Anyone interested in a decent cartridge who cannot get hold of a GLanz, might be interested in this: http://cgi.ebay.com/High-End-MI-Cartridge-EMPIRE-1000GT-NOS_W0QQitemZ190343705632QQcmdZViewItemQQptZLH_DefaultDomain_0?hash=item2c515e7420
Good luck |
Raul,
If it makes you happier and gives your opinion a little more fact, the AC3300 places the G5 exactly on the null points and at the exact overhang and off-set when you use the MC-A armwand, which is what I am doing. Now, believe that churlishness or ignorance should be no excuse to try this gem.
If you wish to continue giving opinions in complete ignorance and are not willing to learn any longer, so be it and good luck. I will not respond again until you have the relevant knowledge to comment. |
Siniy123,
Many thanks again. Is there anywhere that I might find the Astatic MF series linked to the Glanz line? Also, as always, anything further would be truly appreciated.
For example, is it true that you cannot set effective length/overhang nor SRA with a glanz cartridge but that they operate wherever the tonearm drops them - as long as the tonearm is set at its correct position? What tonearm/s play best with the Glanz and all the other questions about performance, peception and comparisons...?
Any help... |
Thermonicavenger,
Many thanks for that. No, anything you can tell me about the MFG line will also prove very useful - as with anything else that you might glean in the days ahead concerning Glanz in general and the G line in particular.
All and any contributions welcome |
Todd,
Many thanks. I saw this but am very dubious about it.
All,
In fact, I have already seen all of these pieces (for which I am truly grateful) and this only heightened my curiousity.
The claim that Glanz is German would seem to be substantiated by the name of the range: "glanz". However, the pieces from Vinylengine and the cartridge data base make explicit claims about it being a Japanese product. Maybe the Astatic link would be the answer (meaning, Japanese made under/for a German owned company).
Raul,
They are all cited as being moving magnets. Even the Japanese retailer from whom I bought mine has them down as Japanese made moving magnets. What makes you think they are moving flux (or, excuse my unabashed technical ignorance but, are they the same thing?)?
Please keep an eye out and if anything further can be found out (maybe by a former owner), it would be hugely appreciated
Many thanks |
Hi All,
I just had another thought. The G5 and G3 cartridges are not noted in the French review of the Glanz range. Could these products be later, German productions?
I'm dubious about that argument though, if only due to the serialisation of the range. Would Glanz (Japan) make a G1 and G7 skipping the G3 and G5 for these latter two to be subsequently produced (German)? I doubt it and believe they are all the same manufacturer (even if only German 'owned'). However, you can see my confusion and need for clarification!
Again, any help really appreciated
Many thanks in hope and anticipation |
Thrmonicavenger,
Many thanks for this. Do you know about any difference in sound and performance between the MFG line and the G line? Also, do you recall how the two lines were esteemed at that time?
Raul,
Again, many thanks. I think that is correct and would tie in with my above suggestion about producer/owner distinction. I respect the technological fervour of both Japanese and German engineering. The word "precision" can hardly be used without these two nations springing to mind.
No, my interest is in knowing the tool that I am about to use. Ultimately, I'd hope to be in dialogue with users who can advise and recommend on issues such as tonearm matching, general set up and performance characteristics.
In the meantime,knowing the history of its production and its standing within its line and time is an interesting part of this learning experience. I am amazing grateful for all contributions and any scap of informaion would stil be welcome.
Thanks all |
Raul,
Without a doubt and my irritations with you are not universal. I do appreciate many of your qualities and opinions.
I also hope to continue to learn |
Siniy123,
Many thanks again. I am currently using it to excellent effect in a high mass tonearm. However, I really want more rigorous information and comparisons as a key part of the learning curve that I am hoping to go on with this remarkable cartridge.
My interest is proportional to my surprise and pleasure at getting acquainted with this most unexpected arrival. I do not know (ie. have not knowingly heard) the Astatic range but if it truly compares in performance, just excellent.
