Transfiguration:sonic balance/Axia shares Phoenix

Hi Jonathan.

The first Transfigurations had the single ring-magnet configuration, which to me appears generally unchanged with the present Orpheus and Temper designs. I used a Transfiguration in the early 1990s, and it was of this type.

My understanding is that the Temper line (Supreme,V, W) and Orpheus all employ the ring magnet, while the others, Esprit, Spirit 2, Axia, and Phoenix, use the double-ring magnet (which is a confusing terminology since they are quite different in design and concept.) The "double ring" design remids me of a Colibri just befor vdH removed the front magnet ;-) while the "single-ring" magnet is really more of a tube or cylinder, into which the whole coil is fitted -- but you know that ;-) I do think the two-magnet design precedes the single-ring (not absolutely sure) and is the one still used in their less expensive units. As for the tension string, all I know is I never saw one in any of the Temper series diagrams.

FWIW, it is perfectly valid to classify the majority of MC cartridges that rely on tension wire suspensions as having push-pull dampers.

I don't think I can agree with that, because when you 'pre-compress' the suspension material by applying tension to the string/wire, the suspension material will always be in compression (just more or less of it.) Without such 'pre-compression', the suspension material will be in either tension OR compression depending on the position of the coil as the stylus tracks the groove. What's important here is that this strategy moves the 'virtual pivot point' closer to the axis of the coil, instead of the traditional position behind the coil. Miyajima and (I think) ZYX are two other makers who have incorporated this idea as well, although using different methods to achieve it.
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Hi again Neil:

>I do think the two-magnet design precedes the single-ring (not absolutely sure)

In general it doesn't (as I mentioned about the Philip GP-922 of the late 1970s), and I believe that the AF (IIRC) which I occasionally used in the early 1990s was Transfiguration's first product. This was definitely of the single-magnet type. This is not to say that Transfiguration's present single-magnet design has been revised and improved substantially - it most probably has.

>As for the tension string, all I know is I never saw one in any of the Temper series diagrams.

I also sometimes make drawings for the purpose of explaining technical matters to the general public, and when doing so, I normally leave out details that are not relevant to the issue being discussed. Including too many irrelevant details that the reader has never heard of is a hindrance to comprehension. I wouldn't be surprised if Transfiguration is doing the same thing.

There are companies who have used non-tension wire suspension systems, like Ikeda, Satin, and Glanz, but in these cases the use of a non-tension wire suspension system almost always required an accompanying revision in overall mechanical structure, which is quite obvious if you open up the cartridge and peek inside. Sometimes things are so obvious that you don't even need to open up the cartridge.

>I don't think I can agree with that (remaining content deleted for brevity)

That's not how a cartridge suspension and damping system works. First keep in mind that a cantilever only moves up (pull) and down (push) - there is no "pull" or "push" in the strict sense of the words. If a cartridge suspension is in a state that it really allows pull and push to happen, it is broken.

>because when you 'pre-compress' the suspension material by applying tension to the string/wire, the suspension material will always be in compression (just more or less of it.)

Next, you are confusing the dampers with the suspension wire. The suspension is a piece of flexible and usually springy wire (sometimes of metal, sometimes not), which is stiffened over most of its length so that only a very short section can actually move. This moving part is the pivot point. The length and placement of the pivot point is defined by how the cartridge designer draws up the cantilever assembly design. It doesn't have anything to do with the dampers. The dampers are normally elastomer donuts or disks that fit over the stopper pipe that secures and stiffens the suspension, and they will be pulled up snugly against the core (armature) and coils.

The suspension wire is deliberately designed to be too soft to support the tracking force, and it needs extra support from the dampers. To supply this support, the cartridge builder pushes the core and coils rearward so that the dampers are compressed between the core & coils and the magnet (or yoke, or cartridge structure). There's your "pre-compression". This is done as a matter of course by every cartridge builder that I know of - it isn't unique to anyone.

>What's important here is that this strategy moves the 'virtual pivot point' closer to the axis of the coil, instead of the traditional position behind the coil.

As I stated earlier, the position of the pivot point is determined when the designer makes the drawing for the cantilever assembly. Stiffening most of the suspension wire and leaving only a very short, precisely made length for movement is a far better strategy for defining the pivot point than relying on damper compression (which changes according to the individual damper - dampers are neither precise nor consistent parts).

However, the free length of the suspension wire is a somewhat ambivalent choice for the designer. Kept short, it offers more accurate transduction, but puts a greater strain on the tonearm regarding tracking. Kept a little longer, the transduction is less accurate, but the tonearm has an easier time. I personally keep the suspension wire as short as I can, in the full awareness that some tonearms may have difficulties with my cartridge designs as a result. Other designers that I have talked to prefer to keep the free length of the suspension wire a little longer, for better compatibility with a wider range of tonearms.

>Miyajima and (I think) ZYX are two other makers who have incorporated this idea as well, although using different methods to achieve it.

Miyajima appears to be using a suspension concept similar to the old Glanz designs (check out US patent 27437). ZYX seems quite orthodox to me, and there is nothing wrong with that.

hth, jonathan carr

Still looking at cartridges in the $2-3K range.Any comments on the Benz copper/SLR or Ortofon Jubilee?Or other recommendations??

Hi,

I have been distributing Transfiguration in the US for about six years now and several years prior to that worked for Musical Surroundings when they were the importer, so I am very familiar with the sounds and quirks of every model, post AF-1, which I also heard a number of times, but never in my system.

Jonathan is correct in assuming that the Temper and Orpheus series cartridges do indeed have a tensioning wire. The single-magnet construction, where the coil sits inside the magnet requires quite a bit more (talented) labor in its construction, as the tolerances are extremely tight.

The Spirit, Phoenix, Aria, Axia series cartridges still maintain the advantages of the ring magnet construction, in that the coil still lies within the center of the magnetic field.

Sonically, there is a strong family resemblance between the Orpheus and Phoenix (and Axia for that matter, though with slightly less harmonic texture and complexity). I would say that in all areas of performance, with the exception of microdynamic finesse, which was always the greatest strength of the Temper series, the current Phoenix is equal to or better than the Tempers at just a little more than half of what they used to cost. It is more transparent, less resonant, more macro-dynamic than the W or V (and I LOVED those cartridges...time marches on...). It is thus, probably a greater performance value, at $2750 than the Orpheus L at $6000, even though the L brings things to the table that the Phoenix cannot possibly bring (or, why would there be an Orpheus...).

I will keep my comments just to comparisons within the Transfiguration line, in order to avoid "plugging" my cartridges over another line.

Give a choice, I would definitely take the latest generation Phoenix over any of the Temper series and can say that it sounds very much like the Orpheus in terms of timbral balance, musical presentation and temporal coherence/integrity. Unless you listen almost exclusively to classical music, where the microdynamic finesse of the Temper V might make for a slightly better connection to complex passages, I think you will find the Phoenix the more transparent, musically accurate and natural-sounding choice.

Thanks to Jonathan for his (once again) very accurate and articulate comments.

Without being technical.Just using my ears and heart.I must agree with Neil.I listened to the Phoenix but fell in love with the Temper V.
If I could afford a J A cartridge I would jump at the chance to own one. TP,why are you looking to change.