Yes Lew, Strange things indeed. I really only tried the Empire in the Fidelity Research arm to see if the mismatch was as poor as with the Phantom II? Theory only gets you so far. Enjoy the music. |
Is there still time before Xmas for another COTM? Never for sale outside of Japan and not even heard by Raul, the Fidelity Research FR-6SE is a high output low-compliance MM made to match perfectly with FR-64s/66s tonearms. Sporting a compliance the same as the Dynavector XV1s, the FR-6SE mounted in the FR-66s on the Raven AC-3 produced a full-bodied relaxed mellifluous soundstage with the deepest sonorous :-) bass yet heard in my listening room. Whilst not as transparently uncoloured as the EPC 100Mk3 or the Signet TK3ea/155LC, it definitely ranks in my top 5 cartridges at this point in time.
With the ability of the FR-64s/66s tonearms to extract the very best from the LOMC cartridges like the Universe and the XV1s, they are also able to highlight the very distortions and weaknesses of moving coil cartridges in general. I have never been able to listen to CDs played over a high-end system for more than about 1/2 an hour at a time no matter how good the CD player is and I am finding this same kind of inner-body stress occurring now when I listen to a moving coil cartridge? I realize that the 'analogue' distortions my body is feeling with the LOMCs must be different to those in the digital domain, yet there appears to be a similarity which suspends the belief that I'm listening to 'real' music or 'live' musicians? This feeling is emphasized when I switch to MMs and my body relaxes into the 'reality' of the music that pours forth. |
if listening blind, lots of people would say it is an MC cart." Dear T_bone..........not in my books. |
Thanks Jcarr, I'll try to find an FR-5E now that you've recommended it. I must say finding you on this thread is a little like meeting Beelzebub at the pearly gates??! As the designer of some of the leading Moving Coil cartridges manufactured for over 20 years, it would be interesting to hear your 'take' on this thread and why you believe some of us are becoming more enamoured with vintage MMs and disillusioned with MCs in general and LOMCs in particular? Cheers |
Hey T_bone, Down here they don't teach us about puttin foot-in-mouth :-) But I do find it refreshing to see a committed cartridge designer at least prepared to look at 'The Dark Side' and even converse with the 'inmates'?
On another note Travis, with your vast experience of Japan and it's audio, you must have come across the FR-5 & FR-6 cartridges? What is your opinion of them?
Cheers Henry |
Dear Jonathan, I said "refreshing".....not 'strange' :-) And thank you for your contribution. Well said. Regards Henry |
Frogmen, what arm are you using for the 4000D/III? And what turntable? Unlike Mab33, I don't believe the Empire needs much of a positive VTA? I run it almost parallel with beautiful balance throughout the range. I track it at 1 gm although it can probably go a little lower but sound wise I found no real improvement in lower VTF. Forget about break-in. It's good to go after 2 LP sides. A great cartridge that I could live happily with forever. Happy listening. |
All you MM/MI lovers with an FR-64s/66s or those who have a high-mass arm and want a low compliance cartridge...... There is an FR-6SE for sale on Audiogon classifieds at the moment.