Any first hand experience or even second or third hand experience with the G range of Glanz cartridges (and/or with the MFG line) would therefore be just brilliant. All contributions are exceptionally welcome.
Kindly |
All,
Just one additional factor that makes the Glanz G5 a true joy: so long as the tonearm mounting position is spot on you just need to set VTF and VTA. Everything else (SRA and overhang) disappear as issues. Given what I am hearing at this early point, this begs the question, why were more top range cartridges not built with an integrated headshell and the loss of the usual set up dramatics??
Oh well... |
Siniy123,
When you note that, "In my opinion Glanz G7 is basically is Glanz MFG-71L, which is same as Astatic MF-100", the Vinyl Engine article gives quite distinct characteristics and suggests that the G series of Glanz are superior (at least as far as calibrated measurements are concerned).
I've already posted this on Raul's 'MM v MC' thread but would just like to repeat my plea for any information on the Glanz G5, G7 or MFG-71E or L.
Many thanks |
Is there anybody out there??? |
Alec,
Could you direct me towards the picture you posted (URL)?
Many thanks for your refreshing feedback in what was looking like a complete drought |
Many expert threads run on other sites and one that might be useful in considering issues of capacitance and cartridge loading is: http://www.vinylengine.com/phpBB2/viewtopic.php?t=6674
I hope this leads to offering some help |
I just lost out on a bid for a Glanz G7. Believe it or not, I fell to sleep and missed being outbid at the close of the auction (it closed at 3:55am local time). I feel physically sick over this. The struggle continues - with slightly less happiness at this particular moment:~( |
I have been testing the Glanz G5 extensively and I've grown more impressed with each comparison that it has undergone in relation to other renowned cartridges.
A curiousity around its stellar performance is the fact that I use mine in my Audiocraft AC3300 tonearm with the s-shaped wand. This means that overhang and off-set are way off the standard and, obviously, cannot be adjusted in their permanent headshell. Nevertheless, the Glanz outperforms everything that has been reviewed in comparison to it. This finding being based on my own criteria of assessment and reference to specific live performances at familiar venues. Simply phenomenal but difficult to find!!!
If the Glanz G7 is indeed an improvement on my G5, my mind is literally boggled. I should suggest that although the G7 claims better performance parameters statistically, you need always to be careful in following these as the sign of a better cartridge. Similarly, one needs to be careful in accepting a manufacturer's necessarily claimed hierachy of its products. These often fall back on a parameter of improved statistical behaviour, with prices and performance being seen as increasing year-on-year. Only careful auditioning will tell the true tale (a case in point here being the ADC XLM range).
If you get the chance and love live music (and your system is generally up to it), the Glanz G5 cartridge simply demands your attention. |
Raul,
I hear your opinion and appreciate the received logic that underpins it. It is too difficult to explain the lengths and depth of testing that this has gone through.
Really, and honestly, if you get the chance you need to hear this cartridge. The design of cartridge in headshell was in fact the preferred manafacturer's set up and the performance statistics are also higher on these G series cartridges.
Some say that a millimetre here or there is not essential but for me that is "way off". You might differ but you really would not be able to question the performance of the Glanz G5. I know your commentary well enough to be certain that you would not want to continue to talk from a position of ignorance and I'm sure you will let the cartridge speak for itself - when you get a chance.
The entire frequency range is far superior to so many of the popular cartridges that I expect nothing but complete satisfaction and I am willing to be that you will love it (or the G7, MFG-71E or MFG-71L, assuming the G7 to be superior according to performance statistics).
Thanks for your kind comments they are always interesting and you will no doubt be surprised. |
Raul,
On my suggestions, they stem from your willingness to cast opinions about everything and every cartridge ever made and enter a thread about Glanz before declaring:
"I don't want to follow on this Glanz subjects. I think I already write my opinion/worries."
Don't get so stressed out. Ignorance is everyone's option. My change to the MC-A was intended to remove your considerable prejudice to learning and trying something new. This latter fact leads to my concern about your mental stability - given your professions elsewhere to the contrary.
