Hear my Cartridges....🎶

1:45 “reach”, “broken”
2:07 “price”
2:30 “Grande”
2:47 “flows”
2:49 “like”

All spots where there is obvious distortion (break up).  In between those spots it often sounds as if on the verge of break up.  From 2:50-3:42 it is worse with the very worst spot at 3:42 on “border line”.   It’s not subtle at all and I must say that this level of distortion makes the differences between the cartridges pretty irrelevant for me.

Surprisingly, the highest level and frequency of distortion is heard with the Palladian.  I agree with noromance’s descriptions of the sound of the cartridges and the differences between the Palladian and the Decca observed in their previous comparison apply.  Some of the qualities of the Palladian favor this type of studio recording giving it a more expansive and impressive soundstage.  But the distortion makes those qualities seem moot.  

I managed to acquire an unused FIDELITY RESEARCH FR-7fz LOMC cartridge from 1984.
This NOS FR-7fz is the 'Holy Grail' for those who appreciate the FR-7 Series of LOMCs designed by the legendary Ikeda-san.
As Art Dudley wrote...

Way back in 1967, Ikeda-san founded Fidelity Research, a celebrated Japanese firm that left its mark on the world of phonography with its FR-64 series of tonearms and FR-1 and MC-202 cartridges. (One could say that Isamu Ikeda has left another, more personal mark, inasmuch as many of Japan's well-known cartridge builders have served him as apprentices.) 

After the earlier FR-7 and FR-7f, the final version FR-7fz came with an advanced nude LINE-CONTACT diamond pressure-fitted to an aluminium cantilever and cost an incredible 120,000 Yen in 1984.

The Acoustic Systems PALLADIAN LOMC cartridge was designed by Dietrich Brakemeier as a 'tribute' to the FR-7fz and it will be interesting to hear what progress has been made in MC cartridge design in the last 35 years....🧐

FIDELITY RESEARCH FR-7fz

AS PALLADIAN 

FIDELITY RESEARCH FR-7fz
(Sorry for overloading the mic in places)

AS PALLADIAN
(Sorry for overloading the mic in places)

After the earlier FR-7 and FR-7f, the final version FR-7fz came with an advanced nude LINE-CONTACT diamond pressure-fitted to an aluminium cantilever and cost an incredible 120,000 Yen in 1984.

The FR7fz was only 80,000 yen in 84. By comparison my Dynavector Karat Nova 13D was 150,000 yen in 83 as was the Sony XL88D, both of which have been auditioned on my TT. The Karat Nova 13D remains my reference. The most expensive FR7 was the "f/c" at 100,000 yen.
http://20cheaddatebase.web.fc2.com/needie/NDFR/FR-7fz.html

I think the Palladian is a mismatch with the SAEC WE8000 - it is at the top end on the recommended tracking weight and cartridge weight, too much energy for knife edge bearings. Would be interesting to hear the Palladian in the same arm as the FR7fz, ie on the  FR66.  There appears to be mistracking on the 1st album with the WE8000/Palladian combo.

Thanks for the clarification on the FR7 Dover....
I didn't know of the FR-7fc but note that is has a CONICAL STYLUS instead of the LINE CONTACT of the FR-7fz....
Have you ever heard one?
What about it do you think, could make it different to the FR-7f and FR-7fz?
And why.....if this was the 'ultimate' FR-7.....did Ikeda-san produce the FR-7fz as his final Fidelity Research design?

I've heard the Sony XL-88D in direct comparison to the XL-88....
And I was tempted to acquire a Karat Nova 13D after reading your thoughts years ago.....but luckily, your warnings about the particular sample I had in mind, saved me from that possible disaster 😱

Of course I tried the PALLADIAN IN THE FR-66S and it did sound slightly better than in the WE8000.....but that's primarily because the FR-66S is the better arm 🤗
Contrary to your thoughts on knife-edge bearings handling the high-energy of LOMCs.....I find that the WE8000 is more comfortable with LOMCs than with the high-compliance MMs.
There is an interesting development in the 'uber High-End' with its adoption of the vintage double knife-edge bearing SME3012R tonearm as the BEST arm for all LOMC cartridges.
Read this THREAD from What's the Best Forum and you can see where users prefer it to even the SAT tonearm....and that's with modern LOMCs like the Colibri XPP, AirTight Supreme, My Sonic Labs Sig. Gold, Lyra Atlas and Etna  and all the stone-bodied Koetsus.