Now with all due respects to Professor Timeltel and the wonderful Signet TK5ea and TK5/155LC, the FR-6SE in my FR-66s is probably the heavyweight champ in my cartridge collection at the moment. It not only does everything the TK5ea and ZYX UNIverse do but manages to put a giant fist through your chest and squeeze your heart as the music plays. A rare emotional experience. |
Nice informative posting Timeltel. As for choice of MM cartridges over LOMC being a form of "tone control"?..... Aren't all our individual choices in audio a form of "tone control" or at least a striving for a combination producing a synergy which suits our ears and preferences? From tubes to SS in amplification, from stats, planars, horns, dynamics in speakers, from analogue to digital, from belt-drive to DD drive to Idlers in turntables? Do we call these one and all......."Tone Controls" ? |
Dear Lew, The colour 'confused' becomes you. It is also the colour that suits me when it comes to cartridge/tonearm matching. As you rightly point out, the Empire D4000/III has very high compliance (30x10-6 dyne) yet sounds superb in the FR-66s......but then again, I have yet to find a cartridge that doesn't sound it's best in this arm? The Empire 1000ZE/X which has lower compliance (20x10-6 dyne) sounds wonderful in the FR-64s which theoretically it shouldn't? The FR-6SE which has the same compliance as the XV1s (10x10-6 dyne) also sounds sublime in the FR-66s so that's quite a range of compliances (complianci?) for an arm to handle without losing composure? At the moment I have the ZYX Universe in the FR-66s and if I imagined that the DaVinci 12" Ref Grandezza was a wonderful match for this cartridge, I need to revise my thoughts on LOMCs in the light of this cartridge in the FR-66s. The sound is almost as good as most of the top echelon MMs such as the AT155LC and Technics EPC100Mk3 (albeit at 5-10times the price)? But that's why I posit that the arm is more important than the turntable in the ultimate hierarchy?
Regards Herr Professor Timeltel. Grilled octopus drizzled with balsamic is a particular favourite of mine. I am more puzzled by the Signet cartridges as I have recently inserted a TK5ea and TK10ML into my system with mixed results. The TK5ea displays most of the typical Signet traits I hear with the TK3/155LC with a confident overall balance, believable midrange and robust bass output but the TK10ML sounds to have had a lower-end castratostomy? Add this to a somewhat 'missing-in-action' midrange and I have a cartridge which I am happy to assign to the FR5 leather-bound cartridge holder. I understand that the micro line stylus requires careful VTF, VTA and azimuth and I have done my darndest in these respects. I have also tried most of my arms(FR-64s, Grace 940G, MA-505s, FR-66s) but continue to hear the same traits with each and every one of them? It puzzles me as there appears to be a lot of hype surrounding this particular cartridge? Your comments would of course be very appreciated? Regards and Happy New Year Henry |
Hi Shane, 4 of the 6 arms have balanced XLR terminations so I don't have to worry about connecting a bunch of grounding wires. I simply have all the plugs ( with colour-coded electrical tape distinguishing the various arms), lying beside or behind the DM10 preamp. It takes me literally 30 seconds to unplug one set and plug in another. The FR-66s which has RCA terminations has it's ground wire permanently connected to the preamp so it can be plugged in and out in 10 seconds. This gives me the most direct and purist phono connections with no outboard stages and interconnects. Incidentally there is only one phono input into the DM10. It's either balanced or unbalanced........you can't have both connected as they both lead to the same output stage. You can switch this stage between MM and MC and once again, it's either/or.......not both. You can select between 3 gain stages for either MM and MC and for MM/MI cartridges there is an infinitely adjustable loading up to 60K Ohms and infinitely variable capacitance from 70uF to 430uF. For MC cartridges the loading is fixed at 220 Ohms as the signal is so small, Bruce Candy did not want to put active devices in the signal path and doesn't believe that loading for MCs is as important as for MMs. |
Good call Pryso, I suspected I might be channelling someone in my diatribe but Jerry is my alter-ego. One of America's great contributions to comedy. BIZARRO |
Dear Thuchan, If you could start a thread about MCs it would be most interesting. I think we need a critical examination of the in-field experiences of owners just as we have in this thread on MMs?
