Audio Hobby Thoughts, Philosophy & System Description
Current Room Anchors - Room 1 and 2 active
Room 1 - Matrix 800's anchors - for creating that ..........Maxell Tape Effect.
Room 2 - (Adjacent to Room 1) - Quad 57 + two Dynaudio BM12s subs - Midrange reference
Room 3 - Acoustat Model 3 - Modded - upstairs - For imaging larger than life (literally speaking) - see last picture. Unfortunately is next to my wifes TV room. So it gets limited use.
Stored - B&W Electrostatic DM70c Continental - Wife calls them the washing machines. John Bowers called them his favorite speaker. Very interesting and very rare. Could anchor a room but they need special placement and lots of room. ESL portion needs to be 100% functional and at ear level or they will sound soft.
Room 2 is mostly digital, guests, and used for trialing used unplayed records before they make the queue for room 1. Room 1 has been called by my family as Dads Hole. I prefer panic room as it helped to raise my kids and stay married...so far.
Psychology Part
Music is critical to ones health and well being. I went through a couple stretches in life due to events without it and the results were not good. The goal for me to get lost in the music and have it transport me to that special place. Now whether you get there by a typical 2 channel home stereo with speakers, headphones, or other means is not important. Getting there is the important part.
Audiophile not.....
Have always been the type that if I frequent a room enough, a system usually ends up in there. My wife finally put an end to this, and allows me to do what I want in the full basement of our house.....so..... In this described virtual system, I have had Room A since 1994. Adjacent Room B is in the process of being finished, but I have been using it for listening for a few years now adding in room treatments as needed.
History
Like many others, have been at this audio hobby since I was about 13 when I was consciously aware of the gear versus the actual music relationship. I am now 55 and currently with two adjacent music rooms setup with different gear. Both rooms can do full orchestra symphonies with large dynamic swings. Getting Room B with the Quad 57's to do this was a challenge; but I was able to get it to work with the right amps and powered subs. The Quads require a very different room acoustic setup over the Matrix 800's in Room A.
I am a pure amateur, audiophile, music lover, past trombone player, and have never been part of the Audio Business as a manufacturer, dealer, distributor, or have any special interest relationships with any of these people. I consider myself a full time music lover, and part time audiophile; although I have friends that could argue this point. I have tried to upload pics and information here, that give a flavor of some of my audio journeys, and associated bouts of Audiophilia Nervosa. :^)
"Audio Heaven, is for Music Lovers - Audiophiles are never happy.
With that, in the real, authentic, Heaven; there is room, even for Audiophiles"
8^0
Living in the country
Having moved away from the city core in the 90's, I have found that audiophiles away from the cities, are in general, scare to find and or keep to themselves. Many of my audio friends are now remote, due to the distance between us; so only virtual communications are possible most of the time.
The negative aspects of Isolation aside; one good aspect of living in the country is the clean power and lack of noise and vibrations caused by traffic, trucks, etc...Once experienced and its effect on your listening, you become very aware of the multitude of audiophile products available as band aids, to cover, veil, but never eliminate these artifacts in densely populated areas.
I was born in the 60's so I grew up with Classic Rock, Beatles, etc... But I love all music, new music and Opera hits home with me. I played trombone in Jr and High school so the Bass Clef has a bias with me. Listen more now to the ladies crooning at me, Classical and Jazz with occasional Classical Rock; I think a well recorded full Orchestra Symphony with huge Dynamic swings has the most magic for me.
***** MAIN ROOM aka Panic Room, Dad's Hole, ....*****
I have had Room A since 1994. It has 3 dedicated lines 20, 20 , 15. This room is personal use. Room B is more for entertaining and spending time with friends.
Room A is much better insulated and isolated from my wife. As much as I would like to move the Matrix 800's to the larger Room B space to try them, it would probably just get me that much more trouble.
Room A and B are both located on a concrete poured floor. A has a an underpad and flat carpet on top. Spikes from gear stands and speakers are able to penetrate to the concrete with no problem ensuring a solid mechanical connection. The speakers are located 6 feet from the front wall with the room being 24 ft in length. Putting in the 800's over the 801's meant that some of the room treatments were able to be removed due to the 800's double woofers high and low. This is also one of the reasons I call them very room friendly.
1/4 inch 2 track machine. The three pictures attached. Top Left - known as two turntables. my machine being worked on Middle pic - 807 Top Right Pic. A picture of Roger Ginsley with a 48 track machine he is about to split into two 24 tracks. My Studer 807 is calibrated by him. He is also the one that makes the interconnects I use with it.
JC Verdier La Platine Vintage Granito Original Design
2012
http://www.jcverdier.com/ADSL/platineVintage.html
Just a delight to use. With its presentation, sends the message home that it is all amount the music. Effortless, seamless, but experience is needed is setting up the thread. A real Goldilocks scenario of the thread being too loose, too tight or just right. Different thread tensions alternate how the motor and platter work together and change the speed. The objective is to get the correct speed with as little effect from the motor. ....
Original design. Granito Model My version uses a motor only equipped for thread Granito base and solid aluminum billet armpod. The later newer motors are equipped now for belts too - but no one runs them this way that I know of. This decision was made imo to generate more sales as it is easier to setup. But imo the belt grip would play havoc with the motor / magnets marriage which was designed for thread. I would think that belt stretch and its physical changes with temp and humidity changes would also cause problems, and interfere with the natural braking action of the magnets. This is my opinion as mine is thread only. There is a greater learning curve involved with thread.
This is the only turntable I am aware of whose platter design includes both acceleration (inertia) and braking (natural forces from same pole magnets) to deal with the records behavior - going from soft to heavily modulated grooves. The motor design, like a marriage with the platter. Think of the childhood merry go rounds that once up to speed - even a little girl could keep them going. To understand how the motor and platter are like a marriage, one need only turn the motor off and the platter spins for 30 seconds with the thread attached. However cut the thread while the platter is turning, and the platter stops much quicker as the two magnets demonstrate their braking capability. Impressive to me is just the plain simplicity of design using physics to get the job done with a piece of string and magnets. I found it important in setup to have the thread positioned in a way that is the least intrusive on the platter; so as to allow the platter to not only do its job as designed; but to also provide the needed jolts as required from the motor to maintain speed stability.
In my opinion - you will know when you have set it up properly because you are able to turn the motor off and on and also deflect the thread with your finger - as the records plays - and not affect the music delivery to your ears. I base this when compared directly to 15 IPS Master Tape dubs. In testing for accuracy I run both simultaneously with one lagging 10 seconds behind the other and switch between the two - compensating for gain as tape is a high level signal. When the thread is setup in this fashion there is minimal stress put on it. The current silk thread I am using has recently passed the one year mark. Overall Big Sound from a small piece of thread.
Some facts Magnetic bearing design. Brass colored rings are big shielded permanent magnets; same magnet poles repelling each other. The result is "levitation" the space you see between them. No thrust bearing involved. A central spindle bathed in a special oil keeps them aligned. For me personally I did not know what TT bearing noise sounded like until I heard music on a TT without a physical bearing. The plinth is made of Granito. Granito is not real granite but a non-resonant material that looks and feels like granite. A limited edition model.
