The Palladian-A step beyond


The new cartridge from Acoustical Systems may finally be the LOMC to fully realise the theoretical advantages of the genus.
And convince those long-suffering audiophiles to whom the 'modern' MC presentation has been anathema to 'live sound'....that the realism of vintage LOMCs like the SPUs and FR-7 series has finally been recaptured 👀
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What I want to know is, why are Nandric’s posts always double-spaced, whereas the rest of us only get single spacing? Could this be a hangover from his days as a professor? Does he want to leave room for us to take notes?

It is interesting to read that the Supex was felt to be the start of the "MC Revolution" in Europe, as well as in the USA. When it first arrived here in the mid-1970s, I heard it via the use of a Mark Levinson pre-preamplifier into a MM phono stage. There were few or no SUTs available back then. In my opinion at that time, my Grado TLZ blew away the Supex, which did not sound at all "musical" to my ears. And yet now the Supex is a collector’s item. It wasn’t until the late 1980s or early 1990s that I "drank the Kool-Aid" and became a convert to MC cartridges.

Dear Lew, There are people who take what they want while other

prefer to wait till they get something for free. But who would believe

that our only homo universalis would try to use an MC cart with an

MM pre? On the other hand there is no suprise that he dear to

complain about this same fact; he is always complaining about

something or other (grin).



Nandric, I am relying upon my memory of what was available to audiophiles of the 1970s.  The Mark Levinson pre-preamplifier was nothing but a separate phono gain stage that did not "do" RIAA equalization; all it did was to add gain to the output from a low output MC cartridge.  This, in fact, was Mark Levinson's very first commercial product, I think.  The product filled a niche in the market, because there were very few alternative ways to amplify the output of an MC sufficiently.  The output from the (solid state) ML device was then fed to the input of an MM phono stage, because RIAA correction (and a little more gain) was needed.  Thus, I was not being eccentric when I fed the ML output into my MM phono. (Actually, I never bought into MC at that time, and I never owned the ML pre-pre; I heard them in other systems.) The other notable "pre-preamplifier" that came along a little later in the USA was the Counterpoint SA-2.  Also an active gain device, but one that used tubes and was therefore noisy but better sounding than the ML.  Maybe the early Denon and Ortofon SUTs were available back then, but I don't recall that they had gained popularity as yet.  There are still one or two pre-preamplifiers on the current market.  Hagerman make one of them.

Once again, you are double-spaced.  Very stylish.

I wonder what the verb to google, is worth to that company.  Vaseline is petroleum jelly, not napalm or some plastic made from oil.  The discussion of intellectual property seems timely, not that there's anything here worth pursuing, not like billions in movie copyright infringement. 

Mitch Cotter made some great preamps early on. He split from Verion in the late '70's I believe. I didn't have much experience with those electric blue wonders, but what I heard sounded like music. This is a Boston Audio Society from '77.


http://www.bostonaudiosociety.org/pdf/bass/BASS-05-09-7706.pdf

Dear Fleib, By my FR-7f listing I used  Mitch Cotter as argument  or

praise for my item. But as far as I know he also made his own

SUT for his celebrated TT with FR-66 tonearm /FR-7 f cart.

This looks to me not consistent with your statement that he ''made

some great preamps early on''. Do you mean ''preamp'' in the usual

sense and not ''phono-pre''?