Thank you very much for your comments, Mike. I greatly appreciate your informative and very helpful answer. It's refreshing getting a direct answer about a component's sound rather than one ignoring or dodging it and advising, "why don't you try component "x-y-z" instead, or "It's entirely system dependent." And yes,'sounds natural and easy on the ears' aptly describes what I had in mind, though when I mentioned "slightly soft-edged" I was trying to distance myself from the sort of super tight/clean sound I associate with hi fi-ish sounding equipment and which is virtually non existent at live orchestral concerts...Sincere thanks once more. |
Vertigo: Unfortunately, getting the opportunity to audition this combination in my own system is as difficult as reversing Earth's rotation. |
Dover: I really prefer to stick with only one tonearm, and lean toward the more compact Raven One. However, I do intend to think a little more about possibly staying with my SME IV.Vi. I just had the pros at SME in England rewire it with the very fine Audio Note internal tonearm wire, and it does sound quite good. Nonetheless, the Reed does rank high on my desire list, and I very much like its looks and features as well as being impressed by what I've heard regarding its sound. |
Suteetat...I'm curious about what type of arm material your Reed is made of. If it is wood, which type did you get? Also, is the arm internally wired with the C37 copper or silver, and do you have the copper or silver Eichmann Bullet ends or one of the other types of RCA plugs offered for the Reed? Thank you very much. |
David: Would I be correct in assuming your Ortofon arm has a pretty neutral sound? If so, yes I would imagine that combined with the Raven and Benz, it would provide a nice balance tonally speaking. I don't know what kind of music you mostly listen to, but have you detected any kind of roll off as far as presence information from anything related to the influence of Raven One itself? |
Syntax: I just stole a peek at your audio system. Speaking about perfection..............!!!
|
"The Kansui was more natural and solid...". That sounds fine with me. Thanks. |
Vertigo...Sure, I'm aware of what you're saying, and I do agree with you. And others'positive impressions about equipment will not necessarily guarantee the same for me or anyone else. We've all been through the mill, some more than others,with the experience of taking our chances on what others have said. This still doesn't entrely stop us from soliciting impressions. Short of actually hearing the product in question in our own system, what else do we have to go by? As a retiree,I don't exactly have the freedom and/or nearly unlimited funds to spend like some others in this hobby do. Notwithstanding, as you say, I will have to take the plunge on something if I want to move in a new direction. But, at least for the time being,I can continue to enjoy the relative comfort of remaining where I am until or when I'm reasonably secure about making the move, at which time the apprehension will return. Such a "tough" life coming and going with these "toys". |
Mikelavigne: Both for sale? Where to from here? |
David12: I previously owned the Zyx Airy 3 also. My feelings about it were exactly the same as yours, and I ultimately became fatigued with its sound. |
Mike: I agree, three tables and five arms---not too practical. Enjoy the Taleas, and best of luck to you. |
Vertigo...You've got me smiling, because I know exactly what you're saying when you talk about fine differences in sound, age related hearing loss and using cables for tonal coloring like the painter uses his brush. Like you, I'm certainly familiar with these things. I'm 68, and it's been nearly 45 years for me in this hobby(?). You're right, it is fascinating, and at times can be frustrating, mystifying, and let's not forget rather costly. But when they arrive, the rewards are quite substantial. Without going into details, I'll simply say at this moment I'm a bit off track in terms of where I was a short while ago. I'm confident things will bounce back fairly soon, but first I must try a few minor adjustments, and if those don't satisfy, possibly a front end change. Anyhow, thanks very much for your concern and your kind comments. My best wishes to you too for enjoyable listening!! |
Vertigo...Knocking on the Dunlavy produces a high, kind of hollow sound, but I've long known that. I've still been able to work with related equipment in such a way that I've managed to "paint" as you say a pretty satisfying sound. I read some comments on the Reynaud Supreme just to get an inkling about it. Evidently, both the developers and others who had either purchased or auditioned it didn't like some of the things they were hearing. The result was Version 2, and that seemed to have mainly erased the complaints. Frankly, at this point in my life, I'm not too interested in fishing for another speaker. If I did make a change, I'd probably go for one of the current and better Quads, but for now.....
Without details again, I partially lost what I was pretty satisfied with, a slighly warmish/darkish sound resembling what I typically hear in the concert hall, easier on the ears and musical to my tastes. I have some options which I feel offer a good chance of restoring what I like, the less expensive one(s) preferred. So that's where I'm at. Again, thanks for your ideas and desire to offer some help. Oh, and regarding the kind of shim you alluded to, it sounds interesting and worth a shot. |
Mike: if you'd like to discuss the Talea here, that's perfectly okay with me. I'd be interested in hearing your impressions too. I'll leave it up to you. |
Vertigo: Forgot to mention, I have the long discontinued VPI HW-19 Mk.3 turntable. |
"...you pick your tonearm to match your cartridge..."