Now I can conclude this matter by suggesting you return to the Glanz thread when you know the cartridge and - therefore - what you are talking about. That's it...
Cheers |
Lewm/Dgarretson,
Corrections include: 1000ZE/X not SE/X (Downunder's humour obviously stuck somewhere!). Secondly, I meant its 'soundstage width and depth' and not its 'imaging' as an immediate positive.
Cheers |
Hi All,
Just a quick noted about the design of the G series Glanz cartridges. The distance between stylus tip and end of afixed headshell is 50mm. It uses silver connector cables in the headshell. Once afixed to your tonearm, the key issue is that the tonearm is exactly set at its correct mounting distance. You then need to ensure VTA and VTF.
Once you achieve these (very simple) tasks, the cartridges are designed to operate at their optimum. Regardless of tonearm recommended overhang parameters (and here one of course recalls the error in the Ikeda IT407 tonearm set up instructions and template!!), the cartridge headshell design will be at its optimum. You will, for example notice that off set is accurate at both null points.
It is not a cartridge for the uncreative nor for the hifi obsessed: because you will need to use your ear (and/or those of professional musicians or piano tuners - as is my case) and follow the above instructions above anything else. What it/they are is a tool with an unrivalled - in my experience - ability to convey live music in a manner that recaptures live performances at specific venues where I have experienced these.
However, forget any dogma and - as I suggested to the last poster - let your ears guide you. They are VERY special. |
Hi Raul and Siniy123,
Thanks for sharing your views, information and opinions. Yes Raul, the Spu cartridges for example have a 52mm distance and are easily optimised engaging the same methods.
Siniy123, I will try it in my Ikeda once I have the time. Also, thanks for the heads-up about the 1000 ZE/X. I gave Raul my Empire because it was in a poor condition and (as with the M20FL Super and Andante P76) its bass performance was very hifi-ish. I might try it once I see enough feedback from a range of convincing users to merit my giving it another go.
If you get the chance Raul, I repeat that you really should give the Glanz (given your beliefs, maybe a MFG-71L; MFG-71E or G7) a go. Given the fact that there are various recent dialogues about the qualities of vintage cartridges, I don't think you should let the age of the Glanz make you quite so prejudiced.
I'd not claim it/they is/are the "BEST" cartridge[s] ever made at any time but I would place my honour behind my claim that it/they is/are [a] great cartridge[s]. All Raul's guesses are not as weighty as they will be when he has some experience in this area. Nevertheless, I do welcome your comments if not being convinced by certain claims.
Again, a genuine thanks |
Raul,
Your confusion is easily answered.
1, I was using the AP-300S, which did not quite meet the overhang.
2. I replaced it with my MC-A armwand which does.
Your comprehension skills and mental stability not withstanding, I hope that helps
Cheers again |
Raul,
Well, where to begin?
Firstly, I must apologise for your interpretation of my reference to: "in conversation and debate with friends whose hearing ability might exceed the Audiogon norms". I can now see how this might read as an attack on the listening ability of other Audiogon contributors. It was not meant to be so. The Agon "norms" to which I refer are varied but include the (possibly necessary) tendency to accept persectives from people who are playing in different set-ups, environments and with different hearing abilities, tastes and expectations. That a few of my friends are professionally well situated to demonstrate exceptional hearing skills was not the point so much as that we hear familiar music both on the same systems and at the same venues. I did not mean to upset or undermine you and am sorry for the obvious upset that my comment has caused.
Although you have not addressed the questions concerning sonic variations and live performanceS, I do appreciate that you used to refer to your wide experience of live events and its influence on your views and selections. Some of the books that I have referred to simply enable us to draw out many of the consequences that relate to such a criteria (varying live performances) in contrast to recapturing the single performance as recorded on mastertape before being reworked onto vinyl. Again, if you felt that I was making an attack on you personally, I promise I was not and again apologies for any lack of care with my words.