At the moment I'm listening happily to the ZYX Universe in the FR-66s on the Raven AC-3 and it's sounding as well as some of the top MMs in my collection. It still loses it's composure on very complex high energy and loud passages in a way that the MMs do not. To me there is 'break-up' of distortion which tends to remind me of the limits of LOMCs? Perhaps a new thread will shed some light on other LOMCs which minimise this weakness? Cheers Henry |
David, Very interesting point about the cantilever material affecting the composure of the stylus? I wonder whether Professor Timeltel has any thoughts on this? The compliance of the cartridge I don't think has, as when I move the FR-6SE (same compliance as XV1s) onto the FR-66s arm, I think it keeps it's composure as all my other MMs seem to do? |
Resonance frequency is the product of tonearm effective mass, cartridge compliance and, for the purposes of this discussion, cantilever design. Aaha dear Professor.....so David is onto something here? |
Let me just add something about the Signet TK5ea which, whilst beautifully described by Timeltel, does something better than almost any other cartridge I've heard. Massed strings......so difficult for systems to convey the sweetness, transparency and vibrato of the real thing especially when they reach their upper octaves as in the Franz Schmidt Intermezzo on Erato. The TK5ea accomplishes this in a way that most LOMCs I've heard can only dream of. And the soundstage?.......again as Timeltel tells it......expansive and deep. This beauty is a happy match in my Micro Seiki MA505s on the Nude TT81. |
Regards Professor and Headsnapin,
I think compared to the TK3/155LC I can see how you might hear the TK5ea as very slightly recessed in the midrange........but I think that may be because the TK3/155LC is quite ebullient in that respect (part of its seductive charm if you ask me).
Compared to the UNIverse and the EPC100Mk3 (a true reference), the midrange of the TK5ea I find to be a perfect match and therefore neutral and transparent.
If you really wish to hear midrange 'bloom', get yourself an FR-6SE which is somewhat larger than life.......but then again, what's not to like?
Incidentally I'm sorry about misleading you about the FR-6SE in a previous post but it was listed on EBay and not on Audiogon as I indicated. One of you was clever enough to work this out as the cartridge has disappeared? The lucky winner should post his impressions here for the benefit of all?
Cheers Henry |
Perhaps I misunderstood what the "Sigmutt" referred to? I thought you were commenting on the TK5/155LC but then perhaps you meant the TK3/155LC in which case I agree with the Professor. Ebullience in the midrange and wonderful extension at both ends. I have resistance at 60K Ohm and Capacitance at 70uF + phono cable.
If this is the "Sigmutt" to which you refer, something is indeed wrong? |
COTM Herr Professor? Well I'm willing to nominate your Signet TK5ea. I've listened extensively to it with its own stylus and with the 155LC and I'd be lying if I said I could hear any appreciable difference?
Yes, the TK3/155LC is a perfect blend of midrange beauty with extension at both ends (to these ears at least), and can be guaranteed to provide excitement 'plus' to any musical genre but...........the TK5ea adds a slight refinement without losing even a smidgen of excitement. The more one listens to the TK5ea, the more one appreciates it's translucent qualities which in my mind puts it slightly ahead of the Technics EPC100Mk3 as possibly THE new reference?
Certainly my COTM. |
Dear Raul, On Vinyl Engine it shows the FR-5 to have a compliance of 12x10-6 dyne whilst the FR-6 has 10x10-6 dyne (the same as the XV1s).That certainly falls into the 'low' compliance definition? I have the FR-6 SE which is the elliptical stylus (the FR-6 has the spherical).
In any case, this demonstrates differences that are hard to explain? I have the FR-6SE in the FR3 headshell and mounted on the FR-66s it's performance was 'extended' slightly over the FR-64s with rich deep bass, not exaggerated mid-bass 'bloom', a mellifluous and totally charming midrange and translucent shimmering highs. The Empires are slightly coloured in comparison but still a pleasure whilst the EPC100MK3 is just a little more 'neutral'.....possibly a tad more 'flat' or 'accurate' if you like?
The AT-20ss on the other hand, in both the Micro Seiki MA505s and Grace G940 tonearms is quite a disappointment with a very 2 dimensional presentation consisting of a disturbingly forward and unrealistic midrange presentation with little depth or transparency coupled to a recessive bass performance. This is with both an original AT 20SS stylus and an aftermarket one as well.
How to reconcile these apparent differences in our experiences Raul? It's a litle disturbing since we agree on most other things and my experiences with the Signets appear to match quite well with Timeltel's?
