Hi Schubert,

I agree that the shibata can sound slightly more critical in certain systems and have a tendency to prefer line contact styli. However, I still believe that the issue of detail retrieval gives the shibata an edge in certain areas: attack on strings, percussion and brass for example. Maybe it depends on what one is used to; looking for and what one experiences as live music. Vive la difference!

As always...

Dgob

dgob October 16, 2014 04:41

Hi Harold,

Huge apologies but a career change means that I have little time to myself these days and rarely visit A'gon. Anyway, I'm here now and regarding your question, I loved the MP-50. It is very good on brass, percussion and imaging. I only ever heard the MP-500 on a friends system and (in that environment) it sounded harsher and more mechanical than the MP-50. I hope that helps.

As always...

Dgob

dgob October 16, 2014 04:36

Hi All,

Can any of you owners (or anyone who knows of an owner) of the Essential linephonopreamp, contact me ([email protected]) as I need help with making an adjustment from the standard low-gain to high-gain option on mine?

Your help is greatly appreciated.

As always...

dgob May 18, 2014 16:23

Hi Ddriveman,

I am limited by what I can say here but suffice to note that I am aware of the difference as Jose upgraded the internals of my 3150 but not the case: and sending it (or anything) to Raul was/is not an option.

As always...

dgob March 12, 2014 06:17

Hi Ddriveman,

I am not technically gifted (or, to be honest, even interested) but from what I understand: a resistor blew.

As a consequence I had to send it off to a local technician to have it mended. He identified and made changes to the resistors and the layout of the phonoline preamp'. This includes simplifying the main socket fuse holder to a more standard and secure design and changing the connector sockets from the flimsy 12 pin originals to XLR three pin, which offers options (make and lengths) for the interconnects between the power supply and preamp.

We're also considering moving the connector sockets from the front of the power supply to its back but that will require a lot of work for what is only a cosmetic change and so I'm not rushing to have this done.

Hope all goes well with your 3160 and wider system.

As always...

dgob March 09, 2014 08:15

Hi Harold-not-the-barrel,

Excuse my tardiness but I have so little time at present that I can't really follow the threads as I used to. Anyway, I've had huge problems with my Essential 3160 preamp and am currently having it fixed and redesigned. That means that I've not really had a chance to carry out a full and complete comparison of many aspects of my changed set up. I hope to have the redesign back in the next month or so and will then set about real comparisons.

As soon as I do so and am certain of my observations I'll post again. What I can say for certain is that our plinth design seems to increase the clarity of background acoustics and harmonics but, as I say, I need time to evaluate and distinguish the 'different' from the 'better'.

I hope to have more time soon and hope all goes well with your system and enjoyment.

As always...

dgob November 30, 2013 07:54

Hi Again,

Just a quick update regarding my promise.

Promisingly, my system is still undergoing modifications and so I have not yet had the opportunity to do a full A/B test on the Technics SP10 MkII analogue set up 'with and without plinth' (also meaning: 'with and without coupled tonearms'). I hope to have finished this before November and will feed back as soon as I am certain of my findings.

As always...

dgob September 21, 2013 06:40

Hi Fast Mick,

Again, another huge apology for my apparent tardiness in responding. I am enjoying the strengths of the new plinth very much and thanks for the kind words regarding its aesthetics. I suppose that many (wives included) would find the appearance a key consideration when it comes to enjoying their hardware. Fortunately here, my artisan brother-in-law's involvement in the design and production of the plinth means that the aesthetic possibilities are nearly endless.

Regarding its performance in comparison with the decoupled and plinth-less approach, it is difficult to conclude that it is a better option at present. Several bits of my system have changed since the TT revisions and so I have not yet done a fair A/B test. I intend to do so over the next few months and will then report with certainty about my experience.

I would still note at this early point however that the ability to fine tune the plinth/TT is far more extensive than I had previously thought. It therefore seems unlikely that an acceptable alternative to the decoupled and plinth-less approach will not result from the more complete testing. I'll definitely let you know how it pans out then.

As always...

dgob August 23, 2013 06:14

Hi Chris,

Huge apologies for the delay in responding: I just don't get the time to keep up with events on Audiogon these days.

Anyway, thanks for the kind words. My key partner in crime is responsible for the aesthetic qualities of the plinth but it really underpins the fact that the TT works phenomenally well in its new setting.

The footers are also phenomenal when it comes to isolating turntables from their key problem of returning and air-born vibrations. Marvellous! Hope all goes well with you at present.

