Hi Bill,

halcro May 17, 2018 01:07

It’s a long story Shadorne.....but you can read it on my updated ‘Final Cut’ System page.

halcro May 15, 2018 15:09

I’m selling only  one of the three FR-66s arms I own Rick....😝

halcro May 15, 2018 15:03

TEST FROM SUPPORT

halcro July 15, 2017 13:26

Hi noromance,

halcro November 19, 2016 13:20

Just saw it rgs and have posted....

halcro December 29, 2015 00:30

Hi Chris,
All well here with summer approaching...
Hope you are settling in for the Canadian chill....😨
Here is a review of the Vandersteen 2Wq subwoofer system (and subwoofers in general). I found it very interesting.
The 2Wq subs are crossed over via a High-Pass filter at 80Hz. and are tuned in the cross-over to match the impedance value of your amplifiers. From there one really tunes the subs according to the efficiency of your main speakers and the Q value that you're after.
My subs are currently directly behind my main speakers as that's where they fortunately sound their best from the listening couch.
I've often thought that if I ever wanted another pair of subs, I'd try adding them to the two sides of the listening couch as you're suggesting....
What subs are you contemplating Chris?

halcro October 25, 2015 03:08

Hi Chris,
All well here with summer approaching...
Hope you are settling in for the Canadian chill....😨
Here is a review of the Vandersteen 2Wq subwoofer system (and subwoofers in general). I found it very interesting.
The 2Wq subs are crossed over via a High-Pass filter at 80Hz. and are tuned in the cross-over to match the impedance value of your amplifiers. From there one really tunes the subs according to the efficiency of your main speakers and the Q value that you're after.
My subs are currently directly behind my main speakers as that's where they fortunately sound their best from the listening couch.
I've often thought that if I ever wanted another pair of subs, I'd try adding them to the two sides of the listening couch as you're suggesting....
What subs are you contemplating Chris?

halcro October 25, 2015 03:08

Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro October 16, 2015 02:21

Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro October 16, 2015 02:21

Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro October 16, 2015 02:21

Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro October 16, 2015 02:21

Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro October 16, 2015 02:21

Try Links which work....😎
Dynavector DV-507 MkII

arm

colouration/distortion

halcro March 29, 2015 00:07

System edited: Finally procured the [url= http://i.imgur.com/1cUGya3.jpg]Dynavector DV-507 MkII[/url] which I've lusted after for decades. This [url=http://i.imgur.com/L04lydN.jpg]arm[/url] is a revelation when mounted on a separate massive armpod and demonstrates how much [url=http://i.imgur.com/fc6Yyv5.jpg]colouration/distortion[/url] is imparted by most other tonearms...👀

halcro March 28, 2015 23:59

System edited: Added a PS Audio P3 Power Regenerator to replace the Shindo Mr T. Immediate improvement in noise-floor, sound-stage, transparency, bass solidity and overall definition. Also found a rare 35 year-old Sony XL55 LOMC cartridge which is a real treat. This legendary model features a unique coreless armature wound like a figure-8 which assures an exceptionally low level of distortion as well as superb sonic clarity. The cantilever is composed of beryllium, carbon-fibre and aluminium to eliminate resonance interference and provide excellent damping characteristics.

halcro December 08, 2014 12:13

Thanks for the kind words Needfreestuff...😃

Over the last five years I've discovered that all cartridges are slightly different whether they be LOMCs or MMs.....but being creatures of preferences, biases and
tastes.....those of us with many cartridges tend to keep those that are more similar than not......😋
The beauty of multiple cartridges IMO is that each one can reveal a certain something in familiar recordings that another one doesn't...😘
As such...changing cartridges and arms and turntables can inject the excitement of the 'new' into the relationship....much like an affair might do in a marriage..😵❓❗️
My 'favourite' cartridge might change from week to week...so the best I can do is relate what cartridges are currently attached to which arms...🎶

On the Raven I have the Signet TK7LCa on the Continuum Copperhead...
I have the Shure ML140HE on one of the FR-66s arms with the FR-7f/LC on the other FR-66s.

On the Victor TT-101 I have the FR-6SE on the FR-64s...
I have the Signet AM10/155LC Frankencart on the SAEC-WE8000/ST....
I have the Garrott P77/SAS on the Micro MA-505s...

