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Glanz moving magnet cartridges

Hi,

I have just acquired an old Glanz G5 moving magnet cartridge. However, I cannot find out any details about this or the Glanz range or, even the company and its history.

Can anyone out there assist me in starting to piece together a full picture?

Any experiences with this or other Glanz's; web links; set up information etc would be warmly received. Surely someone knows something!

Thanks in hope
dgob
halcro's avatar
halcro
2,664 posts
 
Dear Nikola,
I agree with you about the FR-64s.....but I also think the FR-66s is even more beautiful?
And such authority it has.
In fact.....I have been contemplating selling my DaVinci arm and replacing it with an arm that accepts interchangeable headshells...like the DV-507MkIII?
But then I thought......there is no other arm (other than the Copperhead) which is as good with MMs AND LOMCs as the FR-66s.....so why take a risk? Why not just buy another FR-66s?
And in terms of investment strategy.......it's like money in the bank?

Regards
Henry
halcro's avatar
halcro
2,664 posts
 
Dear Nikola,
To put into perspective the variations and possible combinations that can affect the sound of the analogue performance in my particular case.......with every cartridge there are 9 possible adjustments:-
1. Turntable x2
2. Arm x4
3.VTF x5
4. VTA x4
5. Azimuth x4
6. Overhang x3
7. Loading x2
8. Capacitance x4
9. Anti-skate x3
With the minimal options for each that I have included......it makes 46,080 combinations and permutations for EACH cartridge.
And I have 30 of them!!??
Forget the 'anal' factor......ask yourself.....'Do I ever want to just listen to the music?'

Cheers
Henry
nandric's avatar
nandric
4,086 posts
 
Dear Henry, There is this notion about the 'reduction of complexity'. Our brain already select between 'long'- and 'short term' data and also devide our actions in 'routine' and 'conscious'. I divided my 'just listening to the music' , as you put it, from my 'messing' with the componets by installing two separate systems. In my living
room there is the 'constant' Kuzma Stabi Reference with Triplanar and the Reed 2 A both with fast headshells by which I seldom change anything. To satisfy my 'messing
needs' I installed an second system im my bedroom with the
SP-10 , FR-64 and Lustre 801 , both with exchangable headshells. Because I deed this only recently and descovered, as you predicted, the joy of 'messing' with
3 carts in one single day, I spend at present the most time in my bedroom... However when the 'sickness' is cured I intend to 'return' to my listening room . The precondition (for the cure)is : don't buy any cart anymore.
BTW regarding the FR-66. I don't like the dimensions but I understand that an architect loves 'huge projects'.

Regards,
halcro's avatar
halcro
2,664 posts
 
but I understand that an architect loves 'huge projects'.
Ha ha...very true.
In the variables I listed....I left out Headshells and Headshell Wires.....which Raul rightly advocates as important elements.
Throw in a choice of 5 headshells and 3 types of wiring.....and we are up to 691,200 combinations for each and every cartridge?
Raul convinces himself that he is close to perfection in the evaluation of his cartridges and all the variables, but the reality is......he is as far from it as am I?

Cheers
rauliruegas
13,125 posts
 
Dear nandric: +++++ " What are we supposed to do with 'distortions' that we
are not able to hear? Whatever componets we own
the unknown one may have 'less distortion'. How are we
supposed to get the right unknown component of any kind? " ++++

first build/improve the audio system to permit be aware of different kind of distortions everywhere: how?, well that's part of each one forward in each one audio learning curve. I know that your audio system is not up to the necessary level of resolution: you posted that you can't distinguish/be aware after a comparison between two Virtuosos where one has an aluminum cantilever and the other a boron cantilever and if your system can't tell you anything about differences on performance then you have a lot of work to improve your audio system resolution.

IMHO Halcro is not in better status that your system is. He can't either distinguish between " nice " distortions and music and it is not that his ears are not able to but his system is the one that has not the required resolution level.
Tha's why he likes those distorted Signets or the FR6SE or the FR tonearms( heavy distortions everywhere here: IMD, THD and the like. ), Da Vinci no-azymuth facility, poor performance with the 20SS or with the TK10 or the Azden or the 420 or with that system feedback or ...or....
I know very well his Halcro electronics an almost all his system including the Vandersteens.

Nandric, IMHO one target that IMHO you have to improve is your system bass range management, several " problems " are fixed down there and when that frequency range is at optimum level then that system resolution we are talking about appear as a " pile " and then you will continue to build/improve other system areas. Read one of my last posts in the MM thread as a comment to what Stanwal poste there.

In any tonearm the main target ( at least for me ) is to ta achieve the best bass frequency range management, only the best ones achieved and one of those ones is not the FR one that is really bad down there and not permit that resolution we are talking about: high IMD/THD and other kind of distortions hide those distortions.
All these is not easy to understand till we experienced till we learned.

Please don't thing for a moment that I'm dimished your or Halcro system: NO, I'm only trying that you can take a " different road " to really improve your system performance and to be aware of distortions and only with better true and high resolution you will be aware of and then you can fix it not before.

Regards and enjoy the music,
R.
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