Greetings Professor,
As usual....an interesting contribution and a great Link. Thanks....
As the only damped tonearms I've owned have been uni-pivots (Hadcock, Grace, Graham)...I'm not sure how other types can be damped unless one resorts to the DIY outboard rigger in a bath of oil as shown in your Link?
But without derailing this Glanz Thread for Dgob.....perhaps we should begin another?
But as Nandric seems to be consumed by the madness of matching the FR-66s to MM cartridges......I have tested it with the Garrott P77/SAS using the Shure V15Type V Audio Obstacle Course Test record and confirm that the resonant frequency of this combination is 11 Hz. A nice figure.....
But the question of the resonant frequency of a tonearm/cartridge combination only arises IF and WHEN the stylus meets a warped record?
Without a warped record.....there is no significance to this calculation?
There are far more important factors involved in the mating of an arm/cartridge IMHO.... |
Timeltel,
Hi Tom,
I don't know where you dig up these articles, or even remember where you store them, but thanks anyway. Very interesting read. Most surprise to find Bob Graham's name listed as article provider. I own 2 of his 2.2 arms. What great things develop from such simple ideals!
Regards,
Don |
Dear Professor, I need to read your prose at least twice to understand by approximation what you are talking about. Your lirical productions are, alas, impentrable for a foreigner like me regardless how many times I would read those. When I invited you to this thread I hoped for your humorous and informative contributions. I now hope that Lew will join us because he was always willing to explain to me difficult American expressions (like 'prostitute variations', etc). Besides he is among many other things also interested in (Italian) cars so the right person to explain your strange parallels between cars and carts.
I hope you will be not surprised with this kind of welcome 'speach' from your friend from the Balkans?
Regards, |
P.S.: Those who are more scientifically oriented than I might enjoy the math from Cornell University professor and aerospace engineer Leigh Phoenix, offered on the last several pages of the publication.
Again, peace, |
Regards. GENTLEMEN: Cars. Listening now to "Heartbreak City", Rick Ocasek's song "Drive" (Who's gonna' take you home ton_-_ight". I know, not everyone's cup o' tea.
While watching the tonearm float gently above the mild warp there's a modest amount of contemplation going on, relating to carts, cars, suspensions and engines.
A car doesn't choose the road traveled, neither does a cart care where the signal originates. Be it road or groove related, cars or tonearms bounce/compress, horizontal excursions exert their influences, treads and pavement, suspensions and coils interact (unless it's an electrect condenser generator, but you get the idea?).
Engines. Two motors, two 2-seaters I'm extremely familiar with. A first generation Mazda RX-7 with an 1146 CC (70 Cu. Inch) 105hp Wankel rotary, the other a Nissan V-6. The "Datsun" has more than twice the displacement and nearly three times the horsepower, yet the little RX can equal it's performance.
OK, so now where is this going?
Dgob (hi, Dg!) brings up this consideration: The "state of the cartridges that you tested or the overall synergy that you managed to obtain with your system" obviously has an influence on the listeners' impressions. Wether car or cart, compression and extension need be appropriately matched to the mass-related load applied in operation, otherwise a less than critically damped system will introduce unwanted excursion. Neither car nor cart care but their might be unwanted outcomes associated with mechanical mismatches or operator error.
Suggested reading, starting w/page 9:
(url)http://www.bostonaudiosociety.org/pdf/bass/BASS-03-04-7501b.pdf(/url)
The FR-66 isn't mentioned---
Engines. The rotary delivers constant acceleration, easily and without an apparent peak in Hp/torque. In the driver's position, acceleration is smooth and constant. For the high compression V-6, torque at low RPMs gives way to increasing Hp at a measured 4600 RPMs, the initial impression is of immediate response. None-the-less, either offers comparable performance. The Mazda with its' skinny donut sized 13" tires, light, agile and constant. The other, fat 18" tires, aggressive (comparatively) and instantaneously responsive.
So, IMHO, it goes with carts. IM/MI/MF carts are the low mass, refined and smooth performers. MMs the more operator involving, engaging and immediate. I'll not debate stereo-typification.
There still remains the requirement to maintain a proper balance of mass, suspension and mechanical damping for optimal (critical) performance. There's little need for anyone to experience "Heartbreak City" because of varying preferences.
So make sure your carts and cars are properly aligned, suspensions are appropriately matched for their load, keep your styli in the groove and may the rubber always meet the road.
Great thread!
Peace, |
Dear Don, That is probably why the Dutch invented this saying: 'Protect me my Lord from my friends I can manage my enemy myself.'