As always...

dgob August 23, 2013 05:55

Hi Fast-mick,

If you'd like to contact me off line I can discuss the design of the plinth. The key ingredients of this iteration are birch, acrylic, aluminium and pneumatic footers. I've just posted some new photo's of it above although we still have a second (and much more complex) plinth design that we'll probably get around to building at some future point. For now, I'm just enjoying the groove.

As always...

dgob August 08, 2013 19:53

System edited: I am still auditioning the sound but recent upgrades (including the use of a bespoke plinth) have brought noted improvements. Exciting times in Hi-fi world.

dgob August 08, 2013 19:48

Hi Harold-not-the-barrel,

I think Axel should be able to help in optimising your M320 Improved and it will be interesting to see how it compares to your Ultra after that. Incidentally, I do think the Acutex perform exceptionally well at 100 Kohm loading and that might be something worth trying when it returns (if you can make that adjustment).

It looks like you have some musical joy ahead of you with your current options. I'm now finished on the MM/MI trail and am busily trying to sort out my final MC choices. I'm down to a short list of three but recently missed out on the one that I most want. Fingers crossed, I'll have my complete analogue front end sorted out within the next year or so and obviously look forward to sharing notes and experiences beyond this.

As always...

dgob April 14, 2013 12:20

Hi Harold-not-the-barrel,

Great news about the M320 Improved. Have you thought about sending it to Axel to ensure the cartridge is playing to its optimum? If you have or do come across a M420, I would recommend the same.

I think the Ultra 500 is a fabulous cartridge and even suggested it on the MM/MI thread a while back. I've only heard it briefly and it was in another hifi system and listening room. Nevertheless, it has formed part of a very fond memory. You're a lucky man and it'd be great to hear from you on the developments regarding your M320 Improved and other pleasurable and compared gems.

As always...

dgob April 05, 2013 19:21

Hi Dan,

Great and it certainly seems that your options are improving along with your enjoyment. As I say, it would also be interesting to see how the M420 fairs in your comparisons - if only because Acutex seem to have produced that cartridge as the superior in the range (performance data and company literature suggest).

In the meantime, I look forward to hearing the outcome of your useful investigations.

As always...

dgob March 20, 2013 11:38

Hi Dan,

It's surprising how items that look so (relatively) cheap can be so sensitive and reward so well. If you get a chance to play around with the M420 along with your M320, your views would prove invaluable to me.

Happy playing and hope the weather picks up

As always...

dgob March 13, 2013 09:45

Hi Dan,

Sorry, I didn't fully answer your questions. Regarding what changes Axel made, I know he put a new cantilever and elliptical stylus on and I believe he did other non-visible alterations. However, this is all going from my observation without asking him and you would definitely acquire more information directly from him. I believe he is very busy at present but he is a warm and responsive man and so he should be able to clear up any further questions that you have.

good luck with any modifications.

As always...

dgob March 08, 2013 07:26

Hi Dan,

The best technician I have found is Axel Schuerholz in Germany. He has done amazing work on some of my cartridges (including the M420 and my Technics P100 MK4) and on those of various other Agon posters. You can see him at work here: http://www.wdr.de/mediathek/html/regional/2012/10/23/lokalzeit-suedwestfalen-tonkoepfe.xml. Also, you can contact him directly through the following email address: [email protected]. You can also scan his website at: [email protected].

Along with your selection in the UK, you could also look at Northwest Analogue who I believe offer another option. I have not tried any of the UK technicians - despite living here! Out of the most reputable overseas repairers that I have tried (including Van den Hul) I found Axel to be the best and was, as I say, very impressed with the changes he made to my cartridges. There's also Soundsmiths who make great claims for their modifications of the Denon 103.

I hope some of this helps.

As always...

dgob March 08, 2013 07:14

Hi Dan,

"with time, and learning where VTA and SRA are optimal, has made for the kind of response that I enjoy so much."

I think this is true for the M420 (and, maybe, all this Acutex range). They are incredibly sensitive and slight alterations or changes in tonearm reward with quite varied performances. Given that, I wonder if it might be worth your giving the 415 a longer run in and playing around with its set up a little more?

What you suggest hearing with your M320 is very similar to what I hear with my modified M420 and I'd still be interested in hearing your opinion if you get a chance to audition the latter in light of your M320 experience. The technician who modified my M420 has huge experience in mending and modifying the very best cartridges and his enthusiastic definition of my M420 as simply "perfect" does not seem misplaced. They are indeed magnificent feats of engineering creativity and most importantly of all, they seem to satisfy the most ardent of listener expectations.