"Granito is a material composed by little pieces of marble of very different origin agglomerated inside a mold with cement. Machined and polished. The resonance of the plinth with its suspension is about 5Hz and it is well absorbed by the air cavities."
Mr. JC Verdier Note: Newer Platines are provided with a setup bearing. The manual is very clear on the setup bearing. It is just that - a setup tool only. COUNTERFEIT PLATINES Unfortunately there are non-authentic tables out there worldwide from 20 different counterfeiting makers. These tables are out there with people using them. If anyone is unaware of this, see the Platine Information on the JC Verdier website for more info.
The only advice I can give is when buying a Verdier Platine you should be careful to ensure it is a real Platine, especially if buying privately. If you already have one and have doubts, check with an authorized dealer or J.C. Verdier company in France to ensure it is authentic.
Custom Eminent Technology Model 2.5 for MC Carts
This is a custom build ET 2.5 Tonearm from Bruce Thigpen - A 19 PSI design.I am using the new Long I Beam. Weights are reduced by half and therefore the vertical inertia is higher - a goal of the design. The Aluminum Gooseneck was sourced from NZ. It was through Richard Krebs also an ET2 owner. I am using Single Shot WBT wiring, Aluminum mount plate. Magnesium armtube. Double Leaf Spring and damping trough. If you are an ET2 owner you know what I am talking about :^).... Advantages of the ET2 airbearing linear tracker tonearm - no VTF changes with VTA adjustment, no offset setup, antiskating and immunity to acoustic feedback, as it rides on film of air.
One shot wire. Run at 19 PSI. Damping trough with 1 cc of Oil. Lead weights at the very end of the I Beam.
VTA on the fly while the record plays and it doesn't change any parameters (VTF) like all other tonearms do. This is due to a patented VTA on the fly system. Have you ever noticed how with same thickness records....some can sound brighter, some bloated and some just right? When they press the records the different plants can have different standards. Records are then cut with varying angles.. even same thickness ones.
See ET2 Bass Management Below
Tonearm Wiring Loom - One shot WBT NextGen
2011 One shot wiring loom for the ET 2.5. WBT 0102 CU connectors. The design of the ET2 (2.5) allows for this wiring to be changed out in about 10 minutes. Silver and copper can be experimented with.
The PUMP ET2
Life Support for the ET2's. Timeter 3000 Medical Industrial Pump. The most important part of the ET2 arms setup. Industrial commercial grade medical pump. Its actually a patient respirator.
These have an hours counter and come up for sale cheaply on ebay. If you have space in your basement somewhere they are turnkey once set up.
I have tried large aquarium pumps, smaller medical pumps, compressors.
This Timeter Medical 50 psi pump has been customized to allow me to regulate air pressure coming out and send 19 psi to the ET2 tonearms. Another regulator with gauge at the arm allows me to accurately adjust for the PSI coming into the arm. Located in another room -cannot be heard in sound room when running.
The smoothness of air delivery is excellent. No resonance. The pump dumps/expels moisture like a car's AC. Have never seen a drop in the moisture collector; other than one incident when the pump outlet clogged with minerals from the moisture. I now soak the pump outlet in CLR for 2 hours every two months.
ET2 In Room Air Regulator & Filter
2nd Regulator and Filter on wall near the ET arm. Confirms and controls the 19 psi and also filters out moisture in line. Have never seen any moisture in this filter. This device lets me change the pressure going to the arm by just turning the top mounted knob. This regulator is mobile. It can be placed in my lap while the music is playing and pressure adjusted to hear how it affects the music delivery.
Audio Research DAC8
From a DAC only function perspective identical to the ARC REF DAC except the output stage is tubed on the REF. Interesting read. :^)
Owned many many years. Modded power supply box. Variable Gain for dealing with hot, and compressed source material - Digital and Analog. On the fly cartridge impedance loading. Used in ARC's hotrod mode. Direct output and bypass switch engaged. Amperex Bugle Boys.
Matrix 800
Unique one time all assault effort from B&W at a time when 2 channel was the focus. Smooth, musical yet still detailed. Room Friendly if you can believe it. Imagine 4 subs two high and two low pointed at you for 2 channel music. Each driver 2 woofer, mids, tweeter have their own crossover easily accessible from the back.
They were a 2 1/2 year study from Bowers & Wilkins under John Bowers (RIP). I have looked for a long time for a pair. The only time they become available are through owners going to a smaller condo (retiring or divorce).
All B&W 800 models that followed the Matrix series are the same only in model designation - 800. They are not a replacement or upgrade. They are a different build, design, objectives, sound. Post Matrix 800's are a smaller speaker system (require a sub for full range); they do have better WAF (more easily placed into a shared room with the wife)
800 matrix can be played at low and high levels with the right amp. 93db 2.83 volts/1m, Mine are Quad wired. They can be run on four separate amps if one desires as each driver has its own crossover.
Top and bottom woofers each excite a different set of waves. These waves cancel each other out. Thats the theory. My listening supports this. Smooth tight bass. It is quite something to experience since their size make you think they will over take the room. Also IMO each woofer works only half as much with four versus two for the desired SPL. All of this results in a very flexible listening position. All drivers are physically isolated with separate crossovers and Van Den Hul silver wiring from the factory. I run them with both tubes and Solid State. Krell and the modded Music Reference RM9.
Krell Amplifier Story My research found me talking with Dan D'Agostino who used matrix 800's as his reference speakers when he designed this era of Krell amps. Specifically the FPB series like my FPB600. On a dedicated 20 amp circuit with upgraded 20 amp power cord using Furutech Gold IEC.
RM9 Push Pull Tube Amp. Used to power Acoustat, 801, 800 speakers. WBT 0700 Connectors. KT88 output tubes. Hardwired for 4 ohm tap. Total Overhaul done April 2015
MATRIX 800 INSTALL
Installation
800 Series Bass Alignment Filter / Equalizer.
The graph shows the 801 matrix frequency response with and without the filter.
All 800 series B&W matrix speakers are an active design and are intended to be used with an equalizer by the designer (John Bowers) to achieve the best frequency response.
This attached graph was sent to me by B&W Europe years ago
It is the frequency plot for the 801 matrix "without" using the supplied Bass Alignment Filter. (not sure if it is 801 s2 or s3)
B&W England are the ones that drew the two dotted lines on the graph.
The 801 matrix speakers were designed to be used with the BAF. The speakers with BAF devices were shipped to original owners. But these devices became lost as speakers changed hands. They pop up on their own on ebay.
The two interesting parts.
Part 1
Not only does adding the BAF filter as designed give you a smoother response and allow the speaker to hit 20 hz. The BAF makes the 801 matrix speaker much more efficient. The ohm ratings can be seen on the right 8 - 6 - 4 - 2 ohms. The 801 matrix s2 and s3 are a very easy 6 ohm steady load with the active equalization provided by the BAF. This opens up amp choices.