And I'm a happy man....😎🎼

Regards

halcro October 09, 2014 11:36

Regards Harold,

Thank you for your kind words...😍
Your system likewise interests me as you have followed a totally original and inventive approach...👍
One that demonstrates a keen emphasis on listening oneself....and believing that which you hear rather than following the 'herd' and believing what you are told....😳❓
I look forward to your future Postings....😘

Kind Regards

halcro October 07, 2014 08:14

Jarraa,
Sorry...I just saw your post. Must check in more often :-)
I didn't mount any of the SAEC arms on the Raven. I don't have $700 lying around for new armboards when I don't intend to use them?
Regards
Henry

halcro January 31, 2014 02:31

System edited: Brought my cartridge collection up to date.

halcro January 30, 2014 23:57

Hi Guillaume,
Yes I still have the Kebschull as my 'back-up' preamp.
It is still a wonderful preamp which I'm happy to listen to at any time.

It took the place of my Electrocompaniet EC1 about 20 years ago when its superiority in my system was electrifying.
I have heard the Naim NAC32, Audio Research SP9, Plinius M12, Gryphon and of course the Halcro DM10 alongside it and only the Halcro had its measure.
It is desceptively simple in circuit design....and what is still surprising today is how quiet the MC phonostage is for even LOMCs of .24mV output like the ZYX UNIverse?

Perhaps the only criticism I could now level....would be that it makes almost every album sound beautiful. Full and gorgeously rich midrange with liquid ethereal highs.
Its ability to reveal the finer differences of recordings and their techniques is therefore not the equal of the Halcro.

Do you have one of these beauties?

Regards

halcro August 28, 2013 13:04

How does it work

Very well thank you.....

....and when?

When I switch it on......most days around 2.30pm-6.00pm AEST.
Want to come over? :-)

halcro August 10, 2013 13:52

Hi Andy,

The original Garrott Bros P77 cartridge was recommended to track at 1.75Gm which shouldn't be too heavy at all for your AT-1100.
However with the Jico SAS stylus.....the recommended VTF is 0.9Gm-1.2Gm I think?
I run it at 1.3Gm quite happily :-)

You're very welcome to come by and listen next time you're in Sydney.....

Regards
Henry

halcro August 08, 2013 13:44

Hi Andy,

Thank you for your kind comments.
Which model Micro Seiki TT did you buy?
I have no experience with the AT-1100 arm......but can recommend the under-appreciated MA-505s.
Of course.....one can never go wrong with the FR-64s IMHO...and I consider them absolute bargains at $1500-$1600?

Most MM cartridges employ user-changeable styli which make them so versatile and affordable for those audiophiles not 'brainwashed' by the 'MC is always better' fraternity of the high-end 'snobs' :-)
You would be surprised how many low-priced vintage MM cartridges sound more tuneful, relaxed, detailed, emotional and just downright convincing than some of the very best (and most expensive) LOMCs?

The Signet TK7E or 7Ea, original Garrott P77 and Stanton 681EEE are fine choices in my opinion.
The TK7E with the No.3 stylus installed becomes the TK7SU....quite superb.
But if you buy a TK7Ea and can find an AT-155Lc stylus for it.....you can have virtually the TK7LCa sound.
What I have recently found is that the Garrott P77 with the SAS Jico stylus installed....is a contender for 'Best of Show'.

You might also consider the Empires?
I would personally also be scouring EBay daily for any NOS AT-155Lc cartridges with original stylus.
Apart from being a very good cartridge in its own right.....the 155Lc stylus assembly is a direct fit into the Signet range from TK3Ea,TK5Ea and TK7Ea.
Any of these I would be happy to live with.

Good Luck.
Henry

halcro August 07, 2013 03:10

System edited: A friend lent me the Kondo KSL SF-Z hand-wound SUT to try instead of the active LOMC input of the Halcro DM-10 and it was significantly better in all respects for my 3 LOMC cartridges. After looking with suspicion at the comments about SUTs on Forums and magazines......this is definitely something you try for yourself. I've bought it :-)

halcro July 22, 2013 04:52

Hi Chris,
With my kids long gone and 2 doors and a hallway separating the Living Room from the Master Bedroom.....I don't have a problem listening at night.
But because of the neighbours....I limit the volume somewhat?
The headphones were a trial for 'loud' late-night listening.

