Ron's Speaker, Turntable, Power and Room Treatment Upgrades

[ack]

I appreciate the suggestion. But on the GFS I cannot get past A.J. Conti telling me that he measured the GFS and found a frequency response rising 10 dB in the treble range.

Many people hear the GFS as transparent and detailed and articulate. I am sure my ears would interpret that as bright and analytical and fatiguing.

When I heard the Goldfinger at the local dealer a few years ago, they told me the same thing after I complained: the treble is intentionally tipped up in order to give the impression of detail. This is one of the worst cartridges I have ever heard, because of the fatiguing sound. In a dark system, it may work well, perhaps...

 

[Mike Lavigne]

When I heard the Goldfinger at the local dealer a few years ago, they told me the same thing after I complained: the treble is intentionally tipped up in order to give the impression of detail. This is one of the worst cartridges I have ever heard, because of the fatiguing sound. In a dark system, it may work well, perhaps...

was it a Goldfinger, or a Goldfinger Statement (v2--it's sometimes called this too)?

the two are really different.

and I have an Ortofon MC Anna sitting next to it on another 12" Durand Telos tone arm into an identical phono stage; the Anna has never been accused of edge or a tipped up nature. there is no hyped nature to the GFS relatively. sure, it digs deeper and gives you more. read reviews and they caution to have an arm that can handle it's mass and long cantilever. I could see the wrong arm might not control it properly.

 

[ack]

was it a Goldfinger, or a Goldfinger Statement (v2--it's sometimes called this too)?

the two are really different.

and I have an Ortofon MC Anna sitting next to it on another 12" Durand Telos tone arm into an identical phono stage; the Anna has never been accused of edge or a tipped up nature. there is no hyped nature to the GFS relatively. sure, it digs deeper and gives you more. read reviews and they caution to have an arm that can handle it's mass and long cantilever. I could see the wrong arm might not control it properly.

It was the $15K Goldfinger Statement with that little stupid glitzy diamond accent on the front; phono was the Nagra VPS-100, on a Basis table with their top arm. I can possibly recall more fatiguing sounds from other systems, but this one was also right up there.

 

[Ron Resnick]

Dear Ron,

Although I have never heard TOL ZYX. I have read your report on it in Monostereo and also follow comments from those who have it.
I do think the ZYX sounds closer to Opus than the Coralstone. In your report, you mention something like the ZYX is more musical, more meat on the bone than Anna. At the same time, it doesnt lack the detail of Anna and also has good frequency extension on both ends. This to me sound more like an Opus. Coralstone only has the first half. I think Kedar summarizes it well in other thread.

Two different tastes are good to have.

Tang

That is very interesting, Tang!

Your description makes me more determined to try both parings. Although, ultimately, I only want one tonearm and one cartridge combination on the turntable.

 

[Ron Resnick]

Okay Mike, Bonzo. I understand.

Yes, Mike, my preferences are very in line with the preferences of jazdoc.

 

[microstrip]

(...) Although, ultimately, I only want one tonearm and one cartridge combination on the turntable.

Can´t believe ... Isn't David obliging you to sign an agreement stating you should have at less three arms/cartridge combinations?

 

[PeterA]

When I heard the Goldfinger at the local dealer a few years ago, they told me the same thing after I complained: the treble is intentionally tipped up in order to give the impression of detail. This is one of the worst cartridges I have ever heard, because of the fatiguing sound. In a dark system, it may work well, perhaps...

Funny. That dealer told me the exact same thing, but I remember distinctly during the demo of either the Magico Q5 oar Q3 that they played standard RBCD, then hi rez files, then the Basis/goldfinger analog. The latter was clearly the best sounding and I think others in the audience agreed. There was no contest, and I don't remember it sounding tipped up on that day. Don't know the reasons, the music was different, etc, but the analog with the Goldfinger sounded incredible.

So, it may or may not be tipped up. AJ Conti showed me some measurements of cables which were frightening. He had a way of making his point, and he was a smart guy. I don't know what he measured with the Goldfinger, but I have to agree with Mike, one should listen and form his own opinion. I would have to hear the Goldfinger and directly compare it to another known cartridge in a familiar system before reaching any conclusions about its tonal balance. I've also heard cartridges which supposedly measure very well in systems that sounded so bright my ears hurt. One really needs to try to isolate the sound of individual components if possible and then hear them in system contexts to better understand what they are doing.

