My new Soundsmith Straingauge cartridge

Raul;

PLEASE STOP IT. You know NOTHING technically about my current design. You are a manufacturer who INSISTS on hiding that fact - because you have a hidden agenda. In fact, several of them. I have asked you repeatedly, as have MANY OTHERS on this and other forums, to STOP. You never do. As a result, I have told you NEVER to send me anything for repair - ever. Please never comment again on my products as you always do damage, and you never mention your true motives - one of which is to present yourself as some kind of expert. You are simply not. Again, please do NOT respond to this message, (which I know will be impossible for you to do) and just recede quietly into the background - for everyone's sake, even yours. Please think for a moment how many people you might have have misled, and alienated, because you insist on being the "expert".

Peter Ledermann/President/Soundsmith

Hi Peter, you may remember my phone call a couple of weeks back to you re your opinion of the significance of azimuth setting on lps not clamped while playing.
Well, I had the trial, and I liked it so much I bought your cart! One of the best audio decisions I've ever made.
My most abiding opinion of the cart is that unlike any other I've had in my system, it demonstrates a digital-like quality of notes rising from an almost non-existent noise floor, with minimal overhang, and decaying naturally into nothingness.
Except, unlike digital, even the best of, there is real tonal discrimination, and an amazing control of micro- and macro-dynamics.
I really feel it's unique in providing a perspective on music that combines the best of digital and analog qualities.

Spiritofmusic, Congratulations on your new cartridge and I'm glad it has opened a new window to your enjoyment of analog. You compared it to all of those other cartridges you used to own. Did you own those with your new turntable/arm combination or is your impression based on those cartridges on your former turntable/arm? What did the new cartridge replace?

Is this new cartridge dependent on Peter's phono box or can it be used with any phono amp?

If this thread is to be truly about the cartridge, would not a discussion about the technology be worthwhile? It's wonderful when a manufacturer joins these discussions. I'm sure Peter Ledermann could contribute much to our understanding of his cartridge. Sorry for so many questions, but a friend suggested I look into a Strainguage also, so I am interested.

Dear Slowlearner: First than all I agree with you that I'm expert on no-nothing and as everyone always willing to learn.

Second I'm not a seller and don't sale nothing, so don't worry.

Third, I have no agenda and nothing against you or your products. I respect you and your products and these is not the subject.

The main subject is very simple: conforms strictly to the RIAA eq. as any other cartridge/phono stage or not.

These were your words to TAS review and what you stated in this forum:

++++ " However, since the Strain Gauge is a DISPLACEMENT sensitive device, it automatically produces a basically flat response from a RIAA encoded groove, " ++++

and then added:

+++++ "
We are typically +/-1dB from 50Hz–12kHz—not bad
for this type of system. Above and below that, the arm-effects
that plague all types of cartridges enter into play " ++++

BASICALLY FLAT RESPONSE FROM A RIAA ENCODED GROOVES, how is that?: if a swing of 2 db from 50 hz to 12 khz is for you: basically flat well 3-4 or 1 db could be basically flat when any decent phono stage IMHO in reality is BASICALLY FLAT with a swing of 0'.2 db over a wider frequency: 20hz to 20khz.
Tha IMHO is BASICALLY FLAT and not those 2db from 50hz to 12khz that you states always. Don't you think?

One very polite reviewer stated:

++++ " Note that this is not a phono stage, the cartridge having a natural 6dB/octave roll-off. Pedants for accuracy will complain that the resultant output only approximates the RIAA curve " +++++

I can't understand why you are so angry when some one disclose these information/facts. If those information is wrong why not say it and disclose the correct/true information for all we audiophile/customers?

Which the problem that your customers be informed, at the end all are satisfied with?

I think that the newcomer have the right to know the true about the facts.

It is easy fro you to call me: " you are a liar, you are wrong. MY SG product conforms according the RIAA encoded grooves: 20hz to 20khz +,- 0.1db as any other decent phono stage ".

I have the right to questioning you or any other person when through your own site and through the net there is no single fact that confirm:

" BASICALLY FLAT RESPONSE FROM A RIAA ENCODED GROOVES "

and all of us have the right to now because you make advertazing on a product for people can buy it with out knowing that critical issue.

How do you name that non-informed product marketing?

This is what I posted to the owners in this thread:

++++ "
I'm not saying that your SG cartridge is a bad one because it is not: it is only different " ++++

+++ " I'm not questioning that you or other persons like it no " +++++

+++ " Again, I'm not questioning you or that different alternative what I'm questioning is that we compare against the other alternatives LOMC/MM/MI " ++++

I'm not against you or your very good products but if all what is in the post is a lie then just say it and say it why is a lie. Tha's all.

Don't be angry and don't blame me because those facts. I did not invented, were your own words!

Regards and enjoy the music,
R.

Peter, only the Zu 103 on my Salvation/Terminator. But I have a good recollection of esp. my previous Lyra Parnassus, and Transfiguration Temper and Orpheus, all of these on my Michell Orbe/SME V/Tom Evans Groove Plus SRX phono.
The Parnassus was unbelievably tone dense and rhythmic, really hypnotic, but definitely on the lush, romantic divide. The two Transfigurations were cooler and more neutral, and a lttle more ho-hum as a result.
I know it's a fruitless task to ascribe neutrality easily to an audio component, but I do believe the SG is close to combining the rhythmic drive of the Parnassus and the even handedness of the Transfigs, and with no aspect highlighted I'll call the SG very neutral, but involving.
It's really transparent, and it really allows notes to appear out of apparent nothingness, bloom naturally, and decay to nothing again. Other carts really sound like diamond in wax. You're not aware of this until you 'hear' it's absence.
And it's synergising nicely, speed artifacts minimised nicely with my rim drive tt, tangency artifacts minimised nicely with my linear tracking arm, and now tracking artifacts minimised nicely with the SG.
Am I overusing the word 'nicely'? LOL.