back to tuning arms and cartridges
Preliminary listening. The Zeta tonearm on the TD124.
 | Using the Lp12 mounting base option. |
| Incognito / vdh silver litz wiring |
| Uwe bodied dl-103R MC cartridge. |
Sound of the TD124 with this arm mounted is dynamic, detailed & slammy.
setting up:
an arc protractor specific to the Zeta, made here.
Listening after mounting to this black ebony armboard. The sonic effect of the ebony, compared to the previous baltic birch board, is to alter tone from cool-analytical to warmer, rounder more inviting. A step in the right direction for now.
some hfnrr data: Zeta/Ebony bodied DL-103R/ TD124, vtf set to 2.5g, vta already optimized
| Side One, tracks 1 thru 5: pass |
| Side One, tracks 6 thru 8: clean |
| Side One, track 9: slight buzz right |
| Side 2 track 1: clean |
| Side 2 track 2, lateral resonance test: 10 hz |
| Side 2 track 3, vertical resonance test: 10 hz |
| Side 2 tracks 4 thru 7: clean |
Listening to the Shelter 501-II on the Zeta
Measured arm/cart resonance: 9 hz.
hfnrr data: Zeta/Shelter 501 type II, TD124, vtf set to 1.8g, vta already optimized
| Side One, tracks 1 thru 5: pass |
| Side One, tracks 6 thru 8: clean |
| Side One, track 9 +18 db: Fail, jumps over grooves into dead wax |
| Side 2 track 1, Tracking: clean |
| Side 2 track 2, lateral resonance test: 9 hz |
| Side 2 track 3, vertical resonance test: 10 hz |
| Side 2 track 4, Tracking, 2: clean |
| Side 2 track 5, Azimuth test, requires mono switch, don't have so: N/A |
| Side 2 track 6, Residual System noise: normal |
| Side 2 track 7, tracking, e +15db: Fail, jumps over grooves into dead wax |
I used bias tracks 6 thru 8 to adjust anti-skate. In particular, track 8 would buzz left or right until the anti-skate was given an adjustment that allowed the stylus to track thru with neither buzzing left or right. The Shelter does not track as well as the Denon, the test record sessions reveal this on the last track of each side.
I observed some trouble with this arm/cart tracking lead-in grooves on the initial needle drop. The cart tends to skate abruptly over the first couple of grooves. The problem is reduced by adjusting the anti-skate to a point where where this does not happen. However the sound with this much anti-skate seems a bit muddy and with more than usual surface noise. Clearly, the Shelter has some abnormal issues here.
Here's a close-up of the cantilever/stylus as it is now.
Above: Extreme azimuth error.
During the setup for the Zeta with Shelter I inadvertently allowed the tonearm to impact the side of the TD124 outer platter. At the time I did not recognize the extent of the damage I had inflicted. These photos do, however, explain why the Shelter no longer performs.
I will see if there is some re-tipping service that can either correct or ...... re-tip. I'd hate the think I've heard the last of this cartridge. In the past it has delivered much musical pleasure.
12/13/2008
Back to the DL-103R.
But this time with a difference. The headshell weight I used for the "mass tuning" experiment previously done with the Expressimo RB250 is used again here with the Zeta.
In order to balance this additional weight (7.5 grams) I had to install the optional counterweight insert ( a round steel plate) that comes with the Tonearm as part of the kit. The plate attaches to the back of the counterweight by 2 bolts and is enclosed by a gloss black outer cover. You can't see that it is there. Nice design.
Previously, I had mounted this ebony bodied DL-103R to the Zeta without any additional weights and reported a lateral arm/cart resonance happening at around 10hz. Now, with the added weight, the same test measures the resonance to be happening at 9 hz. 9hz is still considered within the optimal zone for most arms/carts. In this case my ears tell me that this is a good zone for this cartridge. More about the sound later.
