Field coil dava cartridge

Hi everyone,

following up on the dava. I got my dava ref with tube power supply .

my set up now has 3 arms on 2 tables 

1. dava ref on Durand tosca arm on nvs ref turntable 

2. ortofon Anna diamond on kuzma 4 point 11” with Kondo silver wiring 

3. Lyra atlas etna sl on discovery rs toneram on krono pro turntable with Kubala sosna realization cabling .

the dava and Lyra are connected to the current amplification mode of my ch precision p1 with x1, the ortofon is connected to the voltage amplification mm/mc input of the ch.

my impressions after listening for a short period 

the Lyra , Kronos is the best with regard to soundstage , details , impact , micro and macrodynamics. Give it a score of 9.5 music soars and is big.

the dava , Durand nvs and the ortofon kuzma nvs score around 8. Both sound very diff… very musical both of them … will give hrs of listening pleasure but lack the air space and impact of the Kronos.

dava has been burning in and fortunately I have zero noise issues with it .

Does anyone have any recommendations on loading for the ortofon Anna diamond , and also any thoughts on a step up transformer… 

The low outputs and low impedence of the Lyra and dava work great with the current amplification in the ch precision 

Dear @newtoncr  : Well I think that you have the Anna diamond Ortofon recomendation that's higher than 10ohm and the cartridge it self is not sensitive ( as any LOMC cartridge ) to impedance changes if sounds different changing the impedance then that " problem " comes by the phono stage design.

A SUT goes totally against the Ortofon or any other LOMC and you don't need that instead the direct CH high gain stage be changed not only for the SUT but those additional input/output/solder joints and IC cables where the cartridge signal mus pass through and don't forget the SUT internal construction/wire.

If I was you I just forgeret about the SUT. Obviously is up to you but there is no active/sut combination that can outperforms your CH active high gain stage.

R.

@rauliruegas Be careful, there are a bunch of folk who believe that the ’terrible 3012’ tonearm is the ne plus ultra! These very same folk will come and bash you at every chance they get.

I’m with you, the 3012 is a great tonearm, if you are oblivious to bearing chatter, LOL.

Bonzo, your zeal for traveling all over Europe to audition these very eccentric systems and then to try to describe what you heard is commendable and makes fun reading, if I’ve even heard of the gear in the first place. In the photos, where did you hear Maggies backed up against glass doors? Even with the makeshift baffle that can’t be good. Anyway, now I feel normal compared to some of those guys. Which is therapeutic.

By the way, Bonzo, it would be helpful on your blog if you would define the terms you use to describe sound quality, because obviously the analysis is totally subjective, so one needs to know as much as is possible what is in your mind when you use a particular term.  For one example, what is "flow"?  If you publish a glossary of adjectives and then stick to your own definitions when writing up a system, eventually the reader can build a better conception of how one system differs from another.