Henry likes to tease me with Raul's influence but he forget to mention that I always prefered the (LO)MC's above the MM kind while the Mexican only recently changed his mind in this, uh, connection. Anyway I mostly agreed with his MM valuations and only with the Ortofon MC 2000 of the MC kind. While I can manage my enemy my cheap Jasmine phono-pre can manage Ortofon's output:0,05 mV. What a cart! Realy difficult to believe considering the price.
My conclusion: not the carts are important but our knowledge about them is.
Regards, |
Hello Henry,
It is true that our Serbian Comrade does like his 'artillery' large. Just ask him about his favorite melons!
It would appear that our warrior brother lured you into a trap with his tempting Glantzs only to reap the rewards of a AT155.
He is a sly one! He has been spending his latest hours listening to his AT150 ANV. cartridge. It just might 'force' him to rethink his preference for those LOMC's. But his Serbian pride might keep him from ever admitting it to us! (grin)
Regards,
Don |
++++ " The Bavarian audiophiles (and the Japanese) know their onions " +++++
problem is that they don't really know, maybe they think they know but this is different to really know.
FR
Mr. Ikeda more that anything is a cartridge designer, a good cartridge designer, but even that it's curious that the best quality performance cartridge ( a vintage one LOMC. ) was designed for the today My Sonic Labs cartridges.
IMHO normally japanese audiophiles have a truly different music/sound priorities that almost all other world audiophiles they like: tubes, horns, SPU cartridges FR tonearms, SAEC, MS TTs and the like. Almost all are sinonimous of high distortions/colorations and that's what they like and nothing wrong with that.
It's untrue that I did not owned a FR66 or that I did not know how to make the set up, even today I own the FR 64. I never talk with out first hand experiences and after made several tests and comparisons.
Problem with the FR tonearms is that are all metal non-damped balanced designs.
Trough my experiences the worst self resonance/vibrations tonearm/headshell build material is metal or a blend of it. A tonearm must " fight " against stylus/cantilever and cartridge body generated vibrations/resonances ( at microscopic level ) that one way or the other needs to be damped and at the same time that the tonearm/headshell can stop/disappears the feedback of those cartridge/LP generated resonances/vibrations: this can't do it by the all metal FR design and not only that but due to those microscopic cartridge/LP resonances the tonearm wand and bearing is exited with creating additional resonances/vibrations/distortions that degrade the cartridge signal as in no other tonearms.
Additional the FR balanced design kind of operation has its own " ringing "/noise " to operate in balanced way with out no single kind of dampening that could stop those " vibrations ".
That's what the FR owners are hearing. That, as some of you, like it what are hearing does not means in any way that those very high distortions disappeared just because you like it: NO you are hearing those distortions, period.
Now, not one but two times a gentleman that knows a lot more that any one of us because he is a cartridge designer and he tested his cartridges with almost any kind of vintage/today tonearms and that knows exactly how each tonearm affect the cartridge signal posted ( when some one asked. ) that the FR is not a tonearm he prefered and even posted that the Ikeda tonearm are a little better than the FR some of you are in love with.
The FR subject is not what we like but what is wrong or right. Yes, that authority or what ever adjective you can give to those tonearms are weighted with " tons " of distortions.
SAEC, is a little different but with high distortions too. Gentlemans years ago whom brought here the SAEC 8000/506 tonearms was me. I?m the original owner of the SAEC tonearms and I was really impressed by ( build quality between other things. ) but as many people I learn trough the time problems with. First is the way resonant headshells and second its double knife bearing that is way resonant and can't stop feedback or even dissipate it in right way.
Do you remeber the cartridge designer Sao Win? well he stated very emphatic not to use his cartridge ( LOMC ) design with knife bearing tonearms. Wonder why? and this is the people that knows and knows a lot of things that no one of us can't even imagine because we are not expert cartridge designers.
Do you know something?, in some audio subjects some of us learned faster than others as in some other audio subjects some other gentlemans learned faster than us and IMHO in the FR subject some of you do not learned enough.
Three-four years ago when I started to post that today digital medium outperforms the analog one some of you Agoner's just " laughed " because you did not learned enough about. Welol at least one of you today learned about and even posted a thread where he said something that I posted 3-4 years ago. The difference down there is that my digital/analog finding was 3-5 years ago using a humble 1K Denon player and the gentleamn I'm referng tokk him additional 4 years and 150K of invest on a digital item to take in count that digital is superior.
Of course that each one of us are different mainly because we have different audio/music trainning.
