Soundsmith Hyperion
- Thread starter gian60
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I have not heard the Hyperion but peter Ledermann rates his Strain Gauge above all the other cartridges he makes. I eventually will mount my Strain Gauge. Please don't anybody hold their breath waiting. I do everything in my own good time(ie Not when anybody else expects me to do it).
Peter has both carts.Depending on the music he is listening to his use is %75 Soundsmith Hyperion to %25 Strain Gauge .Over the past year I have read about Soundsmith and the Hyperion.Given the theory behind the cart is there anything out there better sound wise??
Have owned a plethora of cartridges over the years, currently a Koetsu Coralstone and just previous a Ortofon Anna. I listen to these MC's with a Kuzma 4 Pt and Aesthetix IO Eclispe. I have owned the Strain Gauge(SG) for at least 5 years and it will remain in my system. Overall prefer the SG above all cartridges I have listened to in my system. It possesses remarkable speed, detail, attack and extended frequency extremes. All of this with a warmth and organic rightness that creates a late night music addiction. My most recent cartridge purchase was the Coralstone 2 years ago so have not listened to some of the more recent top end offerings from the likes of Lyra, Air Tight, etc. And while I understand Peter does not condone modifications to his products (understandably so, no one knows his products as he) I have made several modifications to the energiser which has improved the SG, in my view, significantly. I would encourage all current (and future) owners of the SG to remove the wall warts and replace with a Peter Downs, Paul Hynes or even a Sbooster BOTW power supply. You have not heard your SG until you have.
JaxDr
Thankyou for your input.When you add your phono stage (Aesthetix IO Eclispe phono stage) to the carts you have compared what is your view of the importance of a phono stage . I would like a hiend phono to match my turntable and future cart or try the Strain Gauge ?
Stump,
If you are going to purchase, or you currently own one of the better cartridges than you should definitely invest in the phono stage. You will not extract the best from the cartridge until you partner it with a excellent phono stage. Clearly I have as I use the IO Eclipse with dual power supplies and then have replaced most of the stock tubes with NOS. Previous to the IO I had a Manley Steelhead (which I still own) in my main rig and as good as the Steelhead is....the last ounce of detail, depth width, etc. was added by the IO..
So to best answer your question, I would say that it is somewhat dependent upon your choice of cartridge.
The one significant advantage (although some may say disadvantage) of the Strain Gauge is you get a phono stage with your cartridge investment.
Good Luck!
Jaxdr
I had the strain gauge sg200 in my system. To start with, I did not keep it, not because it is bad, it is because of personal preferences.
My system is measured at my listening point to be within 5db's from 20hz to 20khz. No bumps or dips. Completely treated room and with measured decay of 0,45 to 0,5seconds flat from 40ha to 16khz. I think these give me the advantage to make assumptions on different equipment. The speakers are over 107db efficient so, I am very careful with my high gain choices (phono pre and cartridge).
The strain gauge system was attractive for me as it eliminated hum and is a complete package. It eliminated the hum but it had some kind of white noise and this was audible in higher listening volumes in my room. Peter told me if I go higher up in preamps there would be a 6db decrease in noise. Also I have been recommended by people here and the dealer in my country to change the wallwarts. I tried sbooster, it helped but the noise was still audible. I did not want to spend more on it. The power supplies recommended cost nearly as much as the sg200 system. I also could not like the mids of the cartridge although it had great extension in both sides of frequency extremes. As far as I heard the response was not flat either. Fo your information most carts I have tried had a tonal character and different responses, it is just that I did not get along with strain gauges.
All my personal experience is based upon one single sg200 system with sgs6 stylus that I have bought and tried at home for a few months.
My system is measured at my listening point to be within 5db's from 20hz to 20khz. No bumps or dips. Completely treated room and with measured decay of 0,45 to 0,5seconds flat from 40ha to 16khz. I think these give me the advantage to make assumptions on different equipment. The speakers are over 107db efficient so, I am very careful with my high gain choices (phono pre and cartridge).
The strain gauge system was attractive for me as it eliminated hum and is a complete package. It eliminated the hum but it had some kind of white noise and this was audible in higher listening volumes in my room. Peter told me if I go higher up in preamps there would be a 6db decrease in noise. Also I have been recommended by people here and the dealer in my country to change the wallwarts. I tried sbooster, it helped but the noise was still audible. I did not want to spend more on it. The power supplies recommended cost nearly as much as the sg200 system. I also could not like the mids of the cartridge although it had great extension in both sides of frequency extremes. As far as I heard the response was not flat either. Fo your information most carts I have tried had a tonal character and different responses, it is just that I did not get along with strain gauges.