Regards Henry |
Dear Timeltel/Raul, The first group of cartridges, you find pleasing, the other you relegate to cartridge perdition. Very interesting indeed.........? |
Every once in a while a piece of equipment will be inserted into your system that will cause a paradigm shift in your point of reference Or so the parable goes?………. Over the past year, I have had so many of these that I’m becoming groggy. From a return to MM cartridges to experiments with vintage ‘nude’ direct-drive turntables to collecting vintage tonearms. Each of these has led to a ‘paradigm shift’ in the quality and appreciation of my audio system. Yet no single one of these has been more illuminating nor more progressive than the ever expanding auditioning of vintage MM cartridges caused directly by this thread. From the base Garrott P77 cartridge I always had, came the discovery of the Empire 1000ZE/X and then the Empire 4000D/III. After these came the Audio Technica AT-155LC and then the Technics EPC100Mk3. Then, the secret door to the Fidelity Research FR-6SE. But due to the fortuitous experiments and ramblings of the Professor, Timeltel here on this thread, the Signet and ‘Sigmutt’ range of cartridges were brought to my attention. From the first sampling, the TK3/155LC (Sigmutt) set a new benchmark…..almost equalling the famed reference EPC100Mk3 IMHO? Then came the TK5ea (a pure Signet) which soared ever higher to eclipse the EPC by sheer weight of its purity, personality and inner beauty. Could any instrument soar as high let alone higher, than this scarce jewel of analogue craft? Two days ago I received a Signet TK-7e and mounted in the Fidelity Research FR-64s with the Orsonic headshell on the ‘nude’ TT-81 DD turntable, my previous ‘reference’ was again blown apart. The improvement over the TK-5ea was subtle yet complete. The incremental steps to Nirvana that one expects at these levels was in fact quite a leap and it is hard for anyone to really comprehend what Timeltel and I are hearing because these damn cartridges are so rare and their presentation so unique and complete that comparisons to existing cartridges are quite difficult…….at least for me? Suffice to say that I am glad I never began ‘rating’ these MM cartridges (as Raul once did) for I would surely have not left room for much improvement over the EPC100Mk3 and TK3/155LC? The TK-7e is as transparent and neutral as the Technics with one major difference……..it has a ‘soul’. The Technics, whilst it can be admired for its absolute rigour and truthfulness is also somewhat ‘aloof’ because of it? The TK-7e just shocks with its sheer abilities both technically and emotionally. Can I imagine any cartridge doing more than the TK-7e? Not a chance………..but then I felt the same about the TK-3/155LC and then the TK-5ea also. Whatever the future holds, it is because of Raul and Timeltel that I can tell this tale……a tale perhaps told by an idiot…… |
Received my FR-5 cartridge from Japan yesterday and have been listening to it all day in the Orsonic headshell on the FR-64s tonearm with the Victor TT-81. Whilst its sound is similar to the FR-6SE, to me it is hardly a 'refinement'? What the FR-6SE does, the FR-5 does 'more'......but not necessarily in a good way. The luscious mid-range and bass of the FR-6SE is exaggerated even more so in the FR-5 to the point of being 'unbelievable'? The treble performance from about 2K Hz upwards also rolls off so that the total presentation is the complete opposite of any MC cartridge and in fact most other cartridges I have ever heard. Now it is not unpleasant....in fact it's totally intriguing.....but it's also not 'real'? It is useful to play 'hot' LPs, for instance 'Dusty in Memphis' and 'Heavy Weather' by Weather Report which I find slightly 'brittle' and 'sharp' in the upper registers. These LPs become most enjoyable through the FR-5. Does that mean it's good as a "tone control"? You bet......but aren't all our different cartridges an exercise in 'tonality'? So to these ears the FR-6SE is a superb refinement of the FR-5 and gets the important things right. Can we really ask much more of a cartridge? |
Dear Nandric, I well remember the days of the Supex and you are right......it heralded the 'end' of the MM and the invasion of the MC. I clearly recall at that time, visiting the home of the famous Garrott Brothers where they demonstrated, via removable headshells (the Philistines), the sound of the Supex cartridge compared to the P77. I managed to avoid the peer pressure for another 10 years after that, but eventually I relented as no-one took seriously, an audiophile with a MM cartridge? Comme ca change.......? |
Dear Professor, Your 'ramblings' are greatly anticipated as there are generally incisive and valuable clues and hints contained therein. As to trying the 155LC stylus......? What with the Empires, the Technics, the FR-6SE and the 3 Signets vying for time (and space) on my 2 turntables already, I feel as if I'm in a room with Bridget Bardot, Marilyn Monroe, Gina Lollobrigida, Grace Kelly and Susan Sarandon? I can't stop smiling but I feel I can't devote the time deserved for each of these wondrous creatures? The problems of the world pale into insignificance in the face of this dilemma? :-)) Regards Henry |
My sympathies Dgob on your EPC100Mk4. I myself, through sheer clumsiness, have destroyed the stylus to a AT20ss ( Limited Edition) and also and Empire 1000ZE/X. These however require nowhere neer the $700.00 replacement cost quoted for the Technics? If you are patient, I'm sure you can acquire another EPC100Mk3 or Mk4 for $800-1000 depending on condition?