Today I'm " sticky " with the LOMC alternative for very good reasons. nandric was the only one of us with a clever/wise brain to states always that he prefered the LOMC alternative over the best MM/MI and I agree with him. Perhaps only the Astatic MF-2500 can be really a challenger to top LOMC cartridges.
I respect that almost all of you are still sticky with the MM/MI alternative I'm not and not because is not a good alternative but mainly because I like to learn I like to grow up. As Lewm said: life is to short to stay " sticky ".
Gentlemans, all of you know the respect I have for each one of you and I know that I'm not your " cup of tea " because who I'm and because my posts but this is the way I'm and believe or not no one of my posts try to hit in severe way to any one.
Anyway, have fun.
regards and enoy the music,
R. |
Dear Henry,If one compare your use of languge by describing my Glanz collection with the language you used to describe your AT 155 Cl stylus one will get a clear picture about the distinction between prose and lyrics. I got the feeling that I need to abandon my atheistic convintion, knee-deep for the Almighty and thank him for the immeasurable luck to have at last got the treasure. And well as exchange for my abundant Glanz 51L. But if scarcity has anything to do with ecomics and prices the fact that you own 6 (!) of those AT 155 CL styli
while nobody except Nikola was able to get one of those 51 L one may get some different perception about the swap involved. And, speaking about economics, in those difficult
economic times an architect NEED to be very inventive in order to sell his stuf. No wonder then that some lyrical capabilities are developed.
Now about the Germans. It is a known fact that they made and love heavy armors. The 'big Berta' ( the cannon) and those huge Panzers should provide some mind images. I myself call my ASR gear ( EmitterII and Basis exclusive) my 'German artillery'. I ever considered to by an Kalashnikov in Bosnia for $250 or the FR-66 to defend myself. The price difference should make it easy to guess what my choice was. So I can understand ,as I already mentioned, the 'German group' inclination reg. 'big guns' but had no idea about similar militaristic inclination buy the Aussie.
Regards, |
Hi Don,
I didn't realise that you also had joined the Glanz club?
It's good to read your thoughts.....and gratifying for me that you 'get' my comments? :-)
Nikola is unlike most Slavs (who actually say what they think) in that he kept making snide remarks about the quantity of 155Lc styli I owned?
How was I to realise he meant for me to share around my stash?
The 'ruse' of sending me the Glanz cartridges was a brainwave on his part....and it worked a treat :-)
I am however anticipating a muted reaction from this Dutch/Serb who distinctly prefers the sounds of LOMCs? |
Dear Nikola,
The Bavarian audiophiles (and the Japanese) know their onions......
The fact is that most people never have heard a Fidelity Research FR-66s tonearm in their system or a 'known' set-up.....yet so many feel the need to disparage it?
Only when you hear one....with almost any cartridge you care to choose.....will the 'light' come on.....
There is no other arm I've heard (apart from the Cobra and Copperhead) which has the control and authority over LOMCs and MMs equally.....to be truly called a 'Universal' tonearm?
But the Cobra and Copperhead do not have interchangeable headshells and are such a pain technically to set up with any cartridge....that I could not recommend them for those with multiple cartridges.
This is a shame as the Copperhead is probably the best tonearm I've ever heard with each and every high-compliance MM I've mounted.
Just behind the Copperhead in magical synergy with MMs....is the SAEC-8000/ST...and it DOES have interchangeable headshells :-)
It is however not such a good match for heavy LOMCs.
So if anyone wants the very best genuine Universal tonearm which takes interchangeable headshells and is a breeze to set up.....there is really no competition for the FR-66s IMHO.
And for those who might want one in perfect condition.....they need to be prepared to pay heavily for the privilege?
But that is the mark of excellence....and only 'time' can bestow this quality. |
The king is dead , long live the king. Or rather the frog become the princess thanks to my Glanz collection and some Aussie prince. Comparing the last 5 or so contributions with the MM thread caused those associations. If whoever is interested in compliments exchange between the Mexican and Harold the barren one can see the 'why' for himself.
What we need in addition is the Professor, Lew, Flieb (in Don's notation) and more. To provide the substance , cause or occasion I am willing to borrow my Glanz colection to
those mentioned. Then we will be complete again while Dgob's thread can florish with humorous AND informative content.
Vetterone is also welcome but we (aka he and I) need to first agree about one of his plinths ...
Regards, |
Hello Henry,
Your clarification "
..as it is being compared to the crème de la crème of my selected collection." has put everything that you have stated into clear perspective. Just because they have not replaced your harem's #1 cartridge or cartridges, does not mean they are not competitors! Matter of fact, there would be nothing wrong with being #2 if so be judged when comparisons are made at that level!
