Come on Brian. It is ok to pump up your chloresterol level a little. Use hot oil pan fry and dip banana in the pan cake mix before frying. Banana should only be 10-20% ripen though.
Zero Distortion: Tango Time
- Thread starter bonzo75
- Start date
I found in my audio "junk drawer" some old Belden 497.MkII speaker wire from Japan. I believe it is tinned copper, so it won't corrode and I don't know if it is still available or not. The ends are not terminated and so I trimmed off about 2 inches, and stripped away some more of the outer jacket. The bare stranded wire just wraps around the binding posts which are tightened down. Eliminating spade or banana connectors should nominally be a win anyhow. I'm using it in my secondary mini-system and gave a listen last night. I have to say, this is really a nice sounding cable. I thought maybe it was going to cast a darkness over everything, but that isn't happening. It's open and natural without sounding muddy. It has high end sparkle and lower end weight and texture. All the detail is there. I'm going to keep this stuff in my system for a while and see if anything changes. I also now purchased from Ebay Japan the current version of this cable which is Belden 9497 just for fun. I'm not sure if there is any difference, but at some point after it arrives, I may try the newer version and see.
I bought some 9497 off ebay too. Kind of unusual for a belden product to have no labelling or numbers on the jacket. Who knows maybe its a knock off. I haven't tried it but going to do so in an external passive crossover to speaker connection
It's cheap enough to not knock off, I think. You can buy 1000' of it for less than one pair of low end audiophile cables 
A web search turn up this article. The pics look just like what I found in my junk drawer. He also compares the 497 Mk2 and the 9497. Now I'm definitely curious to try the 9497. I don't know what midrange hardness he's talking about with the 497 though.
cheaptubeaudio.blogspot.com
A web search turn up this article. The pics look just like what I found in my junk drawer. He also compares the 497 Mk2 and the 9497. Now I'm definitely curious to try the 9497. I don't know what midrange hardness he's talking about with the 497 though.
Belden 9497, Part IV, 9497 vs 497 MkII
L: Japanese 497mkII; R: US 9497 (click pic to enlarge). pic courtesy of icefox. Definitive Review: Belden 9497, Part IV Talk Cable: USA...
cheaptubeaudio.blogspot.com
Ok. You tell one. I tell one. I am finding Gotham GAC4/1 interconnect between my phono and preamp works marvelously. Previously I had ddk's Gepco between these component before. The Gotham after four days constant playing displays more liquidity, more natural high, better lay out of detail (not more detail) and a little quieter than the Gepco. Physically the Gotham has a better cable sleeve than Gepco. I am still using a long Gepco between preamp and amps. My first impression of Gepco was a sense of space, depth and impactful drum. All the pro cables I tried did not give me impression of different stage and placement like Gepco. You mentioned you had Gotham too but did not say which model. I tried Gotham GAC2 and GAC4.
Added: Some of these cables are directional.
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I have some GAC1 RCA interconnects. Haven't used them in probably 5 years. I should try again. I build mine to be directional also. Only because I don't like the shield connected at both ends, so I solder it only at one end and mark it so that I know which end is which. I prefer the drain connection at the source end.
Edit: Ok, it's called GAC-1 Ultra Pro to be exact. Canare F10 connectors.
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Looks to me like GAC1 is the unbalanced cable (single conductor) which GAC2 is really only different in that it has two conductors. It should otherwise be the same cable and for unbalanced RCA cables, GAC1 is all we need. GAC4 looks like a star quad for XLR?
Edit: If you want, you can remove the RCA outer case and show me how they are soldering the 4/1 for unbalanced connection.
My old Neumann vinyl mastering rig had some Gotham, some Neumann marked cables. The console had Belden where repairs had been made as that was what Columbia techs had used...
No Thanks Brian.Edit: If you want, you can remove the RCA outer case and show me how they are soldering the 4/1 for unbalanced connection.