As always...

dgob March 07, 2013 05:43

Hi Islandmandan (Dan),

I know there is said to be a huge difference between the 420 and the 415 and I believe some favour the 315 over the 320. Yet that's nevertheless really interesting feedback, even though (as you point out) it is obviously not really about the two cartridges in question. It might apply the same logic as that for my concerned cartridges and so I was wondering if you could just say a little more about the actual differences you're hearing between the 415 and 320: what areas is the difference most evident; where do they excel or fail?

Thanks for the comments so far and I will keep posting as things change or I identify anything that seems interesting.

As always...

dgob March 04, 2013 04:47

Hi All,

Can any one who owns the Acutex 315 III STR and the Acutex M420 STR explain what differences they hear between these in their set-up? I ask this question because Acutex rank the 420 above the former and yet some audiophiles have viewed the 315 as the better cartridge. As the official performance data for both supports the Acutex ranking, I'm genuinely intrigued to find out if there are age related cartridge or system dependent performance failures at the back of this apparent anomaly.

I'm now using my 420 on a Morch green dot tonearm set at 1.25g VTA and it has stepped up yet another level. Maybe that's because of the better match with the higher compliance of the 420. Either way, my respect for this cartridge and its creators is simply huge and I hope someone can help shed some light on what they hear as its relation to its sibling.

As always...

dgob March 03, 2013 10:51

Hi Harold-not-the-barrel,

That's another amazing feature of the 420's: they track exceptionally well. I use mine at 1.4g and the infamous (Telarc) '1812 Overture' can be played with every cannon shot in place - and that is obviously no mean feat.

Incidentally, was I mistaken in believing that your system photo's show a 420?

As always...

dgob February 28, 2013 06:16

Hi Harold-not-the-barrel,

Pleased to have been of some help and I totally understand the distraction of everyday life: I am in a not too dissimilar position myself.

I like your interest in cartridges and wonder if your Acutex M420 STR might not benefit from a quick visit to Axel? He changed my stylus and cantilever to stunning effect. I do know that the 420s ranking within the Acutex range seems to differ with some listeners compared to the manufacturers own gradings but this might reflect cantilever problems with these old gems: at least that was my experience. And, regarding the AT20SLa that I owned, the revamped 420 certainly offers much: as great as that Audio Technica undoubtedly is! These are of course suggestions based on some of my experiences and might not prove universal. Do let me know how your developments go and I hope they continue to increase your enjoyment of the music.

As always...

dgob February 23, 2013 07:04

Should have read:

"won't apply in your 'current' case/set up". If you do go down the stand alone armboard route though, I hope it is helpful.

As always...

dgob February 17, 2013 09:11

Harold,

Just saw your system and realised that the above won't apply in your case.

Good to see you using an Acutex 420 STR. I've been using my modified one recently more and more as my cartridge of choice. This might be due to the fact that my system and its performance continues to be improved and transformed - with a little help from my friends (as the song says).

I will actually update my systems page when all is said and done - possibly in around a year or so.

As always...

dgob February 17, 2013 09:06

Harold-not-the-barrel,

BTW, if you have any elastomer, I find a sheet of antivibration material does wonders beneath the spikes of my tonearm stands. Just cut out circles the size of say a 10p piece and fix doubles sided tape to each of these. Then fix them on your platform/shelf between spike and shelf and you have a truly isolated tonearm.

Also in my set up, the isolation of the turntable using Audio Technica Precision Pneumatic footers enhances overall isolation and with both arm and deck decoupled and isolated (both from each other and from the platforms inevitable ground based vibrations), there are massive performance related rewards - to my hearing.

Hope this proves accurate and helpful for you

As always...

dgob February 17, 2013 08:40

Hi Harold-not-the-barrel,

If you contact Gunther at Acoustic Signature, he can provide an aluminium armboard to your specifications. I simply took my spare ones off my Mambo, drilled and tapped holes for spikes and added weights. They work exceptionally well with my Technics deck on wall shelves.

Apologies for the late reply but I don't really get the time to monitor Audiogon these days but I hope this is not too late to still be of some help.

As always...

dgob February 12, 2013 07:06

Hi,

I had the misfortune of my XV-1s going down at a time when repair was financially beyond me. This was before I found the services of Axel Schurholz and so I sold it. Hence the arm sat around until I recently sold it.

I can confirm that the combination of the G660P and the Dynavector is phenomenal and that a Japanese tonearm technician (whose opinion I respect) rated the performance beyond any thing else.

Of course, there are so many environmental, psychoacoustic and system related variables and so all I can really say is that you will need to hear it for yourself. Beyond that partnership, the Denon 103D was partnered with the arm and was the combination of choice for the Japanese Broadcasting Corporation. That might be another good option.

Do let me know how it works out and good luck.