Part 2
Audiophile opinions on the BAF device are kind of split. Not sure if its an even 50% like it, 50% don't like it, but you have the two camps. Why the difference? The room; its acoustic properties, and how the 801 (aka relationship destroyer) deals with it. There is a reason B&W no longer make the 801. You need a dedicated room. Its makes no business sense.
801 matrix owners today (there are many out there and some reading here), that could NOT make the BAF work with the speaker; or who never used it, or even heard of the BAF before; are taxing their amps way more to make bass with the 801.
************ SECOND ROOM ***********************
A backwards seven with the main section 20 -23. This room is the "top of the Seven". It is separated from the bottom portion of the Number 7 shape (12 x 24) by a heavy curtain. It is also adjacent to my other room of which the door is left open. The back of the room has the stairs that go upstairs. One of the pictures has me standing on the stairs. All this makes for a much bigger room as far as sound volume and space is concerned. An in progress dedicated listening space that accommodates different speaker types.
03/31/2011 Dynamic, ESL, Planar IMO - We listen to our rooms. The speakers in the rooms are like boats. They both represent freedom to me. A 12 foot aluminum boat is perfect for a small lake and your favourite person. But out on the ocean or a big body of water The water/boat analogy in this case is like your room and speakers. Water waves versus sound waves. There is no perfect boat and no perfect speaker. This is because all our rooms are different and the room is the big rock in this audiophile game. Speakers represent the last piece in the audio chain. Their sound represents everything in your audio chain especially the room, before it reaches your ears. Every piece will have an effect on what is heard. This IMO is why it is so important to have a good source. The last few years my speakers have remained intact and I have concentrated on improving the source components. Each time I improved the source my main speakers improved as well. This tells me they are not a bottleneck and I have not yet reached their limits.
Dynaudio Acoustics BM12s - Two of these in my Quad Room B .
Two of these in Room B - 18hz - 60 hz.
4th order Linkwitz- Riley crossovers have a really steep slope past 60 hz.
On paper this made them look like a really good match for the Quad 57's; but how does such a small box make 18 hz. They have class a/b amps are 4 ohms.
I brought them home and demoed them. Very Punchy, Clean and they go really low. A great match with the raised Wayne Picquet Quad 57's. They are placed under the speakers - see pic in my virtual system.
Quad 57 Wayne Picquet rebuild with Music Reference RM10 AMP
Quad ESL-57 - Wayne Picquet Panels Partnered with the amp that was designed for them - Music Reference RM10 by Roger Modjeski.
With certain music magic for me.
8/20/2012 These Quad 57 speakers were designed and put out before I was born. The parts inside which I have replaced like the EHT modules were stamped 1971. Fourteen years after they originally came out. The panels themselves are only a few years old. They were rebuilt by Wayne Piquet in Florida. The normal music presentation for stock Quad 57s is as if listening to music from the first row of a balcony. If using stock feet a 2 or 4 x 4 piece of wood or brick under the rear leg angling the speaker downwards toward you actually raises this image. This may be a more realistic presentation in your room.
Check out my review. http://forum.audiogon.com/cgi-bin/frr.pl?rspkr&1309018315&&&/Quad-57-
801 Active Monitors - Currently Stored
Currently Stored - "Winnie the Pooh" of speakers. Relationship Destroyer. Owned since 1994. Serious Sound Pressure Speaker can re-create an event in your room when positioned and driven properly. Mothers milk bass. During my time with them have used Solid State and Tube amps (Push Pull and OTL's). In comparison to the DM70 Electrostatic, If the 801 and DM70 were cowboys. The 801s are wearing black hats and the DM70 white ones.
801 Matrix S2 and S3 - Designed by John Bowers to be Active Monitors with use of the BAF and become a sixth-order Butterworth alignment. Without the high pass filter they are a vented fourth-order design, specifically in a Bessel alignment. "Fourth-order" is an engineering term that refers to all vented and passive-radiator speakers; sealed boxes are "second order."
From Stereophile (re: S2) "Higher in frequency, the response trend (averaged across a 30 degrees lateral window on the tweeter axis) is basically flat, but with a slight excess of energy in the presence region and a corresponding lack of energy in the top octave. All things being equal, this will make the speaker both a little too revealing of recorded detail and somewhat fussy when it comes to the quality of source and amplification components, just as LL noted in his auditioning comments."
Some of the changes. S3 used a different crossover than s2 - less component count. Better isolated mid and hf boards. Bass inductors with an iron dust core . Rotating midrange tweeter head assembly was permanently connected. (from 3 to 4 pin delivering separate ground signals to midrange and tweeter) Magnetic fluid cooling of the tweeter (like the 800 matrix) - the reason the apoc protection eliminated (circuits needed for this were also removed)
In nearfield very revealing of room setup, system components - SS and Tube, cabling, TT drive systems, poorly recorded music. They reveal all the flaws of the recording.
Depending on your audio hobby objectives this can be a good thing or a bad thing...
See picture of the Bass Alignment Filter.
B&W Electrostatic DM70 John Bowers / JansZen Hybrid
B&W DM70 Electrostatic Continental Hybrid Speaker Clockwork Orange Movie The late John Bowers (RIP) favorite speakers. JansZen ESL - 500hz and up. B&W Woofer - 500hz and down. Require a large room - elevated to ear level and a good distance from the front wall. Very refined midrange - muscular bass. Non-directional with a large sweetspot.
n]Designed in 1970. No cost or time constraints during the development. From what I can make out they were discontinued due to costs involved. Version One - Power handling 25 watts at all frequencies. Version Two - The later DM70 Improved, which looked identical, is suitable for amplifiers of 25-100w, but seems otherwise identical.
500hz crossover - ESL panel can not be overdriven and is nondirectional.
ESL Panel was provided by JansZen. Sensitivity is 17 watts into nominal impedance required to produce a sound level of 95 dB. at one metre at 400 Hz Double fuse protection C and CA versions.
Modded Acoustat Model 3 - Used In Shared Space Upstairs
Finally hooked up the Model 3's to the OTL's in a temporary fashion.
These are in our living area shared space Custom modded Model 3;s. They have rebuilt interfaces. Unique granite bases with integrated spikes that weigh 80 lbs. Burl Oak Veneer facing and the inside is filled with small sand bags.
Technics SP10 MKII with 2nd ET2 High Pressure Manifold
March 11, 2013 Update
Next version ? will replace the current black base plinth with a more aesthetic one.
Pet Project - Has taught me a lot about resonances and vibrations. SP10MKII Version Five Solid Stainless Steel Legs have threads at both ends and are bolted into the sp10 top plate as well as the solid plinth/platform. The armpod is bolted into the plinth. The plinth is then isolated by the AT-616 Pneumatic footers. 19 lb Solid Brass Pod 1 inch Diameter Solid Stainless Steel.
Previously I had the SP10 MKII in a heavy 7 layer plinth. Birch ply + one mdf layer. This SP10MKII came from a private studio.