Just re-examining your question on the new Cardas Clear interconnects and speaker cables in my system?
It may well be that a large part of the improvement I hear is due to the change from single-ended RCA to balanced XLR between the preamp and Halcro DM58 monoblocks? Any 'true' differential balanced amplifier design should benefit from balanced configuration?
No real way for me to assess this?
Another improvement which combined with this change......was the up-grade from the passive (fixed) RCA High Pass filter for the Vandersteen 2Wq subwoofers to the active XLR M5High-Pass filter
I wish someone could explain to me how the BATTERY POWERED filter actually works?
Regards
Henry

halcro November 20, 2012 03:55

I have never been a 'headphone' enthusiast....but a year ago...I thought I would give it a try?
I studied the latest 'raves' on Head-Fi and other sites and soon purchased the AUDEZE LCD 2 and SCHIIT LYR head amp to power them.
The Audeze's are Planar Magnetic open-backed phones and I was interested in hearing the sound of my 'System'....with the room 'effect' taken out of the equation?
A major disappointment!
Not only did I not enjoy the 'music in my head' experience......but I found that my speakers....at even low volumes.....gave me more information about the recordings than the head-phones.
I am able to distinguish the differences between cartridges, arms and turntables quite readily with my speakers.....yet am unable to via the headphones?
The 'quality' of recordings on vinyl which are easily apparent via my speakers....are obscured with the head-phones?
Try as I might.....I cannot fathom the attraction of the 'headphone brigade'?
Am I wrong?

halcro November 18, 2012 03:29

Hi Chris,
How slack of me not to have seen your question?!
The addition of the Shindo Mr T power conditioner plus the Cardas Clear balanced XLR interconnects have dropped the noise floor significantly so that differences between cartridges, headshells, styli and set-up...are far more discernible.

I have been on a tonearm upgrade over the last few months and have added another FR-66s as well as THE WE-8000
HERE
MORE
AGAIN
HEADSHELL
AND MORE
OH BOY
A serious arm.

halcro November 16, 2012 01:16

Hi Eckart,
I hope you enjoyed your holiday? It seems to have been a long one :^)

The experiments with the thread-drive have been very interesting.
I have tried a single thread around two of the Raven motors......a single thread around one Raven motor and two individual threads independently connected to two Raven motors.
It is great to have the Victor TT-101 as the 'Absolute Sound' control module against which to compare all experiments?
It is also invaluable to have the Timeline to be able to confirm the accuracy of both the speed and more importantly.....it's consistency.
It also significantly, tells you which variation has the least amount of stylus drag which to me.....is an important indicator of a good motor/controller and turntable?

It is of course very possible that a turntable designed to work with a 'grippy' rubber belt........will not always be improved running with a 'slippery' thread?

I hope you are back to enjoying your wonderful system and multiple tape decks? :^)

halcro January 27, 2012 04:56

Thank you Eckart.
And a Happy New Year to you and your loved ones.
May 2012 bring good listening and good health.
Henry

halcro December 25, 2011 22:04

Yes.......that's what the ad said 6 weeks ago also!
But you'll notice in the fine print that he says......."No returns accepted. Call seller if there's a problem".
When the unfortunate purchaser calls with the 'problem'.......he offers them $200-$300 refund for them to have it fixed locally.....ha ha.
End of problem.
I was lucky. I hope others are also?

halcro October 05, 2011 13:00

A Warning!
I've had a lot of Emails from people asking where they can buy a Victor TT-101 turntable?
These are very scarce items and rarely come up for sale.
I have been looking for over a year.
If one ever does come up........they are so complex (unfortunately) that if something does not work, it is unlikely to be able to be fixed?

