The Neumann DST
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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.