I really hear happy natural tone from this GAC4/1. First few days, it had the somewhat matt tone like Lyra Atlas. That was the only aspect that I thought it could be improved. Now all the sudden the tone color (not talking bass, midbass, etc.) is like Opus1. You are using the Opus1 so I try to better relate you to what I am hearing. Clarity is as good as the Kuro SilverGold and Vyda. My GAC4/1 has RCA jack. GAC2 has one side RCA one side XLR.
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In my limited exposure of these pro cables. I find the Mogami and Belden sound less different to one another. Both Gotham and Gepco has enough their own dna to distinguish themself from the tested bunch. These pro cables don't give big delta of difference comparing to one another as when comparing expensive audiophile cable that I find all of them have strong stand out character of their own.
I am using Denon OFC phono cable as a permanent pairing with the Vdh Master Sig. For both Neumann carts I am very happy with the SME stock phono cable.
Personally I don't think using same brand of cable will always get the best sound.
The Neumann DST
I have two Neumann DST #1201 and #1213. Both came from a Japanese collector who passed away last year. The Neumann has a star connector like older EMT cartridges. I had to send 2 of my 3012Rs to ddk to change connector for me. This white Neumann is one of the two best cartridges I have heard. The other one being Westrek 10A that is the rarest item of all. Tima and PeterA have heard the white Neumann played impressively at ddk's. It is the cartridge that once heard makes you rethink about the sound you have been claiming natural from your system. In some degree it is like going to an audio show, sometime we find a room demoing a system against a real life musician playing. You detect that differences. But in this case I am talking comparing carts. The DST exhibits the most un-homogeneous sound one could hear from any carts. It is 1) the tone 2) the resolution 3) the timing that this cart imo excel beyond others. Its tone is complete from bottom to top. Not emphasizing any particular frequency spectrum. And it comes with a staggering clarity. If you think that this cart made around 1958 would have a sound like other old spu you would be totally mistaken. The sound is perfect full range. Tima described how great it is in the high in another thread. Actually for me my heart goes to the bass and mid are so naturally believable. Anyone hearing it would second the perception of bass and midrange he has been having. The timing, the tiny shift in musical movement is so superb making you draw into the performance unknowingly. I think my MS5R is king in this department but the DST also comes with "the tone" so the level of emotional connection goes to another territory. In term of dynamic. It is a lively cart. I believe it is as lively as the music was recorded not more. My MS5R could be even more lively and dynamic actually. But this cart as I said before make me second thought if the vdh is too, fast, lively and dynamic. (Many readers probably wonder if there is such thing as too dynamic too lively too fast.) I will take the rap. Second thought because it sounds believably real. On some part of Shaffran's Arpeggione the stroke of his bow in the vdh attack me at the chest making great excitement. I don't get this same level of attack with the DST but the sound of his cello and the piano is so real. Plus the rhythm, the shift/change in pace and weight of piano keys being pressed, bow being stroked are transmitted to my brain to cause me thinking this is more real. The piano...just more believable don't know how to describe. Need Tima to do this. Strangely when I am about to think the vdh is more exciting. I played different piece of music. For example Mehta's Mahler 3. Since the first note of play the Neumann widen my eyes and then "stunned" me with the attack of dense high textured bass from brass instruments and tympani like I have never experienced before. I felt like I was on some front rows in front of the orchestra where it was recorded. The scale was way beyond the width of my room. Those energy pouring into me with glop of sound wave. Itold my friend Kedar once quite a few months back after I changed speaker wires that I was hearing the best ever Mahler3. But this is even beyond that with different kind of presentation. But with the kind of excitement and suspension of disbelief that could make Tima the Mahler expert fall off David's sofa. I am not kidding. He should go back to David's and try that particular Mahler. See if I exaggerated. What I am saying is the DST has it all and beyond. You have to play it with many music many different records to realize how special how extraordinary how beyond this cart is. There goes my humbleness. I should just stop, keep my composure and act cool.