I also have a few of the Glantz's/Astatic's. Because of the bodies/generators all being the same, it is not quite true to say that a person has a favorite Glantz. It would be more 'correct' for you have a favorite cantilever/stylus combination mounted on the Glantz. Mine happens to be the MF 21TL. Even more so over the Astatic MF100. The TL is a Line Contact styus on a Titanium cantilever where as the MF100 has the softer sounding Shibata stylus. It's all system related or personnel preference so do enjoy your Glantz that you have acquired from our comrade in the Neverlands, I mean Netherlands! (grin) I am also happy to hear that our beloved comrade has "FINALLY" acquired a AT155. He has lusted after one of those for so long that I thought perhaps hell was going to freeze over!
Best regards,
Don |
Dear Henry, If I knew in advance what kind of comment you would produce about my Glanz collection I would not even dream to borrow my whole collection to you. But the sentiment is easilly explained. I used to like you while your Slavic descent added to the illusion of brotherhood.
Thanks to Dgob I got interested in the Glanz brand and got my first 31L not in Germany but in his motherland GB. Just before the 31 L I managed somehow to get the Astatic 200
the cart of the year and not of the month. By my Glanz 31L there was also the user manual included from which I learned that neither Glanz or Astatic have anything to do with the production of the MF (moving flux)carts. The Germans have the expression 'Aha Erlebnis' for such kind of discoveries. By comparing them I was surprised to hear or, better, not to hear any difference. With some reluctance I posted this finding in Dgob's thread. The reluctance because of implicite questioning of 'his authority' the Mexican. You have no idea how glad AND proud I was when Vetterone HIMSELF agreed with my judgment. This accident or fact then induced me to try to get the other 'top line' Glanz carts. The pride induces people to long for more succes. But it took me two years of 'global searching' to get the 4 which you got without any effort or trouble. We in Europe, you know, have learned the expression 'gratitude' as well what it means. Well different countries different customs as one would say. Now lucky me and probable unlucky Henry Vetterone also clearly stated that the worse of those is the 51L . Your preferd choice (grin). He also mentioned some misterious 61 which I was, alas, never able to find in the
known universe. This one was according to him the best of his collection. I am a kind of member of the so called 'German group' but more in intellectual sense as in 'nationalistic one'. Because of this membership I understand their obssesion with FR-66 tonearm. In order to legitimate their opinion as well to be consistent they use this monster with any cart whatever. I myself would never dream to use the FR-66 for any MM cart whatever. And certainly not with the 71 L which has the highest complience of them all (aka 'all 4'). Why and how this German illusion was exported to Australia is an enigma for
me. But,'in the other side', as the Mexican is used to say (aka write) this enigma may explain the 'deviant' opinions about many carts by our Aussie friend.
Regards, |
Jmowbray,
The AT-155Lc cartridge.....whilst retaining the signature 'sound' of the Signet TK Series.......always sounds a little 'thin' to me.
There is a 'body' to the Signet TK-3, TK-5 and TK-7 which somehow eludes the AT despite the fact that it runs what was my favourite stylus assembly before the Jico SAS.
Even the TK-3Ea, TK-5Ea and TK-7Ea with their own styli sound more relaxed and focused to my ears.
With the 155Lc stylus transplant in any of these Signet models.....the AT-155Lc cartridge is easily outclassed and out-refined.
The AT-7V shares more than a passing resemblance to the AT-155Lc cartridge to my ears.....and whilst I have not attempted the comparison with the 155Lc transplant.....I would be surprised if it matched the composure of the Signets?
I think you will enjoy your forthcoming listening experiences?
Please keep us informed? |
Dgob, Im sorry if my impressions appear to be negative? That was not my intent
..nor is it accurate. I found the G5 to be unremarkable in that its presentation revealed nothing that was not available from a number of my finest cartridges. This is not a condemnation of the G5
..as it is being compared to the crème de la crème of my selected collection. I do find the AT150 ANV to be more detailed, transparent and convincing in its overall presentation than the G5
but this is to be expected from a Signet TK-7LCa wannabe :-) Where the 150ANV loses out to its illustrious predecessor IMHO
is in its emotional content. The ability of some cartridges to suspend belief
and draw you in to the performance is akin to alchemy? How do they do it? Whilst it may be an emphasis in the 40Hz region that makes one cartridge appear to delve deeper than another and a peak in the 10K Hz range that delivers perceived air or detail
.how does one explain with science
.the way one cartridge can startle and amaze? How can one cartridge deliver the performers into the room whilst another wallpapers with a flat presentation? How does one cartridge seem effortless and alive whilst another seems to strain under its onerous duties? Im not sure Dgob whether you have spent much time with the normal Glanzs
the MFG-31L, 51L and 71L?
