I mentioned the Victor MC-L1000 in halcro's recent thread about diamond cantilevers. It turned out he outbid me on the Sony XL-88D, but I mentioned that I won an auction for the Victor just a few weeks later. This is also on my list of 'must hear' vintage MC's, just like the Sony. I promised to report back and decided to do it here as the more appropriate place.
The Victor came to me in a perfect condition. The best I've ever experienced with previously owned cartridges, complete with the original packaging, accessoires and papers, all in mint condition. Clearly, this sample had been very well cared for. So, how does it sound?
Contrary to halcro's experience mentioned above, I would say the bass is very deep and powerful, but also highly articulate. Even on my most familiar records I could now easily follow inner (mid)bass lines and tonal inflections that never caught my attention before. The sound stage is huge (in width, depth and even height), creating the illusion that there's more available space in which all sorts of musical inner voices can unfold. Even in the most dense, busy arrangements. It's like stepping into an enormous three dimensional 'bell' of sound in which - to quote Radiohead - 'everything is in its right place'.
One case of obsessive multitracking I happen to adore is Zappa's 'Nine types of Industrial Pollution' (alternatively called '400 Days of the Year') on the Uncle Meat album. There's a prominent guitar line in there (sped up and otherwise manipulated), but in the background on the left channel there's also a second guitar line (in regular speed, possibly even slowed down) that normally comes to the surface in the last part of the track. But now for the first time in the 40 years of knowing this record my aging ears could easily hear that this second guitar line is actually there from the very start, deeply buried in the mix.
It's these kinds of 'insignificant epiphanies' that make this hobby so worthwile and the MC-L1000 is one of those devices that help you experience these wonderful moments. And somehow you just 'know' there's another one of those moments just around the corner. Which makes you want to get up and put on another record. And another. It's an almost rejuvinating experience.
Pardon the hyperbole, but this might just be one of the very best cartridge I've ever heard, joining Ikeda 9 Rex, Kiseki Lapis Lazuli, FR-7fz and a few others. Perhaps the novelty will wear off after a while or certain flaws will start to reveal themselves, but for now this cartridge makes me want to rediscover all my records.
One caveat: it's a very low rider, so best to avoid warped discs.
Listening was done with an Audiocraft AC-4400 tonearm on a Micro RX-1500G turntable, Boulder amplification (1008 phono, 1010 pre and 1060 power) and Maggie 20.7 speakers.
The Victor came to me in a perfect condition. The best I've ever experienced with previously owned cartridges, complete with the original packaging, accessoires and papers, all in mint condition. Clearly, this sample had been very well cared for. So, how does it sound?
Contrary to halcro's experience mentioned above, I would say the bass is very deep and powerful, but also highly articulate. Even on my most familiar records I could now easily follow inner (mid)bass lines and tonal inflections that never caught my attention before. The sound stage is huge (in width, depth and even height), creating the illusion that there's more available space in which all sorts of musical inner voices can unfold. Even in the most dense, busy arrangements. It's like stepping into an enormous three dimensional 'bell' of sound in which - to quote Radiohead - 'everything is in its right place'.
One case of obsessive multitracking I happen to adore is Zappa's 'Nine types of Industrial Pollution' (alternatively called '400 Days of the Year') on the Uncle Meat album. There's a prominent guitar line in there (sped up and otherwise manipulated), but in the background on the left channel there's also a second guitar line (in regular speed, possibly even slowed down) that normally comes to the surface in the last part of the track. But now for the first time in the 40 years of knowing this record my aging ears could easily hear that this second guitar line is actually there from the very start, deeply buried in the mix.
It's these kinds of 'insignificant epiphanies' that make this hobby so worthwile and the MC-L1000 is one of those devices that help you experience these wonderful moments. And somehow you just 'know' there's another one of those moments just around the corner. Which makes you want to get up and put on another record. And another. It's an almost rejuvinating experience.
Pardon the hyperbole, but this might just be one of the very best cartridge I've ever heard, joining Ikeda 9 Rex, Kiseki Lapis Lazuli, FR-7fz and a few others. Perhaps the novelty will wear off after a while or certain flaws will start to reveal themselves, but for now this cartridge makes me want to rediscover all my records.
One caveat: it's a very low rider, so best to avoid warped discs.
Listening was done with an Audiocraft AC-4400 tonearm on a Micro RX-1500G turntable, Boulder amplification (1008 phono, 1010 pre and 1060 power) and Maggie 20.7 speakers.