This is the second ET2 I own and it is a high pressure manifold
Jean Nantais Custom turntable. Includes: 100 Pounds - Veneered - Two Tonearm Plinth Lenco L75 motor and top plate rebuilt to his standards. Reference model spindle, bearing thrust plate. Bonded Metacrylate mat Bearpaw footers. IEC outlet.
************ SOME NOTABLE MEMORIES **************************
For me some notable equipment. Currently stored or sold-indicated as such.
McAlister OTL 195
OTL195 There is a review contained in my system thread. In comparisons to good Solid State Class A and Push Pull amps they were like driving a 911 but you are limited to 1st gear when pushed. Very fast and punchy. But lack the bass that push pull deliver on. Get the bass right and everything else comes into place. These amps are designed around the needs of Acoustats. My Acoustats are in the shared room upstairs. I no longer own the OTL's.
Fidelity Research FR64s
Gimbal Pivot Arm. I found excellent build quality and a nicely implemented antiskate system. I also found a low frequency resonance that accentuated the bass. A warmer sounding tonearm. It was in my second room with the second ET2 not the ET 2.5. Whenever I started a session with the FR64s it was always nice. But curiosity would always prevail and I would switch over to the ET2. It would always remain there. This happened more times than I can remember. I am not a tonearm collector so it was sold to raise funds for another project. I am in agreement with what Cartridge designer Johnathan Carr had to say about it. http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1243274438&openusid&zzJcarr&4&5#Jcarr
Modded VPI's
Thread driven TNT and a JMW 12 using rollerblock jrs. SOLD
Acoustat Spectra 33
Acoustat Spectra 33
Eminent Technology LFT 8a
Set up in midfield - soundstage at both sides of the room. So the speaker shown is the left or the right one depending on side of room you are on. Excellent Magnetic Planar Hybrid Woofer Speaker. Very natural sounding but difficult to drive.
****************AUDIOPHILE FUN + ET 2 TONEARM MODS ************** ****
From here down are some inserts from past audiophile fun.
Also contained here is important information on the ET2, 2.5 tonearms as well as some of the mods I have done to them. If any questions on any of them let me know. No Holds Barred tonearm. User needs to be mechanically inclined and be willing to read ET2 manual instructions for proper setup of this tonearm. If bought on the used market a friend that is familiar with the tonearm for proper inspection of condition is important.
Goldilocks and the Three Turntables . See Sept 20, 2019 post comment below on my virtual system for findings / details.
Belt Drive (converted to thread) VPI TNT Idler - Jean Nantais Custom 100 Lb Direct Drive - SP10MKII When compared in the same room(nearfield), with same gear, tonearm and cartridge, same time, differences are revealed. Out into rooms on their own, this is not as noticeable as our ears deal with different room acoustics. ymmv
OTL VERSUS PUSH PULL Tube Amps
In room comparison.
Thread Drive Comparisons
2010 testing out different threads. Fabricland became a favorite place of mine.
ET 2 Tonearm Proper Bass Management - ATB
According to Bruce
My ears agree
ET 2.0 Manifold Before and After Cleaning
Pictures courtesty of a friend.
ET2 VTA Block Destroyed
Thigpen Genius showing VTA Block rack of teeth and worm gear. This one was abused. If you are buying a used one ensure the rack of teeth seen in the pic are uniform with no wear and baldspots. This is an indicator that the VTA block was misused and rigidly tightened stripping the teeth. The bolt was tightened to a point that shattered the CF.
ET 2.0 2.5 Tonearm VTA Block Torquing Procedure
VTA Block - Ensure each of the four bolts is torqued equally or the patented VTA system will be off. This procedures takes just minutes and should be done off table or you will throw your alignment off. Once bolts are torqued the manifold housing can be mounted to the pillar post and the rest of the setup completed.
ET 2.0, 2.5 Tonearm Magnesium versus Aluminum Armtubes
Mag - MC Cartridges Aluminum - MM Catridges The middle ground is the Carbon Fibre arm tube. MM and MC.
ET 2.0, 2.5 Custom Aluminum Joint - aka GOOSENECK
Black one is the stock one. Sourced from Richard Krebs
ET Tonearm Counterweight Bolt Mod
Get a longer counterweight bolt especially if you like to use heavier cartridges. The stock ET2 bolt is on the right. The longer bolt weighs a bit more, holds more lead weights and allows you to use less lead further out on the I Beam. This provides for the highest vertical mass which is really important with the ET2 as it has medium to high horizontal mass. a 4 - 1 horizontal to vertical ratio. In my system higher vertical mass means cleaner, less resonant, overall better bass. The brass rings are meant for balancing only. I prefer to use Blue Tack for this purpose.
Et2 Leaf Spring Mods Single, Double, Triple
General Cartridge Guideline
Single Leaf Spring - High compliance
Double - Medium Compliance
Triple - Low compliance
ET2 Pedestal Custom 3
Solid Brass Arm Pod
Koaltar Tweak
my pal 6 months, 79 lbs.
Kitty Tweak Bengal
a real sweetheart
RCA Victor Dog
I introduce Lucky. He is a mixed breed Jack Russell/Chihuahua mix breed. He will be acting as the Victor RCA dog,
The original Victor RCA dog.
He was named Nipper and was born in 1884 in Bristol, England, and died in September 1895. He was a mixed-breed dog and probably part Jack Russell Terrier, although some sources suggest that he was a Smooth Fox Terrier, or "part Bull Terrier". He was named Nipper because he would bite the backs of visitors' legs.
Now that I've got my DV 501 back, and optomized, I am quite pleased with its performance so far. It seems to work equally well with eith the XX2MKII, or the brand-new Zu Denon 103R I just bought. The XX2 has a bit better bass response, and is a bit more detailed, but both make for good listening. Chris, I'm going to have a VTAF made for the 501, I'll let you know how that works out.
Good read on the 505. The 501 is a large step up from the JMW 9 Signature.
Chris, Thanks for a thorough around-the-world assessment of performance, house keeping, and aesthetics. Indeed there is too little written about the DV-505.
At Newport this weekend I sighted no Dynas or linear tonearms, except for an old Yamaha used to demo Bob's step-up-- which sounded only fair. I did see and hear a number of Moerch, Durand, Schroeder, Triplaner, Graham, Ortofon, Well Tempered, and an unexpectedly good modified Jelco. There are so many loose variables at show exhibits, but if one is forced to judgment, only the Durand in the Evolution/Blue Light room turned my head with the potential for a bit more than I am getting from my linear arm. (The Durand in another room was not as impressive.) Above all it struck me that the sheer sex appeal of these modern pivot arms is unmatched in all of Hi-Fi-- particularly when compared to the utilitarian looks of ET and Trans-Fi. Anyway, as you point out the DV-505 is something of a cross-breed. For the moment I'm going to sit tight and count my pennies.
I would appreciate your thoughts on the performance of ET vs. DV-505.
Bottom line, according to factory recommended set-up, the Dyna has 2.2% tracing error at the outer groove. Apart from this disadvantage, is there anything the Dyna does sonically that you prefer to ET?
Sorry for taking so long with this Dave - I just kept adding info to it. I could have kept going. This is my record I think for words in a post.