.but it was to them I was referring in their likeness to one another. The G5 was easily distinguishable but I have not heard a G7 to enable comparisons? As you rightly observe
..there are many views, tastes, preferences and system differences to explain our varying experiences and all each of us can do is find the path that individually suits. I dont for instance, find the AT150 ANV particularly impressive in the bass control or depth region
.nor do I find the Technics EPC100Mk3 any competition for the real champs down there? But then again
..I find the EPC100Mk3 to be one of the most boring cartridges I have heard. So concerned was I about this fact after reading the eulogies heaped of the 100Mk4
.that I sent my 100Mk3 to Axel Schuerholz to check its functions. It was returned as working flawlessly
I dont personally know the differences between the 100Mk3 and 100Mk4
..but a trusted former contributor called Travis Lundy (Tbone) has both models and loves his 100Mk3? The audio world is a vast territory with a tiny subspecies of lunatics devoted to analogue and an ever smaller sub-culture of these who are obsessed with cartridges/styli/cantilevers. I genuinely thank you for bringing the elusive Glanz cartridges to our notice and it has resulted in the very fine MFG-51L joining my select collection. Kind Regards Henry |
Halcro - since you guys brought it up, I hope this isn't too far off-topic but having recently acquiring a Signet TK7Ea body, I'm about to find out for myself just how good your TK7*a/ATN155LC combination sounds in my system. I haven't done any comparisons yet but would you say this hybrid combo sounds better than the AT155LC itself? I'm planning on doing some comparisons between the two and will be throwing an AT7V/ATN155LC combo into the mix just for kicks. |
Halcro,
Sorry, I have very little time these days and so did not correctly read all of your latest post:
"I was able to pick up some slight differences in the three models with my preference going to the MFG-51L over the MFG-31L. The MFG-71L strangely enough
..was my least favourite
.although I stress again the differences were subtle in the extreme."
I am not certain about the state of the cartridges that you tested or the overall synergy that you managed to obtain with your system. However, honestly, this is as far away from the experience with the two cartridges that you note me referencing (the G5 and G7), as to be unr3ecognisable. In fact, these cartridges are so distinct in performance and (obviously) design that they could easily give the impression that they were designed by two distinct companies. If your G5 is in complete working order, I can only suggest you persevere until you have managed to get the best out of it. I have no financial or personal gain in this but I am certain that your referenced "big hitters" will have a high class neighbour once you move it into the correct environment. As for bass control on the G5 - compare it to the AT150 ANV or the magnificent Technics 100Mk4 and let me know what you think!
If you can, persevere
As always... |
Halcro,
"Dgob began this Thread by focusing on the G5 integral headshell model and continued with his enthusiasm
.eventually including the G7, also an integral headshell design.
I found the G5 to be a pleasant but unremarkable cartridge
.very dependent on tonearm matching."
Thanks for your feedback and impressions. I would (as I have) recommend that you try the G5 or G7 in an Audiocraft AC3300 LB. My delight arose from that setting and - obviously - my experience is very different to the one you seem to have endured. I have recently had the opportunity to compare my Glanz to a new Audio Technica AT150 ANV (which I picked up for an obscenely low price) and my assessment of the former remains undoubtedly positive: so my 'enthusiasm' goes on unabated. Maybe I am looking for a degree of fidelity that differs to your target or our systems reveal different virtues.
Large world/many views, so it's great to hear that you are still enjoying your DIY Signet and some other samples. I hope they continue to bring you happiness.
As always... |
Theres no denying the tenacity of Nikola
. Here we have an esoteric cartridge Thread begun by Dgob (no slouch in the perseverance stakes himself) which may well have died from lack of contributors were it not for the surprising intervention of Nandric? Surprising
in that he himself had no experience with the topic at hand
.nor was he to gain any for almost the entire duration of the Thread? Floundering initially in the vacuum he found himself
.Dgob kept plugging away, enticing us with tales of myth and promise and begging for responses
information
.contributions. Anyone?
.anyone?
