I am seriously thinking of sending both the LZ-9S and the HZ-9S to you Raul. I haven't got the arm for them here.
MC-MM-MI CARTRIDGES . DO YOU KNOW WHICH HAS BETTER QUALITY PERFORMANCE? REALLY?
Dear friends:The main subject of this thread is start a dialogue to find out the way we almost all think or be sure about the thread question : " true " answer.
Many years ago I started the long Agon MM thread where several audiophiles/Agoners and from other audio net forums participated to confirm or to discover the MM/MI/IM/MF/HOMC world and many of us, me including, was and still are" surprised for what we found out in that " new " cartridge world that as today is dominated by the LOMC cartridges.
Through that long thread I posted several times the superiority of the MM/types of cartridges over the LOMC ones even that I owned top LOMC cartridge samples to compare with and I remember very clearly that I posted that the MM and the like cartridges had lower distortion levels and better frequency range quality performance than the LOMC cartridges.
In those times j.carr ( Lyra designer ) was very active in Agon and in that thread I remember that he was truly emphatic posting that my MM conclusion was not true due that things on distortion cartridge levels in reality is the other way around: LOMC has lower distortion levels.
Well, he is not only a LOMC cartridge designer but an expert audiophile/MUSIC lover with a long long and diverse first hand experiences listening cartridges in top TT, top tonearms and top phono stages and listening not only LOMC cartridges but almost any kind of cartridges in his and other top room/systems.
I never touched again that subject in that thread and years or months latter the MM thread I started again to listening LOMC cartridges where my room/system overall was up-graded/dated to way superior quality performance levels than in the past and I posted somewhere that j.carr was just rigth: LOMC design were and are superior to the other MM type cartridges been vintage or today models.
I'm a MUSIC lover and I'm not " married " with any kind of audio items or audio technologies I'm married just with MUSIC and what can gives me the maximum enjoyment of that ( every kind ) MUSIC, even I'm not married with any of my opinions/ideas/specific way of thinking. Yes, I try hard to stay " always " UNBIASED other than MUSIC.
So, till today I followed listening to almost every kind of cartridges ( including field coil design. ) with almost every kind of tonearms and TTs and in the last 2 years my room/system quality performance levels were and is improved by several " stages " that permits me better MUSIC audio items judgements and different enjoyment levels in my system and other audio systems. Yes, I still usemy test audio items full comparison proccess using almost the same LP tracks every time and as always my true sound reference is Live MUSIC not other sound system reproduction.
I know that the main thread subject is way complicated and complex to achieve an unanimous conclusions due that exist a lot of inherent differences/advantages/unadvantages in cartridges even coming from the same manufacturer.
We all know that when we talk of a cartridge we are in reality talking of its cantilever buil material, stylus shape, tonearm used/TT, compliance, phono stage and the like and my " desire " is that we could concentrate in the cartridges as an " isolated " audio item and that any of our opinions when be posible stay in the premise: " everything the same ".
My take here is to learn from all of you and that all of us try to learn in between each to other and not who is the winner but at the " end " every one of us will be a winner.
So, your posts are all truly appreciated and is a thread where any one can participates even if today is not any more his analog alternative or is a newcomer or heavily experienced gentleman. Be my guest and thank's in advance.
Regards and ENJOY THE MUSIC NOT DISTORTIONS,
R.
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Dear @theophile : That you mentioned that is extremely appreciated and yes I could czan test and compare against the 981 what the HZ does but I think that before that we can interchange information where maybe I can help for you can listen in your system:
Thank's and again truly appreciated, R. |
Dear friends: Through the posts that all of youposted we, more or less, are in agreement that evrything the same wecan have first rate/top quality listen system experiences with the different kind of cartridge motors:MC, MM, MI etc, etc. Obviously that with the cartridge self colorations. Well, I was doing some testsusing the top same LP tracks with different choosed LOMC,HOMC,MM,MF,MI. trying to find out ( other thmaiat its intrinsecal cartridge colorations. ) where mainly belongs the quality levels of each top cartridge sample and I think ( something I'm not totally sure. ) that comesfrom the " kind " of transiente cartridge response this is the Speed of that transient response. Is it that way of think about true or just does not matters? whatdo you think abou t? I would like to learn through your first hand similar experiences.
Thank's you in advance and your posts heavy welcomed.
R. |
There likely is something to the idea that cartridge transient response is very important to conveying the sense of a live performance (studio or concert), because for me when I attend live music (as I will be doing in about 2 hours from now), the outstanding quality of real live music compared to electronic reproduction of music is the dynamics of the former. Dynamic responses or the sense of a dynamic response requires both a very rapid transient response and a wide range of amplitude (difference between the highest SPLs and the lowest SPLs). Not only do cartridges have shortcomings in this regard, but also speakers. At least that is my sense of it. |
I agree completely with lewm’s comments. The “outstanding quality of real live music compared to electronic reproduction of music is the dynamics of the former”. And not just as concerns the wide amplitude one hears in live music, but how the dynamic movement in the music is expressed during the literally infinite number of subtle dynamic gradations one hears in live music (a key element of musical phrasing). I can’t claim to be able to be able to explain or prove, in technical terms, why this is the case, but “fast transient speed” is closely tied to how well the rhythmic elements of the music are expressed by the equipment. To my simple mind it also explains why some gear (not just cartridges and speakers) sounds dynamically/rhythmically alive while others sound dead or lethargic even when capable of wide amplitude.
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