Air Tight PC-1 Koetsu Black Goldline Denon DL-103 Ortofon LH-9000 LW-7N AQVOX 2CI Mk II Aurorasound Vida Fosgate Signature Mono Button

Click pics to enlarge. David and Goliath? In the US, David is priced at 1/50 the price of Goliath.

Talk Vinyl: Mono Button, Headshell, Cartridge Wires, Viennese Waltz
New York Diary (19-24):
Air Tight PC-1 Re-visited vs Koetsu Black Goldline vs Midas Denon DL-103
Aurorasound Vida vs AQVOX CI Mk II vs Fosgate Signature
$5 Ebay Headshell vs $240 Premium Headshell 
Review: AQVOX 2CI Mk II, Part III
Calibration of Analog Sources in System II

Revised 12/28: AQVOX tested with Midas Denon DL-103
Revised 12/26: Addition of Fosgate Signature Phonoamp

Mega Article on AQVOX, Parasound and Aurorasound (this older article features all the phonamps and cartridges in this present article, which can be regarded as a Part II of the older article).
Fosgate Signature Phonoamp as last heard

After I finished my long and gratifying session with the VAS Ebony Mono, and after brief flings with the Denon DL-102 and Shure SC35C (here), I reinstalled my Midas Denon DL-103 on the Thorens TD-124/Schick 12". This was all into the Parasound JC3 phonoamp, which has a Mono Button, which is fed directly into the LTA MicroZOTL.

One thing led to another, and this article snowballed.

Mono Button with Mono Cartridge
Whether with the VAS Ebony Mono or Denon DL-102, engaging the Mono Button produced no discernible effect. This is also true in my System I, where the Mono Button of the Aurorasound Vida phonoamp produced no effect with these two cartridges. This shows the cartridges are not picking up anything from the vertical plane, and are hence true mono cartridges. Nonetheless, I usually habitually engage the mono button anyway when I play mono records.

Mono Button with Stereo Cartridge
I really wasn't doing any critical listening and was typing away on my computer but, after listening to two stereo LPs, it disturbed me a little that the sound of the Denon DL-103, while good, was not open enough. I looked around a bit and suddenly saw the Mono Button of the JC3 was still engaged!! Pressing the button again immediately opened up the soundstage and distributed the instruments. That is to be expected but what was not was a smoothening of the treble and small loss of bass impact. I then went back and forth with the button and confirmed that with stereo records the Mono Button firms up the bass but also paradoxically makes the treble a little sharper (?focused). Of course, the Mono Button is designed to let one cancel out the vertical modulations of the stereo cartridge when playing a mono record. But judging from the above, it may benefit the playback of some sub-optimally recorded or non-RIAA stereo recordings (which a mono cartridge does too).

Headshell and Cartridge Wires
After a while, I got itchy again in trying to improve the replay with the Midas Denon DL-103. This cartridge was permanently installed on the only expensive headshell I have, the heavy magnesium-carbon fiber Ortofon LH-9000 (here) which was an impulse buy (always a wrong thing) in HK when I acquired the Schick arm in 2012 (in the pic in the original post). Somehow, despite its hefty price, or because of it, from the first sounding I have always been suspicious that it may not be the headshell for me.

See, for a start, I don't like the cartridge wires that come with this headshell (left pic); I frown upon the relatively thick strands. The wires are the LW-7N that Ortofon sells separately at an outrageous price. They are much thicker (lower in AWG) than the generic ones that usually come with my generic headshells. Ortofon actually sells all sorts of cables but they have never caught on with anyone, certainly not in HK and US. Almost all their cables are LC-OFC, 6N/7N copper, and all made in Japan, just like most of their tonearms and tonearm cables (basically Jelco). In my experience, these Japanese cables are smooth but lacking in dynamic expression.

