Lyra Helikon

Thomas, I subscribe to Fcrowder's views, both 1st & last. The reasoning follows:

A)The lower the output the higher the (pre) amplification required, i.e. an extra "step" to the standard 47 RIAA equalisation.

B)The lower output cartridge, "outputs" better sound.

C) We are faced with a balancing act: do we place the onus on the phono OR on the cartridge -- i.e. where is the least danger of compromise, pre side or cartridge side??

Otherwise stated, will the extra info from the lower output be audible or degraded thru the pre? OR will my phono perform best with the higher signal -- so, at least, I'll get all of what the higher cartridge outputs (which is marginally less than its low output mate)...

It's usually the latter, IMO!

Cheers.

Hello friends,

thank you very much for your kind and good info.
Indees I am not really shure to do.
I use a Klyne 7 phono amp and this one has no problems with low output cartridges.
I use at the moment a cartridge with 0.2V, super, really.
Fefore that I used a Benz Ruby without body, their first with .25V, and this one sounded definetly better than the later ones with higher outputs.

Regards
Thomas

Thomasheisig, if I can ever get my Clavis DC to wear out I will go with the SL in my Rockport into a Vendetta SCP2-T.....The Clavis DC is going to be four years old in March which is setting some sort of record according to Carr and Perkins both.....My partner, John Curl, had a blowout on his Clavis today and will run over and pick up the SL in a couple of weeks as Immedia is out of stock on these...John has the updated Vendetta in his Blowtorch preamp....Output BTW is .22mV.....Hope I get the same sort of service out of the SL and maybe the vacuum hold down on the Rockport has something to do with that.....Oh, Allen advised he thought the SL sounded a touch better than the regular one as long as you have the gain to handle such a low output....Hope this helps.....

I have only a limited number of hours on my Helikon, but continue to be very pleased. A friend suggested that I try damping (apparently the Helikon puts significant energy into the tonearm which can effect image focus and bass). My arm uses a silicon trough/paddle damping arrangement that allows one to vary the amount of the paddle making contact with the silicone. A small amount of damping resulted in a significant improvements to the sound (better focus, more image density, fuller midbass, more stable image) and in trackability (particularly highly modulated vocals). More damping reduced highs. Would be curious with respect to the experience of others with respect to damping and any other suggested tweaks.