All my personal experience is based upon one single sg200 system with sgs6 stylus that I have bought and tried at home for a few months.
Kodomo, SG is not for everyone. IMHO, it transforms with bespoke LPS to the energiser. I've run my SG w both the 5 and 6 stylus, and stock wall warts to battery psu to my current custom LPS. It's a different cart now.
In addition, it's been critical for me to get setup right, esp azimuth. I'm at the point I can't optimise further, and I find it does so many things well. IMHO it balances lower mids/upper bass warmth and texture w lifelike speed, is very accurate in the bass, and naturally resolving in the treble.
My old Lyra Parnassus and Transfiguration Orpheus both come close, but the SG is the winner in overall terms.
However, w analog more than digital, all is in the setup, room interaction and system tonal balance, and I couldn't be happier.
In addition, it's been critical for me to get setup right, esp azimuth. I'm at the point I can't optimise further, and I find it does so many things well. IMHO it balances lower mids/upper bass warmth and texture w lifelike speed, is very accurate in the bass, and naturally resolving in the treble.
My old Lyra Parnassus and Transfiguration Orpheus both come close, but the SG is the winner in overall terms.
However, w analog more than digital, all is in the setup, room interaction and system tonal balance, and I couldn't be happier.
I do believe the whiteness of tone of SG that Kodomo relates is a function of the stock wall warts. Here, they're banished.
But also, the SG does not have the creamy oversaturated sound of a Koetsu, so fans of technicolor mids should stay away. The Parnassus veered in this direction.
Yet, it's still more fleshed out than my Orpheus, and smoother than my ESCO-modded Zu Denon 103.
We go to a live unamplified concert fortnightly on average, and nothing is jarring in tonal or timbral balance when returning to listen to lps and invariably comparing to live.
But also, the SG does not have the creamy oversaturated sound of a Koetsu, so fans of technicolor mids should stay away. The Parnassus veered in this direction.
Yet, it's still more fleshed out than my Orpheus, and smoother than my ESCO-modded Zu Denon 103.
We go to a live unamplified concert fortnightly on average, and nothing is jarring in tonal or timbral balance when returning to listen to lps and invariably comparing to live.
I believe the context of Stump's question above was greater than just a SG and including MC's. Thus my reply regarding a phono stage.
However the SG does require a preamp with a gain stage or how else to get those tiny groove modulations to a line level output. This specialized preamp is provided in the purchase of a SG and is neccesary for the SG to function. No additional phono stage is required between the SG preamp and a line level preamp. The remarkable transparency and speed of the SG is largely due to only a single gain stage, no additional equalization curve/filtering in the SG preamp and perhaps most important, no coils that have to be driven in the cartridge.
Hello spiritofmusic,
Yes, I have the SG200...I was an early adopter...serial #005. Currently using the #5 styli. I have a 2nd #5 for back-up. I see you have a #6. What are differences/your impression of the #5 vs #6? As far as stylus replacement, a new stylus for the SG is relatively inexpensive ($900) so a #6 may be in the future. I just got my Koetsu Coralstone back from a rebuild, $5500!
Regarding power supply, I agree that the wall warts are a significant opportunity for improvement. I was impressed when I replaced the stock wall warts with the Sbooster. Then sold the Sbooster and moved to a Paul Hynes unit. I am currently in discussion with Peter Downs (Alternative Audio/AA) and hope to take delivery of his custom power supply for the SG in a couple months. I probably should of started with the AA PS however I have learned along the way. It has been impressive how much better the SG has become...image placement, depth, width when you improve power to the SG...approaching the sound of live music. I can only imagine how much better it may become with the AA power supply!
Jaxdr
Jaxdr, are you based in the UK? I was an early adopter of Peter's AA LPS, and the SG w it is night and day an impvt over the stock wall warts, and greatly impvd over the Vinnie Rossi Black Lightning batt psu I was using prior to the AA LPS.
The only caveat is the need for a solid 80-120 hrs of burn in, the SG via AA LPS is pretty grey and thin until the burn in was complete. However, what didn't help in my case was a brand new SGS-6 stylus in addition to upgraded energiser and the cold AA LPS. All cold w zero hrs on the clock. And a whole bunch of brand new analog upgrades incl new tt motor psu and arm mount/arm unipivot points/tonearm lead.