It has always been my belief that thick cables sound worse than thin ones (as stated in this HiFi Basics article). So, 7 long years later, I swapped out the Ortofon for a generic Korean made perforated metal one that costs around $5 on Ebay, roughly 1/50 the price of the LH-9000 at established US retailers (cheaper on Ebay, at maybe half the price, which was around the price I paid for mine in HK)! In the case of the cartridge, the output signal is so small that a very small-gauged wire (high AWG) is enough to carry it; the larger the diameter (lower AWG) of the wire the more the delicate signal is going to be altered.

It has always been my audio belief too that one flat surface should not be placed upon another. This is true of smaller loudspeakers and their stands. For small loudspeakers like LS3/5A, one may get away with a little blue tac at the corners, which serves the dual purpose of securing the loudspeakers as well as decoupling. For larger loudspeakers, stands with flat tops are more often than not suboptimal. Two examples: The original Epos stand for their medium sized ES-11 and ES14 (great loudspeakers btw!) has an open-frame top, and they sound best that way; ditto the magnificent but voluptuous Spendor SP-100, which also sounds best on an open-frame stand. This is likely true of the cartridge/headshell interface too, particularly if both headshell and cartridge body are metal. I happen to like the look of these generic headshells, cool and retro. I also like the perforations, which should help resonances - witness Rega derived tonearms that have so many holes punched into them that they look like they are bullet ridden from an ambush! There is a reason why the open-framed Orsonic headshells fetch good sums on Ebay. For my cheaper plastic body cartridges I fuss less, but in my mind I don't like having the top of a metal-bodied cartridge right against a metal headshell (of course the metal screws unavoidably do bind them together at two points), and if the sound is not entirely satisfactory I'd insert a shim of cut expired credit card between them. I did that in this case (you can see in the pic; it helps with the VTA too). Note too that the Ortofon LH-9000 also has a thin strip of anti-vibration material taped onto its underside, so someone there was thinking along the same line.

Guess what, my worst premonitions all came true! The cheaper headshell was more to my taste - more air around instruments, a larger soundstage and a livelier and more subtle presentation. Whether it is due to the wires or headshell or a combination of the two I won't say. Of course I could swap the wires and try out all combinations, but I am not about to do that - one is just as unlikely to use an expensive headshell with generic wire than to use expensive wire with a generic headshell. Somehow, I just love the cheap package!

Which brings us to: how complicated vinyl playback can be! Aside from the turntable and the arm and the cartridge, even the littlest things, the headshell and cartridge wires, influence the sound greatly. In my experience, people who constantly tinker get bad sound (how can they not if they only concentrate on a few records for A/B); people who don't tinker can go either way; the best is to tinker less and concentrate on the music more - improvement comes with experience and in due time - there is no expressway to "heaven".

Unwanted Noise/Resonance/Vibration Control in audio has always fascinated me. In my experience, most of the time, the "solution" is worse than the "problem". Most, if not all, AC Line "Conditioners", Spikes and Cones, ridiculously expensive racks like Finite Element are just some examples that kill the liveliness of music, perhaps only suitable for those who use hot solid state amps and "state-of-the-art" loudspeakers. Those of us sympathetic to tubes seldom need these paraphernalia's.

Air Tight PC-1 redux

I then rearranged the positions of the 3 turntables in System II for some easy testing. For the first time in at least 2 years I played my Linn LP-12/Ittok/Air Tight PC-1 (here). I had looked forward to this moment ever since I got my Koetsu Black re-tipped by VAS. A comparison is in order.

For this part, as usual everything in System II went through the Shindo Monbrisson preamp, which drove the same LTA MicroZOTL 2.0 amp. Aurorasound Vida was the phonoamp for the Linn. I played 3 LP's that I had played using the gears in the above section, and the result was both spellbinding as well as instructional.