Cheer Henry |
Amidst all the philosophy, Timeltel does a nice segue into headshell 'O' rings? I know Fidelity Research supplies none with their headshells and tonearms and even go to lengths to advise users of other headshells with FR arms to remove the 'O' rings. I have just received a Yamamoto HS-1AS African Wood headshell which surprisingly also does not include an 'O' ring? I have my views based on science and engineering principles but I am willing to believe that some will have experiences with tonearms and cartridges that appear to benefit from the 'O' ring? Perhaps a new thread is warranted to discuss our experiences with various headshells........not limited to 'O' rings alone? |
Dear Raul, If I could resurrect the Azden from the crumpled mess left by my steel-capped hunting boots, it would be more miraculous than the resurrection of Lazarus? :-)) |
As MC is mentioned at the same time as MM in the subject of this ubiquitous thread, I think it is fair enough to compare some of the great MC cartridges to those newly discovered wonders of the vintage MM era? It certainly could give some 'reference' to those who have not heard (or cannot hear) the vintage and somewhat scarce MM cartridges that some of us have been fortunate enough to acquire? Let me begin with the legendary Fidelity Research FR-7f LOMC cartridge first designed by Ikeda San as the FR-7 in 1978. FR-7fI was fortunate enough to recently acquire one of these rare and expensive cartridges albeit without a usable stylus. With the help of Dertonarm and his man in Tokyo who originally worked with Ikeda San, I have a brand new spherical stylus. Now over the last 12 years I've had about 9 or 10 of the best LOMC cartridges including the Koetsu Urishi, Lyra Helikon and Titan i, Clearaudio Insider Gold and Dynavector XV1s. I found the ZYX Universe to be the most satisfying and 'realistic' of all those I heard in my system but compared to all the 'new' MM cartridges I've acquired in the last 9 months, the majority of these LOMCs seemed to have a serious deficiency in handling complex orchestral fortissimi and poorly recorded electronic overloads, whereby a peculiar 'distortion' on such passages often rendered them unlistenable or at least painful? The FR-7f is the first LOMC I've heard in my system to suffer none of those affects and in many ways is far more akin to the very best MMs in that respect. After allowing nearly 30 hours of listening time for the new stylus to 'break-in', the sound of the FR-7f in the FR-66s tonearm on the Raven AC-3 is as neutral and 'realistic' in my system, as the infamous Technics EPC100Mk3 MM cartridge in my Grace 940G on my 'nude' Victor TT-81. As such, it may be called a 'reference' and for the life of me, I can find little to criticize in any of its performance. But just as the Technics can be admired for ITS reference-standard performance..........I don't really LOVE the EPC100Mk3? And so I can't really LOVE the FR-7f. Admire?........absolutely. But you really need a cartridge that 'MOVES' you as well IMO. One that makes you forget you're listening to a collection of electronics and simply reaches within to a place where reality is suspended and emotion takes hold. And for me, that is in the realm of the Empires 1000ZE/X and D4000/III, the FR-5 and FR-6SE, the AT-155LC and the Signets TK-3, TK5 and TK-7. That's at least 8 MM cartridges that I put ahead of the finest LOMC I have ever heard? YMMV |
Dear Raul and Professor, I tried rubber gaskets on 3 of my arms with 3 different cartridges. Little difference was found on most 'easy-listening' music but never did the rubber 'add' anything of value to my enjoyment. However on the most demanding material.....fortissimo orchestral climaxes and well recorded forte bass notes of a concert grand piano, the 'rubber' equipped headshells simply distorted. And it weren't pretty :-( I'm glad for you both that you find the rubber 'damping' attractive.......but this little camper is happy to find 'theory' and 'practice' coinciding in this instance. Regards Henry |
Dear Timeltel, I know better than to argue with your ears.....or Raul's? So I accept your conclusions without question :-) Cheers Henry |
Dear Raul, It's good to read that we both hear the same things again :-)
The sound level I meant was a general 90dB with peaks of 95dB. Soft passages were down at 85dB.
