ADC 26 BEST PRITCHARD CARTRIDGE EVER? or BEST CARTRIDGE EVER?


Dear friends: I always said that each day is a learning day and if like me that from several years now think always " out of the box " many of you will find out great rewards that audio always has for us as an unexpected gifts.

Obviously that’s not easy to think " out of the box " because to do that we have to have a different kind of self attitude where between other things we must to forget for ever at least the 50% of all the information we learned through our audio life in the AHEE. With out that " forget " we just can’t do it.

This review is more than an usual audio item review for many reasons I will try to explain over the thread.

First I want to leave very clear my room/audio system main target: STAY TRUER TO THE RECORDING.

To achieve that we have to think that usually the recording microphones are positioned at very near field of the MUSIC sources even like in the 3 Blind Mice recordings: inside the instruments. Recording microphones are not " seated " at 20m-35m. from the source as usually we listen when attend to a live acoustical music event. So we have to have self experiences of live MUSIC seated at near field. If some of us do not have that kind experiences then is very dificult to understand what I’m talking about here and elsewhere.

OK, the ADC 26 cartridge is a vintage Induced Magnet invented motor design by Peter Pritchard ( that pass away. ), it’s not a MM or MI or MC kind of cartridge design. Here you can read about and on his patent and a little of his audio life history:


https://www.stereophile.com/content/peter-pritchard

The cartridge under review is this:

http://i41.tinypic.com/2ihw6yo.jpg

that is part of the ADC 25, 26 and 27 cartridge family.

This is the ADC 25:

https://www.vinylengine.com/turntable_forum/download/file.php?id=31979

and this the ADC 27:

https://adelcom.net/ADC-adc%2027.JPG

and here the ADC 26 specs ( please take note those 15° stylus tip mounted angle. ):

https://www.vinylengine.com/library/adc/26.shtml


As you can see and read all seems very old and rudimentary with really humble cartridge specs ( nothing spectacular down there. ) where the elliptical stylus is: 0.03 x 0.07.

The ADC 25 red dot stylus ( exist the red blue 0.03 x 0.09 and the white dot. ) is similar to the 26 and the ADC 27 change is that is the same 26 stylus type but nude. I own all those models that comes with the same cartridge body but different color and where the cartridge motor in the 26 and 27 is similar and the cartridge differs only in the stylus and that the compliance instead 50 cu as in the 25 and 26 is " only " 40cu.

All these cartridges are my oldest ones ( comes from the 60’s. ) that I bougth years ago when started the very long MM Agon thread and I remember that I mentioned there the 25 and 26 but almost no one took cares about not even me because I really never gave it the enougth listening time to those cartridges and was only like a month ago that I really discovery this fenomenal, outstanding, astonishing and " perfect " performer.

When you listen it you are not listen as if was alike MM/MI/electrect cartridges but more as a live event/truer to the recording with some characteristics only shared for the best of the best LOMC cartridges.

I made my self developed evaluation proccess where I’m deep trained and is almost " bullet proof ".

The best MM/MI cartridge is with out doubt the AKG P100LE followed by Astatic MF-2500 and others as the JVC X1MK2 or the Technics EPC 100CMK4 but no one of them can even the quality performance levels of the ADC 26. The ADC is in a different league " the major league ".

I compared the 26/27 against the Colibri, Ortofon A95, Lyra Etna, My Sonic Labs Supereminent ( I think ? ? ) Dynavector XV-1s, Clearaudio Goldfinger and some other vintage top MC designs. No one of them beats overall the ADC 26.

The main 26 characteristics to beat belongs at both frequency extremes where if we want first rate quality performance there first condition is the transient response/attack of the music notes and develops of harmonics along the decay timing that’s where exist clear differences in between MC cartridges and all the other kind of designs. Nothing but the 26/27 compares with a top LOMC cartridges in those regards.

The transient response and fast timing decay in the low of the bass range is second to none and " mimic " what we can listen in a live event at nearfield position. With out this " sole " characteristic MUSIC as MUSIC just can’t exist and is here where belongs the MUSIC foundation.
At the other frequency extreme things are more of the bass range quality performance. In both frequency range it’s not only the rigthness of the transient response but the notes definition its very clear distinction in between and its harmonics. Exist no overhang or bold sound. At the high frequency range ( at the top. ) nothing can beats a Colibri 0.22mv output and the only contender for is precesily these ADC 26/27 ! !

As you can see the 26/27 specs says not very wide frequency range but when listen to it you can sware it goes from 5hz to over 100khz but the more important issue is the clear definition. When the timing in those frequency ranges are spot on then the overall MUSIC rythm is just spectacular and makes and moves all your feelings and body.

We all hear through all our body not only through our ears. We hear through the skin, bones, skind hair and millions of nervous terminations in the body and when you are listening to the ADC 26/27 all those have a true meaning as never before.

What about soundstage, layering, inner detail and the like: just very first rate. Tonal balance is outstanding nothing at the broad wide frequency range tells you " hey: I’m here ", exist a true coherence in between all frequency ranges.

Yes, it’s a UNIQUE listen experience a NEW listen experience coming from a very older cartridge and YES is the best Pritchard design and if you think that you already own the best cartridge ever you need to experience the ADC 26/27. I compared against the best out there in the same system with the same tonearms and same everything.

Was not only me but some other audiophiles friends where at least one of them is a music player. This one is a drummer/batery player and when he was at my place I run ( between other LPs. ) the Sheffield D2D with Ron Tutt and Jim Keltner great drummers with out telling him which cartridge was playing and my friend that’s a true expert with those instruments and golden ear by nature was " jaws dropping " and it’s because is incredible the TRUE of that kind of sound coming from the ADC’s
. This recording specially is something to listen through the 26/27 at 95db SPL with peaks in the 100db neigborhood, you can touch the sound and cut it with a sizzers ! ! !. It’s amazing.
The ADC never lost its aplomb no matters at what SPL you are listening from 70db to over 95dbs .