Here are some personal DV505 impressions. Dave thx for prompting me. I had been meaning to add my thoughts about the DV505 because there doesnt seems to be much out there on this tonearm. I actually discussed the DV505 with Bruce Thigpen prior to my purchasing one. It was one of the many tonearms he analyzed. He has detailed measurements and data on all the arms he has reviewed. He likes the DV505. I could tell because when I mentioned it, it got his attention and his voice perked up when we discussed it.
DV505 setup. Anyone with a straight-line linear air bearing arm will have no trouble at all (I can guarantee it) setting up and enjoying the DV505 because of the importance of making it level and balanced its ingrained in us. The DV505 main and sub-arm must be level and balanced prior to setting VTF and antiskate, similar to my ET2 well minus the antiskate part. Once this condition is achieved the DV505 arm can be placed floating with cartridge above any part of the platter and it will not move just like an air bearing linear tracker. Tonearms like the FR64s have antiskate built into its arm design from the get go. When set up to float in this similar manner the fr64s floats back to the outside of platter from the inside due to the AS working.
Some at Agon have chosen to run the DV505 arm in static mode using only the sub arm weight for VTF and bypassing the dial. I dont agree with this and choose to follow the method of setup the designer chose. This is another discussion anyway. If anyone wants to discuss it I will. I also feel any happy DV505 owner would do really well with an air bearing linear tracker for the same reason of understanding the importance of being level and balanced.
Is the DV505 more Straightline or Offset Tonearm in Design and Execution ?
So the DV505 has this level/balanced similarity in set up with my ET2 straightline tonearm; But after that the DNA changes over very quickly to an offset tonearm. Its a hybrid arm yes, unique ? - but it is not a 50 50 split. I will call it 70% Offset Tonearm - 30% Straightline Tonearm, give or take a few percentage points. The DV505 has by design an offset, built into the main/sub arm joint, required or it would not be able to track at all. So it has as we know 1) offset, producing 2) an evil force making the DV505 shoot toward the record label when placed in a revolving record, requiring 3) antiskate to be used.
Bottomline There is a tug of war out there between two and three. Why am I harping on this? Well remember the words tug of war.
DV505 Controls and Mechanisms In normal use, properly set up, level / balanced and used as a standalone arm the DV505 works as designed for me. Whoever designed this arm had alot I think going on in his head. Its controls and mechanisms work really well, settings hold and are accurate. Setting the VTA height is a bit of a PITA as it requires loosening a screw and lowering or raising the arm, its not VTA on the fly, but it can be done fairly quickly. I personally dont change VTA that much anyway (not a big deal to me) but it needs to be considered for those who do change VTA or use different/many headshells/cartridges? The ET2 has VTA on the fly. Azimuth adjustment with the DV505 is strictly head shell based if it has it. The ET2 has this adjustment built into the armtube.
Sonics in my own room/gear/tuning I would have really liked to try my XV1 with the Dv505 by now, but it is still in the process of being rebuilt by Axel in Germany. I have however had two Empire 4000 dIIIs golds on both the DV505 and the ET 2.5 on the Lenco at the same time. Both terminating on Din Plugs and sharing the same phono cable - in alternating fashion. The DV505 sounds very pleasant, a refined sound, tracks wonderfully (as long as level and balanced) soundstage is very nice. Did not have as much of a LF bump as I heard with the JMW 12 (in my room). Bass was more controlled with the DV505. I believe because of the main arm portion staying level and balanced throughout the LP just a gut feel. If I heard nothing else I would be very content with this tonearm.
Then I would switch to the ET2 linear tracker and certain things became more obvious. For me in my room, the DV505 soundstage in comparison to the ET2 sounded a little more compressed, definitely narrower in presentation. Music on the DV505 was more like a picture frame, well defined, but with a border around the sound in my room. The ET2 when properly set up and air supply maximized in my room, throws a very wide and deep soundstage in comparison, with more information telling you what is happening on the stage. This is the first difference. Secondly the music presentation just seems to flow more effortlessly with the ET2 first track to the last. It is just more pleasant to listen to and less constrained sounding in my room. To me this is due to the position of the stylus in the groove, and the tug of war going with the DV505. How big a deal is this to me ? If I never heard the ET2 again no big deal at all. I listen to music in 3 very different sounding rooms and can spend all day in each of them if allowed. Unless you are directly comparing like this its not a big deal. They both make wonderful music. Note however the ET2 is really all or nothing; meaning if it is aligned to 90%, the distortion is very audible all the time. With a regular offset arm at 90-95% some people may not even notice the distortion. So give me personally an regular offset arm anytime over an air bearing linear tracker that is not at, or close to 100% aligned. They are more work. Here as well for me the DV505 again stays closer to the ET2 in needing to be set up properly to sound clean, over a regular offset arm.
I am not a fan of having 100 feet of tubing, along with using a medical pump designed to keep humans alive, running full tilt (no cycling on and off) to keep this ET2 tonearm going - but the sonics right now warrant it for me at this stage of the hobby. Besides all of it is hidden away and all it takes is a flip of a switch and I watch the PSI climb on the gauge. Some dont have room, or dont want to deal with equipment that has to be kept in another room. I fully understand this. I may get there one day too. I am not there yet.
Also - These ET2 impressions are based on a High Pressure ET2 or 2.5 at 19 psi. Now the differences I found between the older ET2 regular pressure say 4 psi versus 19 psi ? Lets use the analogy of water/pressure coming out of pipe. Imagine someone pointing a water pipe at you and letting it go full pressure. Thats the ET2 sound to me. Free flowing. Now add a wider diameter pipe increase pressure and get hit by that. That is the difference between the regular and high pressure ET2s sonically to me. Its a bigger pipe of sound coming at you. Now go add a bigger diameter pipe still, add more pressure still and let loose water again on someone. On the good tapes that is what the Studer at 15 IPS sounds like to me compared to my vinyl.
So because of the above the ET2 is my reference tonearm for vinyl sonics - HOWEVER - and this is a big however and the reason I could not just say yes or no in a quick answer.
I dont change cartridges around too much. I change mediums instead. If I was listening actively to 15 or more cartridges like some of these guys (gals?) on the MM thread, I would seriously consider and probably prefer the DV505 on the basis of ease and convenience in swapping out cartridges. In fact it would have to happen if you think about it, because you would eventually ruin the cartridge clips taking them off, on, off, on. Probably your back too depending what height level your TT is at.
So. I have no intention of selling my DV505. And I feel as long as there are people with deep pockets paying $7,8,9,10 k for tonearms, the DV505 IMO will not go down in value and can only go up I feel; especially when you see what went into making this tonearm. It is substantial and the pieces work together. It is one of those audio products that have a cool factor. My teenage son thinks its the coolest looking tonearm. Finally I enjoy reading A.Salvatore he pulls no punches. I dont agree with everything he says, all of us are different with our opinions, but he is fun to read. This DV505 is such a misunderstood tonearm. -----------------------------------------------------------
Dynavector 505- I have very limited experience with this tonearm. It was very idiosyncratic, working very well with some turntables and cartridges, and a disaster with others. I would only buy it if it's really cheap or with a return/refund "out". This will be difficult because it has now become something of a "cult" item.