Dgob, have not heard the albums you mention but will keep my eyes open.....thanks.
Cheers Henry |
Dear Raul, I don't think you would have the albums which best illustrate the distortions I hear with the rubber gasket. The most demanding and realistic concert grand piano music I have ever heard recorded is the Liszt Sonata h-Moll in B Minor by Daniel Barenboim on DG 2531 271. When played at realistic volume levels (90-95 dB) this disc has had my neighbours leaning over their side and back fences applauding at the conclusion. The lower bass octaves are so powerful, deep and resonant that this disc will reveal any weaknesses in the analogue chain. With the rubber in place, I can hear distortion in the lower bass notes which are not there without the rubber gasket.
The most convincing large-scale orchestral recording I have ever heard is The World of Borodin-Symphony No 2 on Decca SPA.281. This disc is more realistic and dynamic IMO than even the RCA Royal Ballet with Ansermet. Again, on the massive lower fortissimo themes, there is distortion audible which is not there without the rubber gasket in place.
With the infamous Respighi Pines of Rome on RCA LSC-2436, the piercing violin crescendos at the end of side 1, become brittle and screechy with the rubber (much like the performance of most LOMC cartridges) whilst without, they are clean and listenable.
Similarly on Harvest by Neil Young, the tracks Alabama and Words on side 2 become muddied and annoying on the upper treble overloaded overdubs with the rubber whereas without, they are bearable and understandable. And bear in mind that all these results are with high-compliance MM cartridges which do not put nearly as much energy into the headshells as low-compliance LOMCs?
Hope this is of some help? Cheers Henry |
Good choice Chris, Avalon is one of my favourites. Well recorded, fine frequency extensions and convincing soundstage. Damn fine music as well IMO :^) His album "Boys and Girls" is just as good IMHO and gets plenty of rotation chez Halcro :^) |
There was a thread recently that asked "What is your favourite cartridge?" Amongst the 'usual suspects' of Ortofon A90, ZYX UNIverse, Koetsus etc Audiofeil proclaimed the Signet TK-7Su his favourite. This interested me as my favourite has recently become the Signet TK-7e so I jumped in as is my want :-) Soon thereafter, the Professor himself (Timeltel) chimed in with the Signet TK-7Ca! Three votes for a 35 year old MM cartridge despite all the supposed advances in cartridge design and MC technology? A more interesting detail was that this common cartridge was specified with a different stylus assembly/design by the three of us? Could the differences in styli change the essential character of the same basic cartridge I thought to myself? Egged on by the Professor (as he likes to do), I purchased the No.3 stylus assembly from WilliamThacker and have been comparing the two for the last couple of weeks. At first the NOS No.3 stylus had an atrophied cantilever assembly making bass overly prominent and recessing the midrange. With the Professor's help I was able to loosen the cantilever and was able to hear the rare beauty of the TK-7Su. To say the differences to the TK-7e are subtle is a 'given'. I won't pretend that I could pick the two apart in a blind test yet on familiar material the 7Su exhibited a more 'bulging' midrange and a slightly narrower soundstage........it just couldn't quite extend beyond the width of the speakers. That said, I can see how the attributes of the 7Su could be entirely system dependent and may be just what the doctor ordered for certain combinations? What does the 7Ca bring to the table I wonder? The quest is on for this stylus assembly although the AT-20ss stylus will do the trick says Timeltel? What a smorgasbord of choices these wonderful MM cartridges bring with them? Why let the manufacturer choose the stylus profile which he thinks is best as in........Moving Coils!!!? Perhaps all the choices are just too much?..........but when you hear these sounds........all is forgotten :-)))) |
Dear Professor, A swing at the ball??........I'd say you damn well hit it outta da ballpark? And we don't even follow baseball down here. In cricket jargon.....I'd say you hit for six! But you say add a touch more impedence for the 7SU?.......no can do. I'm at my max of 60K Ohms.......but your thoughts have inspired me to experiment with capacitance perhaps?