Every single good recording " sings " as never before of all what I experienced in my system and several other top audio systems.

One of the best MUSIC LP for testing any audio item is the Telarc 1812 and not because the cannon shots but overall frequency ranges that’s always a challenge for any cartridge andd for any audio system in other frequency ranges than the bass range.
No one of the other top LOMC cartridges can even overall the ADC 26/27 quality performance levels in this LP recording in all the frequency range other than the very low bass where the ADC beats to all of them.

I running the ADC 26 at 1.1grs and due ot its very high compliance ( 50cu. ) and cartridge body design is a very low rider when the 27 is only a low rider.
As with other top LOMC cartridges the alignment set up is critical but with the ADC 26 we have to do it with the best accuracy we can and with the VTA/SRA tiny/sligthly up at the tonearm bearing. This VTA/SRA is critical and as always not only depends of the accuracy overall set up but room system dependent.

That explosiveness, power, dynamics, transient response, thightness, flow, true tonal balance agresiveness, natural brigthness, rythm that usually exist only in a live MUSIC event with the ADC 26/27 you can feel that never was in your home audio system as nearer as with these ADC cartridges.

Those audiophiles terms as: lush, organic, color, smothness, bold, and the like does not exist through these " truer to the recording " performers. Those audiophiles terms/characteristics of sound just does not exist in the nearfield MUSIC live events are only characteristics " invented by the AHEE and very far away from reality.

The ADC 26/27 as the very top LOMC cartridges are made it for true music lovers more than for " audiophiles ".

I think that in the 60’s the ADC 26/27 you can get fro no more than 80.00 and today can compete against 15K+ LOMC cartridges.

This all new experience through the ADC 26/27 bcartridges came in the best moment when I 'm more mature in all subjects with MUSIC and audio and when my room audio system is at its best with all the up-dates and up-grades I can afford bor the better.

As always your contributions in the thread all are welcomed and appreciated.


Regards and enjoy the MUSIC NOT DISTORTIONS,
R.


Ag insider logo xs@2xrauliruegas
I had an ADC XLM which was mounted in a Grace 707...a great combination.   I had problems with the suspension failing, however, it was very easy to replace.  At the time I thought it excellent, but my components were not as good as I currently have.
@chakster 
I changed the diamond including cantilever, sorry if I described not in the right way.

For sure the stylus shape was fine and modern in the 60s. But even if I get another cantilever with a "state of the art" stylusshape it will be much cheaper the a Grace or something else (I bought my ADC a few years ago for about 50 €). I all ready own 3 F-9s.
In my opinion the generator is very good (but heavy). I hope the ADC would benefit a lot.
You are right. It is a little bit of a shame ADC and Sonus didn´t go the Grace route with a lot of different stylus. Not only as upgrade but also as a perfect match to your own listening routine. But it is like it is.

I am sorry,  I know these tonearms but never tried them myself.

The ADC was good on the 1210, but is much better with the right tonearm match.

At the moment I don´t know where the prices are. Haven´t seen one or a longer time. But I am sure you could find a bargain. Think the ADC 25 was produce in not too low numbers.


These new "Grace" artridges look nice, but they are way out of my budget.


@stringreen 
the failing of suspension is a common problem with the later ADC.
Not with every stylus but can happen. I also had an XLM and ZLM (also very nice for vocal jazz etc.) with the same prob. Other XLMs and ZLMs I own don´t have the prob.

 Halcro, with regard to your message to Chakster I think I read that Chakster  uses a Reed 3P tonearm, 12 inches in length, made of Cocobolo. He has apparently mounted more than one high compliance cartridge on that tonearm which would have an effective mass at least equal to that of an FR 64S, or maybe even an FR 66S.  So de facto he has done the experiment.
Still, his results with the FR 64S would interest me, as a comparison between the Reed tonearm and the FR 64S with whatever headshell..
Dear @lewm  : Certainly you have a misunderstood on the FR64S/Reed effective mass because are way different by a wide margin: Reed depending the wood/headshell models goes maximum at around 26 and normally around 22grs. where the 64S has 35grs.

Here what Fleib posted in the MM thread:

"""  fleib
VE has FR64S listed as 35g eff mass. I've heard the arm sound great with some moderate cu carts, but I wonder about high cu.

It could be no change using a high quality arm 1/5 the mass, but I suspect otherwise. Eff mass is the same as MOI (moment of inertia) and even with low bearing friction the mass seems to slow down response and make it sound different. What might be authoritative with one cart might sound thick with another?

I think Raul was right concerning low frequency resonance, but that's not the only consideration. Peter Pritchard advocated 6.5Hz. Maybe this was for his 50cu carts, but the Sonus arm has 4.1g eff mass. MOI is extremely low. Hard to imagine how extreme mass wouldn't make a difference. ""



of course it makes a difference and not for the better. That we like it does not means: " for the better."
Mr. Ikeda designed his FR64/66 tonearms thinking in his low cu and heavy LOMC cartridges he designed and never had in mind been coupled with 30 cu to 50 cu.

Again, can work: so what?. I tested several MMs with my SAEC 506 very high effective mass: only its headshell weigth is 18grs. and is a long tonearm as the 66: go figure, and with not dry grease at SAEC bearings as FRs.


Regards and enjoy the MUSIC NOT DISTORTIONS,
R.