with Aurorasound Vida Henry Krips is almost forgotten today. He previously amazed me with his Suppe Overtures (here). This time, I got his Johann Strauss Favourites (HMV Concert Classics). Before, I thought it was well played but not quite inspiring. Not so with the PC-1: all of a sudden, the orchestra swinged and swayed, and Krips deftly applied to the English orchestra a Viennese lilt. The all-important upbeats acquired more emphasis, subtle retards became evident. Most delightful were the percussions, which felt purposeful, a sine qua non of good reproduction. In the Thunder and Lightning Polka, the rapid bass notes depicting the thunder were superbly resolved, no easy task. This LP is so telling that it is going to be my go-to test LP for cartridges. As amazing was Swarowsky's Saint Saens Symphony No. 3 (Urania). Despite excellent sonics, it was a straightforward account that bordered on boring, and the pickup Viennese orchestra had some weak playing. Again, not so with the PC-1: orchestral texture became more refined and colorful, and dynamics improved to the extent that it was actually not bad at all! Similarly, on Beecham's Ein Heldenleben (HMV Concert Classics) the Royal Philharmonic seemed like a much better orchestra with the PC-1, and combined with the subtle conducting (no bombast) of Beecham it deserves its reputation as a great interpretation.

vs Koetsu Black Goldline AQVOX As the Aurorasound Vida's MC input is now occupied by the PC-1, I first connected my Koetsu (on my Thorens TD-309 turntable, here heard with the Vida) to my AQVOX 2CI Mk II, and then played the same 3 LP's. Although better than previously with the Midas Denon DL-103, compared with the PC-1, it was evident the music was rendered with a broader stroke. I fiddled with cables, which did not help too much. Aurorasound A little piqued, I did the hard work of disconnecting the Linn/PC-1 so as to connect the TD-309/Koetsu rig into the MC input of the Aurorasound, which was how I played the Koetsu last time (here). Ah, the playback became more focused, and the Koetsu found more of what the PC-1 did (like the Viennese lilt). However, ultimately, the PC-1 was just more detailed and dynamic. The Koetsu Black is already a top-notch cartridge, but the PC-1 belongs in even  more rarified company. From this, I concluded that I wanted to use the Koetsu on the Aurorasound, so I recruited my Bob's Device SUT (here) for input to the MM input and the result was largely the same, perhaps with just an extra touch of force, which I didn't really need. Based on the Koetsu Black alone, it would seem safe to conclude that the Aurorasound Vida is better than AQVOX CI Mk II. Although there is no question the Aurorasound is formidable, but, as audio, particularly analog playback, is all about matching, I was not ready yet to draw this conclusion... Fosgate Signature The next day I connected the Linn/Koetsu rig to the Fosgate and, as they say, the rest is history. In this system, the Koetsu did even better than on the AQVOX, and perhaps even better than on the Aurorasound. The Koetsu did everything the PC-1 did, but at a somewhat smaller scale, but I feel it has been optimized. What amazes me is that the all-tube Fosgate yields not one iota to either the AQVOX or Aurorasound in the transient portrayal of the leading edge; every emphasis is microdynamically portrayed, no mean feat, with the additional benefit of a smoother sound.

with AQVOX I then connected the Linn/PC-1 rig to the AQVOX. The PC-1 was instantly everything it was on the Aurorasound, but with a little more grain. Remembering that I had bypassed the capacitors before (here), I switched them back in and now there was more warmth needed in this very high resolution system. I also adjusted the gain (front knobs; not = volume knobs) and experimented with cables (Gotham DGS-1 and GAC-2111 in lieu of the previous GAC-2) and got closer and closer to what I was hearing before. There were several thing that were amazing: 1) as some have commented, the current amplification phonoamps thrive on low-impedance or low-output cartridges, and the PC-1 vs Koetsu is 2.5 vs 5 ohm; 2) even with the gain turned way low, the AQVOX was even more dynamic and even faster than the Aurorasound, with either cartridge. Make no mistake, for my taste, because of its more refined nature the more expensive Aurorasound is still the better phonoamp, but the AQVOX would not be easily dismissed and I am going to explore more around the findings of today. For now, given that I had found a home for my Koetsu (i.e., the Fosgate), the PC-1 going back to the Aurorasound (the MM used for the Denon DL-102).