Next, regarding the subject of the Glanz, I wish you every success in finding the MFG-71L. I have only seen two come up for sale in the past and these were both on Japanese sites if that helps. Although its specifications are clearly not as good as those of the G7 (and not neglecting that the G7 has unique design characteristics), it might better satisfy your targets and/or outperform the G7. Maybe when you have one I will send you the G5 for comparison and I would not close my eyes to the possibility of the former being better under certain conditions.
I also respect your logic about the connector cables on integrated cartridges. However, what can I say? It has not been my experience with a few of these in real life. I wonder if we could upgrade the coil wires in our favoured cartridges and if the OCC wire is an unnecessary degradation!? I'm not joking with that question, although it either points to accepted compromise or opens a series of challenges. I know that Len has gone down that route with his Music Maker Classic but I would not pay the asking price until I have respected or wide enough first-hand feedback as some guidance.
Regarding the offset and alignment of the cartridge, all I can do is refer back to the manufacturer statements that I have provided before about the integrated cartridge being designed "to operate on most standard tonearms - with a 50mm standardised length." As I say, my experience supports their views although I am not saying that one of the two specific tonearms that I believe I have now identified would not get even more out of the Glanz[es]. Once I get hold of either arm I will hopefully be able to fully address our remaining concerns regarding alignment. On another positive note, I have heard back for Van den Hul and he can definitely retip the G5 and G7 and so longevity need not be a major problem.
Please feel free to contribute your opinions. They are frequently appreciated and I do not align my personal identity with any cartridge or hifi system. A disagreement on either need not therefore be a hassle for me.
Happy listening and look forward to hearing again |
Raul,
Look, you and I have some obvious disagreements and you tend to interpret things in a very negative and small spirited way.
How and why did you find out that "hidden" fact - about my initial set-up?
I do dispair at times! I hide nothing and you seem to accuse others of what you must obviously be capable of. You need to reflect on our discourse over the years and move on.
I have just secured the pending arrival of the G7 (among other cartridges) and will see how well that performs. Given the near infinite combinations of cartridge and all aspects of the system I still think you are niave in constantly playing scoring games (against strangers or cartridges). All I can tell you is what I prefer and not the BEST. Take or leave it but do talk from experience, please!
Cheers |
Hi all,
Anyone who wants to view this apparent concealment can trace my posts (including the initial ones on the MM/MI thread initiated by Raul. My posts on 09-10-09 and 09-26-09 there will give you a sense of the evolution of my listening etc). You might also be able to reflect on how and why he found this apparently dastardly fact out!!? I understand his disappointment on not knowing everything but he will have to get used to that as part-and-parcel of the human condition. Raul, just be pleased that I let you know about my set-up and look back to former threads on which I had noted (very clearly, my fastination with the plug and play approach that I was enjoying with the Glanz). To move on...
I'm awaiting the G7 and will let you know how it sounds once I've given it the months of testing that it takes for me to form an opinion.
I now have the Glanz G5 and my Astatic MF100 running at the same time. Strangely, the Astatic seems to be sounding better in my Morch DP6 green dot than it did in my other tone arms. I am now re-evaluating this in this setting and it is amazing how much difference different combinations can make.
As I constantly promised with my G5, I will let you all know when I have had time to test these and find my preferneces. If such an obvious maxim were needed for sane adults, beware that my set up, listening environment, life experiences with live music and related psychoacoustic preferences may not be the same as yours (or, as I believe the acronym goes, YMMV).
Thermonicavenger, have you had a chance to get your Glanz a stylus yet?
Cheers |
Hi All,
The Glanz G5 is still very special (in case there has been any confusion regarding my position), even in the new Audiocraft (MC-A) armwand and "on target" overhang etc. A case in point would be a direct comparison between it and the Astatic MF100 when dealing with high frequencies. A simple test is to play Verdi's 'Vedi! Le fosche notturne' (Anvil Chorus) on both cartridges and distinguish the sound of the anvil as reproduced on both.
I'm awaiting my G7 but would emphasize that I do not want anyone to be put off trying the G5 by misunderstanding anything that I have recently written in this thread: if the opportunity to buy or borrow one presents itself. In my system and for my criteria - it remains a convincing, engaging and beguiling tool for musical reproduction of the highest calibre!
