of my Neumann lathes, and play it back with MC or my MI carts, it is no contest when compared to the Strain Gauge. I am bringing a lacquer I cut at half speed (22) to be played at 45; those coming to RMAF can ask me to play it to hear the newest generation of Strain Gauge, compared even to the new Hyperion.- VERY revealing - This is a piano/bass duet.

Peter Ledermann/Soundsmith