AQVOX with Midas Denon DL-103 With all of this, it is also apparent the TD-124/Schick/Midas Denon DL-103 needs some rejuvenation or upgrade. I went back to the rig and replaced the Parasound JC3 with the AQVOX. Surprise! With those 3 LPs I got back much of the quality missing before. In Johann Strauss Favourites, much of the Viennese lilt was back, and the bass notes in Thunder & Lightning Polka was surprisingly very well resolved. In Saint Saens, the brooding atmosphere was highly satisfying and the strings and winds had surprisingly sheen. And the Ein Heldenleben was positively luxurious, if a little lighter. How good it was can be judged thus: I was getting more than a little sick listening to the 3 LPs, but this round I wanted to hear entire sides and never lifted the needle mid-way, so pleased I was. What is a little surprising is that the end result rivals the playback by the Koetsu Black Goldline - in terms of tactility, the Denon was at least an equal, but perhaps the Koetsu was slightly richer from the mid-bass down. Again a great performance by this humble evergreen. However, it is also clear the PC-1 remains in a league of its own.

All of this is a bit exhaustive and exhausting - audiophile behavior. This article represents the biggest analog testing session lazy me have done in a long while, since the last big one linked above. But it is undeniably rewarding as I have achieved as much parity as I could have mustered. More rehabilitation of cartridges and phonoamps are in order.

Simple Lunch, Spicy Beef with Dried Bamboo Shoots

Lightly Pickled Cabbage as Condiment

VAS Re-Tip Cartridge Repair Koetsu Black Goldline

Now taking pride of place in my System II - Thorens TD-309 with Koetsu Black Goldline.

Review: Koestsu Black Goldline, VAS Re-Tip Service

As progenitor of modern high end MC cartridges, Koetsu needs no introduction. The Black, despite its not inconsiderable cost, has long been the "entry level" of the line. The Goldline, now marked by a gold plate on the underbelly, is a relatively recent iteration. See the Stereophile review for more info.

My Tortuous Koetsu Journey I acquired my Black Goldline in 2010 and was very happy with it (here). Diamonds are Forever? Not that long after (I think 2011), I played a record and the needle skidded all the way to the end groove. I tried again and the same thing happened. Nonplused, I examined it carefully and, my God, the diamond was gone! Although I have had it for a year or so, I wasn't in NYC often then and it likely had less than 200 hours. I was not about to re-tip it and was highly annoyed. The Vagaries of Repair Some time later, I spotted a re-tipped Black Goldline (a somewhat earlier version with gold lines on the bottom of the sides, not a plate on the belly) for a very good price and acquired it. I think it was the basic Soundsmith re-tip, which replaced the cantilever together with the diamond, as this is less hazardous (and much less costly) than replacing the diamond alone. So what I got was a new re-pairing - a basic aluminum cantilever with an elliptical stylus in a Black Goldline body (the owner was honest, so I knew this beforehand). It played flawlessly but the magic was gone! Mind you, the sound was not bad, but if it was almost indistinguishable from the Ortofon I was running at the time, then it is not no longer a Koetsu! No wonder it was sold and it was not even run-in. But it was worth it for the lesson learned, which was why I waited so long to get mine re-tipped. Enter VAS A few months ago I decided to get my first one re-tipped by Steven of VAS...

Impressions

• On my Thorens TD-309 Given how I loved its sound before, I hoped the Black will be a permanent fixture in my system. In my System II, as my Technics SL-1200ii is frequently used for tests and comparisons, I decided to install the Black on my Thorens TD-309. So out came the Denon DL-A100. It proved a good match, but not before some Initial Adjustments Run-In took around 20 hours, when the grain miraculously, and almost suddenly smoothed out. VTA Initially I did not adjust it, but after a while, unusual for lazy me, I spent some effort to re-level the turntable and lower the arm (also advised by Steve) and the sound got even better. Phonoamp was the Aurorasound Vida, which is fed into the Shindo Monbrisson.

