Tranfiguration Orpheus description

OK Bc3,I'll bite.Firstly, your description of the differences in musical presentation of the "O" over the Tempers(around later than 2000,btw)is a "glowing" testimonial as to it's clear superiority!I don't detect the word "subtle" anywhere.I hope you are right.
The comment about not over-saturating high frequencies,like "piccolo blasts",was a cold splash of water to me!It is just here,where the big boys stand apart from the wanna be pretenders.NOT necessarily in the actual cartridges we sport,but the hobbyist's ability to actually get that particular parameter "right".I can't!I think I know what I'm doing,too.This has ALWAYS been a "sticking point" with me,and I have heard few systems that can really "do piccolos",at volume,using the LP.DAMN HARD!!
Surely,you must be a better man than I,and if you have not overstated your pride of ownership in the "O",you are on "Holy Ground"!Piccolo blasts at high volume,on classical repertoire,as recorded on the much sought after,early pressing discs we all have come to love(I'm talking of English,not Dutch,Deccas,EMI,Lyrita,Argo,Orig early Shaded Dogs,some black label Vanguard Stereolabs,and the Early maroon label Mercury series lp's)are almost "impossible" to get right,from disc to disc.I have heard only one system,owned by a friend that can do this convincingly,and consistently.And I really believe that owner's room is located between two black holes,where the laws of physics break down.It has almost been my own personal "Holy Grail"!Are you claiming the average yutz,like me,can,maybe gat this?"I dunoh about dat"!You better re-read your post,and maybe make an appology,for getting my blood pressure up!
NOW,your comments are,in actuality an endorsement of something that I may have to kill for,if true,and I don't want to break any laws,or hurt anyone.I hope you fudged your findings a bit(C'mon,admit it.You did.Right?),or possibly you had a bit too much Merlot,when you claim to have heard such piccolo at volume,performance.Flutes maybe?I could live with that-:)
BTW,it would be quite interesting to know what supporting componentry allowed for such observations,that have me "running for my checkbook"!

Best!

Hey,is this my pal,Eddie,kidding around with me? -:)

Mark,

re: piccolos

A few weeks ago Dan_Ed and his wife rendezvoused at my place with Nick Doshi. The occasion was the delivery of Dan's new preamp.

(I invited you but you were busy in FL - and please accept my belated condolences. I only just noticed that your Dad passed away.)

Since it was near the 4th I had Sousa marches spinning (on a really great old London LP). Dan's wife enjoyed them and I played 'Stars and Stripes Forever' twice, because she loves the piccolo solo. It was July 4th/live band concert loud and absolutely clean. It can be done.

You're right that it's hard, and of course it takes more than just a great cartridge. The entire amplification chain and all the signal path wire must be very good. Not easy, but doable, and a thrill to hear.

Surprised me too, which is why I remembered it and mentioned it... I suspect it is a combination of ability to track and no saturation. System was fairly modest and at a local dealer: all Quad electronics, the new (Chinese) tall Quad speakers, Basis 2200/Vector. He also had the new Airtight cartridge (I believe this is built by My Sonic, but Mr. Miura of Airtight was very involved in the design), which was also wonderful and could do this too, however, that system was much more money (SME 30, Avalon Diamond Eidolon, Wavestream electronics mostly).

Partly related, in response to ngarsh's discussion of resistance/output, I think much is due to the new coil former material. Immutable claims that the coil former itself is responsible for some gain in output. Perhaps jcarr could verify whether this is possible, though it makes sense. I know one of the drawbacks of the theoretically great idea of the ruby coil former in the Benz Ruby/LP/Cardasheart was the fact that without any magnetics, they have to use a bunch of windings to achieve a usable output. Yes, he avoids eddy currents, the moving mass is exceedingly low, but internal resistance is fairly high. The earliest ruby's from Benz (1.8mV ?) were wonderful, but needed a lot of phonostage oompf and quiet. If my years of listening to tube amps taught me anything, it was that magnetics are THE most important thing...acrosound, peerless...to today, with the tango, tamura and viva transformers, using permalloy and amorphous core materials. This was the reason for the big initial jump in performance, I think, when the W arrived, as it got some of it extra output (according to Immutable) from the new coil former material (the V originally used permalloy). Later (post 2004) V's switched to this material too, bringing output up from .25 to .34, with no change in internal resistance. This also brought the V back to a position of expected sonic superiority (very slight) over the W (given the right phonostage), which the W had held before the change. Just like the apparent edge that alnico seems to hold over other magnets...hard to explain, but easy to hear (sweetness of the big Dynavector, the Olympus from Lyra (this only by hearsay...), the phy-hp drivers...)

Subtle/not subtle? I would say that the improvements in most of the categories of performance I mentioned are relatively subtle (except macrodynamics). Also, upon first listen, the difference is relatively subtle, because the Orpheus is a more subtle/refined/natural sounding cartridge, but, the sum of all those subtle improvements brings about a very un-subtle net effect in terms of musical and emotional connection. You will see/hear.

nope, not Eddie...

Bc3 -- everything I've read about the Tranfg. coil former material speaks of a 35dB increase in sensitivity:

"Unique ultra grade SS-µ-metal core for coil assembly. Newly developed ultra grade SS-µ-metal square core increases sensitivity by 35dB, improving the signal to noise ratio and eliminating a usual source of distortion."

So far I've not read anything that indicates it actually increases the (voltage) strength of the output signal. Though I suppose a better S/N ratio might increase the "perceived" output?
.

I am just not sure on this. To me, the output voltage increase on the V, when all that changed was the core seems some evidence of this. You are correct, though, on the Orpheus, that they have also increased magnet strength, as well as going to "ss-u-x" (whatever that is...) material for core, so that windings could be reduced from even the V. Listening outcome is, indeed, better S/N...sounds quieter in the groove and there is definitely more low-level resolution. Again, one could say objectively that the improvement is subtle, but there is a definite increase in "musical" as opposed to audiophile detail. Harmonic and spatial (venue space) clues that you often do not notice, but are part of live listening experience.

However, I must defer on technical aspects of whether core materials can increase electrical output. I only know from the ironless Benz cores that they can decrease it.

Either way, they have come a long way now from the AF-1 in terms of usable output. Also, the top end of the Orpheus now surpasses that of the AF-1, whereas one might still have argued that the V and W did not. The AF-1, at the time a major breakthrough, was also nowhere near the newer cartridges in correct timbral and dynamic areas. Still, it was the first time I heard a human voice on LP that sounded "real"...funny how those firsts stay with you. Like the first time I heard Quad 57's, or Klipschorns, or the big SoundLab's.