As always...

dgob January 13, 2013 09:44

Hi Henry,

Thanks for the compliments and the suggestions around TT set up. The tonearm base works wonderfully well and brings a very high level of "being thereness to things". I've still got your diagrams and will look into a custom made tower as soon as it is feasible.

Things are so economically difficult at present that I doubt I'll be able to make any major changes for a while but I really do love the way things perform at present.

Hope your music continues to bring you joy

dgob June 08, 2011 20:10

Just one quick point, with the Symposium svelte's beneath the velodynes, I could replace my earlier 30kg weight from the top of them to a mere 14kg weight. This allows for increased aesthetic options and WAF.

dgob April 09, 2011 08:07

Hi All,

The problem with the imaging was no problem but the result of improvements in resolution through the nude TT and isolated tonearm approach. A case in point was given in some minor changes that I have made. I'll list these changes in case any prove applicable and/or useful to any other readers.

1. I removed the four rubber screw-on feet from my both velodyne subs and the cones on which they sat above the two stacked sets of Mana acoustic speaker stands and I replaced these with Symposium Svelte platforms: leaving the subs sat flush on the Symposiums, which in turn sat flush on the Mana stands. Symposium recommend using their platforms in place of spikes beneath speakers. I can only say that this is worthwhile, as long as you have some method (such as I find with the mana stands) of leveling the ground on which they sit. Now, the tightness of the bass notes is only surpassed by the tonal variations that appear. A major upgrade for the Velodynes and my system. In moving the Svelte platforms I now needed to accommodate my other equipment and so experimented with interesting results.

2. I therefore placed my recently redundant Symmposium Ultra platform (as used to sit beneath my TT) beneath my Levinson amp and on the Mana amp stand and placed its former Symposium Super Plus platform beneath my Essential 3160 preamp. Both amps being coupled to the Symposiums with Symposium precision couplers. I then used the same couplers to couple my CDP to its Symposium Ultra platform, which left the Symposium rollerblocks free to sit under my Essential 3160 power supply. With these all sat on my Symposium Isis rack, the performance improved dramatically.

3. My TT sits on one birch wall shelf and its power supply sits on the birch shelf below it. I noticed that when I moved the Svelte platform to use it beneath the Velodyne's there was a major change in the performance of my TT. I therefore explored a variety of options and ended up using one of the small Audio Technica pneumatic footers (as seen in my above photo's) at the front of the Technics' power supply and a Symposium Ultra Fat Pad at its rear. The performance improved dramatically with increased bottom end and midrange detail and even firmer imaging. A case in point for the impmrovements here would be the, detail variety and full range of colour that this set up brings to the performance (Solti/CSO, Decca) of Mahler's 8th Symphony.

As I said, I put a lot of this down to the new resolution potential of my set up and hope others find similar improvements in their choices.

dgob April 09, 2011 08:04

Following my above appraisal of the detached and nude set up, I should just add that I feel slightly sensitive to (or curious about) the psychoacoustic elements in hifi. For example, I am not certain if the issues of soundstage and of imaging are genuine/completley authentic.

It seems that in a live performance one is very rarely (if ever) as aware of acoustic space between musicians or their three dimensionality. My suspicion is that hifi attempts to account for the visual stimuli that is provided in a live performance by the over emphasis of these audible features. Small ensemble acoustic or vocal performances might be the occasional exceptions to this.

Just food for thought and a reflection on the hifi norms to which I refered in my above appraisal.