Thuchan loves the double knife-edge bearing SAEC 506/16 for his LOMCs and loves his WE8000 even more...😎

I re-listened to the first track with the Palladian and agree that 2/3 the way in....there appears to be distortion but I think it's mic overload or at one point....it's my fingers touching the microphone 🙃

@halcro
Thanks for the feedback, I’m pleased my rantings saved you from potential disaster. The Dynavector Karat Nova series are obstensibly defunct. I know from personal contacts directly with the factory that they ran out of Karat Nova 13D generators for rebuilds around 2002. I was graced with good fortune some years later when they agreed to rebuild mine for the third time on a one off basis. This has been great because the last rebuild they did for me sported a microridge stylus which has pushed the performance/transparency way beyond my Ikeda Kiwame & Decca levels. It’s sad because when this goes - its done. Unfortunately I have noticed several Karat Novas for sale in recent years but they have clearly had a non standard cantilever/stylus. The telltale sign is usually the cantilever which sticks out a mile compared to the original which is tiny and is barely seen below the body. I have been contacted by some folk to verify Karat Nova’s and have followed up with Dynavector directly in Japan but they are too embarrassed to even answer. Beware the "prototypes" being sold on Yahoo Japan.

The diamond cantilever on the Karat Novas has a Y shaped yolk at the end into which the stylus is glued. It is possible to retip a Karat Nova but the chances of the yolk breaking when removing the original tip is very high.

The Sony XL88D is in the same category, one piece diamond cantilever cannot be retipped.

Final Audio also commissioned a version of the XL88D from Yoshimura, there were 2 iterations =, one a full diamond cantilever/tip the other a 1/2 length diamond cantilever/tip mounted in an aluminium sleeve.

Like you I am puzzled by the FR-7fc model being the most expensive FR7 yet a "conical" stylus. Syntax has one and rates it at the top ofthe FR tree. It appears to have been targeted at the vintage record collector. I know that Isamu Ikeda was a bit like Van den Hul in that he produced a lot of one off variants of the FR7 for record collectors or specific musical tastes. I have seen for example FR7’s optimised spicifically for early stereo Jazz. Sugano likewise.

I have been following your cartridge postings - they are great. I have the Glanz MFG61 and was interested in getting a flavour of the 610 you have.

Re the 3012 - yes I have been folowing that thread you referred to. They like the SME3012R which has a higher mass stainess steel arm tube compared to the 3012 Series 1 & II. In my view the SME has a charm and musical presentation that is compelling but to my ears is not the most transparent arm available by some margin. So if someone prefers its musically to other arms I would not disagree, however I like to hear everything possible in the groove. One of the issues with vintage knife bearing arms is that due to the offset angle of the cartridge, and the non offset vertical knifebearings, the forces on the cantilever try to rotate the arm, effectively trying to lift one side of the 2 knife bearings. Added mass helps. Ikeda, the designer of your FR7fz eschewed the use of unipivots for his low compliance cartridges and knife edge bearing tonearms along with jewelled bearings which he regarded as fragile sounding.
I have a 3012, - it sits on the shelf in my study.

The previous owner of my Final TT had many arms for review in the 80’s. I know he tried the SAEC407/23 and found it to be lightweight sounding, lacking bass definition on a wide range of top end cartridges - both high and low compliance. Of the cartridges tried the Sony XL88D was the least affected by this wispy attribute. It is a medium compliance MC cartridge. I have not heard the 8000. You might want to try your XL88 on your SAEC.

I am a great believer in arm/cartridge combinations as a unit - hence why I still have Dynavector/FR64S/Naim Aro/Eminent Technology ET2 arms and several other arms which I keep in rotation, simply because finding the best arm for each cartidge I have is one of those itches you have to scratch.