Lewm, did you mean, pick your cartridge to match your tonearm? That seems easier. But since each component has its own makeup and sound, it's still a complex issue. I had an interesting experience several years ago. At that time, I had the same table I have today, the VPI HW-19 Mk3. I was seriously considering the purchase of a new table. Without mentioning its name, I was given the opportunity to audition it in my own system. I'll only say it was and is no stranger to a number of Audiogon members who have owned it or one of the other models in its line. And, it cost at least four times the price of my VPI. With this table I was supplied the armboard and hardware to mount my SME IV.Vi tonearm with either one of two cartridges I had at the time, a mid priced Benz and the low output Grado Sonata. I did let the table run in for some time. I heard what I felt were the same basic sound characteristics using both cartridges with the same tonearm. I'll mention only one that was quite prominent--a lifeless quality. I did not hear these things at all using the same arm/cartridge combinations with my VPI table. I returned the new table. There was verifiably no mechanical problem with it. This experience seems to confirm though a table "does its job well", it will also contribute to producing some different sound or sounds with the identical arm/cartridge combo.
Of course, you allude to the Reed's many different combinations. This is why I wrote to those at Reed, asking what kinds of sounds are imparted by some of their wood parts and copper versus silver wires. They also offer Eichmann silver and copper bullets as plugs inputting into one's phono preamp. I have previously done my own research as well as listening comparisons with both types of Eichmann plugs on the same cables. In addition, I've compared and presently continue to compare the sounds of different types of internal tonearm wire. It is very obvious to me that these different plugs and wires contribute to audible differences that are in no way[s]minor.
We are almost continuously reminded of the complex interrelationships between different components and the variety of sounds they produce. Most of the time, unless we're able to actually audition something in our own system, we take our chances based on the impressions of established reviewers and/or non reviewers. Typically, turntables and tonearms are among the most difficult components to secure auditions for. Considering the big sum of money one might be spending as well as the realization that though the chief reason we're looking to buy something is because of its sound, it is troubling to say the least that we often can't get an idea as to whether or not we will be satisfied with what we're anticipating shelling out a healthy sum of money for....Well,'nuff of all that for now. |
For anyone interested, check the chart at the bottom of this site page for information regarding type of wood used with and effective mass of Reed tonearms with or without an azimuth adjuster:
http://www.reed.lt/research/58-wood-vs-the-rest-testing-armtube-material |
Vertigo: I fully agree about being aware of some of the important variables you and Lew mention that are associated with different parts of the turntable, their interaction with the tonearm and the kinds of problems that might ensue if vigilance and practical care are ignored. I'm of course always concerned too with the usual matters of VTA, stylus force, anti-skate, etc. I haven't had to be really concerned with azimuth since that parameter is fixed with my SME tonearm. Should I eventually go for the Reed, I assume that matter will become one of concern. I do recall some modifications concerning resonance when I previously owned the Grado and had added mass to the top of the SME to secure more optimal trackability. I certainly support continuing to experiment with inexpensive options and the goal of achieving a more pleasing sound. It's those very expensive items that can bite back painfully if they fail to meet expectations. |
I've had very good results with adjustment despite the fixed azimuth of the SME, and have been able to hit that sweet spot with some regularity by attending to other adjustments. Invariably, I still know what to listen for, and as you say, when it pops in, you know it! It always helps to have about a half dozen "test" records that we're as familiar with as the nose on our face. Continued happy dialing!! |
Hi Jarrett, I notice you have an Ortofon A-90 in addition to the Miyajima Kansui. Any chance you might be able to provide a brief comparative description of the sound of each with your Reed arm once you've had the chance to try those combos? Thanks very much. |
Though the headshell is fixed on my SME, I have been able to loosen the screws at the arm's base and get some limited azimuth adjustment with the arm. Resting a small, very light bubble level on the top front portion of the arm has also helped. Beyond these measures and the others already mentioned, I don't know that there's much else to rely on except my ears. I can certainly hear significant differences while in the process of making the various kinds of adjustments. Let's put it this way: I may or may not get things "perfect", but I'm typically able to get the sound to where I am very satisfied with it. Otherwise, it would be nice to have an arm that provides for greater ease of adjustment in a variety of parameters. This is one of the reasons I'm looking to acquire one that does offer such conveniences. And, it just might bring me a bit closer to that "perfect"(I really don't like that word.)sound. |
Thanks very much, Lew. You and I are in complete agreement on this. Frankly, since it is we the listeners who are trying to arrange things for our own satisfaction and not anyone else's, it makes sense adjusting by our ears must ultimately take priority. |
Vertigo: I respect your effort in seeing that no stone is left unturned when it comes to those measurable and mechanical factors involved in accurately setting azimuth. Notwithstanding, on many past occasions, I've been able to enjoy my music considerably without necessaily going as far as you have in an effort to achieve an "ideal" sound. I'm not criticizing or finding fault with your approach. Certainly, if it has brought you to a level of great satisfaction that's wonderful. I just don't have the interest to pursue or persist with the level of determination you do. You mention above that you wished to encourage me to "know" not just "hope" my azimuth was "perfect/ideal"...I have never in my life actually even thought, let alone hoped my azimuth was "ideal/perfect". I simply made some of the usual adjustments, then used my ears. My desire to possibly seek some changes in my system's front end has more to do with attaining an overall sound balance which in part expresses or reflects the qualities inherent in the particular components I expect to purchase and which I desire. Setting azimuth with them, as with any similar components, will take its place within the context of the usual set of adjustments. All this aside, kind thanks again for your concern. |
Vertigo: With all due respect, I think it's time for us to give this topic a rest(smile). |