So the worst combination of cold components to warm up and meld together. Indeed, 25 hrs in, I was tearing my hair out as to how poor everything was sounding. Fast fwd 100 albums' worth of burn-in later, and my analog was showing proper signs of being the best it had ever sounded.
A year later getting used to the fully bedded-in AA'd SG, plus optimising the rest of my analog rig (critical benefit of 180kg slate stand and Stacore pnematics isolating a mere 20g of SG cart/carbon fibre armwand), and I can say in my experience of owning and using Roksan Shiraz, Transfiguration Temper Supreme and Orpheus, Lyra Skala and Parnassus, ESCO-modded Zu Denon 103 carts, via Roksan, Clearaudio and Tom Evans Groove/Plus/SRX phonos, the AA-pwrd SG is in a different league.
Re 5 versus 6 stylii. Initially I was a bit unsure of the 6 compared to the 5 which was the stylus I bought. However, as things opened up, it's shown to be the more accurate detailed choice, and really superior to the 5. But requires greater dedication to setup, esp azimuth.
Good luck w the AA LPS. Be patient, and you'll be rewarded w the best SG sound yet. Mention me to Peter, his SG and Nat amps customer in the chapel in Norfolk.
The only caveat is the need for a solid 80-120 hrs of burn in, the SG via AA LPS is pretty grey and thin until the burn in was complete. However, what didn't help in my case was a brand new SGS-6 stylus in addition to upgraded energiser and the cold AA LPS. All cold w zero hrs on the clock. And a whole bunch of brand new analog upgrades incl new tt motor psu and arm mount/arm unipivot points/tonearm lead.
So the worst combination of cold components to warm up and meld together. Indeed, 25 hrs in, I was tearing my hair out as to how poor everything was sounding. Fast fwd 100 albums' worth of burn-in later, and my analog was showing proper signs of being the best it had ever sounded.
A year later getting used to the fully bedded-in AA'd SG, plus optimising the rest of my analog rig (critical benefit of 180kg slate stand and Stacore pnematics isolating a mere 20g of SG cart/carbon fibre armwand), and I can say in my experience of owning and using Roksan Shiraz, Transfiguration Temper Supreme and Orpheus, Lyra Skala and Parnassus, ESCO-modded Zu Denon 103 carts, via Roksan, Clearaudio and Tom Evans Groove/Plus/SRX phonos, the AA-pwrd SG is in a different league.
Re 5 versus 6 stylii. Initially I was a bit unsure of the 6 compared to the 5 which was the stylus I bought. However, as things opened up, it's shown to be the more accurate detailed choice, and really superior to the 5. But requires greater dedication to setup, esp azimuth.
Good luck w the AA LPS. Be patient, and you'll be rewarded w the best SG sound yet. Mention me to Peter, his SG and Nat amps customer in the chapel in Norfolk.
You surely were on 'pins and needles' for those first 100 hrs, not knowing how your investment would pan out. Concurrent changes involving some new equipment is bound to create some anxiety. But it sounds like you ended up in a good place...well done!
Thanks for the comments on the 5 vs 6. I think I will give the 6 a go given I have a arm that is relatively easy to set-up and a breeze to adjust azimuth. No concerns there.
I am in Ponte Vedra Beach, FL, just outside of Jacksonville. So it was not easy tracking down the AA power supply on this side of the pond. Will be happy to drop your name with Peter.
I own two of the better MC's that have been available in a Koetsu Coralstone and Ortofon Anna with a great arm (Kuzma 4 Pt) and a Aesthetix IO Eclispe phono stage. I enjoy and listen more to the SG and with the addition of the AA ps, I can't help but believe it is only going to get better.
Jaxdr, how did you find out about the AA LPS? It's only a custom order, and Peter is not exactly visible online.
Indeed, had I not been an original customer of his, no way would I be coming across this.
Indeed, had I not been an original customer of his, no way would I be coming across this.
Typically attend one of the major audio shows on a annual basis and last year was Rocky Mountain
Audio Fest in Denver. I ran into a couple SG users there and I was lamenting about the wall warts as a possible source of noise that I had been struggling with in my system. One of the users was very knowledgeable regarding better ps for the SG, including the Sbooster, Vinnie Rossi, Paul Hynes and the AA ps. That set me on my journey. From there it was a simple matter of a Google search.
I learn so much at these shows, not only exposure to new gear, but more importantly being able to converse with like-minded people.
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