Tranfiguration Orpheus description

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?
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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.

Doug,thanks SO much,for the kind words.Much appreciated!You are a great guy.Sorry I like the 2.2 better than the "Tri"-:)
However that won't excuse you(I'm still "me").I stated doing piccolos at "volume,consistently,from disc to disc!C,mon!!Sorry,but maybe I need to actually take a trip to Conn,because it's a toughy,for me to swallow.Just kidding!I really do believe you.
BTW,this "Nick Doshi" guy must be special.I could swear he was a chef,at "Benehana" when I was last there.-:)

Bc3,I think the Temper-v,of old,you refer to was the Temper Supreme.A very nice design,so I thought,until the "V" made it's presence felt.Your observations are interesting BUT,all this on a dealer's set-up???
HMM?-:)

Try Tchaikovski's 4th, 3rd movment. This is the solo that strikes fear in the heart of piccolodeum. Only 21 notes at forte, but they require delivery in a scant three seconds. Done at volume with proper tonal inflection and nary a whiff of smearing nets a check in the plus column for the system that can.

Jtimothea...so true!"The heart of piccolodeum",ILOVE that!!
Actually as to all this piccolo business,I'm not talking about recognizing the instrument,as such.It is clear,on a good set-up,as to "it" being a piccolo,What I have never heard,is the correct timbre of the instrument(in playing lp's),as well as the actual bit of air,and slight vibrant,almost rich, etheral quality that is seemingly imposible to get.Almost a roundness to the frequencies.Sorry,but it is hard to describe,and easy to actually think we have it right.The piccolo analogy is "Perfect",for such a difficult performance parameter,with the best "tiny transducers",and other reproducers of musical signals.
I have only heard this on my friend's system,with the Air Tangent,and his Titan/Art/ultra modded Infinity speakers.I cannot get this,to the degree I am talking of,with my own set-up,even though,on paper,my system stands up to my friend's.Previously,I would have to adjust for vta frequently,for each disc,whereas my friend can simply sit back and have it,almost dead on,CONSTANTLY.Lp to Lp,and label to label(the Black Hole thing,I guess).The lucky bastard!Maybe my new audio "gizmos",and the new,more accurate stylus pressure guage can aid me,but I'm not holding my breath.
BTW,who am I to doubt if any of you guys can obtain this!!Sorry for my arrogance,here.It has just been SO damn hard to get this parameter "really right" for me,the way I "need" to hear it,as well as another frustrated audio pal of mine,that I don't want to have the "I can recognize it's a piccolo",confused with "WOW,listen to that breathy timbre,and natural TOOT,on that darn piccolo".There IS a difference!That difference seperates really great musical reproduction from merely very good.Trust me.All of my variables,as to other components are in order.Cables etc.It's a "tracking/voicing/intricate setting" thing.Of that I am sure!If the Orpheus can ameliorate this,for me,I will consider myself set,in this hobby.
Boy,I'm getting carried away,and I'm sorry,but ponder this piccolo business when some of you fine 'philes are fotzing around with voicing.It can be a big help,over time.
Best!