I hope the statistics make my G7 even more convincing. Time will tell!! |
Hi All,
If the data on the Cartridge database is correct, the performance parameters of the G5 would appear to exceed those of the G7 and MFG-71 range (I do not possess historical data and so use the atemporal term "range" here rather than "series", which implies some temporal progression).
Some will remember that this thread was initiated to find out more about this particular gem and to discover why the G3 and G5 do not appear in the same brochures as the G1, G7 and MFG range. Could those two come from a different period and, if so, are there any notable production and performance characteristics?
Any real knowledge would still be hugely appreciated |
Hi All,
Just a return to the issue of set up on the G5. I should point out that there appears to be a reason behind my initial findings for the plug-and-play nature and ease of set up. I must also clarify that I receive a far better sound when the cartridge is placed in the AP-300s armwand than my longer MC-A armwand. Apart from shouts of "distortion", could there be any reason for this perception? Well, not unlike the experience of one of the posters here, there might have been an happy coincidence of set up.
I was recently reading literature for the Nagaoka MP50 cartridge and found that they also recommended the MP50H as their top model due to the use of their integrated and specially resonance matched headshell:
"One of the special features of the MP-50H and MP-30H lies with the magnesium alloy headshell."
Interestingly, when it comes to the issue of set up, Nagaoka, Japan state that:
"Adjust the overhang to proper length to minimize distortion. (At present the cartridge is fixed at a position in which h in figure 1 measures 50mm. This matches the overhang in most tonearms.)"
When I first set my Glanz G5 up (which, as I noted earlier, has the same 50mm length), I was removing my Nagaoka MP50 from my Audiocraft AC3300 tonearm still bearing the AP300S armwand. Obviously, mounting distance remained the same for the tonearm. Surprisingly though, the VTA of the Glanz also seemed best in the exact same position as the MP50 had just occupied, requiring no adjustment (although I was using my MP50 with a 2-3mm elevation at pivot). This left only the VTF to be adjusted to 1.5g. The result in this set up is the reason that I advocate others to try it out and referred to the plug-and-play nature of my experience with this gem. I can therefore only refer to my consistent argument that this G5 is a great cartridge.
I hope that gives real clarity and less controversy
Ejoy |
Hi All,
It appears that the Glanz, particluarly my G-7 has some common roots with the Astatic MF range as had been suggested earlier in this thread. However, there are clear differences, which might explain some of the clear sonic differences in performance. A couple of references on Japanese sites provide the following detail:
"Mitachi Onkyo Seisakusho (brand name "GLANZ"),
Pickup cartridge called as "Moving Flux"(see also 4011417). Unique construction having merit of MM/IM/MC. Also see Design patent D266504(1982) assigned to The Astatic Corporation (cartridge model MF200). Also 4123067 about unique stylus pivot suspension (embodied in model G-7 cartridge), 1978"
"New type MM cartridge (coils fixed to the end of yoke) looking like mixture of MM, IM and MC, 1977"
I hope that is helpful/interesting to others as well as myself. My G-7 is on its way as I write: can't deny my excitement!!!
Cheers |
Hi All,
Well at long last, I now possess my Glanz G7. It will be some time before I test or report on it as it needs a suitable tonearm, which I do not currently possess. I have identified what seems to be the best option and will be keeping an eye out for one going at a reasonable price. I suspect this exercise might be necessary to maximise the potential of both my G7 and G5 cartridges but will report when I am certain.
In the meantime, I have acquired various rated MM/MI cartridges and will be testing these. |
Hi All,
I've not been able to resist. Having sent my Technics EPC-P100 Mk4 cartridge off for a touch up at Van den Hul, I put my Glanz G7 back on my Audiocraft AC-3300 tonarm last night with its original arm wand (AP300). Despite the fact that it does not match up on normal overhang nor null points, it rocks!! If there is distortion, I'm not hearing it. However, I'm still looking into a tonearm that might bring even more out of it with better alignment. Along with my soon-to-be revamped Technics, that could make up my two MM cartridge selection for my final set-up (along with either the Dynavector DRT XV1s or a - still unheard and unpurchased - Ortofon A90 MC). That my Azden YM-P50 does not make the shortlist should say a lot about my tastes and these cartridges. I try to indicate what I mean here.