I have been informed that a TT-101 is currently being advertised on European EBay by Foxtan.
I actually bought this very TT-101 from him 6 weeks ago and nothing on it worked properly.
Luckily I had paid by PayPal and eventually he was forced to return my
payment despite resisting it for 4 weeks.
He tried to re-advertise this TT-101 on US EBay and they apparently stopped him so that he is now trying to off-load it in Europe.
Do not buy from this man in Hong Kong.
You have been warned.

halcro October 05, 2011 04:56

Hi Banquo,
I've been sitting here hoping that someone would ask this very question :^).....thank you.
I have never implied that the turntable is not important in the analogue playing system just as I have never denigrated the importance of the arm or cartridge.
My thesis was simply that the turntable was not the 'centre' of the record-playing system.
Let's just examine what I have just done..........without touching an arm-board or an arm, without changing cartridges or phono-cables, without adjusting VTA or VTF or resistance or capacitance......I have slid out one turntable (revolving platter) and slid in another.
I have changed 100% of the drive system without affecting any other variable whatsoever.
I could theoretically do exactly the same and slide in a 'belt-drive' system or an 'idler-drive' system......all without altering in anyway, the centre of the system......the arm-pod?
If you re-read the attached link by Peter Moncreif, you will see perhaps the most revolutionary (yet true) statement which has not consciously occurred to me before.
The record provides only HALF of the waveform information required to reproduce it.....the amplitude.
The turntable provides the other half of the waveform information required to reproduce it........the time domain.
From that viewpoint.......there is some truth to the fact that the turntable is part of the 'software' of the music (like the disc itself), rather than part of the 'hardware' required to extract that information?
I am more convinced than ever before, that the Copernican view of the turntable system is a more logically tenable position.

The TT-101 is definitely on 3 tip-toes just as the TT-81 was. It still must be rigid, perfectly level and de-coupled.

halcro October 04, 2011 02:15

Hi Lew,
Thank you for your appreciation.
With your Kenwood and SP10MkIII I appreciate that you know the sound of a fine DD model/
I think what Travis might be referring to is the Victor TT-801 which is the TT-101 but with vacuum hold-down?
I have a lot of experience with these devices through my friend Richard and I don't find the case for them compelling enough? :-)

halcro October 03, 2011 00:47

Hi Chris,
You are right.......the differences between the TT-81 and Raven AC-3 were subtle although there was a slight superiority with the DD sound over the belt-drive on certain source material such as solo piano.
The TT-101 is a different animal entirely.
The only difference that is published by Victor/JVC......is that the servo control on the coreless DC motor acts on the positive side (forward) AND negative side (reverse) of the platter movement.
This means that 'over-correction'....a possibility with servo-control.....is detected and corrected immediately rather than when the platter falls below the theoretical speed constant again.
Everything else about the TT-101 over the TT-81 is ostensibly identical....the entire body, the platter the dimensions, the materials.....even the motor (although what accounts for the extra 2Kg in weight is not explained)?
The electronics however, are a different animal. If you look at the innards of the 101....it is simply packed with additional flexible PCBs and bundles of wiring looms which alone.....could almost account for the extra 2 Kg weight.

When one plays a record however........it is jaw-dropping time.
Where the TT-81 had a subtle shift in dynamics.....the TT-101 was a paradigm shift. The ball was out of the ballpark.
I was transfixed and speechless.
The more I listened, the more I wanted to and more that I did, the more I heard from my vinyl than I ever knew was there.
After 7 hours of listening, I suddenly thought to myself........I've heard this 'sound' before.
This was the Rockport Sirius III.
Now, for the many who have never experienced a Sirius III let me tell you......it sounds nothing like a belt-drive turntable.
From the upper mids right through the entire upper frequency spectrum, the Rockport simply delivers a transparency, delineation and composure unmatched in my experience. Together with a revelation in information retrieval process, the Sirius III is unmatched in comparison to other turntables. The Continuum Caliburn does not display this feature in the upper registers and does not compete in this information retrieval revelation.
The TT-101 displays exactly the same traits as the Rockport in this regard and is thus the only other turntable I have heard to sound like this.
The Achilles heal of the Rockport, was its performance in the domain below the upper-mids.
From the deep bass foundation to the lower mids, there was a perceived 'recession' which disclosed a discontinuity between the 'bottom half' and the 'top half'.
I never figured out the causes of this as it could well have been the associated equipment......all valve single-ended amplification and Peak Consult speakers...but I suspect it may have been the limitations of the parallel-tracking Rockport tonearm?

The TT-101 shares none of this lower-register reticence but continues its remarkable presentation all the way down to the depths of the ultra-bass.