Thoughts welcomed

dgob March 22, 2011 07:20

System edited: I have added photographs of the new isolated arm tower arrangement, under the heading 'Arm Tower AS'. My findings for this arrangement have been post elsewhere on Audiogon but I take the liberty of repeating these findings here: "Hi All, "So I've suggested my being impressed by the changes that I have achieved in moving to a naked Technics SP10 Mk2 with a decoupled, stand-alone arm tower. Yet I started to wonder what precisely constituted this "better". Well, in a ham-fisted attempt to clarify my thinking here I thought I'd share some impressions of this experience. "As I noted, with the new analogue arrangement, the first and most obvious change is that the sound stage is far larger. This means that the spacing between musicians is not only wider but it is markedly deeper too. This is accompanied by the sensation of actual acoustic space between musicians and presents a perspective that is far closer to that provided in an actual live performance. "The next most obvious feature relates to the above one but is that you acquire more control over complex performance material. Large orchestra crescendos do not become confused and the instrumentation remains identifiable throughout. This goes hand in hand with the much increased sense of ease that performances attain. "The next most obvious change is the increased level of 'detail' that you get. For me, detail is the critical factor of quality in high fidelity replay. This is not only being able to hear additional instruments but also to be able to distinguish timbre and every audible feature that makes a live performance. To neglect the certrality of detail as the key criteria seems to me to depend on a violent limitation on what one means by 'detail'. For me, the term means 'more information' and that is surely (be it in increasing the bite of string instuments or; the rasp of brass or; the percussive impact of drums, strings or keyboards or; the quieter spaces that give good staging) at the heart of everything that the audiophile is seeking. Well, you get more detail when playing your music through this new analogue arrangement. "This fact leads to a need to 'equalise your hearing'. This seems critical to me because (I believe) we can become familiar with hifi norms that have little to do with actual live performances. One such norm is the spotlighting of a frequency range and or instrument at the cost of the full range of the actual performance. It's difficult to explain what I mean here other than to say that proportion is generally lost with this form of hifi spotlighting (there are of course other forms of equipment that can also achieve these negative results - including certain cables and forms of amplification). "In the new arrangement, the lead instrument/frequency is brought back into perspective with the full ensemble. This does not mean that there is a loss of detail in such a lead instrument or frequency range. What it seems to mean is that the supporting detail is brought out into what becomes a more detailed performance in which everything just seems right (key instrument or frequencies included). Listener fatigue also goes on holiday as this new detail makes its entrance. As I say, I found that it made me reassess the various cues that I had become accustomed to basing my assessments of components on. And that put live performances (or intimations of them in line with my own experiences of live performances at a variety of venues) back to the fore of my appreciations. "I name four recordings that underpin, and seem to fully testify to, my impressions. These recordings are: 1. Bach, Goldberg Variations, Glenn Gould (1982) CBS 2. Bach, Donatas & Partitas, Nathan Milstein (1975) Deutsche Grammophon 2721 087 3.Prokofiev, Romeo and Juliet complet ballet, Algis Zuaitis, Bolshoi Theatre Orchestra, EMI CPD 41 4452 3 and 4.John Surman, Westering Home, (1972) Island Records, HELP 10. "I wont go into detail about the factors that come through on these phenomenal works: they are worth listening to regardless of the quality of ones equipment. Suffice it to say that all four of these recordings make my above impressions certainties for me. Yet all recordings take a similar route to improvement (obviously in proportion to the quality of their own performance and recording) with my nude turntable and detached stand alone arm tower. "I strongly recommend such experimentation for those who might seek to explore my experience and appreciation of what constitutes its being better... "Just by way of clarification around my listening, there are notes on the recordings that I have suggested above. As I say, they are worth having in their own right: Review of Prokofiev’s Romeo and Juliet complete ballet, Zuraitis: www.gramophone(two+discs,+nas%3A+142+minutes%3A+ADD).+From+EMI+SLS1650933+(883) Reviews of Bach’s Goldberg Variations, Gould: www.npr www.sputnikmusic www.amazon Reviews of Bach’s Sonatas and Partitas, Milstein: www.amazon www.epinions Reviews of Surman’s Westering Home: www.allmusic rateyourmusic.com These are all available with a little effort for anyone who does not own them. Maybe the Prokofiev is a little more difficult to obtain but well worth the perseverance I feel. Anywhos, it would please me if any of this proves helpful. Happy listening".

dgob March 19, 2011 10:17

System edited: I am now convinced that a nude Technics SP10 Mk2 and decoupled arm tower bring unexpected but spectacular results. The closest to a live performance I have yet obtained. I would really recommend similar experimentation for those in a similar position. The results will truly speak for themselves.

dgob February 16, 2011 03:21

System edited: Tring the nude Technics with an independent (customized) Acoustic Signature Mambo armboard column stood on 8mm spikes. These are sat on a sheet of industrial viscoelastic material and it is all placed on the Symposium Ultra platform - to avoid resonance in the arm-columnn. I will report back when I am certain how this plays out.

dgob February 06, 2011 07:49

Just to confirm that the choice of material for use in the armboard is very important for the sound you achieve with the Technics on pneumatic footers. At present, the solid ash armboard is the best performing but my experimentation continues.

Also, the pneumatic footers should NOT (as I had previously done) be used on top of a viscoelastic platform such as the Symposium Ultra. The footers perform best on a normal shelf - to my experience.

dgob January 15, 2011 09:57

Hi All,

Just to report back on a strange and illuminating event. All of my family went away visiting the in-laws last weekend and there were absolutely no electronic devices on except my system. The sound of the system under these conditions seemed even more revealing. I therefore placed the AT616 footers back under the SP10 to test it under these conditions and. low and behold, PHENOMENAL!!! The top end had real detail and extention and the rest of the system was even more resolving (the midrange fullness).

