Dear @catcher10: Usually my first take is to follow the manufacturer advise, at the end he is the designer and was him who voiced the cartridge but it's here precisely at the cartridge voicing where belongs the " problems " and I said problems because I don't find other word to explain it.
It's obvious that other of what math tells to the designer he makes the voicing with a very specific system/room that normally we just have not any reference/names of the audio items in his system so we all have a heavy " handycap " to " load " over our shoulders.
Each one of our systems/rooms are different too and those maths are not taking in count all the system/rooms variables as does not takes in count the more problematic of all variables that are we audiophiles, you and me with different sound/music knowledge levels and with different system/room targets for those sound and MUSIC.
To deal with so many variables is almost impossible to fix it manipulating one parameter as the load impedance or capacitance or both of them..
Through my audio life I learned from several audiophiles, item designers and even reviewers or audio true roockies.
If we always are willing to learn we can do it coming those " lessons " from any one and everywhere and we learn when we achieve a new knowledge or when we confirm what we already know or when we learn what not to do and why.
I'm a follower of what I learned and what I tested about and I have a " simple " rule to put my errors/omisions at minimum and is thatv through some years now I try that at each single link in my system/room chain everykind of distortions/deviations/noises/resonances, or the name you can give, stays at minimum to be truer to the recorded on those LP grooves. I know that my targets about are not easy to acomplish and I'm still working on but this " simple rule " tells me that if everything is " fine " in the system/room my taste or any one taste is not critical or really important because trhough that system/room what you listen always will like you because staying truer to the recording you can stay not so far aways from the reference that's live music.
I'm not biased with my taste, I'm biased with the MUSIC and I know how instruments performs in near field that is how the recording microphones are at the recording sessions.
I don't have control over what's in the recordings but I can have some control through the playing overall proccess and that 47K loading for LOMC ones is out of question for me specially after tested.
I think that overall subject with we audiophiles is that the AHEE teached us to trust in what we LIKE when several times what we like is just wrong but it's what we like, we are biased that way.
I owned at least 3 VDH Colibri and in all those cartridges the manufacturer advise with out matters its output level the loading figure was 50ohms-500ohms. I listened with different loading settings inside that range and always finished at 100 ohms and I can tell you that at 500 ohms the cartridge in my system is just unlistenable , just imagine at 47K: out of question.
I think that we can't hide our ears sensitivite losting or system/room " problems " behind that 47K loading impedance.
Again, first than doing that we have to make an exhaustive check up on each link of our system/room chain and why not: that a professional makes us a ears cleaning every 3-4 months and stay away from very high SPL for more than 2-3 minutes and of course attend at least one day a week to listen live music.
No, I don't buy that 47K/capacitance issue because no one of his proponents prove me that is the way to go and because my tests confirms is a wrong road to go. At least for now. Maybe, I need to learn or not something I'm missing here or not.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
