Other than academically, there's no point in comparing the Zu103 cartridge to the Soundsmith Straingauge system. They are two entirely different instruments that address differently-ordered priorities. Outside of both cartridges serving their owners' hope of the illusion of aural fidelity, the two are radically different.
Throughout the 1970s, I experimented with a wide range of phono cartridge types. I started with the Shure V15-Type II which didn't have the ultimate tracking prowess of the later V15 Type III but had a more convincing organic quality than any moving magnet cartridge after it. Getting a V15 Type III was one of my earliest cues that the industry's single-minded chase for resolution didn't always deliver a holistically improved outcome. The V15-Type IV ended that vector. The last moving magnet cartridge I bought was the excellent Signet TK10, which I still have and use occasionally. Coincidentally, I dove into Denon moving coils early. Denon DL103D and several other 103 versions have been in my systems continuously since 1974. I've been down several Ortofon MC vectors along with early Koetsu and Supex, and the 80s Accuphase and Monster jewel cantilever moving coils. After that I pretty much peeled away from the general trend of making LPs sound more like CDs all through the 90s and the 00s. 35 years ago I also experimented with the immediacy of the Win Strain Gauge, the Stax Electrostatic cartridge and the Micro Acoustics electrets. And I wrangled the Decca London. Over the past 15 years as my systems moved to SET amplification and crossoverless speakers, I revived my interest in my very early exposure to the Ortofon SPU series -- not state of the art trackers but in the right tonearm, profoundly musical and engaging. Going upmarket pricewise in moving coils, from Zu103, meant for me a few different SPUs rather than one or more digital-like Lyras, Shelters, Clearaudios or the more self-consciously-voiced-but-beautiful modern Koetsu.
So it shouldn't be surprising that a more perfect strain gauge is intrinsically interesting to me. I've heard the Soundsmith strain gauge system at shows, and because of the associated gear and the show conditions what I heard was neither off-putting in any way nor compelling enough to dump my moving coils and phono preamps in favor of the strain gauge. Tracking and event immediacy are startlingly good. Sonic textures are rendered in very high resolution. I did not hear the world-beating dimensioning described in some reviews, but no surprise given the show conditions. Some of its tonality rang a little false or evaporated. But as Peter plainly says, nothing is perfect, including his strain gauge system. It is for example uncanny in floating a voice out of silence. The lack of noise in the system is a huge advantage over most RIAA phono preamps. But it still lacks some of the resonance of "the whole pipe" of the human body as an element of voice. On the other hand, I have never heard the Soundsmith Strain Gauge system in my systems, nor in any SET amplifier/crossoverless hifi resembling Audion transparency and speed with Zu revelation and shove. That could make all the difference.
I'm not in a hurry; reason being that the strain gauge is a system. It uproots the whole moving coil investment. I'm wired for variety. Not long ago, someone I will charitably refer to as a "hifi enthusiast' posited that if I was really serious about audio I'd sell both my systems and "buy one great one." Sort of reminded me of the person who visited years ago only to tell me that if I was really serious about hifi I wouldn't have a coffee table in my living room where my primary system is located. Morgan got the Pappy's 23 Years; those guys didn't even get the Buffalo Trace leftover from the last Zu party!
All the cash allocated into one pair of speakers, one preamp, one pair of mono power amps, one digital source, one turntable/tonearm/cartridge, one phono preamp, one cable loom, etc. Yup, it would be easy enough to turn both my Luxman PD444s and my Garrard 401, plus six tonearms and 20 cartridges and four phono preamps and four MC transformers into enough cash to buy a Brinkmann Oasis or even AMG V12 + a strain gauge system. Maybe I should. But these things have to be considered purchases. There's a reason Denon moving coils have been in my systems without a break for 39 years an counting. Why an Ortofon SPU sounds even more inspiring today than it did when I first knew I was hearing one in 1967.
I just had a few $5,000 - $15,000 phono preamps through for audition, which was enlightening primarily for reminding me how flawed most gear is. The common error designers seem vulnerable to is using premium economics to create extreme competence in one or two traits, at the expense of balance. And reviewers tend to reward this. The phono preamp on the upper end of that range isn't going to find its way into either of my systems.
This morning I listened to 1970s/early 80s recordings by David Bromberg, Norman Blake, John Fahey, Gene Clark, Ry Cooder, Eric Bibb, the great Doc Watson. Guitar players all; that was just a thread I got on for a few hours. I've had guitars under my fingers for 45 years. I know acutely what acoustic guitars sound like, acoustically. Not quacky piezo-pickup acoustics that people now *think* is the sound of an acoustic guitar, but a real acoustic guitar with bronze strings moving the air between it and your ears. Cartridges were SPU Synergy and DL103D into ZYX Artisan 2 phono preamp, and SPU Meister Silver into Cinemag 1131 Blue xformer, into Audion Premier tube phono preamp. All that into Melody Pure Black 101 line pre driving Audion Golden Dream PSET amps, driving Druid Vs. There wasn't nearly enough wrong to be eager for upheaval, and more than plenty right to eschew it.
Spirit, when you hear the Soundsmith strain gauge in a dealer setting, it's going to be fantastic in specific ways. But it is what it is -- a system. High compliance, so you need a low-to-medium mass tonearm. No mixing/matching cartridge traits to preamps. It will certainly be highly resolving. The audiophile's hungry ear will be fed. Listen for holistic representation and balance, evaluating for a smooth polar graph of qualities in your imagination. And if it compels you, tell us. If you just have to have it and money cascades out of your wallet right on the spot, send us the YouTube link for the video!
