Tranfiguration Orpheus description

Dear Doug: Sorry to disturb again. My last post was only to state that there are differences in what Andrew think was the O set up and in what you state about. This Andrew post confirm it: +++++ " We did not evaluate a broad range of VTA in Doug's system . Paul tried several setting within a small range but I beleive all of the settings put the arm lower than parallel. Although, I preferred one of these settings, we did not make large enough changes to evaluate the cartridge with a parallele or slightly elevated arm. " +++++, I can tell you I'm not blind and I'm not doing criticisms only for doing that but for trying to help to understand the results of that cartridge test: that's all !!!!

Btw, those three subjects: precise volume gain, frequency response with changes in volume gain and RIAA accuracy, are crucial in any two cartridge test and are very important to understand the results and if you can it will be nice that you share the info with us.

Doug, it is normal the reaction of all the people ( including me ) in this thread when the test's results are controversial like this ones, be patience.

Regards and enjoy the music.
Raul.

All,

I've been experimenting with VTA/SRA on my setup. Using a maginifying glass I inspected the SRA with the tonearm completely parallel to the record surface and determined that the SRA was slightly negative. Approximately ~ -1 degress (stylus tip pointed away from tonearm base). I had to raise the tonearm approximately 4.5 mm to achieve an SRA of approximately 0 degrees.

This improved bass extension, tightness and detail as well as high frequency extension and dynamic attack. I also hear a little more record wear noise which probably suggests it's tracking the grooves more precisely.

I suspect the system might now sound better at 100 or so ohms. I think Nsgarch may be right on compensating for high frequency losses by increasing loading to 47K. I'll try reducing loading next and report back.

Andrew

Andrew,

I think you may have my comment about 47Kohm loading and negative SRA backwards. Let me explain it this way: If you have a MC cartridge at the correct SRA (stylus nicely locked into the forward-slanting groove undulations) and you set the load at 47Kohms, then you are feeding a perfectly wonderful signal (from the cartridge's output) into a perfectly horrible impedance mismatch. The effect of this particular kind of mismatch is to roll off the bass response more and more starting from about 1kHz on down -- leaving the highs (apparently) dominating.

Now, if you leave the load at 47Kohms, then the highs you are getting are essentially normal, but the bass is attenuated due to the impedance mismatch. The only way to (artificially) reduce those perfectly normal highs, so you can hear whatever piddling bass is still left after the impedance mismatch, is to severely disengage (unlock) the stylus from the groove, setting it to negative SRA in order to reduce the cartridge's HF output. And you wind up with a tonearm that slopes to the rear!

Talk about bassackward!!

47Kohms is ideal for MM cartridges. The Shure "V" series coils have an impedance of 1400 ohms! Times 25 that equals 37Kohms! So naturally a default preamp load of 47Kohms would make perfect sense. Similarly a little 2.5ohm MC coil only needs to "see" an impedance about 25 times its own resistance in order to transfer its energy. If you try driving a 47Kohm load with a MC, all those low frequency bass notes start to look like direct current at the preamp input and get dissipated as heat (if I still remember my electonic theory correctly ;--)
.

Nsgarsh is right,once again(what else is new).He has proven,time and time again,to me,that it's OK to be open minded.I have always felt the 47k load was just fine,with my set-up,and my friend has been absolutely adamant about keeping his set there too!This has always influenced me,but when some folks go on a binge,enough times,even though you don't necessarily agree,it can influence some tinkering.Here,my not being so pigheaded has been a gain in sound.And,thanks to guys like Neil,I have alot to learn,still,and am now getting FAR superior sound,at 100 ohms.Thanks Neil!
Best!
Mark

Wow, I have been travelling and have not seen this thread in some time. I am concerned by some of what I have read regarding Andrew's Orpheus. From the descriptions of the comparison to the Univ. I have to say that it sounds as though the cartridge either was not set up correctly, or is defective. First, so that there is no feeling of dissembling on my part, I should identify myself. As my nickname implies, I am certainly not trying to hide my identity, which Andrew correctly surmised rather early on. I import Transfiguration into the US and joined this thread primarily to correct some misinformation regarding availability from the distributor, etc. I believe Mark will bear out the fact that I described the sound of the Orpheus as accurately as I could, which is how I do things.

Andrew called me several times prior to his purchase and subsequently informed me that he bought the cartridge "slightly used" from someone in Europe. I cannot know without hearing it, but from the description by Doug and Andrew, I can say that that Orpheus was not behaving as I have heard it perform. The areas that Doug addressed in particular as weak points (bass, tracking, resolution) are, if anything, the Orpheus' greatest strengths. I am wondering if his cartridge did not suffer some damage, either in shipping, or prior to sale. This does happen from time to time, and, as we all know, these cartridges are very delicate. Unfortunately, this is also the downside of purchasing used or grey-market cartridges, as they have no guarantee, or dealer/distributor support.

However, it is very possible that it is simply a setup issue. "Smearing" and lack of resolution could be due to misalignment, improper VTA or VTF, or azimuth (which is very important with the Ogura stylus). Also, as I have said, VTF of 1.95-2g is important, and if you look at the image hifi review that Andrew posted, you will also see that the cartridge is quite sensitive to load. In my system, I have found 100 ohms to be optimal, though up another 100 or down 50 might work better in a given system. However, if you find things sound better at 47K, or even 2K, I would say there are problems, either with the cartridge, or with the system.

Also, to set the record straight on another point I noticed in the thread, I do not use a Graham 2.2. I used to have one, but am now using a Basis Vector, which seems a synergistic match with the Orpheus. I always liked my 2.2, though, and expect that it would work fine with the Orpheus, as it did with my first 3 Tempers. As you might know, Transfiguration builds the Nightingale cartridge for Graham, so he certainly believes in some compatibility there.

In any event, the sound experience described by Andrew and Doug just does not match either my experience with the Orpheus, nor that of anyone else I have spoken to. Generally, I get excited phone calls from former Temper owners, telling me how much better it is than either I told them it would, or than they expected. Even though he did not buy it in the US, I would offer to take a listen to Andrew's cartridge to confirm whether I think something might be wrong with it, or whether it might just be a setup or cartridge/arm compatibility issue. I have not heard an Orpheus in the Triplanar. The slightly stiffer compliance might possibly be an issue with a ball-bearing arm, though, the new damper seems to more than offset potential tracking issues I might have anticipated. In my experience, the Orpheus is the best tracking cartridge Transfiguration has ever made and is among the best I have heard.

all this said, I would not dare to claim that it is superior to the Universe, which is a fine cartridge indeed. It may also not have quite the level of filigreed detail the Univ. pulls out of a groove. I notice many of the things cited that the Univ. excelled at over the Orpheus were details that are not necessarily relevant to the musical experience, though, I can assure you, on my system, you can very easily hear the three distinct voices on the "Trio" album. That this was difficult with Andrew's Orpheus, leads me to believe that something is simply wrong with either his cartridge or his arm/table.

I am happy to answer any technical questions regarding cartridge issues and will continue to weigh in, only if I think misinformation needs to be addressed, or in response to technical issues.

I think it can be beneficial to have access to an expert (on certain things) when needed and offer what expertise I have. Looking back, I fear I may have chased away jcarr, when I assumed everyone knew who he was (again, not trying to hide his identity in a nickname), because he is one of the true experts out there in the knowledge and construction of phono cartridges.

I also just had to speak up, when it was claimed that the distributor was out of Orpheus cartridges, while I was looking at several on the shelf... I suspect this had to do with some lack of grey-market availability, which is another issue I would be happy to discuss sometime.