• Playing Old Records Usually I play mostly my newly acquired LPs and then some CDs (from the library or not), but with the Koetsu I dug out many of my old records (I was simultaneously cleaning house) and listened and marveled. Persuasive Percussion (Command Classics) Older audiophiles know about this famous 1959 LP recorded by Terry Snyder and The All Stars. This LP is still popular with HK audiophiles. While researching, I was taken aback by this amazing analysis of the music (from Germany!) MCP has re-issued it with the follow-up Volume 2 in 1 CD. If you read the Amazon user reviews where someone his review "cried"! Also read this insightful review from audad. I have heard this record many times, but this time I was really struck by the shimmering colors of Misirlou. These are serious musicians with expressive power. When it comes to percussion, most audio reproduction only deliver the basics, largely bereft of color - not so the Koetsu. Espana With its colorful music and relatively short duration, this piece of music by Chabrier is made for audiophiles. If not for stablemate Argenta's version, which has more vibrantly colorful covers, is on HP's Super LP List and commands a hefty price (especially in its Decca UK version), the equally brilliant Ansermet version (London CS6438) would receive a lot more attention (as it does in Taiwan). Whether it is the deep bass drum thwack, snarling brass, the vibrant percussion or the col legno strings, the Black plays it to perfection. Sarah Vaughn Live in Japan This very inexpensive album catches Ms Divine at her peak, and the sound is excellent. The Black renders her voice (a wide range) and scatting with highly accurate timber, and the atmosphere is well caught too. Piano Alicia de Laroccha was born to play Mozart, but unfortunately not to audiophiles. With the Koetsu, the piano is live size and the sound is truly grand. I felt the bass resonating off the bowel of the piano, and her deft touch and masterly shading were all brought off in a highly natural manner. Bruckner x 3 Bruckner's 3rd Symphony is one of my favorites. My first LP was Cleveland/Szell and it remains one of my favorites. This being a Columbia LP, the sound can be a little lean on the wrong system. With the Koetsu, I was focused on the committed playing and Szell's balance and grasp was well nigh perefect, riveting from start to finish and I had goosebumps at the majestic end. It was so good I then played also the VPO/Bohm (London) and Dresden/Jochum (EMI). Both are great orchestras. What is highly gratifying is that the Koetsu effortlessly differentiated the different recording venues and methods: The Decca sound is typical of their VPO recordings, with a golden glow; the Dresden quite reverberant, as is well known of this cycle; the Columbia clean and a little upfront.

Conclusions

• Koetsu Black Goldline Older Koetsu's are sometimes regarded as overly lush, but the many times I have heard them they have always been musical. The newer Koetsu's, like the Black Goldline, are definitely quite neutral, but very musical at the same time. This cannot be said of many other brands (e.g., zyx, Clearaudio, Lyra). Also do not make the simplistic mistake of equating musicality with a warmer sound, which many do. Using loudspeakers as analogy, if most hi-end cartridges are like modern loudspeakers, Koetsu resembles more the BBC loudspeakers, and that is a compliment. The musicality stems from an innate ability to dig and to allow one to hear deep into the mix. Which was why I spent a lot of time describing the records that I heard. It really is very subtle, a breathtaking shading here, a deft touch there; the unusual coherence, the compelling listenability (one hears records after records). That is all what listening to music is all about. This cartridge joins the Air Tight PC-1 as the top dogs in my systems; incidentally, they both have boron cantilevers. As for my favorite Denon DL-103, it can come very close and be equally dramatic, but in terms of the really subtle shadings it is edged out by these, not bad at all for a budget cartridge.

• VAS Cartridge Repair While I don't have an original Black Goldline to compare, I know the Koetsu experience quite well and that feeling is definitely back! Unlike the other re-tip, VAS has done a sterling job! I am going to send the other one to Steve too. I urge you to talk to Steve before sending your cartridge for a re-tip (see website).