.. And then came Nikola
.into the fray at first like some tentative Dutchman
.but gently and increasingly displaying his Slavic origins by somehow managing to contribute readable posts without offering the qualifications one normally requires of a mentor? Sucked in by this audacity
..others
.. also suitably unqualified enough to speak
.found their tongues and so the Thread survived. Still prodded back to life by Dgob however, whenever it seemed to collapse under its own lack of substance
..until out of the gloom (and without fanfare of any kind) dropped a post by Vetterone who, like Dgob, actually had heard and owned some Glanz cartridges. To Nikola
this was just what he needed. Validation from an expert practitioner in the field of analogue
And so the quest began in earnest for Nandric to acquire these unicorn cartridges for himself. And in this he was successful to the tune of four different models
. And why, you may ask
..do I summarise all this for the patient, baffled readers still wondering why they continue to read about cartridges they have never seen nor heard and are unlikely ever to do? Because dear readers
I now have all four of those Glanz cartridges belonging to Nandric. Look well dear readers at these cartridges, for you are unlikely ever to see so many Glanzs (Glanzae? Glanzi?) in the one place at the one time? Nandric wanted me to hear these mythical beasts and give my opinions. So
for what its worth, here it is
. The G5 (M5 stylus) with its sexy chromed integral headshell was initially mounted in one of my Fidelity Research FR-66s 12 tonearms on the Raven AC-2 turntable whilst the MFG-31L, MFG-51L and MFG-71L were all mounted in wood headshells on the SAEC-8000/ST tonearm on the nude Victor TT-101 DD turntable. After suitable run-in times for all cartridges
..listening began. At first it was almost impossible to distinguish between the 31L, 51L and 71L
.so alike were their sounds. This is unsurprising when one studies the specifications of each cartridge to discover that they are to all intents and purposes identical? Dgob began this Thread by focusing on the G5 integral headshell model and continued with his enthusiasm
.eventually including the G7, also an integral headshell design. I found the G5 to be a pleasant but unremarkable cartridge
.very dependent on tonearm matching (it sounded fine in the FR-66s tonearm but in the Micro Seiki MA-505s the sound became recessed and boring with a loss of bass slam and an overall lethargy to the music). The normal Glanzs were rather more convincing in their overall presentation with a better refined frequency extension. The bottom depth does not compete with the hard-hitters in my collection
..but I can certainly live with the smooth, unfussed beauty they provide. I was able to pick up some slight differences in the three models with my preference going to the MFG-51L over the MFG-31L. The MFG-71L strangely enough
..was my least favourite
.although I stress again the differences were subtle in the extreme. Had I heard these cartridges a year or so ago
I would have ranked them quite highly but recently I have acquired some samples (all MMs)
..which have raised the bar and revealed a presentation and information extraction that has shocked and delighted me
.. Nevertheless
..I kept the Glanz MFG-51L and sent Nandric a pristine example of an AT-155Lc cartridge complete with its original square shank, nude mounted line contact stylus on its beryllium cantilever for transplanting into his Signet TK-7LCa. It will be interesting to hear his views on that compared to the Glanz G5? |
Hi Nandric,
Fortunately, the extended family and available professions means a cost free (well at least as far as labour costs are concerned) project here - except the cost of patience! It's great fun and I'm becoming increasingly aware of the constraints under which TT design and (more specifically) plinth design staggers. We'll get there soon enough but are looking at a couple of design challenges for which the known prior approaches seem inadequate.
Thinking caps are truly on.
As always... |
|
Dear Dgob, I am alas the owner of two 'left hands' so no chance for me to build my own plinth for my SP 10,mk II. My hope is that Vetterone will be intriquied with my Glanz 5 in such a way that he will offer one of his plinths in exchange. He make them himself from his own material so it may be the case that this swap is interesting as well as profitable for him (grin). BTW the performance specifications you mentioned can't be attributed to me because I have non. I only mentioned the similarities between the styli. To compare them in A-B-A configuration is possible but I would need to disconnect the Benz LP S from the Triplanar and Kiseki Goldspot from the Reed 2A to do so. But I spend 3 days to adjust both. I also need to open my Basis Exclusive for the purpose. Not an appealing proposition alas. I wish you all the success with your plinth but if carpentry is not your profession I would advice to contract out this work. Your 'own' Adam Smith wrote about division of labour 'ages' ago.
Regards, |
Hi Nandric,
I'm still hoping to hear the 71 L and, as you point out, it's performance specifications are nearly those of the G5 and G7. Our distinct systems do seem to allow agreement on the quality of specific cartridges and that's also interesting.
I've been tied up in trying to design and build a plinth for my SP10 and so have not been listening to as much vinyl as I would normally. Still, I hope to be back with deck shortly and to unleash the Glanz and company.
As always... |
Dear Raul, I mentioned very clearly that my AT 150 ANV is not yet 'burned in'. I have only about 10 hours on it. The suspension is, I assume, still to stif. So my valuation is
only provisional. But you know how 'excitement' works. I was so glad with the Glanz 71 L that I wanted to share with at least Dgob. You may be also right regarding my 'system'. I test all carts in my second system with SP 10,mk II, FR-64 S , Jasmine LP 2 phono-pre and Marantz amp. (A class). However my experience is that extraordinary carts can be 'detected' also with a modest system. My main system is to complex for frequent testing.
