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AT ART 1000 vs London Reference vs Ana Mighty Sound 103.3

I have eagerly desired to hear the ART 1000 every since I first heard about (2016?) and finally I decided to have one sent out to me to satisfy my curiosity. I have read many things about this unique design, all good. People have compared its dynamism to the London, going as far as to state that it's capable of explosive dynamics. I listened to the unit on my Technics SL 1200 GAE with both my AMR PH 77 (MU 6900 tubes and AMR TriCore Capacitors installed) and my SPL Phonos. I used the LP Gear Zupreme headshell and the Audio Technica AT-LH 18/OCC headshell.

First off this cartridge in the AT headshell is a thing of beauty, a real functional piece of art (no pun intended :). I literally took photos of it on my TT as it just looked so gorgeous.

The ART did not take to the LP Zupreme very well with the sound becoming a bit cooler and taking on an almost strident nature. 
 
I found the ART to be a very fluid and refined cartridge, it reveals a massive amount of information from the groove. All in all I spent about a solid 20 or more hours intensely listening and fine tuning the cartridge to reveal the best it had to offer. It is a bit to the right of neutral, i.e. I find it to be a bit warm and it does instill a bit of lushness to the music. This may be welcome in some systems that may err to the left of neutral or are a bit sterile. 

I listened to music by Jacintha (Fire and Rain, James Taylor Tribute), Julie London, Dianna Krall, Chasing the Dragons Espana, Joss Stone, Stevie Ray Vaughn (45, Couldn't Stand the Weather from the 12 album boxed set), Stacey Kent and many others. 

It sounded lovely, and that's where I started having issues. I simply could not become engaged with the music that I know so well. My 103R is engaging, my 103.3 is engaging as is my London and Anna. The Art caused me to sit there and listen and wait and wait and wait for the magic. It never happened. I wanted to like this cartridge so so much but in the end I simply could not connect with its take on the musical spectrum.

I compared it to the London and let me go on record and state that if anyone tells you that this cartridge has London like dynamics, don't ever listen to anything they convey to you concerning hi end audio without listening for yourself. It is NO WHERE near the London as far as dynamics, immediacy or aliveness. It is more refined than the London but worlds away from that live feel that the London can so easily evoke. 

Comparing the ART to the 103.3 and 103R I found the 103R to be a bit rough sounding in direct comparison and yet, it makes my foot tap and makes me smile. The 103.3 does what the 103R does only so much better and far more refined. At the end of the day the 103.3 was preferred (for my ears), it simply plays with nearly the same level of refinement as the ART, but not quite, and yet the openness and aliveness it presents is far more engaging. I found myself leaving the 103.3 on for longer periods of time during my comparative cartridge swap outs.

I would sum it up as follows; I find that the ART has a sort of hi-fi-ish sound. It makes the music sound a little processed to my ears. Some people like this sound, I am not one of them. I would attribute this same quality to the Air Tight PC 1 Supreme, but not the PC 1. I find that the PC 1 Supreme has that same sort of hi-fi-ish sound where as the standard PC 1 does not and to my ears, sounds better than the Supreme. 

All in all this is a beautifully made device that will, I have no doubt, sound sublime in some systems and to some ears. Even though it is ultimately not for me I think it is a great value as I could easily see some of the other manufactures charging $10K or more for this unit. 

I think I am going to send Francois another 103 and try a 103.4 with the silver coils to quench my curiosity :)

Hope this was helpful to someone. 

Thanks for reading. 
audiofun
lewm
12,567 posts
 
We took a long vacation in June, to visit our son in Tokyo.  During that time, the ART7 sat without use in our chilly basement, where I keep my second system.  I fired it up again only last week, to see what was happening with the ART7.  I still don't love, love it.  It's very vivid and seems to get all the notes, top to bottom, but the word "clinical" keeps going through my mind.  The ART7 is riding in a Dynavector DV505 on a very modified Lenco, into a Manley Steelhead driving the built-in direct-drive amplifiers of a pair of Beveridge speakers that are full range down to 80Hz where they cross over to a pair of KEF B139 woofers installed in a transmission line cabinet of my own making.  IOW, this is a very low distortion speaker system; it doesn't need exaggerated details from the cartridge. But given the circumstances, I am not prepared to declare a final opinion.
General thought: I remember some guru saying that MC cartridges get the attack of notes correct, but they fall down on the trailing edges.  Comparing the ART7 to an Acutex LPM320 in this same system, that's exactly the way I hear it, so far. The ART7 does better than the Acutex on the attack, but the Acutex captures the decay better than the ART7 and presents a more "musical" facsimile of reality.
audiofun OP
799 posts
 
Hi lewm;

Obviously I don’t know your system or the ART 7 but if I recall isn’t the ART 7 a very low output cartridge (.12mv) ? What gain is your stage set for while running the ART.  I would suggest nothing lower than 66dB and perhaps as hi as 72dB (roughly a gain of 4000 times).

I'm sure you know all this but I’m humbly suggesting that if your cartridge is fully run in, it sounds like it could be loading or perhaps the VTA is too high. 

The possibility of course exists that you have it perfectly setup and the sonic traits of the cartridge are simply not to your liking.
bdp24's avatar
bdp24
9,510 posts
 
Great speaker/sub combo, Lew! I paired old Quads with transmission line loaded KEF B139’s (using just the woofers in the ESS Transtatic speakers, actually) for years. Still have them all, but put aside for now. The direct-drive design used in the Beveridge is SUCH a great idea. Roger Modjeski (of Music Reference, of course), who was involved in the development of the amp in that speaker, is now offering his own, new, direct-drive ESL speaker/tube amp/sub system. No amp output transformer, no ESL input transformer!---Eric.
lewm
12,567 posts
 
Interestingly, my Beveridge amplifiers are signed inside by the initials "RM", using magic marker, and dated 1979.  Or maybe only one of them is.  RM worked with Harold Beveridge back then. I knew that RM had an all-tube mod for my amps (which have a solid state input stage), but I did not know that he is making a complete direct-drive speaker system.

I built my TL cabinets more than 45 years ago, using the famous article by Bailey, published in Wireless World, as a guide.  I was also copying the IMF Monitor speaker, which I had heard many times at Lyric Hi-Fi on Lexington Ave in NYC.  To me, the Monitor had the lowest distortion and most extended bass of any speaker available at that time. And of course, I could not possibly afford them, because they cost something like a THOUSAND DOLLARS!!! (Can you imagine?)  So I bought the IMF Studios from Lyric and soon realized I wanted more.  In construction, I used 1.25-inch MDF with a formica covering. Thus each cabinet weighs near to 100 lbs. I was a medical intern at that time.  So my schedule was stay up all night one night in the hospital, sleep the next night, work on the speakers the night after that, then stay up all night in the hospital, etc.
Audiofun, I don't know that I have the ART7 set up "perfectly", but for now I will give it more time.  Not a bad idea about playing with VTA, but keep in mind, I am not talking about tonal balance, which in my experiece is most affected by VTA.  I am talking about an over all quality.
audiofun OP
799 posts
 
Lewm:

I understand what you are saying concerning tonality and VTA. I do believe that VTA can extend beyond just tonality and literallly affect a make-or-break situation in the overall sound of the transducer.

I keep records for each of my cartridges as to where the VTA should be for less than 180g, 180g and greater than 180g. I can hear the differences.

Just today I was listening to my London on 180g vinyl and I didn’t like it, turns out I had it set for 120g vinyl.

In a truly resolving system I find it vastly important. It is one reason I don’t easily consider arms that don’t have easily repeatable VTA adjustments.

Would love to know the outcome of your endeavor :)
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