If I were to group my above favoured cartridges, they would sit along side the Nagaoka MP50 and B&O MMC2 in voicing. While the Azden would sit along side the Andante P76, ADC XLM 2 Super, Ortofon M20FL and Audio Technica AT20. My tastes and experiences of live music obviously lean to the less warm presentation and incisive definition at frequency extremes of the former group (that is, the Technics, Glanz, B&O, Nagaoka and Dynavector) than the warmer sound and fuller midrange of the latter group and their like.
I should hasten to add that the live venues from which I seek to draw reference and on which my appreciation of high fidelity bases itself means that your mileage might invariably differ from mine. Which is closest to the mastertape of the songs is a totally different (and a difference that is both very significant and massively overlooked) issue. That one performance that the tape captures is not THE definitive sound produced by the same musicians performing the same music in distinct venues on distinct occassions. On the longer thread about MM v MC that Raul Ireugas started, I already point to two very useful books that will assist in clarifying why distinct systems will continue to satisfy distinct expectations without necessarily being 'wrong'. Voicing of cartridges and our appreciation of them is very, very complex. Nevertheless, the Glanz G5 and Glanz G7 seem phenomenal cartridges to my hearing and based on comparisons with the various named cartridges and many others.
I'll return once I have the new arm and have heard these under presumably optimised conditions. If you come across one in the meantime, definitely worth a try. |
Hi Again,
By way of quick clarification, I should also stress that I am not claiming that each of the noted grouped cartridges sound the same or are of the same quality. My division is based on taste and experience and will hopefully be read with some sensitivity to such short-hand.
In this light, my final MM selection might also include my Audio Technica ATML-170 OCC, which I will be sending off for a retip shortly. Its performance seems to sit along side my crisper sounding favourites just as I would also place my Music Maker 3 among the warmer sounding alternative options. I also think that my Astatic MF-100 is very similar to the 170 OCC but just slightly prefer the Audio Technica. If I could accommodate more than 3 cartridge/tonearm combinations at a time, I would not need to shorten my MM shortlist of the Technics, Glanz or ATML-170 OCC down to two. However, I still require space for my final MC alternative option.
Hope something here is helpful |
Raul,
Many thanks for your view and I do believe we have indeed heard many different things from similar equipment but such is life. I think hat the raising of the "fuller and warmer" issue above has not quite grasped my point nor the basis on which it is drawn.
"I should also stress that I am not claiming that each of the noted grouped cartridges sound the same or are of the same quality. My division is based on taste and experience and will hopefully be read with some sensitivity to such short-hand."
Hope this helps but am always open to further discussion: how else can we all learn and develop? Speaking of which, my quest is nearing its end, once I get the returned cartridges and assess my short list - in conversation and debate with friends whose hearing ability might exceed the Audiogon norms. Then again they might not but if not that wont harm anyone else.
Lewm,
I hope the above helps and if you read through this short thread you should see some of the answers to your questions/uncertainty.
All the best |
Lewm,
Apologies but I was pressed for time and so did not fully respond. Well, my son no longer desires his chauffeur and so I'll try to clarify some of your points.
Glanz was a Japanese make ["Mitachi Onkyo Seisakusho (brand name "GLANZ")] that was distributed in Asia and Europe (and probably elsewhere - as one US retailer claims to have sold them in the past). I also had not heard of them before I bought one on trust following advice from an Asian friend. I have obviously been grateful for taking this leap of faith and this is the main reason that I introduced it to you and others on the MM v MC thread.
I would say that the differences between all of the named cartridges are "more about details". It could be different tonearms or Raul and my distinct views and perceptions on isolation systems - or a whole host of alternative reasons that effect out distinct perceptions on several pieces of hardware. I have previously told Raul that I appreciate our differences although I cannot fathom or explain all of them away as easily as I would probably like.