Fascinated by this similarity in sound between the two turntables separated by 30 years of development.......I began reading up on the Sirius III and its technology.
I was stunned at the similarity between the two.
The Rockport has an air-bearing platter which essentially makes it a light load for the motor which is a servo-controlled DC coreless design like the TT-101.
The Victor platter is physically light-weight (compared to an SP10MkIII) so that its bi-directional servo-control can act instantaneously.
The servo-control motor on the Rockport cost $15,000 for Andy Payor to buy and he sells it for $30,000 installed on the Sirius III which is nearly half the $74,000 asking price of the complete turntable so you know that this is one hell of a motor and servo controller.

Intrigued by all this, and now firmly convinced that it is 'speed accuracy control' that is the prime goal of a turntable, I did some further reading.
I came across an article by Peter Moncreif of the International Audio Review where he also, was doing a review on the Rockport Sirius III.
TT DRIVE SYSTEMS
This is the most cogent, educated and illuminating treatise I have ever read on this subject and it goes some way to explaining why a belt-drive TT will not sound the same as a super high-tech bi-directional servo-controlled DD.

halcro October 03, 2011 00:41

System edited: For more than a year, after adding the 'nude' Victor TT-81 turntable to my system, I have been scouring the internet for the 'top-of-the-range' big brother.....the legendary TT-101. Having started my audio life with Technics DD, then a Rega Planar 3 and Raven AC-1 till my current Raven AC-3 and Victor TT-81.....I had heard mostly subtle differences in the 'sound' of well-designed turntables regardless of the drive system implemented? I have had long sessions listening to my friend's Linn LP12 and Basis Debut Gold and Rockport Sirius III and currently the Continuum Caliburn so I am familiar with the 'sounds' of state-of-the-art turntables. I have never, however, heard a difference like the TT-101 makes to a recording? As the TT-81 is almost identical except for the motor and the quartz lock on the negative servo drive as well as the positive.....I can only surmise that the differences I hear are due solely to the speed accuracy achieved and maintained by the TT-101? The sound of this TT is revelatory and is testament to what can only be achieved by the investment of large funds by huge corporations when the costs can be amortised over millions of lesser units sold in a vast market? The complexities of the electronics in the TT-101 over the TT-81 are staggering to behold for just a 'speed' related improvement and I suspect there innovations here which we may never see again? The Victor TT-101 is a landmark in Japanese turntable design but is a scarce and complex commodity. One which few will ever get to hear of appreciate.

halcro September 30, 2011 01:14

Hi Chris,
The closest I've come to a direct comparison of 'drive types' is using a dozen of my cartridges (both LOMC and MM) in the FR-66S tonearm mounted on the Raven AC-3 whilst listening to those same cartridges in the FR-64S tonearm setup with the Victor TT-81.
Any differences able to be attributed to 'drive type' are subtle in the extreme IMHO.
Just when I think I can detect a somewhat more dynamic 'drive' when listening to the TT-81, a quick change (40 seconds) to the Raven AC-3 reveals the presence of a questionable illusion.
There is just as much 'drive' in the belt-drive.
Without the ability to quickly change turntables/arms/cartridges (as I have), it would be easy to delude oneself about the audible differences in those components IMHO?

halcro July 15, 2011 02:22

Dear Eckart,
I'm happy that you are enjoying some of the better MM cartridges like the Signets.
They seem to have an ease in presentation, particularly the midrange, which I find more like live music than most MC cartridges manage?
The SAEC 506/30 certainly attracts me but the arm restraint needs to be mounted on a table plinth and with both the Raven and TT-81 tables, there is no possible mounting position for this holder?

halcro June 07, 2011 14:32

I looked at some 407/23 arms but they were quite a bit more and I wanted to 'dip my toes' into SAEC so to speak.
Thuchan wants me to get the SAEC WE- 8000/ 14" which, apart from being 'unobtanium'.........requires special headshells and is........14" long?!
I guess the quest for minimising tracking error knows no bounds?

halcro May 30, 2011 04:03

System edited: Added a load of vintage cartridges with comments attached. More to come.......there are too many?

halcro May 29, 2011 06:39

System edited: SAEC WE-308N Vintage tone-arm added.