Talk Vinyl: Current NYC setup (keywords Denon DL-304, Koetsu Black, Linn LP12, Thorens TD-125, SME 3009, BAT P5, GCPH)

Talk Vinyl: Current NYC setup

As I was about to write about a new "surprise" purchase, I realized I had not written about the extensive changes my vinyl setups underwent towards the latter part of my last stay in NYC.

Enter the Black. Koetsu vs Denon
The arrival of the Koetsu Black (read this Art Dudley review) induced great changes in my setup. The sheer weight of this cartridge precludes installation on any of my other arms except the Ittok on the Linn LP12/Lingo. Fed into the BAT P5 , the sound was not that far off from the Denon DL-304 used previously. After protracted listening I made the decision of not using the WE 285L transformers and just using the high-gain setting of the P5. The gain offered previously was not quite enough for the Denon, but the Koetsu's slightly higher output and somewhat wilder streak made the difference. Here, I shall repeat that, whenever possible, for step-up my preference goes to active devices rather than transformers. Aside from the gain and energy, the Koetsu is also bolder and more romantic, with a lush treble. The Denon DL-304 is quite neutral I'm sure (more so than the 103), but the black veers off from neutrality by a much smaller factor than I'd have thought.

As much as I was enamored of the Koetsu sound, I also gained even more respect for Denon, the DL-103 having long been a personal favorite. Indeed, it's always valid to ask, upon hearing any Denon, "Why pay more"?

Merry-go-round 1. What, 304 on the 3009?
Displaced by the Koetsu, the Deonon DL-304 went on the Thorens TD-125/SME 3009S2Imp. The cartridge is likely too heavy for the arm, and the "resonant structure" may not be perfect, but I didn't want to install it on the Technics SP-1200. The result on the SME 3009 though was surprisingly good. After the initial promising sound, I concentrated on mating it with phonoamp.

PS Audio GCPH
The neutral DL-304 had always taken to the tubed BAT more than the PS Audio GCPH. Previously, on the Linn LP12/Ittok, I had tried it extensively with the GCPH. With the gain setting maxed, the GCPH had enough gain for the DL-304 but the sound was just that tiny bit etched in the treble. While this brought great brilliance to percussion pieces I missed a little heft down below. At that time, the WE285L transformer fed into the BAT P5 outclassed the GCPH decidedly.

On the SME 3009 the DL-304 sounded lighter still. As I ran several TTs at once and with the BAT P5 now bonded to the Koetsu, I decided to try out the WE285L transformer in conjunction with the lower gain setting of the GCPH. Bingo, that did it, with added heft and elimination of the slight whiteness. Comparison with the Koetsu/BAT setup was close and I was immensely satisfied.

Is it the 3009 or the TD-125?
Assuming the TD-125 is similar in sound to the LP-12, the 304 on the 3009 sounded remarkably different from the Ittok. To be expected was a lighter and less dynamic sound, with the bottom lighter in heft and slam. However, it was also immediately apparent that there was a delicacy to the treble that was quite a bit more refined than the LP12/Ittok. Rhythm and pace was superior on the TD-125/3009 too: while pop material was obviously less heavy-footed, it was in certain classical material that the difference was most felt; the phrasings on violin recordings instantly felt more sinewy, the flow more organic. I'd venture to say, if you are a violin aficionado, there would be little reason to own the Linn combo.

As the TTs are more similar than dissimilar, I personally felt the arm to be more responsible for the obvious difference in sound. But is that completely true? Somehow, as in previous observations, I have a nagging suspicion that the TD-125 is also a superior turntable to the LP-12. What is inescapable is that the Linn is over-rated.

Merry-go-round 2. A sliver of Silver
Last, I installed the Benz Micro Silver on my bedroom system's Technics SP-1200. I was very pleased that the sound reached new heights. As a matter of fact, they proved so synergistic into the Linn Majik I integrated amp and Linn Kan I speakers that I may have to up my opinion on this particular cartridge by a notch. It has refinement as well as tremendous rhythm and pace that makes me think about how to further improve the main gig a little in this regard.