It is good to see that you are now getting better performance from your Azden. I also think it is a great cartridge although not in my top three moving magnets. Why? Maybe as simple as distinct tates based on familiar listening positions in our distinct auditoriums or acoustic distinctions in same!? As with many of those who share my perceptions, live performances rather than mastertape compliance seem to govern us. I'd therefore naturally expect your perceptions to be distinct in some ways and truly do applaud that.
The Glanz is difficult to get hold of but, I clearly believe, worth the effort and patience. I might send my spare (G5) to Raul for audition at some future point and maybe he will again share his perceptions with you. I do hope so but am certain that your collection of MM's offers sufficient options for you to get by without one.
Hope this helps and wish you continued and rewarding listening |
Hi Steve,
Great to hear that more great equipment will be making its way to these shores. I'm sure you'll enjoy the Astatic and you can find a lot of detail about set up and various experiences of it on the 'who needs a moving magnet' thread started by Raul Ireugas here on Audiogon.
Do let me know how it turns out and good luck
PS. Have you thought of posting your system on this site? |
Lewm/Dgarretson,
I must admit that I have so far only heard the Azdens for limited periods - as I have posted elsewhere on Audiogon. My perspective on it might change but I have given my honest opinion of it now. Sadly, the Glanz, Technics, ATML-170 audition has been my main preoccupation and will remain so for some time to come. Lewm, I share and see no problem with your caution and slowness in making decisions. Act in haste...
On the Empire 1000SE/X, I believe it could be a fantastic performer but it is definitely on the warm side of my audio spectrum. I owned the one now used by Raul but is was in poor condition at that point. Nevertheless, the one statement that I made to Raul before I agreed to his suggested cartridge exchange was that: "From what I have heard so far I believe it could be a very special cartridge." The imaging and timbre were two of the most immediate qualities that stood out. However, and this might be down to the condition in which I found it, my Empire shared a feature with many of the cartridges that I describe as warm and that is its imaging capacity - or relative lack thereof. |
Hi Nandric,
Thanks for your thoughtful reflections on what I am sure is a more common experience than it might generally appear. I agree.
A case in point might be in comparisons of the famous interpretations/performances of Bach's Partitas by Arthur Grimaux (Philips, L 02.207 L) and that by Nathan Milstein (Deustche Grammophon, 2721 087). In my experience, the latter seems to be favoured by many professional violinists while the former tends to be favoured by hifi buffs. Go figure, as they say!!
Happy listening |
Hi Nandric,
Just to clarify a little: I agree with your distinction about perceptions of art and about the extensive complexity of any judgement of art.
However, I think that Baumgarten's work on aesthetics/taste/truth and Kant's critical response to this seems to have left the issue of 'art', 'knowledge' and 'truth' as equally complex and aporetic concerns: probably an insignificant pointer, given the general flow of your views as I read them. |
Hi Nandric,
I agree to some extent: although the third Critique might not quite uphold the distinction. Personally, I'm not quite certain where my philosophical leanings should be categorised but I obviously find much of great relevance to our concerns in certain German philosophers.
With kindness in gratitude |
One of my earliest systems had a croft preamp-phonostage with a Leak ST60 amp. I still have fond memories.
Welcome aboard |
Hi All,
Been spending quite some time with my Glanz cartridges and doing some thinking. I recall certain Japanese cartridge makers (Audio Technica etc) have produced high quality models for the Japanese and Foreign market but kept one or two "special" models for the Japanese only market. These have apparently often outperformed the top models offered elsewhere.
Well, Glanz produced their cartidges for the Japanese and European market. However, the literature that I have been able to find suggests that the G5 and G3 models were not exported but kept for the Japenese only market. This would partly explain the distinct performance characteristics that are given on the cartridge database etc for the G5 when compared to the G7 or MFG71L/E.
This makes things a little more complex than an alphabetical serialisation in which the hierachy of these gems would run from G1, G2, G3, G5 to G7 at the top of the sonic food chain. This makes for interesting comparisons between my G5 and G7.
