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Thread: Koetsu Onyx Platinum, van den Hul Stradivarius on Ikeda 407, Fidelity Research FR64s

  1. #41

  2. #42
    Senior Member shakti's Avatar
    Join Date
    May 2015
    Cologne, Germany
    nice step up!
    good to know , that the newer are different. I only know the older version, which was not that good.
    But so I have to try again!

  3. #43
    I know this is better,but could be in your system can be not very good like the old you tried
    One my friend has a lot of cartridge and has also a Rosewood sig. Platinum and in his system was very good with this trans,but you have to try

  4. #44
    Join Date
    Sep 2016
    PeterA, I always enjoy your point of view and your polite way of expressing it. In this case I am referring to your comments in 27 above.

    I don't think any of us would drive a car (maybe a tractor?) without proper tires, springs and shocks.

    Consider the analogy of a cartridge/tonearm mechanically and in terms of fluid dynamics to a car suspension. Just as one wants to keep the stylus in the groove and not "jittering around" (thank you Mr. Ledermann for that phrase) so one wants to keep the largest tire patch one can on the road at all times, all other things being equal, for best handling, etc. One would not drive a car without springs. One would not drive a car without shock absorbers. For best performance one wants least unsprung weight on the suspension. In setting up a suspension in a car one trades off the spring rate versus the damping of the shocks or as the British put it, the dampers. So one wants to have a set up where one can use a process of statically balancing, dynamically balancing (springs) and then damping (fluid) at ones' command and option. I'll bet PeterA has experimented with this.

    Note that some suspensions are hydraulic and use hardware sensors to predict and react to loading, using predictive rules to keep the rubber on the road, anticipating conditions on the track.

    However, for our listening analog analogically, this state of affairs is further complicated by the configuration of the internals of the cartridge both mechanically and electrically as well as the cantilever material, damping, and stylus shape. As the informative measurements and writings of jcarr show, electrical loading affects not only the frequency response of the cartridge but its ability to "overload" on the high end, the phono stage itself. So now we know how to adjust the "high frequencies" of the cartridge.

    What I find lacking, at this juncture, is a discussion of the low-frequency resonance of the tonearm-cartridge combination and how that affects performance. How ever, I think that PeterA is on to something else with his use of SME arms because he maybe damping out low frequency resonances with the judicious use of fluids. Of course there are other variables involved but it is late on the day. I wonder how many with their big-woofered dynamic loudspeakers have removed the grilles from their speakers and seen the woofers bounce around whilst playing vinyl? Perhaps this is one reason many either prefer mini-monitors or electrically cross their speakers over to separate sub-woofers? Or when I suspended my BD 2 A from water-pipes because my cheap grad school apartment was too lively, floor and other wise.
    Last edited by Bso; 11-24-2017 at 09:01 PM.

  5. #45
    Join Date
    Sep 2016
    Quote Originally Posted by jdza View Post
    I have always loved the 64S but never could get on with the 64fx,despite having owned two of them.

    However the 64S does have a resonant quality. Damping the underside of the lift platform helped somewhat but the resonance remained. All attempts at damping the armtube failed,destroying the essential qualities of the arm. That is until I I tried sliding the cheap pieces of rubber found on throwaway ballpointpen grips over the armtube. In my set-up this has worked wonders,killing the harshness and squashed upper mid dynamics but keeping the huge expansive sound that is such a magical characteristic of the 64S.

    Just my findings in my system and my tastes.It is cheap and reversible.

    My complements. The Connoisseur BD -2A of yore (poor man's Linn) used to have a clear shrink wrap applied about 1/3 of the way up its arm. Could one experiment with wrapping blue 3M painter's tape, also easily reversed, on other tone-arms perhaps achieving similar results?

    How did you get grip over the arm without cutting it?
    Last edited by Bso; 11-24-2017 at 09:04 PM.

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