A reader then says
"Prices for used mint 505's have skyrocketed in recent months and they commonly bring $800 or more. Last month one boxed 505 sold on Audiogon for $1200!!! Ridiculous... " Arthur then says.
I guess I am behind the times with this model. If this tonearm goes for $ 800 or more, I suppose you don't have to worry about finding (or selling) one "really cheap". -----------------------------------------------------------
What a crazy hobby this is. By disaster I am assuming it was a TT that could not handle the DV505 weight and caused the tonearm to move or not stay level and balanced. Or the arm was not level and balanced properly to begin with.
I am the guy that when looking for screws or bolts to mount a cartridge always seems to be missing one or the other or they dont thread together properly.
I am the guy when working in the yard looking for working gloves always finds two lefts or two rights.
I am the guy that is paranoid to vacuum the carpet in my room near the rack for fear of sucking up those missing screws and bolts dropped over the years; that I fully expect to magically again appear for me one day out of the blue ?
Audiophiles best tool BLUE TAC
Very small circles/blobs place 6 on a shelf on the rack whenever you have small objects like stylus guards, little circle bubble balances, or little brushes, etc.. attach them to the little blue tac circles they will not fall off and stay put. Easy to find.
The DV505 impressions became more detailed than I thought, and I was away this past weekend will post DV505 impressions soon.
Nikola as Henry - I thought u never heard the FR64s as well ? Measuring distortion ? hmm...interesting.
Dear Nikola, I thought you never used your FR-64s tonearm?.....it was too beautiful to actually 'touch'?
I agree with you and Daniel (Dietrich).... that 231.5mm is optimal for the mounting as I tried it for some months. However........in the interests of practicalities and ease of use for setting up the geometries on ALL my headshells (other than the SAEC WE-308).....I have moved back to the FR recommended 231mm which sounds quite wonderful anyway?
As with keeping the awful plastic stylus guards attached to my treasured MM cartridges.......sometimes 'logic' has to win?
Dear Henry, I still own the German Magazine 'das Ohr' (the ear) from 1984 with two reviews of the FR-64s. Btw Dertonarm was then reviewer by this Magazine (so old is the guy). Both reviewers recommended 231.5 mm distance for the optimal geometry instead of 230mm in the manual.So no wonder Dertonarm swears by this distance. I am not a technical guy but I sometimes believe what I have read in some Magazine. Since 1984 I used 231.5 mm distance for my FR-64S. No idea if this means anything but I got 90 micron without any distortion with the Ortofon MC 30 then. No other arm/cart combo reached this 'value' since.
Hi Dave thx for the post and compliments. BTW - Do you remember your post to me a while back on a Agon thread to try thread with my TNT ? (back on a thread to try thread) :^) Anyway - I can still remember it as I had just started the Sp10 DD project. But I was like one of those race horses with blinders on and needed to go through the DD and then Idler phases first. I came full circle. But I did it on my own terms and for that I am content about where things are with me and this hobby right now. I really like the looks and what I have read about the Trans-Fi. Yours looks incredible. If I didnt own 2 ET2s I would probably buy one to try.
Regarding sonics ET2 vs DV505 this is not a quick yes, no and this is why kind of response. But since you asked I have already started putting together thoughts and will post my personal impressions here very shortly.
Hello Chris, A very impressive system! Not to distract from your comparison of DV-505 to FR64, but as a fellow traveler on Raul's MM/MI thread who shares your enthusiasm for linear tonearms(in my case a modified Trans-Fi), I would appreciate your thoughts on the performance of ET vs. DV-505.
I have been thinking of adding a DV-505 as a second arm on my modified TNT. This is partly driven by interest in the "linear-like" quiddities of the DV-505. As you have pointed out, the DV-505 has inertial dynamic behavior similar to a linear arm.
To accomodate all those MM/MIs, I also need an arm with a removeable headshell. An alternative is to make a wand for the Terminator with a removeable headshell. However, even taking this approach, I think any homo sapien must agree that two arms are better than one...
Bottom line, according to factory recommended set-up, the Dyna has 2.2% tracing error at the outer groove. Apart from this disadvantage, is there anything the Dyna does sonically that you prefer to ET?
I received an Audio Technica MS-9 headshell post sale (gratis) a present from the seller of my Fr64s from Japan last week. I should say this seller to me, is very knowledgeable on Japanese analog gear. Although fairly light in construction, I am assuming it was designed to work well with the FR64s. Why else would he send it to me? BTW - I was very intrigued when I opened up the double boxed FR64s to see what a Japanese newspaper looks like as it was used as stuffing crumpled up between the box layers.
Now the interesting thing to me is this headshell has only two sets of screw slots. Last night I lined up the Empire 4000 dIII Gold on the outside slots closest to the front of the headshell as it is a longer cartridge. I then took out my new fr64s cartridge alignment jig .:^).... to try on it and guess where the stylus landed ? Right on the mark I had made on the Dv505 jig for the fr64s stylus.
Nikola I have to tell you I am feeling pretty good right now about my little discovery. When I showed my wife how nicely it lined up - she could care less :^(
Hi Dan I am going to bring the jig to my machinist (when things settle down)to have him make the stylus hole for the FR64s on it, as right now it is just a mark on the line. While he has it I will ask him to make a few of them.
Besides Nikola might want to use one for his Fr64s when he sets it up
Henry - I think you would like to try it too ? I mean, just to see if it really works ? Arent u a little curious ? I realize you are already the owner of the mother of all protractors
I have been in the process of making a jig for my Dynavector 501. Your photos will help to get me the rest of the way there.
I made some changes on the pinth for the Garrard 401, I inset the chassis, instead of having it on top. I like it better this way, will post new pics later.
Hi Nikola Well thanks for popping my bubble. I was starting to feel good about myself. But as you know Balkan types can be very stubborn. The writing on the Jig may be in English but it was Made in Japan
Thx for the note on the distance. Yes, I have made a few armboards out of different woods to try. The JN Lenco design allows them to just be dropped in and bolted down. I also intend to experiment with 230 and 231.5 mm P2S. Actually making the hole 1.25 inches allows experimenting with both distances initially.
My previous post talked about something that is very important to me personally in regards to vinyl. I said
You can tweak it and once you have it dialed it in based on listening, mark the holes , drill them, and screw the tonearm in.
My own personal take on alignment. My expectation is I want these alignment devices to get me to about 90 to 95%. Every turntable, armboard, tonearm and especially cartridge is not identical. They are not precise instruments. Once I am in the ball park, I use my ears to fine tune the final 5-10% based on what I am hearing. When the day comes for me that I can no longer do this by ear - the fun and therapy it provides for me will be gone. I also feel each person should go outside the alignment parameters on these devices, whether they cost $5 or $1000 and see how far out they personally need to go before they start detecting any distortion. This will vary with people. Case in point - some vinyl people with nice systems have an inexpensive TT setup and are very happy listening to it. I envy them.
FWIW and my opinion again.
