Glanz moving magnet cartridges

Hi Nandric,

"Dear Dgob, We will return to your 'thematics' as soon as anyone succeed to find any of those misterious Glanz carts."

Totally acceptable by me and no sarcasm intended in my response to Timeltel. Just reading it back I can see how I might have lent to that impression.

As always...

Oh oh.......just received a full refund from StereoNeedles for my PayPal payment for the 155Lc stylus.
Seems that Paypal won't allow them to send merchandise outside the USA even though they process the payment?
Strange.......out of the hundreds of International PayPal transactions I have conducted over the years........and to every man and his dog on EBay who has no such restrictions......StereoNeedles are the exception?
Back to square one........there is no source for 155Lc styli outside of the continental USA?

Hi All,

Well I just completed the revamp of my Morch DP6 Precision red point (with the kind help from Hans Moerch) and have now played it in its platonic partnership with my Axelised Technics EPC P100C MkIV.

In setting up, I spent a good time ensuring alignment. This resulted in my discarding the Morch 18mm template and adopting the Feikert (Baerwald) protractor for pivot-spindle mounting distance; overhang; effective length; angular offset and linear offset. It then involved ensuring absolute accuracy in azimuth setting of the cartridge by adjustments of the Morch using its hexagonal screw adjuster: this seems important as the P-mount Technics needs to account for its mounting adaptor and potential idiosyncracies. My adaptor follows Raul's recommendation and has had the original pins removed so that the silver lugs on my Morch connect directly to the pins on the Technics. VTF was set at 1.255g and VRA parallel to around 1 degree positive: for all intents and purpose, that's parallel. A spot of SC-2 high technology stylus cleaning fluid on a stylus brush followed by a quick clean of the cartridge tip. Then use the Entos carbon record brush and I was set to go.

I played records with the Essential in mute for ten hours and then turned it on and sat back. Wow, wow and WOW!!! I do not believe analogue reproduced sound can get any better than this. Every detail, every nuance, ever emotion laid bare right before my eyes-hears. The length of strengths are so extensive that I do not believe I could do them justice in anything less than a four page eulogy and I am not inclined (even 'if' capable) to give such an extended and largely personal account. Suffice it to say, I could find NO weakness in the performance of this Morch/Technics combination and would hope other combinations enable everyone to share the shear exhilaration and pleasure that they now afford me. Magnifincent.

The question is: how does that leave my Glanz G7/Audio Craft AC3300 LB combination? The answer is that this combination gives the same presentation except with a smidgen less refinement. Please do not get this wrong. I still find this combination wholly convincing but the two combinations seeem to display different aesthetic objectives and aims of their design teams. Think same music in two acoustically very distinct venues and you're nearly there. I am finished in my search for a life-long MM/MI/MF collection and the Glanz and Technics are my point of arrival.

Now my search turns to their equivalents for my final MC selections. Fun times ahead.

As always...

Hi All,

On the performance of the Morch/Technics, I recalled a conversation with Raul where he asked me: "In the other side: why do you think the 100CMK4 performs fine only in that tonearm?"

My response read:

"Hi Raul,

I don't know if it's because that is the only option I have which does not need additional (headshell) wire connectors, no seperate headshell or some other feature(s) but the detail and balance that I acquire with the Morch/100Mk4 combination far exceeds the other options that I've tried. It just seems near perfect (especially concering detail retrieval and timbral accuracy). A good example would be the fantastic aspects (cymbals, percussion etc) that you get from the Andante P76, the transient speed you get from say the XV1s and the midrange texture you get from the 1000 ZE/X plus a detailed and unbloomed bass. I can get aspects of these from the 100Mk4 with other tonearm and headshell combinations but not all of them in any other single combination. Indeed, I have apparently convinced Jonathan Carr to try this combination for himself and I do hope he likes it as much as I do. If you haven't got around to giving it a go, I would value your view on the combination."

I think that points you in the general direction of the performance to which I have referred above and I hope it can stand by way of a proper review.

As always...