On Sunday they all returned and I had to replace the footers with my metal couplers. Lesson: every details seems to count in the pursuit of excellence and achieving it remains a fine art?

dgob November 29, 2010 17:58

What I have confirmed in my recent experimentations with the set up of my turntable is the old adage that resonance management and isolation is a difficult art. To manage vibration in your system needs care and patience. The inescapable determinant of your individual hearing sensitivities and tastes not withstanding! That noted:

I have had to move out the pneumatic footers from under my second turntable. It seems to me that they do real damage to high frequency accuracy. If you're using independent super-tweeters (as I used to) the shortcomings of the footers might be compensated for by elevating the level of the tweeters' output. However, I did not find the integration of add on tweeters a wholly satisfactory experience and so am very sensitive to the effects of my 'Audio Technica AT616 Precision Pneumatic Footers'.

The naked Technics SP10 Mk2 is indeed excellent when played nude. However, I would recommend some form of visco-elastic platform (I use the Symposium Ultra platform) and metal couplers (I use the Syposium Precision couplers) topped by upturned cones (I tried my Michell Tenderfeet and my RDC cones but settled for a stainless steel set with height adjustable copper tips). This method does not simply try to isolate the turntable from ground/platform influence at the potential expense of living with air-borne vibration. It offers firm grounding while managing vibration by draining any electro mechanical vibration within the turntable/component and isolating it from its underlying platform/ground (a birch wall-shelf in my case). Yet it does so without introducing new susceptibilities to air-borne vibration. Definitely worth a try!

I have not heard the SP10 in a suitable plinth however and so I will continue with my design project and provide a performance comparision in the days/months ahead. In the meantime, I can more than live with the naked SP10 when set up as described.

dgob October 26, 2010 04:48

System edited: Toying with different armboards for the naked Technics. Currently trying an l-shaped MDF board that mounts two tonearms (AC3300 and DP6). I've also tried a single ash board. Still early days but it certainly is different to what I heard through the Acoustic Signature Mambo.

dgob October 01, 2010 03:40

Hi All,

I've still not found time to test the ADC Point Four cartridge but have come across a bit more info. There's a very positive review of it in The Gramaphone. You can find it at: http://www.gramophone.net/Issue/Page/November%201964/107/805510/TECHNICAL+REPORTS#header-logo.

Of course, I'll comment on it when I find time to fully audition it and if I find it to be worthy of such. I'll also give a full review of the Glanz G5 and G7 cartridges after I have them checked over and matched up in an optimum setting.

Till then... :~)

dgob August 30, 2010 17:54

Latest Update,

Still playing with set-up for the Technics 100 Mk4. This is a fascinating and educational challenge as slight changes in components can reap widely differing results.

I've now removed the pneumatic footers in trading air for the immediacy that better grounding provides. However, I have settled on the SAEC SS300 metal mat, which aids tonal balance and stability. The latest update that has aided the SAEC and my entire set-up here is the adoption of the JA Michell record clamp.

The clamp is reletively a cheap product but is made from a vinyl/metal alloy that seems far more sympathetic to the natural resonances of records. HOWEVER, the clamp is majorly let down by the felt O-ring that comes with it. I have experimented with a variety of replacements and have come up with a three layered composit of two types of felt and a top layer of industrial viscoelastic sheeting. These three layers are cut slightlty smaller that a pound coin (and than the original Michell felt ring)in diameter with a centre hole the pricise size of the TT spindle. The three layers are fixed with an adhesive and when placed on the SAEC beneath the record, it (the new I-ring) elevates the Michell clamp above any other I have tried.

The SAEC/Michell/bespoke o-ring combination produces more detail, better extention and dynamics than anything I have tried before and also provides the air and staging that I found in using pneumatic footers: yet, without the airborne problems that are innate to such pneumatic technology.

The alternatives that I can say this comination outperforms includes the SAEC/Basis Reflex clamp/rubber O-ring; the Boston Audio Mat1/Acoustic Signature Grip; the SAEC/Music Fidelity record clamp; the Jeweltone G601J Crystal Stabilizer and the Audio Technica AT666 pneumatic turntable mat etc.

Of course given the nature of this obsession, I continue to wonder if there is still more to be found through further experimentation! Nevertheless, I 'can' finally live with this as it stands.

dgob August 19, 2010 12:42

Raul,

You were to the front of my mind in declaring this revelation (and in noting my willingness to learn). It does truly make a large difference across the full frequency range. I've been listening to Mahler's symphonies and Beethoven's piano sonatas and they have never sounded so good.