Regards, |
Dear nandric: You are right and I agree but for different reason: the ANV is mire accurate with lower distortions than the MF I own too.
You are a wise man and maybe you should think where in your systems are the problem with the ANV " digital " oriented because I know it is not the ANV.
Regards and enjoy the music,
R. |
Dear Dgob, I can't resist to report about my new acquired Glanz 71 l. I compared my new 'treausure' with the AT 150 ANV for about 5 hours. No contest. The Glanz is much better and nearly as good as the Glanz 5. I noticed the same cantilever/stylus as by Glanz 5. The cantilever is a cone like construction, complete different from the 31 version. I am not willing to buy those 'cantilever material' arguments. That is to say if the arguments don't mention the alloy of which the cantilever is made. The facts are that my best carts are all with 'aluminum'(alloy) cantilever: FR-7, Takeda's Myabi, Andreoli's Magic Diamond, Glanz 5 , Glanz 71 L and 31 L. Only my Benz LP S is in the same leaque with a boron cantilever. I also don't buy the 'break in time'. If the producer 'tuned' the cart to his best capabilities how is it possible that the same cart will perform much better after, say, 40 hours of use? In this sense I must confess that my AT 150 ANV is not 'broken in' (what an expression) but this cart sounds 'digital' to me. To pronounced mid/high frequenties.In contradistinction the Glanz 71 l does not accentuate any frequency domain and sounds as an equal whole. The cart was second hand and obviously 'warmed up' already. I need to thank you , dear Dgob, for your introduction to those remarcable Glanz carts. If only Vetterone would be so kind to swap with me his 61 for my Glanz 5 for some listening period of time.
Regards, |
Hi Nandric,
I am genuinely thrilled that the thread helped and that we share this joyous tool and the wondrous music that it helps to unleash. Good luck with the Benz and happy listening.
As always... |
Dear Dgob, I think that the Glanz 5 is the best MM cart that I own. To give some idea about the other: AT 180, Signet TK 9 CL, Virtuoso black with boron/super elliptical,
Acutex 420, Stanton 881 S , AKG P8Es VdHul, etc.,etc.
But since 4 days I am busy with my new Benz LP S. The big question is the comparison with Miyabi Standard , Sony XL 88 and the FR-7 (with nude line stylus). To my mind or testes with those 4 last mentioned only the Glanz 5 among the MM kind can compete. So you can easily deduce that I am very happy with 'your' Glanz 5. To put this otherwise:
without your thread I would never buy any Glanz cart.
Regards, |
Hi Nandric,
If we're (hopefully) done with discussing the Acutex, how are things going with your G5.
I'm still loving mine although I have been listening to it with the line contact stylus of my G7 on it rather than its own original elliptical stylus (which is still in need of a visit to Axel). I do prefer it's performance with its own stylus though.
As always... |
Sorry Nandric,
He has not charged me yet as the gift was unsolicited. I will speak to him soon thought to sort that out.
As always... |
That should have read: 'over egg an omelette'. |
Hi Nandric,
I think the issue of Agon holding posts has played a part here. If you start a thread (as in this Glanz one) any comment you post on this is automatically listed. However, if you submit on another person's thread (as in the MM/MI one), they hold it in moderation for a while (between 4 and 8 hours). I had originally posted on both threads simultaneously.
Regarding the revamp, it is possible that other people are getting what I get now from their original 420s. I'm not certain and so my suggestion is really only for those who feel that there are clear performance limitations on the original. I share your reluctance to over egg and omelette or retip a perfectly fine original stylus.
As always... |
Hi Audpulse,
I think you must have post while I was posting my above response to Acman3 and Nandric.
I hope that helps but let me know if you think I can help in any other way.
As always... |
Dear Dgob, I was not refering to your interest in philosophy... but was wondering why you deed not post this contribution in the MM thread. Meanwhile you already corrected this. That is to say if you want to keep your Glanz thread, uh, 'exclusive'. If you would be so kind to mention the price of Axel's work we may be able to deduce the cantilever/stylus combo from the price.I myself am very reluctant to retip a cart which already has a new stylus as well as the cantilever. This 'prerogative' I live gladly to Raul and 'some' British gentleman.