halcro May 28, 2011 11:54

Thanks Jim, I really appreciate your comments.
I agree with you about the MA-505s........just beautifully designed and engineered and I have yet to find a MM cartridge which doesn't sound it's best in it?
For an arm to incorporate not only hydraulic dropping but also hydraulic elevation of the pick-up is unique in my experience?
To also allow VTA 'on-the-fly' is perhaps not new these days.......but in those days??
And to then have VTF 'on-the-fly' and anti-skate 'on-the-fly' as well???
The VTF 'on-the-fly' I find to be the most valuable asset in extracting the very best out of any cartridge. One can clearly hear the changing qualities as one increases or decreases the VTF and that's why I use the 'dynamic' balancing 100%.
Like the Fidelity Research FR-64s and 66s tonearms which also offer dynamic balancing and which Dertonearm advises 100% dynamic.

halcro May 09, 2011 03:54

A Copernican View of the Turntable System

For thousands of years it was believed that the earth was the centre of the solar system and that the sun revolved around it.
Before telescopes existed, Copernicus proposed that it was the earth in fact, that revolved around the sun.

For longer than I can remember, it was generally accepted that the turntable (plinth/platter) was the centre of the analogue playback system with the arm and cartridge attendant to it?

I propose that it is the arm…..or rather the cartridge that is in fact the centre of the turntable system with the platter required simply to drive the record onto the stylus.

Together with the belief that the platter is the centre of the ‘Turntable System’ is the belief that the stylus ‘tracks’ the groove in the vinyl in a passive subservient manner?
I propose that it is the platter which drives the vinyl groove onto the stylus which is being held rigidly by the tonearm.

Imagine if you will in a perfect world, a cartridge held in a vice-like grip and a mile-long, perfectly straight vinyl groove being fed at precisely the right speed past the stylus?
All that would be required for the cartridge to transmit perfect information, is the ability to move up and down frictionlessly to allow for correct VTA as the groove modulates?
Now this ‘straight’ vinyl groove is in fact a ‘spiral’ so that the cartridge must have the ability to adjust its position laterally also in a frictionless manner.
That is the purpose of the tonearm……to hold the cartridge rigidly yet allow it to move up and down and sideways as the vinyl groove is rammed onto the stylus at a perfectly maintained constant speed.

The tonearm is now the centre of this ‘Turntable System’ and is the most important element. It must be rigidly held on a base which is perfectly flat, non-magnetic and relatively immune to structure-borne and air-borne feedback. This base must ideally have no contact with mechanical or electrical interference and must under no circumstances, move or deflect in any manner.
This base should ideally have no contact with the drive mechanism of the platter or the plinth, sub-platter, belt, gears, idler-wheels etc.
This base should be an island.

The ‘turntable’ or platter is simply a revolving mechanism positioned at a certain geometrical distance from the centre of the tonearm, whose method of drive has absolutely no impact on the sound of the ‘system’ so long as it maintains perfect speed control and perfect isolation to the record from air-borne and structure-borne feedback.

The idea therefore of a plinth around the platter in the above scenario, would only serve to add or subtract information in a worst-case scenario, or be totally transparent in a best-case situation.

There……I’ve said it.
Is there a 'Galileo' out there to support me before I die unrecognised?

halcro January 12, 2011 22:00

System edited: A few more arms added.

halcro November 29, 2010 04:19

Try this link NUDE TT-81

halcro November 27, 2010 03:47

System edited: New turntable, arms etc added plus description of this process [url=http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1283151240&openmine&zzHalcro&4&5#Halcro]NUDE TT-81[/url]

halcro November 27, 2010 03:45

Thanks T_bone.
Great pictures of the naked TT-81 and the outboard legs.
I wonder what benefit that method of support would have over my method
Here ?

halcro September 05, 2010 03:28

T_bone,
The wood-veneered plinth page came up nicely but I think the "nude" mounting 'Link' became connected to it.
Perhaps you could try sending this Link on its own?

halcro September 04, 2010 01:33

A 12" Phantom arm wand (possibly 10") would solve that, but not sure if the experiment would justify the purchase(?).

A 12" DaVinci Grandezza Ref will have to do!
RUNNING

halcro September 03, 2010 04:40

First problem encountered.
The Phantom II does not 'fit' against the TT-81 because of the extra 'banding' around the platter and the SME base to the Graham arm.