On the coming back to former set ups, I believe that the overall small aspects can make such a large difference that I doubt we (me or any of us) will ever truly be able to say that we have heard any piece of top range equipment in its definitive and ultimate best setting. Given the potential combinations (and here the performance of a not-too-highly regarded tonearm like the Lustre when played with specific top end cartridges seems a good case in point), it seems that the potential for a new and/or better partnering piece of equipment is almost limitless.

I also feel that the difference between 'understanding' that something is good or should work and actually 'knowing' that it is and does work better than alternatives is a very important part of the learning experience in any walk of life. I suppose this is where many of my experimentations and disagreements with you arise. One needs to know for oneself - I'm sure your children, like mine, demonstrate this continually!

Maybe that's the joy of exploration OR a ground for deciding when satisfaction with what one has becomes your end point (albeit with the potential to set off learning again - in the light of major new developments). As always

Many thanks

dgob July 23, 2010 05:45

System edited: I have been mightily impressed by the Technics EPC-P100c Mk4 moving magnet cartridge. Enough so to have sold my Dynavector XV-1s moving coil and a whole host of other cartridges. In fact, I'm now only looking at the potential of an Ortofon A90 moving coil to give me my final MM/MC options. Another interesting point about the accuracy of the Technics is that all associated equipment can be better assessed. In my case this has led to my adopting Audio Technica pneumatic footers for the Mambo to rest on (I use the smallest of the range in order to allow the motor to sit on the same platform without belt issues). I have now posted photo's of the range of these footers. And the key difference I find from the prior resting place on a Symposium Ultra sat on a wall mounted birch platform is that staging is far better (deeper and layered) with the removal of hitherto unrecognised platform influences. Similarly, I have now placed my SAEC SS330 metal mat back on the Mambo's Silencer top. In sitting between the Mambo and the record, the SEAC removes hitherto unrecognised tuerntable influeces. The key difference that I detect here is better timber and dramatic contrast in the music I'm now hearing. Never too old to learn Recommended

dgob July 22, 2010 11:33

Hi All,

AS I have written elsewhere:

My MM/MI cartridge shortlist is now in its final penultimateness (?). I'm down to my Glanz G5, Glanz G7, Technics EPC-P100c Mk4 and Audio Technica ATML-170 OCC.

How good are these? Well, I have sold or am in the process of selling on eBay my B&O MMC2, Audio Technica AT20 SLa, Empire EDR9, Empire 1080 LT, Nagaoka MP50 (with 2 unused and original NOS spare styli), Lyra Parnassus Dct moving coil, Sumiko Andante P76, Audio Technica ATML-160 OCC, Denon DL103d moving coil, Empire Ltd 750, Astatic MF100, Empire 900 GT (with 2 unused, original NOS spare styli), Ortofon M20FL, Spectral Moving Coil Reference, ADC XLM-1 integra, Music Maker 3, Audio Technica ATF5 moving coil.

My Azden YM-P50VL and YM-P50E have not really had the time to be judged and so could still make the list. Although this is obviously a reflection of my own taste, it says something about the quality of the four remaining contenders. More soon, or as soon as I can give all of them a fair run for my money.

dgob June 01, 2010 11:08

Hi Ddriveman,

Many thanks for your kind comments on my system.

I think my Essential 3160 is still the state of the art. It has not been challenged by any of the accompanying linestage or phonostage components that I've partnered it with so far. Interestingly, I was in a hifi studio this week listening to their very expensive set up. The difference in quality between what I heard there and what I hear at home was very large. A key part of this was undoubtedly due to the role that the Essential plays in my system and I have spoken with the noted retailer about importing them over here. Time will tell but I do still highly recommend it. I did communicate with a couple of other Essential owners and if I can find their email details (it was quite some time ago though) I will forward these onto you off-line.

If things change regarding my experiences, I will of course let you know.

Happy listening

dgob November 21, 2009 12:55

Hi Crubio,

I use either my Audiocraft AC3300 or Grace G-660p. The latter is a new acquisition specifically to play with the XV-1s (once retipped) and a friend who is a hifi technician in Japan says they are a technical marriage made in heaven. I'll feed back when I am certain how true that is. This might take some though time as most my finances are currently going towards acquiring moving magnet cartridges. However, the XV-1s/Grace 660 pairing is a pending highlight (cartridge retip not withstanding)and I'm keen to see if this gimbal pivot arm is the noted improvement over the various unipivots with which I have already tried it - to some good effect I might add.

My Morch DP6 has both a red dot and a green dot armwand and is really for use with some of my more sensitive moving magnets. However, the Audiocraft does a fantastic job with most of these as well.

