Anyone try the replica B-60 Fidelity Research VTA?


My sammle moved not only up an down but also sidewards.
The reason as far as I can judge is the pin on the screw
which connect the inner and the outer collar. The inner collar
slides along this pin up and down but if there is
any play between this pin and the notch of the inner collar
the tonearm will move also sidewards. This means that the
'replica' is not as 'exact' as claimed by the producer.
I assume that this screw is better made by the orginal B-60 .
128x128nandric
Ugghh! Syntax (the linguistic, not the person) is my bete noir today. In my second paragraph above, I mean to say that the load resistor can affect gain if it's value approaches, equals, or is less than that of the cartridge.
Hi Lew: Since I have already written about this topic on the What's best forum, and a kind soul there was willing to convert my charts into gifs, I recommend that you read the following thread on the SME 30/2 turntable, from pages 3 to the end. The charts are on page 6, and they will show you what kinds of frequencies are affected when the load resistor value is changed.

http://www.whatsbestforum.com/showthread.php?14082-Sme-30-2/page3

kind regards, jonathan
Dear J.Carr, From your reaction I see that you also consider our forum and more in particular this thread as a life thretening affair. I fear that my following request
will be even more dangerous. However the question is connected with our previous 'dispute' about the modern versus the old lathes. What is your opinion about the difference between the 'old-fashioned' FR-64 S and the(new) Ikeda IT-345? I own both but am very reluctant to try the later because of Syntax . He is 2 m big and lives in my neighbourhood but not in yours. BTW the context is similar to Dover's 'Holy water' in the sense that for some among us the FR-64S is the 'Holy Grail'.
Dear JCarr,
This is what I found, quoting your quoter:
"Regarding loading of low-impedance MC cartridges, in general I recommend trying to reduce any capacitances present between cartridge and phono stage input to as little as possible. Use the lowest-capacitance phono cable that seems decent, turn off any additional capacitance in the input stage of the phono amplifier etc.

The reduced capacitance should make it possible for you use a wider range of loading impedances without having the sound go bright, peaky or thin-bodied. Conversely, any excess capacitance between cartridge and phono stage input will almost certainly force you into choosing lower loading impedances to save your ears.

Being able to use higher-value loading impedances should allow you to hear more of the dynamics and resolution that the cartridge is capable of, while using lower-value loading impedances will limit how much of the cartridge's dynamics and resolution that you can usefully extract."

So now I am puzzled; were you inferring that my statement (essentially, low load resistances that get into the range of less than a multiple of the internal resistance can affect FR of some cartridges) was correct or incorrect? I said nothing about capacitance. You seem to be saying here that if the capacitance is minimized, then one's choice of load resistance is widened. I don't see a conflict.
Hi Nandric:

>What is your opinion about the difference between the 'old-fashioned' FR-64 S and the (new) Ikeda IT-345?

The FR-64S has a bit of extra resonant energy, a bit of extra spiciness that has been engineered out of the IT-345 (which was developed with full knowledge and understanding of the FR-64S). In some systems and for some ears, the extra spiciness works well, in other systems and for other ears, this upsets the balance of the sound.

But do keep in mind that while there is such a thing as intelligent engineering and unquestioning (not-thinking) engineering, when it comes to subjective listening preferences, there is no correct or incorrect. Like food, or the opposite sex, or sports, not everyone shares the same subjective preferences as you or I.

Decades of listening to audio systems at shows, reviewers, dealers and audiophiles all around the world have shown me that likes and dislikes come in all flavors; what one listener loves, another may abhor. If someone prefers the sound from a telephone made from two tin cans and a length of hemp, I do not have the right to say "you are wrong" (although I may make a mental note to avoid taking that person's opinion seriously).

My advice to you is listen to both tonearms, then try to appreciate each for what it is, rather than disrespecting either for what it isn't.

kind regards, jonathan