I will 'second' your AT155LC plug. To my ears this cartridge appears to be the grandaddy of all the Signet TK3, TK5, TK7 series models?
Acman3, at this stage I slightly prefer the more natural balance of the midrange in the TK7e although I have yet to Timeltel's recommendations. As I say, the differences are subtle and many of my friends are startled and impressed by the TK7SU more so than the humble 7e.
Mark, if I still had my AT20ss and hadn't destroyed the NOS stylus assembly (don't ask?), Timeltel says that this stylus will more or less transform the TK7 into a TK7LCa....did I get this right Professor? |
Oh oh......wonder if the EPC100Mk3 has the same stylus assembly? Mine is still working well but I'm going to listen a whole lot more to it just in case it carks it in the near future? |
Dear Raul and Nandric, That guy in Melbourne is a very reputable dealer from whom I have bought one or two items However he is not my main dealer who is Goldenageaudio......also in Melbourne from whom I have bought many more items. You can however make him an offer and he will certainly be amenable. |
Dear David, I agree with our friend Nandric. Very interesting and valuable measurements and conclusions. I also hope you will expand thereupon? Perhaps the Professor (Timeltel) will have some thoughts on your studies? That is if he survives his race around Indianapolis?! Best Henry |
Dear Eckart, Welcome to 'The Dark Side' :-) The Empire 4000D/III is a fine cartridge with many likable traits IMHO. There are also many other vintage MMs out there which bring other strengths to the table (pun intended). There is a thought, sometimes voiced here, that those with SS gear seem to like MM/MI cartridges whilst those with tubed gear seem to prefer LOMCs? With your highly refined tube systems, it will indeed be interesting to hear your further thoughts on the Empire when you have played it for awhile? As you say......"Fun Only". Cheers Henry |
there is always not only one solution but many I think Raul, that even you would have to agree with Thuchan here? At least in the world of audio? |
Dear Raul, I also didn't expect you to like the Signet TK-7SU as you liked so much the AT-20SS and the Signet TK-10ML. Both these cartridges sounded thin and rather flat to me with a recessed midrange (which for me is a killer in itself) and a rather inadequate mid-bass. The lower bass response of both these last two cartridges was similarly deficient in my system. The TK-7SU on the other hand, ticked all the boxes left bereft by those last two. As Timeltel correctly states, the cantilever suspension on the 7SU at first made my example sound eerily like the 20SS and 10ML but after treatment to 'loosen' the suspension, the cure was apparent. The TK-7ea (No2 stylus), is in many ways, just as good as the 7SU IMHO. These different experiences are interesting and make other recommendations difficult to interpret? |
Dear Raul, As we have all concluded long ago........there is no 'right' or 'wrong' in audio? It's just interesting that a great many lovers of, and converts to, your MM convictions, are hearing quite radically different qualities to the same cartridges? Minor differences we could all understand........but these variations are troubling. I have my AT-155LC mounted in a Micro Seiki 303 titanium headshell. My Signet TK-5Ea is on a Denon PCL5 headshell. My Signet TK-3E/155LC is on a Denon PCL7 headshell. My Signet TK-7Ea/SU is on a Micro 303 headshell. My Signet TK-5/155LC is on a Micro 202 titanium headshell. All the above headshells have been swapped between the Grace G940, Micro Seiki 505S, SAEC WE308, Fidelity Research FR-64s and Fidelity Research FR-66s tonearms without changing character to any significant degree. |