I have two Neumann DST #1201 and #1213. Both came from a Japanese collector who passed away last year. The Neumann has a star connector like older EMT cartridges. I had to send 2 of my 3012Rs to ddk to change connector for me. This white Neumann is one of the two best cartridges I have heard. The other one being Westrek 10A that is the rarest item of all. Tima and PeterA have heard the white Neumann played impressively at ddk's. It is the cartridge that once heard makes you rethink about the sound you have been claiming natural from your system. In some degree it is like going to an audio show, sometime we find a room demoing a system against a real life musician playing. You detect that differences. But in this case I am talking comparing carts. The DST exhibits the most un-homogeneous sound one could hear from any carts. It is 1) the tone 2) the resolution 3) the timing that this cart imo excel beyond others. Its tone is complete from bottom to top. Not emphasizing any particular frequency spectrum. And it comes with a staggering clarity. If you think that this cart made around 1958 would have a sound like other old spu you would be totally mistaken. The sound is perfect full range. Tima described how great it is in the high in another thread. Actually for me my heart goes to the bass and mid are so naturally believable. Anyone hearing it would second the perception of bass and midrange he has been having. The timing, the tiny shift in musical movement is so superb making you draw into the performance unknowingly. I think my MS5R is king in this department but the DST also comes with "the tone" so the level of emotional connection goes to another territory. In term of dynamic. It is a lively cart. I believe it is as lively as the music was recorded not more. My MS5R could be even more lively and dynamic actually. But this cart as I said before make me second thought if the vdh is too, fast, lively and dynamic. (Many readers probably wonder if there is such thing as too dynamic too lively too fast.) I will take the rap. Second thought because it sounds believably real. On some part of Shaffran's Arpeggione the stroke of his bow in the vdh attack me at the chest making great excitement. I don't get this same level of attack with the DST but the sound of his cello and the piano is so real. Plus the rhythm, the shift/change in pace and weight of piano keys being pressed, bow being stroked are transmitted to my brain to cause me thinking this is more real. The piano...just more believable don't know how to describe. Need Tima to do this. Strangely when I am about to think the vdh is more exciting. I played different piece of music. For example Mehta's Mahler 3. Since the first note of play the Neumann widen my eyes and then "stunned" me with the attack of dense high textured bass from brass instruments and tympani like I have never experienced before. I felt like I was on some front rows in front of the orchestra where it was recorded. The scale was way beyond the width of my room. Those energy pouring into me with glop of sound wave. Itold my friend Kedar once quite a few months back after I changed speaker wires that I was hearing the best ever Mahler3. But this is even beyond that with different kind of presentation. But with the kind of excitement and suspension of disbelief that could make Tima the Mahler expert fall off David's sofa. I am not kidding. He should go back to David's and try that particular Mahler. See if I exaggerated. What I am saying is the DST has it all and beyond. You have to play it with many music many different records to realize how special how extraordinary how beyond this cart is. There goes my humbleness. I should just stop, keep my composure and act cool.
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I have not recommended an album in a while. Here is Carmen McRae The Great American Song Book. It is a double disc live album. Great sound. Great Live performance in a very friendly atmosphere. Atlantic label. You dont need to like jazz to like this album. It is just very enjoyable. So alive.
And post Mahler 3 video
Very nice. I can feel the ambience down my iPhone lol. Is this the DST through the juicy SUT or direct EMT? Have you got this recorded (or please may you) for MS direct to EMT?
if you’re frequently sharing albums that you like than your hifi gear is sounding great -at least for your taste-. it’s a good indication of how it sounds. another good indication is that if you’re buying more new records or wanting to buy.
Direct from EMT phono. I wont do video comparison just to agitate Bonzo and leave him skeptical.
It is as I described in previous post Bill. Just have to take my words for it.
I try to limit video to minimum these days. Only enough to back up what I post. Dont want to annoy people who dont like video too much.
I buy records almost everyday. I just dont post interesting album much lately because it requires posting video to give a glimpse of the album.
You are annoying the nice people who like video.
And frankly even those who don't like videos they like your videos, they just don't like that it makes them feel pressured they are not posting their's
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