Brian, do you think the vdH is more like the Opus or the newer Lyras? I had thought the Lyra and vdH were more similar, but now I am not so sure. I now think the Opus and Colibri are more similar to each other than either is to the new Lyra, but my comparisons have been rather limited.
Your power cord comment is interesting. I introduced Ching Cheng into my system because the audiophile cords I tried introduced edge into the sound which I did not like. They enhanced certain things and homogenized the sound. The stock cords were better too, but the Ching Cheng was more resolving than the stock cords. Funny how everyone has a different experience.
I don't think vdH is more like either of those two. It's brighter and thinner sounding than both. The Lyra can at times sound a bit mechanical for lack of a better descriptor, which Lamm gear would tend to ameliorate. For example, Lyra on a Technics direct drive table would be extremely fast start/stop mechanical sounding. The low output Lyra with a high quality SUT or even Ian's CH can be extremely detailed and energetic though... And Lamm would add tone. So I think it's a viable option. Also, I'm not even sure if the newer Lambda or the previous non-Lambda Lyras are the better fit for Lamm and sleepy cords. Maybe the non-Lambda would be the better choice. There really is only one way to find out, and it's an expensive experiment.
Ching Cheng replaced my DIY cords based on copper Furutech (japanese) cable and eBay knockoff connectors in a second system. It could very well be the connectors I used were causing the entire problem. But I got tired of experimenting and Ching Chengs do well in this system.
Inconsistency has been a big problem with the VDH strad, but the ones that are very good are brilliant. The other ones are usually not listenable and quite etchy. But I understand this was a problem with the older colibris as well, yours might
Ron…not only that it’s VDH top of the line series retail at $16k. To me it’s just mind boggling that with the inconsistency at least they could have done something or have consumer send it back for a realignment. I wrote to them and they stated it was, “ the way it came, use it and see how you like it.” !Even my bad eyes can see readily that this cantilever is misaligned. How could this cartridge have been let out of the "factory" like this? (I understand that this is a rhetorical question.)
Brian, I was more interested in your opinion about the sound of the three cartridges not the sound of the cartridges mixed with colored Lamm electronics and boring cheap power cords.
i’ve compared some versions of these cartridges in different systems and come away with a impression of the sound of the cartridges rather than how they interact with the system context.
My approach is not viewing these top cartridges as Band-Aids that balance the sound of specific amplifiers and power cords. I’m interested in the cartridges’ inherent characters.
I don't know for sure, but I strongly suspect that the Airtight would not be my choice in an all-Lamm system.
I have.. Try listening in some other systems.
I have.
You assume a lot. And I mean a LOT. Mine sounded better in another system. I've heard other Master Sigs, one with the blackwood and two with whatever the standard wood is called. It is what it is.Ones where the owner loved the cart? I am assuming you heard other samples of the cart, not yours in other systems
You assume a lot. And I mean a LOT.
Don't forget the TT in the equation, really good TT's like Peters Micro, and Tangs AS 2000 present with a tonal fullness that you just don't get with lesser TT's.
Don't forget the TT in the equation, really good TT's like Peters Micro, and Tangs AS 2000 present with a tonal fullness that you just don't get with lesser TT's.
I accept that these are handmade devices constructed by artists and that sample to sample variation is inevitable for all cartridge makers - however, I just can't accept what you show here and what others have reported. Sure this is F1 with relentless tuning and adjustments but my gosh my OCD would never tolerate this.More vDH handiwork here that I held in my hand and saw with my own two eyes recently. Mounting holes were visibly misdrilled off-center as well as at an inconsistent and incorrect pitch such that they do not align to standard spacing in any headshell. Generator assembly visibly askew and off center as well.
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I am agree with Brian,i think in Peter system Opus will be good but not perfect,
Opus is fantastic in my system because in my Montagna speaker the tweeter is fantastic and in Tang system,has Lamm but Cessaro speaker has Tad 703 that is the best supertweeter and perfect with Opus
Opus is on dark side and also Lamm is on dark side,but in this combo if you add the fantastic supertweeter TAD 703 that Tang has in his speaker all will be very good.
VDH are open but sweet so will be another good combo with more details.
I think in Peter system,also his fantastic and very natural speaker are a little on the dark side,so having 3 products,Opus,Lamm and Vitavox,all fantastic and natural,but all on dark side,could be too dark,this is why Peter like a lot VDH because are full of details,sweet and natural,so i dont suggest Opus to Peter,but if Peter can have 3/4 tonearm Opus will be very good in his system for voices and choir,for exemple
disagree.If Lamm is dark then the opposite of dark in this case is not light, but lean. I consider Lamm as having more dense or more complete low-mid to low frequency tone and harmonics which is how I interpret comments about dark.