More as soon as... |
Oops,
No G2 (as far as I have heard!!) - G1, G3, G5, G7 only. |
Hi All,
I have recently received my Technics EPC-P100 MK4 back from Van den Hul following his full treatment of it. It's only had 8 hours play in this new condition so far but WOW! It does sound different to its previous state but I had bought it NOS and it apparently had become 'brittle' in certain areas (VdH report).
Anyway, my initial playing of it has emphasised one or two of the characteristics that I am enjoying with the Glanz G5. The latter doing slightly more with dramatic contrast in its dynamics. However, I cannot (should I feel the need to) compare until I have optimised the set up for both and given them far more time. My Technics also seems truly great at this early stage.
Fun times ahead |
Ddriveman,
I wanted a retip following initial play and asked for a complete overall to obtain the optimum performance and maintain its original character.
The report is very brief and I have asked for more information from our VdH representative in the UK. However, the costed report notes the following:
"Tip, boron brittle, boron".
I hope this helps and will let you have more information once/if I get it.
|
Hi All,
I recently asked a technician who is a friend in Japan for any information on my Glanz cartridges. His initial and fairly brief response was as follows:
"Glanz is very good cartridge and performance is excellent... Phono cartridge for this brand come from Mitachi Onkyo Seisakusho factory. Mr Kazuhiro Ikeda some time provide design input and make patent for induced magnet cartridge design plus Mr Tsugikuma Minamizono provide design input and make patent for moving flux cartridge design."
This points to the above discussed links with and distinction from the mighty Astatic MF100. I deeply respect both his knowledge and judgement and I will probe him further once his travel demands have calmed down a bit. |
T_bone,
Many thanks for your kind imput. I'm now feeling slightly more informed about the Glanz and their history. I just need to play them in other conditions in order to have a definitive view on their performance but, at the moment, the G5 sounds a superior cartridge to its G7 sibling.
All information will be gratefully received. Speaking of which, if anyone could find the official performance specifications for the G5 and G7 (other than the information on the cartridge database or Vinyl Engine, which are not as helpful here as I would wish) I would really appreciate the related information.
Thanks again |
Hi Ddriveman,
I've not actually heard the MFG71E or L. However, the specifications are not as good as those for the G5 and G7: although specifications don't always tell the full tale.
Why, have you seen one on your horizon? |
Hi All,
My MM/MI cartridge shortlist is now in its final penultimateness (?). I'm down to my Glanz G5, Glanz G7, Technics EPC-P100c Mk4 and Audio Technica ATML-170 OCC.
How good are these? Well, I have sold or am in the process of selling on eBay my B&O MMC2, Audio Technica AT20 SLa, Empire EDR9, Empire 1080 LT, Nagaoka MP50 (with 2 unused and original NOS spare styli), Lyra Parnassus Dct moving coil, Sumiko Andante P76, Audio Technica ATML-160 OCC, Denon DL103d moving coil, Empire Ltd 750, Astatic MF100, Empire 900 GT (with 2 unused, original NOS spare styli), Ortofon M20FL, Spectral Moving Coil Reference, ADC XLM-1 integra, Music Maker 3, Audio Technica ATF5 moving coil.
My Azden YM-P50VL and YM-P50E have not really had the time to be judged and so could still make the list. Although this is obviously a reflection of my own taste, it says something about the quality of the four remaining contenders. More soon, or as soon as I can give all of them a fair run for my money.
Bliss |
Hi All,
Just to alert you all that there is an Astatic MF100 cartridge currently for sale here on Audiogon. The seller says he also has spares.
It's close to the Glanz G5 and some might actually prefer it. Worth looking into! |
Steve,
Congratulations and happy to have been of help. Be mindful of compliance on the Astatic and positive VTA and it should reward behond your expectations.
Do keep an eye out for a Glanz. Owners rarely sell these but if you're patiant and can find one, these will open your eyes to new musical vistas - at least they have done so with mine.
Happy listening |