In order to be thorough I completely sequenced the new setup through the hfnrr test record and recorded the results for comparison with previous and future setups. Tracking is obviously better than with the Shelter. See notes above for comparison. The bias tracks, 6 thru 9 were clean except for the last torture track which buzzed on both channels equally. Note; I had used track 8 to set anti-skate. When there was no buzzing either left or right, the skate was set. Below are the test results:
Side 1: (vtf set at 2.2g)
- L-R: pass
- Phase check: pass
- channel bal: pass
- channel bal, L: pass
- channel bal, R: pass
- bias +12db: clean
- bias +14db: clean
- bias +16db: clean after anti-skate adjust
- bias +18db: buzz left&right but tracks through
Side 2:
- Tracking +15db: clean
- arm/cart res, Lateral: 9hz
- arm/cart res, Vert: 10hz
- Tracking, 2: clean
- Azimuth test, requires mono switch, don't have so: N/A
- Residual system noise: normal
- Tracking 3, clean
The Sound
After this I played 4 different Lps. First; Paul Simon's "There Goes Rhymin' Simon", to check vta. I had already found an optimum vta setting without the weight in the first setup and was able to get in the ballpark by calculating additional height needed for the headshell weight. I made one more adjustment to vta and found what seems like a pretty close setting based on previous listening. Perhaps a small adjustment will be made later, but this seems pretty well in the zone right now.
| Phoebe Snow. Self titled Lp from 1974 |
| Paul Simon, There Goes Rhymin' Simon, 1973 |
| Pentangle: Basket Full of Light, 197? |
This is all within the rock, folk/rock category because that's the personal track I'm on lately.
The Paul Simon and Phoebe Snow albums; folk rock - bluesy gospel rock - R&B. These feature acoustic and electric stringed instruments, rock percussion and various keyboards. The back-up vocals on both Lps are by --a cappella doo-wop-- inspired vocal groups. "The Persuasions" on Phobe's Lp, and "The Dixie Hummingbirds" on Simons'.
Listening to this material with the new arm/cart setup:
| Easy flow , sparkling details. ambiance and presence. |
| Dixie Hummingbirds back-up vocals, at once sweet and guttural, delivered with power in the lower frequencies -- bass singer's presence strongly felt. |
| The first few guitar notes on Sam Cooke's "Good Times" draws me in to the laid-back and bluesy groove that propels the tune forward. My favorite track. |
| Harmonies are populated by Snow's elastic contralto and the Persuasion's multi-textured back-up. The instrumentals are top drawer. Many other tracks on this Lp offer similar qualities. |
The Pentangle Lp, unique, yet somehow belongs with this group. It's a mix of acoustic guitar, sitar, vocal and rhythm that defies classification. But for its time, did blend well to the pop scene with a unique jazzy folk ancient/modern psychedelic style. This music also benefited from the "mass tuned" arm/cart setup.
| Acoustic instruments and indeed vocals seemed to articulate crisply with force and atmosphere. |
| A greater sense of punctuation and impact. |
Previously, I had auditioned and reviewed Chris Brady's Verus Motor Upgrade on my Teres turntable. It is important to note that this audition happened just before I came into possession of the Zeta tonearm. The Verus Motor was on its way back to Teres-Audio by the time I was listening to the Zeta on the TD124.
At one point during that Verus audition I listened to Pink Floyd's "Wish You Were Here" Lp. On the Teres I had mounted the Graham 2.2 tonearm with the same Shelter 501 II that is referred to on this page. I recall thinking at the time that --that-- was the best I'd heard this piece in my own system. So naturally, today I thought it might be interesting to hear the same Lp again at similar volume levels....... but this time played through the TD124/Zeta/ mass-tuned DL. Otherwise the signal chain is the same. So I played it. Here are my observations:
| Atmospheric, aliveness, --large--, involving. They used to call it "Space Opera". Now I remember why. |
| Played loud it's still easy on the ears. Not fatiguing |
| Electric Guitar Solos, in beautiful tone, have a sense of "edge" and sting but do not pierce |
| Hi-hat cymbals, not as crisply defined or "urgent" sounding as per Teres/Verus |
| Bass slam: This is as slammy as I've heard my system play yet. |
| Lower frequencies--visceral sensations--gut felt |
| Not as detailed--finely detailed as per Teres/Verus |
| Sense of pace/momentum not as urgent as per Teres/Verus |
| TD124/Zeta = Organic |
| Teres/Verus = Analytic |
| Sense of power and overall presence goes to TD124/Zeta |
If I had to choose between Teres/Verus and TD124/Zeta, based on this one performance, it's the TD124 for its more powerfully felt presentation. However the choice does so at the sacrifice of a considerable amount of focus and resolution provided by the Teres/Verus. The Teres does provide loads of musical detail, and also the fine inner delicate details that the TD124 just doesn't do. However with the Zeta tonearm the gap in this area of performance has been considerably narrowed. The Zeta does allow fine musical detail to make its way out the speakers. More-so than when I had the Graham mounted to the TD! Or did I remember that right? Not sure.