Every time I read a reviewers caveat about the latest component (cartridge, phono-stage, amp, cables, speaker) but mainly LOMCs and I see the phrase......"it highlights all the faults in the recording process so that many of your records will be ruthlessly revealed as unlistenable"........I immediately know that the component under review is not a relevant item in the pantheon of true Hi-Fi components. Every new or vintage component of value I have ever heard, has made the joy of listening to vinyl ever more so. And yet there still exists amongst us, some masochists who believe that a 'truly' neutral and accurate component can actually make the sound 'worse'.........and that is a 'good thing'? Not for this little black duck!! |
Halcro: how compares against digital? Dear Raul, If your analogue sounds like digital........everything is clear to me :^) |
Dear Eckart, What you said about the Audioquest Cheetahs interconnect cables is intriguing? These cables enabled you to hear 'into' the MM cartridges far better than the Mogami interconnects? What do you think it is that 'opens up' the MM sound through the Cheetahs that LOMC cartridges don't seem to need? Cheers Henry |
Dear Eckart, I'm so pleased you hear the Signet TK-7SU the same way many of us here, also do. I'm particularly pleased that this opinion of yours comes through hearing the cartridge via the most impressive collection of high-end components I think I have ever seen? And particularly............powered by valves which some on this Forum, seem to think are too 'warm' for MMs? As with most things in audio Eckart........you have gone straight to the 'top' IMHO with your sampling of MM cartridges. Your findings are valuable indeed :^) Cheers Henry |
Dear Raul, I think that you and I are in agreement about the value of removing distortions throughout the analogue audio chain. As you imply......this is not as easy as it seems for often we unaware that in fact we have been happily listening to 'distortions' of one kind or another for a long time? It is only when a particular component is inserted which 'lowers' some distortions, that we recognise a true improvement in our systems IMHO? |
Dear Raul, Please don't take it as an 'insult' when Timeltel says your system is 'tuned' to your preferences? This is surely what we all have done?............especially over 20, 30 or 40 years? The fact that you see your 'preferences' as being 'neutrality' and 'truth' is probably not too different from many of us here however the 'truth' and 'neutrality' to you, may be subjectively different to mine? We see regularly that some of us agree on some things and disagree on others in this Forum? This simply shows a difference in preferences and experiences and is nothing to be aggressive about. It is when you believe that your 'preferences'.......and only your 'preferences'.......are the right ones, that you rub people up the wrong way? As Timeltel says.............Peace. |
Arm/cart res freq is an overvalued aspect of the relationship. MOI (moment of inertia), bearing friction, damping are all of greater importance IMO. Arm design and energy transmission/dissipation, including relative mass of parts, is critical. I agree. There appears to much we don't understand about tonearms and cartridge matching? I can confirm Thuchan's experience as I have tried many high-compliance MM cartridges on both the FR-64s and FR-66s with excellent results. I believe this demonstrates just how good (and universal), these two tonearms are? Put a very low-compliance LOMC into these two arms and they are spectacular. I've found the same thing true of the Continuum Copperhead tonearm which sounds wonderful with high-compliance MMs as well as with the low-compliance LOMCs. The Graham Phantom II on the other hand, whilst good with the low-compliance LOMCs, could simply not handle the high-compliance MMs? A great universal tonearm is a rare and valued beast. The great MM cartridges like the Signets, can sound just a smidgen better in lower-mass arms like the Micro Seiki MA-505s or SAEC WE308 but we're splitting hairs here really? |