Do you use a XV-1 and, if so, what is your preferred arm and set up?

Happy listening

dgob November 19, 2009 22:41

Hi Crubio,

I have chosen to design my plinth using birch ply, acrylic and aluminium with vibration absorbing stabilizers and a decoupled 2-tier plinth. However, it is still a project awaiting future completion. As soon as I make any progress on this I will post details on my 'Essential System' thread here at Audiogon.

I have only heard slate plinths on Garrard turntables but I was not overly impressed. Others swear by them and maybe I will experiment with them on the SP10 once I've completed my current project and become fully familiar with the set up and any shortfalls.

Cheers

dgob November 05, 2009 12:01

A few new purchases including an Audio Technica AT-160 ML. Meaning I've even more to listen to in the months/years ahead!! This evaluating lark is more complex than I had originally hoped. Will get back with additional information and my preferences when certain.

dgob October 25, 2009 11:53

System edited: New range of cartridges bought mean that my arsenal now includes:

MC's: Dynavector XV-1s, Audio Technica ATF5 OCC, Spectral MCR, Lyra Parnassus de Capo, (SOLD: Allaerts MC2 Gold Finish), Denon DL-304.

MM/MI's: Suminko Andante P-76, B&O MMC-2, Astatic MF100, Nagaoka MP50, Glanz G5, Empire 1080LT, Audio Technica AT20 SLa, ADC XLM-I integra, Empire 999 XE/X, Audio Technica ATML-170 OCC (damaged), Empire 999 VE/X, ADC XLM-II Improved, Empire 750 Ltd, ADC XLM-III Improved, Empire EDR, Music Maker III and Empire 900 GT. Others ordered and pending.

When I have the opportunity to audition and evaluate all of these I will update my system to show my favoured MC and MM/MI.

"Water supplies low and... I could be some time!"

dgob October 10, 2009 12:06

System edited: Purchased a new Audio Technica AT-20 SLa cartridge with a ATN-20SS stylus and was startled by just how good this thing is. My new reference and possibly (hopefully) my last ever cartridge: replacement styli thankfully still being available.

dgob August 05, 2009 15:45

Hi Isanchez,

Yes, the EAR 324 has a very good MM stage and will do great things with the Nagaoka. I appreciate the spatial issue and set up problems with the Mambo. Maybe you could think about getting a new armboard for the turntable some time in the future and then simply leave both cartridges (XV1s and MP-50) plugged in all the time and then just select the one that you wish to hear. For diffent moods and different records, this option has proven really good for me. In the meantime, you could just swap over headshells. In fact, I have no idea how the MP-50 will sound in your Dyna arm and it might be an even better option than the Audiocraft AC-3300. When you've had a chance do let me know how it works out.

About the subs. I think that if you can get hold of another Velodyne HGS 15 (maybe on the used market), this would be a fantastic way to go. Alright, the DD series is far easier to set up and boasts slight improvements but other users (including Raul) of the HGS 15's apparently achieve remarkable results. If you go down that route, Raul would prove an invaluable source in assisting you to set them up and optimise their performance. Again, whether you go for the DD series or this option, I would love to hear back what happens. Incidentally, any progress with the Jeweltone?

Cheers

Dgob

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dgob February 26, 2009 07:39

Hi Isanchez,

And thanks for your kind comments. The tonearms are really good and do offer me options for most cartridges (although, as I've said before, I think the XV1s and Nagaoka are my journey's end concerning cartridges). The Morch has been with me for around 15 years and the other two were bought in hte last few years on kind and useful advice. I've tried many others (including the SME V and others) but these three seem to do it for me and my needs.

About the subs, yes, that is one of the subs just to the right of my systems photo: with a 30k weight on top. The other one is to the left and slightly further back from the speakers: also with a 30k weight on top. In having them firing across the room at each other but also not directly in line, you cancel any standing waves. You can see all this in more detail in the excellent Agon thread that Raulireugas started on the need for subwoofers. However, I would add that it is relatively easy to set the Velodyne DD series subs up with the accompanying microphone and software. You simply place the subs in your optimum sitting position and then move the accompanying microphone until you find the two spots with the most steady signal (as displayed on your TV screen). Once you've found their positions you just have to play around with the settings for both subs. Just in case anyone is thinking of going down this route and has the same fears that I previously had about setting subs up properly.

Cheers

Dgob

dgob February 20, 2009 18:12

Dwhitt,

Sadly, it's not a tv but a monitor to watch my children: even my listening pleasure's tempered by their activities!;~)

dgob February 17, 2009 08:11