Tonearms have 3 very basic functions.
1) Line up the stylus as well as possible in the groove. Vinyl is not perfect. 2) Keep it there during play of a record. 3) Dampen or let resonances pass through.
1) My experience to date says linear trackers by design do number one better. 2) My experience to date says pivot arms do number 2 better, unless the linear tracker is of a good design and properly set up. 3) Dependent on the tonearm.
Again just my personal experience to date. Has anyone reading had different experiences ?
I won't discuss sound as this is subjective and personal.
FWIW - I have gone to great measures, over 10 years now with the linear trackers to satisfy the three points above. The quest is still not over. I know also personally, meaning (I have heard with my own ears in my room), how clean a hard diamond stylus tracking a plastic very imperfect record groove can sound compared to the master tape copy. Linear and Pivot. I set the record and tape playing a few seconds apart and I just switch the source dial on my preamp back and forth to hear the differences.
Dear Chris, Never trust Japanese or (now) Chinese user manuals. Those are put in English by students or some other (cheap) translators. M. Fremer like to quote them to demonstrate their inscrutable character or their inpenetrable grammar. But I enjoy to read them .Primary for the comparison with my own English. It is actually very easy to get yourself in the situation to feel good. The tragedy of our time is that overyone want to compare himself with the best. This make no sense to me.
Hi Chris, I'm not sure that setting the P to S distance at 231.5mm instead of the FR recommended distance of 230mm will be compatible with the 7mm quoted overhang from FR? I have since moved back to the 230mm distance so that I can interchange my headshell/cartridges between all my other arms including the FR-66s. I think you need to have an accurate dedicated alignment protractor to hear this arm at its best?
An update on my DV505 and FR64s comparison. This covers setup and alignment
I have read information on the different geometries for pivot arm alignment. I realize there are different schools of thought on this. FWIW - My take on this is that the tonearm designers knew their arms the best and their recommended alignment is the one we should be using. So, I have set up these tonearms as intended by the manufacturer any changes noted, using actual templates not copies. I wanted to emulate a new owners experience. Ive owned the DV505 for a while now but that doesnt matter here is why.
DV505
It doesnt IMO get any easier than this JIG For Dummies Makes it very easy providing for P2S and cartridge alignment. Even easier this tonearm is a surface mount so if mounting on a stationary plinth armboard like the JN Lenco l75, you do not need to screw it in right away. You can tweak it and once you have it dialed it in based on listening, mark the holes , drill them, and screw the tonearm in.
FR64s
FR Alignment template.
Pivot to Spindle. Very easy to use as well. I used 231.5mm instead of 230 per forum audiogon recommendations from members such as Henry (Halcro) and Daniel - Dertonarm. Cartridge/stylus alignment. Well unfortunately this is where the FR instructions were a bit of a let down for me. No protractors are provided or recommended by FR for this tonearm. There is also no alignment JIG like the DV505. FR show a picture only that tells you to actually eyeball the cartridge/stylus from the front and bottom of the headshell to line it up. Make sure it is straight and true. Seriously I now understand why we have all these 3rd party protractors available for this tonearm. This is a tonearm from the golden age of vinyl. What were they thinking?
Now IMO the DV505 user manual is also sub par, but it has a JIG for Dummies as a saving grace. So just as I was about to go looking for protractors FR does give a large piece of information on alignment. The stylus should be 7mm from the front of the headshell. This gave me an idea. But before I say what it is I need to say something. The FR manual actually does go on to say in regards to this 7mm measurement that a difference of one millimeter or less in this distance will not present any practical problems. I found this rather odd ? I expected more re: documentation.
Anyway back to my idea. I very carefully using magnifying glasses, lined up the cartridge/stylus on the FR64s headshell as best as I could using a large Millimeter ruler (not the one in the picture), so that the stylus was 7mm from the front of the head shell. I then carefully placed the Dynavector Jig on it, and discovered that the FR64s stylus position is exactly 3mm past the stylus hole for the Dynavector tonearm on the JIG. So I carefully marked the spot on the JIG. I have since tried this modified Dynavector jig with a few different cartridges and headshells and am happy to say it works. I now have a cartridge/stylus JIG for Dummies for both the DV505 and the FR64s.
Hi Nikola Apologies for the late reply significant job changes occurred the last couple of weeks that I am still coming to grips with. That is a very interesting story about the spoons. Their resemblance to a tonearm, a pivot one :^) is interesting too. U said Only the 'right' cabinet is still missing to 'show off with' them. Nobody can see them in the boxes.
Well maybe its time to really show off your tonearms to the world. A tonearm virtual system. Take the stored ones out for a nice picture and then put them back in their box. You will be able to see them everyday at anytime - online. This way even the box gets no wear.
I have heard many stories myself from my parents and my grandmother, the only grandparent I knew. One of the more interesting ones that stand out to me.
My father came to North America shortly after WWII with just the clothes on his back. His train destined for Detroit to see an uncle of his, the one who had paid for his train ticket. But the train first stopped in Toronto on the way to Detroit. On the platform he saw a few friends who asked where he was going? They convinced him to get off at Toronto. This was the start, and how I ended up years later being born Canadian instead of American. Cheers
Dear Chris, I am not sure if he wrote this in his Ethic (aka 'good things') but I remember that Aristotels addressed this important issue: 'how should we treat our slaves'. Something like the good cannibal mother to her son:'one does not speak with someone in his mouth'. The 'social context' is always of 'some' importance. I have no idea when Banquo came to America but I was above 20 when I left Yugoslavia. So I was pretty good aware of my past. In a poor country people hardly own anything of value. My parents somehow succeed to keep 12 silver spoons and forks. The rest of the 'riches' was exchanged foor food during the war. The forks/spoons were only used when 'important people' come to visit us. But I can remember this strange glow on the face of my mother when she put those 'riches' on the table. Some kind of pride and satisfaction were 'visible' and I was happy to see my mother in such a state. She had a very hard life as was the case with many mothers in those times. To use your phrase satisfied 'with youv'e got'. But we are in a different 'universe' at present and the phrase is: 'the sky is the limit'. I have no idea if my tonearms are some kind of substitute for my mothers 'spoons' but I have something with tonearms and nothing with, for example, stamps. Lucky me, in some sense , I can afford to buy them. Only the 'right' cabinet is still missing to 'show off with' them. Nobody can see them in the boxes.
Nikola Id love to try a glass of that Sliwowitz and I promise not to touch your babies (Tonearms).
These tonearms are very dangerous in this hobby as they can be expensive and tend to accumulate. They do not take up a lot of space .. like speakers can be put away in nice boxes as you have said or displayed.
Banquo you said
Now that I'm much older, I find that Aristotle argued (weirdly enough) that happiness amounts to the contemplation of the good.
Well - Sheryl Crow immortalized happiness for me in her song Soak up the Sun
It's not having what you want - It's wanting what you've got
I did not study philosophy and can not say which philosopher said what but I have heard on multiple occasions that a bad wife will turn a husband into a philosopher ? So I wonder about these philosophers sometimes back then. I hope my wife doesnt see this one day. I dont think I have started philosophizing .yet ?