NUDE TT

halcro September 02, 2010 02:50

Thanks T_bone,
That's reassuring coming from someone like you who seems to have deep knowledge and experience about all things connected with Japanese audio.

Is the CLP-1 plinth the lead filled one with metal carry handles on the end?

I'm not sure I quite understand the 'nude' mounting method you have described as I have not seen any photos of Raul's support for his SP-10Mk2 (why the silence from Raul incidentally as he inspired this Project)?

halcro September 01, 2010 02:02

I currently have a Raven AC-3 turntable with 4 tonearms and 8 cartridges and am very happy with the sound (especially since re-discovering some vintage MM/MI cartridges thanks to Raul).

I have nonetheless been intrigued by a growing band of audiophile cognoscenti who have ditched their belt-drives in favour of some vintage Japanese ‘super’ Direct Drive turntables like the Technics SP10 and the Pioneer P3 and P10.

Not having the means (or space) to dive straight in without hearing one of these decks in my system, I was interested in a recent thread on Audiogon where Raul claimed that a ‘nude’ Technics SP10 sounded better to him than one in a plinth.
Despite being ‘howled’ down by those with exotic plinths, I saw the opportunity for me to be the ‘Bunny’ and test Raul’s claims.
So I bought a cheap JVC (Victor) TT81 on Ebay for $400 and am now in the process of trying to hear it.

Now this will NOT be a scientific test in the sense that I won’t (at this stage), be testing the TT81 in a plinth.
What this test hopefully will demonstrate (if Raul is correct), is the essential ‘character’ of the DD turntable sound which those converts claim gives more control, better drive, and tighter deeper bass?

Now there of course is a lot that can go wrong in this test.
Firstly, such a cheap old DD like the TT81 I found may not be very good even WITH a plinth.
Secondly, the TT81 works on 100V whereas in Australia we have 240V AC and the TT81 came only with a 220V-100V step-down transformer. How this could affect the operation I don’t know although I have tested it with my KAB strobe and whilst not as steady as the Raven AC-3, it’s not bad.
Thirdly, because this is a ‘cheap’ test, I will not procure a special arm ‘pod’ but will simply ‘support’ my Phantom II (on its Raven armboard) on top of a tin can of asparagus!!….are you still with me?

You can see all the photos by clicking the Link below
NUDE TT81

All suggestions, help and comments genuinely welcomed

halcro August 30, 2010 06:43

System edited: Added some wonderful vintage MM/MI cartridges. The Empires are particularly eye-opening and reveal how LOMC cartridges have particular forms of distortion which I am no longer able to happily accept.

halcro August 29, 2010 09:33

System edited: Just added the Graham Phantom II tone-arm with additional titanium armwand and after 7 months, have just re-mounted my heavily modified Continuum Copperhead tonearm which has been re-wired with DaVinci tonearm cabling and has been internally screened by Continuum to prevent RFI when playing MM/MI cartridges.

halcro December 13, 2009 03:52

Thanks Gerry,
You've obviously been reading the Phantom ll postings?
I haven't tried it in my system at home although I tried to contact Bob Graham to obtain one without success.
What I do know is that Jon Valin preferred the DaVinci to the Phantom I in his system and Mikey Freme prefers the Continuum Cobra over the Phantom ll in his system.
I've heard all of these.

halcro October 24, 2009 04:06

Thanks Dgob,
It would be interesting to know which other tuners were outclassed by the Marantz?

halcro October 17, 2009 03:59

Hi Kha,
I have no acoustical feedback problems with the wall-mounted shelf. Why do you think I need a Vibraplane?

