Wonderful music and lovely performance!
In simple answer to the question, a resounding YES. Frankly, I am surprised by how different the same cartridge sounds in each of the two head shells. I am not sure about the “golden ears” part 😊, but the differences are pretty obvious.
I am in complete agreement with Dover in that the FR is the clear winner in this comparison and I agree with his specific observations. Not to put too fine a point on this, but I would also have to stress “in this comparison”. I will explain what I mean, but first to add to Dover’s excellent comments:
The sound with the Yamamoto head shell is simply too dry. There is a “bleached” quality to the overall sound and upper strings in particular sound too thin and borderline steely compared to how they sound in real life. There is a “hashy” (“congealed”?) quality to the upper strings that tends to, as Dover observed, mask the initial attack of the harpsichord. Likewise, the lower strings, lack a bit of tonal meat on the bone. Surprisingly, the push-pull of the tempo in the players’ phrasing is more
obvious with FR. On the plus side for the Yamamoto is that probably as a result of its dry quality, pitch definition is perhaps slightly better in the lower registers.
The reason I would stress “in this comparison” (mostly speculation):
I am not a fan of AT/Signet cartridges (nor most MM’s) as far as their rendering of tonal quality/timbre goes. The sounds of live acoustic instruments have quite a bit of natural color. Sometimes what some listeners describe as “neutral” or lacking in coloration to me is a sound lacking in that natural color; “bleached” sounding or having what I would describe as a “gray” coloration. In spite of their other positive traits I would put AT/Signet cartridges in that camp (Shure’s, worst of all in my experience).
Having said all that, Signets have never struck me as cartridges that are thin or steely sounding; quite the contrary; if anything, lacking some natural high frequency sparkle and color. So, why that type of sound in the Yamamoto head shell? At the same time, why would a cartridge that tends to sound gray and colorless (in a negative sense) sound more naturally colorful in the FR headshell?
Dover suspected that I might find the sound with the FR “colored”. Actially, I find the sound to be pretty close to my sense of what tonally correct is. However, he may be correct in that I also have a suspicion that a cartridge like my “vintage” Koetsu Rosewood which is inherently romantic sounding might in fact sound unnaturally “colored” in the FR, but might benefit from what is possibly the Yamamoto’s inherent dryness.
“It’s all about synergy” says Princi 😌
Interesting as always, Halcro. Thanks.
In simple answer to the question, a resounding YES. Frankly, I am surprised by how different the same cartridge sounds in each of the two head shells. I am not sure about the “golden ears” part 😊, but the differences are pretty obvious.
I am in complete agreement with Dover in that the FR is the clear winner in this comparison and I agree with his specific observations. Not to put too fine a point on this, but I would also have to stress “in this comparison”. I will explain what I mean, but first to add to Dover’s excellent comments:
The sound with the Yamamoto head shell is simply too dry. There is a “bleached” quality to the overall sound and upper strings in particular sound too thin and borderline steely compared to how they sound in real life. There is a “hashy” (“congealed”?) quality to the upper strings that tends to, as Dover observed, mask the initial attack of the harpsichord. Likewise, the lower strings, lack a bit of tonal meat on the bone. Surprisingly, the push-pull of the tempo in the players’ phrasing is more
obvious with FR. On the plus side for the Yamamoto is that probably as a result of its dry quality, pitch definition is perhaps slightly better in the lower registers.
The reason I would stress “in this comparison” (mostly speculation):
I am not a fan of AT/Signet cartridges (nor most MM’s) as far as their rendering of tonal quality/timbre goes. The sounds of live acoustic instruments have quite a bit of natural color. Sometimes what some listeners describe as “neutral” or lacking in coloration to me is a sound lacking in that natural color; “bleached” sounding or having what I would describe as a “gray” coloration. In spite of their other positive traits I would put AT/Signet cartridges in that camp (Shure’s, worst of all in my experience).
Having said all that, Signets have never struck me as cartridges that are thin or steely sounding; quite the contrary; if anything, lacking some natural high frequency sparkle and color. So, why that type of sound in the Yamamoto head shell? At the same time, why would a cartridge that tends to sound gray and colorless (in a negative sense) sound more naturally colorful in the FR headshell?
Dover suspected that I might find the sound with the FR “colored”. Actially, I find the sound to be pretty close to my sense of what tonally correct is. However, he may be correct in that I also have a suspicion that a cartridge like my “vintage” Koetsu Rosewood which is inherently romantic sounding might in fact sound unnaturally “colored” in the FR, but might benefit from what is possibly the Yamamoto’s inherent dryness.
“It’s all about synergy” says Princi 😌
Interesting as always, Halcro. Thanks.