I have come up with a cartridge alignment jig for the FR64s. More in my next post. Need to test it out some more.
Dear Chris&Banquo, There is no way to tell some interesting story or a good joke without, uh, 'some axaggeration'. Consdider ,for example, all those husbands who want you to believe that their wife is the most beautiful 'girl' on earth. It is probable not intended for you to believe but for them self. The reason is simple. After, say, 20 times one get the inclination to believe his own tale. I 'use' my FR 64S not only as an object for my admiration but also as excuse to buy other one for the comparison sake. Just bought an NOS Lustre GST 801 in Italy (N.B.) for only 600E. The nr. 7 must be some accident but the fact is that I now own 7 tonearms. It is impossible to 'use' them all in the usual sense of 'use'. As if I and not Banquo am the son of his mother I care very well for them: they all have their own boxes with their own kind of 'bed' with soft material around them. No scratches of any kind are allowed to happen. They wait to be showen when some of my analog friends come to visit me. I enjoy observing their jealousy but if they are sporty they are allowed to touch them and they also get a 'good glas' of my Sliwowitz ( the best Serbia can produce). I realy need some kind of cabinet with glassy windows to put in my living/listening room.Then I can look at them and listen to the music at the same time.
Nickola must have some asian mother in him. When I was a kid, we owned furniture that we weren't allowed to 'use' (copyright, Nandric) except when guests were around. Even then my mom insisted on keeping the hard plastic covers on the silk seat cushions so as to prolong (immortalize) their beauty. Needless to say, my friends and I couldn't make heads or tails of this way of using furniture. But what do teenage boys understand? Now that I'm much older, I find that Aristotle argued (weirdly enough) that happiness amounts to the contemplation of the good. Maybe that makes sense of Nikola's and my mom's behavior: having found their respective good, they find their happiness gazing at it. I wouldn't know, as I am not fortunate enough to own either a (perfect) FR 64s or expensive furniture. What I do own, I immediately tear out of container and muck up. But that's just hapless me.
Hi Nikola I always knew that you, along with Henry and a few others were connoisseurs of tonearms. But 7 specimens to get to your current fr64s ? Now that is a real aficionado. I had no idea. I underestimated your love for this tonearm. So I apologize for my stare comment even though I know you know it was made in fun. I must confess that Canadians like to poke sarcastic fun at ourselves this sarcasm probably stems from being mad at paying too many government taxes for far too long. We are also famous around the world for apologizing and I just proved that too. You are absolutely right about my narrow view well when it comes to conception of use. I see turntables, tonearms and cartridges as mechanical pieces only, a means to an end - enjoying my music - and myself as strictly an amateur user. But I have also discovered to my concern years ago with speakers and the last two years with analog, that I am a hoarder of gear. Cheers Chris
Dear Chris, The FR-64 s is a work of art. Since 1984 I am in love with this arm while my present specimen is the 7th in the row. All this time I was looking for the perfect one. The specimen I now own is complete with the box, silver wire inside + outside and I even purchased the B-60 VTA adjuster for my baby. A kind of fancy shoe for my darling. I don't 'stare' at my FR 64 but look in admiration at the beauty. You have probable a too narrow conception of 'use'. Besides the 'use' would imply some wear and tear such that the 'perfect status' may become questionable and all my trouble to get the perfect one would be for nothing. So, obviously, if I would need one for use in your way of thinking I would buy a separate one for this purpose. Strange however that you asked me to look for you at the German ebay for a Micro base (AX 5) for your armpod such that you yourself can use your own FR-64. The logic imply that you yourself have at present no other choice then to 'stare' at your own specimen. As you should know the 'revenge' is more important at the Balkans than sex.I think that I got my.
Congrats, Chris, on the new tonearm. You have a preternatural ability to find what you want--and fast. Looking forward to reading your shootout. If all goes well, I might have to go in that direction as well.
Hi Henry Thanks for making me feel better about bringing in another tonearm. :^)
BTW, your comments on the FR64s working well with MMs was one of the reasons I chose it. Add to this Mikes (Rugyboogie ) favorable impressions as well. Nikola (Nandric) talks about his FR64s too, but all he does is stare at his. He has not mounted it. Whats with that? I told him life is short and to use it. I hope he sees this.
IMO - Any tonearm worth its salt should be able to deal with high compliance MMs. This is very important to me because it means the arm designer built into the arm design, a method to either pass through or absorb and dissipate the high amount of resonance/vibrations MMs bring to the table. They should all work with MM and MC.
Does anyone feel this is too much to ask of a quality tonearm ?
I am calling this my Tonearm project.
This post includes the Introduction/Objectives.
Objective Compare the DV505 and the FR64s on the same table using the same cartridge.
Which Table to Use.
I chose the Jean Nantais Lenco L75 because :
1) It holds two tonearms. 2) A recognized and reviewed analog product.
My Platine holds one tonearm. The other would have to use an armpod. I do not have one that fits a collar tonearm.
The SP10MKII is a DIY Pet project. It doesnt count too many subjective factors involved like self pride. I want people reading this to get my personal impressions subjective as all our opinions are with as few variables as possible.
Cartridge - Two Empire 4000Diii.
If to me (again its all subjective) the FR64s trumps the DV505 I will makle the effort to have it mounted on the Platine and let it go against the ET-2.5. Someone already did this comparison on audiogon against a base ET 2.0. Mine comparison would be in real time.
Presence
The DV505 and FR64s on the same table are total opposites in design and contrast each other.
The Lenco is set up on the main floor in my second system. No one (family) has noticed the new shining stainless steel yet. This is a good thing because once three days go by .. I get to use the audiophile rule and can say what are you talking about it was always there... I have pulled this trick with speakers so a tonearm should be no problem ? I can also see now, how some people (no names to protect the innocent this time) like to just stare at their tonearms. They are like little statues when not in use.
Note: My FR64s came from Japan in like new condition, had been in storage a long time. The dial for VTF was stuck would not move. I sprayed some tuner fluid in it and gradually very slowly - got it moving again. PHEW .. The FR64s looks much bigger in pictures than in person sort of like the Studer. The Dynavector tonearm looks and is big.
Congratulations Chris, The FR-64s is a great arm from the Golden Era of analogue. For a high-mass arm......I have found it equally adept with high-compliance MM cartridges as well as the low-compliance MCs. A truly 'Universal' arm. I'll be interested to hear your impressions when you have the chance? Regards Henry
I want to do a shootout comparison with my Quad 57s. If anyone is aware of a pair within driving distance to Southern Ontario please contact me. I would be very grateful.
I had already posted that I sold my VPI TNT - The fellow that purchased it kept at me for the JMW 12 tonearm so I sold it - the star of my rollerblock jrs. experiment video is no longer in the house.
Now the smart and prudent thing to do .. 4 Turntables and 3 Tonearms would be to sell one and maybe 2 Turntables
I bought another tone arm. :^(
The FR64s arrived this week. It is now setup on the Jean Nantais Lenco with the DV 505. Will post pics later.