Phil
Throughout the 1970s, I experimented with a wide range of phono cartridge types. I started with the Shure V15-Type II which didn't have the ultimate tracking prowess of the later V15 Type III but had a more convincing organic quality than any moving magnet cartridge after it. Getting a V15 Type III was one of my earliest cues that the industry's single-minded chase for resolution didn't always deliver a holistically improved outcome. The V15-Type IV ended that vector. The last moving magnet cartridge I bought was the excellent Signet TK10, which I still have and use occasionally. Coincidentally, I dove into Denon moving coils early. Denon DL103D and several other 103 versions have been in my systems continuously since 1974. I've been down several Ortofon MC vectors along with early Koetsu and Supex, and the 80s Accuphase and Monster jewel cantilever moving coils. After that I pretty much peeled away from the general trend of making LPs sound more like CDs all through the 90s and the 00s. 35 years ago I also experimented with the immediacy of the Win Strain Gauge, the Stax Electrostatic cartridge and the Micro Acoustics electrets. And I wrangled the Decca London. Over the past 15 years as my systems moved to SET amplification and crossoverless speakers, I revived my interest in my very early exposure to the Ortofon SPU series -- not state of the art trackers but in the right tonearm, profoundly musical and engaging. Going upmarket pricewise in moving coils, from Zu103, meant for me a few different SPUs rather than one or more digital-like Lyras, Shelters, Clearaudios or the more self-consciously-voiced-but-beautiful modern Koetsu.
So it shouldn't be surprising that a more perfect strain gauge is intrinsically interesting to me. I've heard the Soundsmith strain gauge system at shows, and because of the associated gear and the show conditions what I heard was neither off-putting in any way nor compelling enough to dump my moving coils and phono preamps in favor of the strain gauge. Tracking and event immediacy are startlingly good. Sonic textures are rendered in very high resolution. I did not hear the world-beating dimensioning described in some reviews, but no surprise given the show conditions. Some of its tonality rang a little false or evaporated. But as Peter plainly says, nothing is perfect, including his strain gauge system. It is for example uncanny in floating a voice out of silence. The lack of noise in the system is a huge advantage over most RIAA phono preamps. But it still lacks some of the resonance of "the whole pipe" of the human body as an element of voice. On the other hand, I have never heard the Soundsmith Strain Gauge system in my systems, nor in any SET amplifier/crossoverless hifi resembling Audion transparency and speed with Zu revelation and shove. That could make all the difference.
I'm not in a hurry; reason being that the strain gauge is a system. It uproots the whole moving coil investment. I'm wired for variety. Not long ago, someone I will charitably refer to as a "hifi enthusiast' posited that if I was really serious about audio I'd sell both my systems and "buy one great one." Sort of reminded me of the person who visited years ago only to tell me that if I was really serious about hifi I wouldn't have a coffee table in my living room where my primary system is located. Morgan got the Pappy's 23 Years; those guys didn't even get the Buffalo Trace leftover from the last Zu party!
All the cash allocated into one pair of speakers, one preamp, one pair of mono power amps, one digital source, one turntable/tonearm/cartridge, one phono preamp, one cable loom, etc. Yup, it would be easy enough to turn both my Luxman PD444s and my Garrard 401, plus six tonearms and 20 cartridges and four phono preamps and four MC transformers into enough cash to buy a Brinkmann Oasis or even AMG V12 + a strain gauge system. Maybe I should. But these things have to be considered purchases. There's a reason Denon moving coils have been in my systems without a break for 39 years an counting. Why an Ortofon SPU sounds even more inspiring today than it did when I first knew I was hearing one in 1967.
I just had a few $5,000 - $15,000 phono preamps through for audition, which was enlightening primarily for reminding me how flawed most gear is. The common error designers seem vulnerable to is using premium economics to create extreme competence in one or two traits, at the expense of balance. And reviewers tend to reward this. The phono preamp on the upper end of that range isn't going to find its way into either of my systems.
This morning I listened to 1970s/early 80s recordings by David Bromberg, Norman Blake, John Fahey, Gene Clark, Ry Cooder, Eric Bibb, the great Doc Watson. Guitar players all; that was just a thread I got on for a few hours. I've had guitars under my fingers for 45 years. I know acutely what acoustic guitars sound like, acoustically. Not quacky piezo-pickup acoustics that people now *think* is the sound of an acoustic guitar, but a real acoustic guitar with bronze strings moving the air between it and your ears. Cartridges were SPU Synergy and DL103D into ZYX Artisan 2 phono preamp, and SPU Meister Silver into Cinemag 1131 Blue xformer, into Audion Premier tube phono preamp. All that into Melody Pure Black 101 line pre driving Audion Golden Dream PSET amps, driving Druid Vs. There wasn't nearly enough wrong to be eager for upheaval, and more than plenty right to eschew it.
Spirit, when you hear the Soundsmith strain gauge in a dealer setting, it's going to be fantastic in specific ways. But it is what it is -- a system. High compliance, so you need a low-to-medium mass tonearm. No mixing/matching cartridge traits to preamps. It will certainly be highly resolving. The audiophile's hungry ear will be fed. Listen for holistic representation and balance, evaluating for a smooth polar graph of qualities in your imagination. And if it compels you, tell us. If you just have to have it and money cascades out of your wallet right on the spot, send us the YouTube link for the video!
Phil