Comparing the Zeta/DL setup at the top of this page to the "mass tuned" Zeta/DL in this section is easy and obvious. The main improvement heard is in ease of musical flow. There is a greater focus and clarity heard at every frequency level. There is a greater sense of power to the delivery. Slam. Did I mention slam! There is greater speed over the dynamic range. Speed of transient attacks are quite obviously improved. Also, a sense of presence and aliveness I haven't heard before from the DL-103R.
This tonearm appears to play to the strengths of the DL and vice-versa. I knew the Zeta was good. I didn't know the DL-103R was this good.
12/19/08
Several days later. I'm even more happy with this current setup than I was after the first long listening session. I've played a mix of jazz, classical and pop/soft-rock/folk through it. In every case the music flows natural and is finely textured and tuneful. Dynamics and slam are the best I've had from this combo. This arm/cart enables my system to sound big and dramatic like it didn't before. Even with the then healthy Shelter/Graham combo.
Detail retrieval is amazingly good for a DL103R. I would never have suspected it could perform to this level. In this category of performance it really is in the same league as the Graham. Perhaps the Graham delivers more tone and texture, but not by much. Yet what the Zeta does, -that the Graham does not-, is to deliver more excitement and punch.
re: Shelter.
Now that the Shelter is damaged and unplayable, I should feel as though something is missing. But the current configuration is so good that I'm completely distracted by it and really unconcerned about the Shelter. I'm sure I'll find a good service to have it repaired sometime in 2009. It can't die just yet.
11/26/09
It has been a couple of months since I mounted another DL103-R to this Zeta tonearm. This time the cartridge has been re-tipped with SoundSmith's Ruby cantilever/line-contact diamond stylus. Price: $250 for the re-tip service including the cantilever/stylus. The work was performed by Peter Ledermann at his company, SoundSmith. SoundSmith can be found online at: http://www.sound-smith.com/
hint: click on thumbnail to view full sized image
Above image: the re-tipped DL-103R is housed in a new Uwe Panzerholz wood body.
For more information on Uwe exotic wood-bodies link here: http://www.wood-body.de/
Once I had the 'revitalized DL-103R' mounted and aligned to the Zeta I was presented with an improved sound quality compared to the previous incarnation. The difference heard is mainly revealed as an extended upper frequency. But it isn't just limited to that. There is also an increase in detail retrieval. Not a huge increase, but detectable nonetheless. So now, for the price of one Denon DL-103R ($279.00) plus Uwe Panzer Holz body (100euro) SS ruby retip ($250) = $650.00 or thereabouts..., one has significantly more money invested... Even at this price, the hot-rodded Denon is a true over-achiever and well worth having.
note: The only differences between now and before was the ruby/fine-line cantilever by SoundSmith and a different wood body by from Uwe. The previous body being milled from solid Ebony. This one is milled from a block of Panzerholz. The Panzerholz is a bit denser/heavier than the Ebony. Its multi-ply construction (might/could/should) lend a certain constrained layer effect to any dampening of unwanted resonance leaking up past the stylus groove interface and flowing into external surfaces of the cartridge and tonearm, whilst playing records.