Regards, |
Hi Nandric,
Sorry, I just realised that I might have misread your post as questioning my general sanity when it seems you were actually questioning whether I was annoyed with the MM thread. If that is the case, my answer is "no". Sadly, I have turned my attentions elsewhere recently and so do not find the time to follow or respond to much of the interesting commentary on there. I do still try and follow it when the time and inclination allow though.
As always... |
Hi All,
Just one more point on the 420STR revamp: it needs careful set up as very small changes (say in VTF and VTA) have a larger than normal affect on its performance. Within a couple of millimetres of parallel it can move from a super rich, midrange vibrant performer to a lean, critical and super analytical one.
Hope this helps.
As always... |
Hi Nandric,
On my sanity, I'm not fully certain and see no way of answering that: a mad man rarely thinks he is thus (rather like turkeys being asked to vote for Thanksgiving).
But the changes do have a major impact on the cartridge. The main change is in the midrange and seeing as that was the only area in which I was unhappy with the original, it seems a major change to me. As I said, it has amazing staging and tracking abilities and this means that the resolution in large scale orchestral works (I cite Mahler's 8th - Solti, Decca as a litmus test here. Just compare its rendition of the colour and detail, say on Side 1, to renditions of the same by other top cartridges) is phenomenal.
I'd therefore still suggest that it's worth a try if you already own the 420 STR and, like myself and a few other present or former owners, are not fully satisfied with its performance.
As always... |
Hi Acman3,
Just ask him to make the adjustments that he made to my (Desmond Bailey) 420. I can see that this involves a new stylus and cantilever but am not certain what else it involves. I know that the last revamp had his most exotic and expensive stylus but I was not fully satisfied with this. Unlike that shibata tip this one is elliptical (I know this denies logic) and the performance is much warmer (more midrange detail) while maintaining the tracking and staging abilities of the original. I hope this helps and let me know if I can be of any assistance or how it goes for you.
As always... |
Dear Dgob, Are you mad at MM thread? To my knowledge the
stylus and the cantilever by Acutex 420 are pretty good
so I assume that one or the other was broken? Or deed you
order by Axel the 'exotic' beryllium or boron cantilever and
Gyger 2 stylus? Otherwise I dont't understand what Axel could improve on.
Regards, |
Dgob, what changes did Alex performed on the Acutex 420STR ? |
Dgob, how should we instruct Axel to change the Acutex 420? |
"Just when I think I'm out, they drag me back in".
Axel has revamped an Acutex 420 STR and sent it to me. When put on an Audio Technica MG-10 magnesium headshell on my AC3300 LB, it is simply a great cartridge. I recommend anyone who already owns this cartridge to consider sending it to Axel for changes.
A worthy contender
As always... |
Hi Nandric,
True, but I thought the actual auction answered your point and so felt it insignificant.
As always... |
Dear Dgob, I assume everybody is interested but you forget
to mention that this one is without the stylus. |
For anyone interested, there is currently an Audio Technica ATML-170 OCC for sale on eBay UK. |
Dear Dover, In Holland 'we' say:'butter by the fish'.
Without any ranking of those Vestax cartridge as well as
some comparison with the 'carts of the month' this looks
like the general statement 'we all are Gods children'.
Strange however that Thuchan , who is a 1/2
Japanese according to Raul, confused Mitachi with Mitsubishi. |
Dear Vetterone, If somebody else told me this about you my answer would be: 'you have no idea what you are talking about. Our Vetterone is an inventor, open minded guy who
would never state such a strong minded opinion regarding the comparison between one known and some totally unknow cart.'
But the facts are the facts. His curiosity should also be questioned because he refused to exchange one of his plinths which he produce himself for one rare, impossible to get and exceptional cart. I had no idea that the American debts would have such an impact on the (his) human nature. |
Dear Henry, Ever heard about Polish-Russian 'disputes' or, even worst, the relationship between those damn Croatian traitors with the nobel and brave Serbians? All are counted
as Slavonic but when you ask a Polack:'are you Slavic?' his answer is: 'no I am Catholic'.
As I wrote to you: 'you wounded my pride' by refusing to accept my (top of the line) TK 9CL as present. So you have no right to play with Slavic sentiments. |
Hi All,
Just to let you all know that I see that there has been some noise made about the Spectral Moving Coil Reference (MCR-1) cartridge on the MM/MI thread. I have an original blue bodied MCR-1 available at present. It served me well for many years.
Sadly, I sent it to a potential buyer in Italy some time ago and he returned it "without" the stylus [Claim? "the infamous Italian postal service"]. Still, it is in perfect condition apart from that and I am certain that Axel could quite easily replace the stylus if anyone is interested. Feel free to contact me and I am certain we can come to some arrangement for its purchase.
As always... |