Regards
Halcro

halcro June 20, 2009 12:37

Thanks for the concern Lonestarsouth.
Unfortunately no equipment rack can rival the sound isolation provided by a properly designed wall-mounted shelf.
Please read the following link to see why?
Sound Transmission

halcro June 17, 2009 06:24

System edited: Here is a link to a review/comparison of the Garrott P77 against some of the top MC cartridges. [url = http://forum.audiogon.com/cgi-bin/fr.pl?ranlg&1244351024&openmine&zzHalcro&4&5#Halcro]Garrott P77 [/url]

halcro June 09, 2009 05:57

System edited: Swapped the DV1s for one of my Garrott P77 MM cartridges. A real treat!

halcro June 07, 2009 05:45

Thanks Raul,
I can't understand your recommendation for 2-3 caps in parallel as being better than 1 single cap of the correct value?
Is there any science to your conclusion?

halcro November 07, 2008 04:39

System edited: I've added 2 Vandersteen 2Wq subwoofers and am amazed at the differences they have made to the sound. I orderred the subs after reading the rave by Richard Hardesty in the Audio Perfectionist (click the following link and click the download for 'Revised Journal No.2' and then scroll down to SUB-WOOFERS [url]http://www.audioperfectionist.com/pages/freejournals.html[/url] With the kind help of 'inmate' John Rutan from Audio Connection in New Jersey, I managed to integrate the subs to give all the advantages that Hardesty claims. Aside from the extended bass, the soundstage was magically transformed and I don't quite understand how? The change was so crystally defined I can only describe it by alluding to the old hand-held 3D viewers which contained a rotary card of various scenes. Each scene required 2 views taken by a camera with 2 lenses 3" apart simulating the distance between 2 human eyes. When you clicked the viewer, the 2 images would 'fall' into place behind each viewing lens and often one image would fall into place first so that when the second image fell, and suddenly you had a convincing 3D image.....the shock and delight were indescribable. That is what suddenly occurred with the audio image spread across my speakers. I could suddenly hear and 'see' the spaces between and behind each instrument. The sound also improved in every meaningful area including detail, depth, warmth, purity and emotion. I know the theory is that the high-pass filter relieves your own amps of the stress required to drive the woofers, but the Halcro monoblocks are designed (and priced) to excell at this normal duty. Surely they couldn't be improved upon so emphatically by driving down to only 80Hz? However this 'magic' is created, it is the greatest advancement to my overall system sound that I have yet experienced. Thank you Richard Vandersteen. Thank you Richard Hardesty and thank you John Rutan.

halcro October 26, 2008 13:31

Shadorne,
This is the updated system page. I accidentally had 2 pages running at the same time. I deleted the other which unfortunately took your comments and my answers out?

halcro September 25, 2008 01:53

System edited: Just added a description of the Duelund capacitors under the speaker cable description.

halcro September 04, 2008 04:50

System edited: I have internally re-wired the speaker cables from Cardas to Vampire. I have also replaced the 2 crossover capacitors with Duelund VSF. 44uF for the Midrange and 5.6uF for the tweeter giving a 950Hz cross to the Midrange and a 4750Hz cross to the tweeter. Note that the 12" woofer is run full range and probably is flat past 2000Hz. The Vampire heavily stranded copper wiring enables the Woofers to now go down to 16Hz whilst the Duelund capacitors have transformed the sound from the Scanspeak Mids and Tweeters. There appears to now be nothing in the way of the musical signal. The speakers completely disappear and the purity of sound is intoxicating. I have never heard box speakers sound like this. The closest example I can think of is the pure sound from the original Martin Logan CLS, but with a seamlessly integrated bass which is natural and tight. Listening to vinyl now, is convincingly as close to master-tape as I've ever heard. Even poorly recorded and mastered records (which previously had been un-listenable), are now able to be enjoyed. Until I hear something better, there is nowhere for me to now go?

halcro September 04, 2008 04:44

Amfibius I have added the speaker description but somehow managed to wipe out the photo.....will upload again tomorrow.

halcro March 24, 2008 03:47

Thanks Amfibius.
Yes... Australia certainly holds its own in high end audio.
I'm in Sydney, where are you?

halcro March 23, 2008 10:34

Hi Aaron,
The Raven is on Stillpoints on a wall-hung shelf. No further isolation needed.
Both midranges and tweeters are at ear level from the listening position.
The motor controller is specially made for me by Thomas because I did not like the standard one. It is a one-off so far but if Thomas puts it into production, hopefully he will call it it he HF Controller?

halcro March 18, 2008 23:28

System edited: Just added photos.

halcro March 18, 2008 00:54

System edited: I have just replaced the Regar Planar 3 and Hadcock GH228 Unipivot with the Raven AC and Copperhead and Grandezza arms.

halcro March 14, 2008 12:23