 

[PeterA]

you really need to use your ears....

Great advice Mike. Ron should hear some of these combinations if possible as he is gathering opinions about combinations from others. Or, he can simply buy two combinations, live with them for a while and then sell of one if he finds he does not listen to it much. Though critical for his overall system sound, the cost of one of these cartridges or even arms is relatively trivial compared to the overall cost of his new system and construction project. Ron, buy them, live with them, and then you will truly know which is right for you.

 

[Ron Resnick]

Can´t believe ... Isn't David obliging you to sign an agreement stating you should have at less three arms/cartridge combinations?

I am hoping that David will be happy that, as a result of his efforts, I may for the first time in my life have two (2) tonearms.

 

[Ron Resnick]

Yes, Peter. What you suggest is what I am inclined to do.

I just have to figure out the components of the second package -- the tonearm and headshell selection for the Koetsu.

 

[BruceD]

I just have to figure out the components of the second package -- the tonearm and headshell selection for the Koetsu.

Maybe I'm not worthy to enter this exalted world of Super TT's and Arms --but I'd like to add my thoughts from the cheap seats anyway.

Having owned Koetsu's since the mid 70's and placed in many arms--my firm recollection of the standout combination was using

the Fidelity Research FR66ss and Cotter 2L SUT.

BruceD

 

[Ron Resnick]

Koetsu riding on FR-66S is, for many, the ultimate, not the cheap seat!

Thank you for telling us this. This is another actual owner data point in support of the FR-66S for Koetsus -- very valuable information!

What headshell did you use on the FR-66S?

 

[BruceD]

The Orsonic.

BD

 

[ack]

Funny. That dealer told me the exact same thing, but I remember distinctly during the demo of either the Magico Q5 oar Q3 that they played standard RBCD, then hi rez files, then the Basis/goldfinger analog. The latter was clearly the best sounding and I think others in the audience agreed. There was no contest, and I don't remember it sounding tipped up on that day. Don't know the reasons, the music was different, etc, but the analog with the Goldfinger sounded incredible.

Part of the reason the GFS didn't sound tipped up that day is because they played the Charlie Byrd direct-to-disc which is incredibly dark in my system - the cartridge brought a great balance to this recording. I went back again to listen to it within a couple of weeks, if I recall correctly.

 

[KeithR]

It's interesting - I know both Ron and Mike and their musical preferences. And they really are quite a bit different. So there is no "right" answer on the GFS, Anna, or other alternatives is my guess.

 

[DaveyF]

It's interesting - I know both Ron and Mike and their musical preferences. And they really are quite a bit different. So there is no "right" answer on the GFS, Anna, or other alternatives is my guess.

Great point.
In the pro audio world, this aspect has been known for years as " your ears/my ears". As such, right now I am trying to unload a very popular digital pro amp modeler. This modeler utilizes a tube to try and bring that tube "warmth" to the reproduction of the various amps to be modeled. On the web, there are numerous accounts of how great this little beast is. I made the stupid mistake of acquiring this piece based on the very big 'noise' from the various forums about it abilities. I reckon I had it home for no more than ten minutes before I thought something was wrong. That something is a pervasive digital nasty that invades all of the sound.
With my single coil pup's and the type of music I play, that's the last thing I want, or need. So, on the used market it goes...nasty little bugger that it is. To my ears this thing sucks...to others it's obviously great.

 

[Ron Resnick]

Update on Tonearms/Cartridges

Right now (subject to actual audition and subject to change in the next fifteen minutes) I am thinking:

ZYX UNIverse Premium SB2 on SME 3012R (as always)

and

Koetsu Coralstone on Acoustical Systems Axiom (new combination)

 

[PeterA]

Update on Tonearms/Cartridges

Right now (subject to actual audition and subject to change in the next fifteen minutes) I am thinking:

ZYX UNIverse Premium SB2 on SME 3012R (as always)

and

Koetsu Coralstone on Acoustical Systems Axiom (new combination)

You should be able to ask Syntax about the latter combination. I'm pretty intrigued by Acoustical System's products but have not had a chance to hear any of them. The arm and headshell seem to be designed for those who do a lot of cartridge changes and VTA because they are so adjustable. Adjustability seems to be a major design consideration.

 

[Ron Resnick]

Tang is going to be our intrepid explorer on the Axiom!

 

[Ron Resnick]

I noticed a bit of progress today . . .