For anyone mulling the Hana ML (as there has been some recent mention)... I can highly recommend it for what that's worth... but it is definitely more "colored" than: Soundsmith Zephyr MIMC star, AT-OC9, AT33PGT/II (I would class all three of these as varying levels of neutrality and clarity)—the differences are not night and day however—without the comparison one could be perfectly happy with the Hana. I made a small brass weight for my Hana headshell so I can swap it with the Soundsmith. They are all great, I don't think one can go wrong with any—as long as the attitude is that one will keep collecting and exploring! AT33PGT/II is less "revealing" than the Soundsmith or OC9. BTW—the differences in these carts are maintained in different phono pre environments... so I do feel that they each have a signature of sorts. Alongside Ultra—I have been running on a different arm Pete Millet's phono pre (battery powered) with Cinemag SUTs. Now, Ultra definitely gets the most out of a record to my ears IMHO—and I am a loyal fan of Salas, so, bais aside—I don't see an excuse to not run all sorts of stuff—all are welcome in my system. 
On the list of things to do is to plug my FSP (originally set up for MM) into the Cinemags and see what's what (I want to remake the PSU to match my Ultra's). I also have some Lundahls to make into another SUT to play with that. It's all just too much fun.
On the list of things to do is to plug my FSP (originally set up for MM) into the Cinemags and see what's what (I want to remake the PSU to match my Ultra's). I also have some Lundahls to make into another SUT to play with that. It's all just too much fun.
Yes, alright as it is, but you can still quantify better what the SUTs bring to the table in combination with each phono. As a learning experience. The step ups have a narrowed optimum regarding reflected load when the direct MC leaves all load options open is another parameter.
Thanks for input, I was also considering the 750.00 Hana as well, I'm sure it is somewhat less transparent than the ML.For anyone mulling the Hana ML (as there has been some recent mention)... I can highly recommend it for what that's worth... but it is definitely more "colored" than: Soundsmith Zephyr MIMC star, AT-OC9, AT33PGT/II (I would class all three of these as varying levels of neutrality and clarity)—the differences are not night and day however—without the comparison one could be perfectly happy with the Hana. I made a small brass weight for my Hana headshell so I can swap it with the Soundsmith. They are all great, I don't think one can go wrong with any—as long as the attitude is that one will keep collecting and exploring! AT33PGT/II is less "revealing" than the Soundsmith or OC9. BTW—the differences in these carts are maintained in different phono pre environments... so I do feel that they each have a signature of sorts. Alongside Ultra—I have been running on a different arm Pete Millet's phono pre (battery powered) with Cinemag SUTs. Now, Ultra definitely gets the most out of a record to my ears IMHO—and I am a loyal fan of Salas, so, bais aside—I don't see an excuse to not run all sorts of stuff—all are welcome in my system.
The AT33 cartridge also interested me, much less price point. My feeling about these two, based on NOTHING concrete other than a listen to a much older original OC9. A little towards the wirey side I felt at time.
I'm sure the AT33 is a better cartridge, and likely the newer OC9 family as well. I feared that the AT33 might be to the detailed but thin side, which pointed me at Hana, which sounds like it would be warmer, which I tend to like, but can only stand loss of clarity to a degree, or I will tire of it.
Could you describe your feelings on the AT33 in terms of detail vs warmth.
Much appreciated. The AT33 certainly is the pri CC e bargain!
Russellc
Hi Russell—I loved the AT33, until I heard the Hana—then after a while I went back to the AT—and loved it all over again. Not helpful I'm sure. We play them both. That said—I picked up the OC9 and hated it, but then put it on a different arm and it's now a favorite and I much prefer it over the AT33! I wouldn't call any of these carts wirey or thin sounding—there's a lot of other factors here I think however. Hana is most definitely "warmer", with no loss of details IMO. I really don't think you can go wrong here—I do say this not having ever heard anything past the Soundsmith in terms of cost—not that I really believe cost to be much of a factor past a certain point—I'm sure others might disagree. Though the Soundsmith does seems to resolve even more detail than any of the other carts we are discussing. I will say—with DCG3—and the speakers we have—We do not have anything lacking in the lows—with any of these carts. I might think the Hana has a bit more perceived bass extension compared to the AT33—but the AT33 counters this in the mids to highs—Maybe that's the "warmer" perception—also the Hana is a bit higher output—so that can get confusing to compare? Like I said—I couldn't decide—and did the logical thing and made a plinth with 2 arms.
I recently uncovered new sound dimensions through the implementation of a Audio Technica VM540ML cart. In the past I thought an elliptical stylus was fine enough for me, but after I installed my first Micro Line cartridge I have to admit that there is a difference. A HUGE difference.
Soundstage is bigger than ever, separation of individual instruments or voices in choirs is a lot better then before, there is a well defined bass and midrange and a sparkling top end without any trace of sibilances. This cart is a no-brainer, considering the price of € 220,-!
The VM540 doesn't like too much capacitive load or it will sound a bit bright. In the moment I use 100 pF of additional input capacitance. Tonearm wiring and RCA cable adds another 90 pF. Resistive loading is set to 36k. To me it sounds just great, in synergy with the other components of the audio chain.
My Audio chain: AT VM540 ML, modded Technics 1200, Salas UFSP, B1ish Buffer, Randy's Aleph 30, modded 2-way speakers, no snake oil (yet).
Soundstage is bigger than ever, separation of individual instruments or voices in choirs is a lot better then before, there is a well defined bass and midrange and a sparkling top end without any trace of sibilances. This cart is a no-brainer, considering the price of € 220,-!
The VM540 doesn't like too much capacitive load or it will sound a bit bright. In the moment I use 100 pF of additional input capacitance. Tonearm wiring and RCA cable adds another 90 pF. Resistive loading is set to 36k. To me it sounds just great, in synergy with the other components of the audio chain.
My Audio chain: AT VM540 ML, modded Technics 1200, Salas UFSP, B1ish Buffer, Randy's Aleph 30, modded 2-way speakers, no snake oil (yet).
Hi,
I recently powered up and biased some FSP circuits that I put together a few years ago. These are the blue boards with the Raw power supply board from a Tea-Bag group buy. I set them up for use with MM cartridges.
For the time being, I am using a single Hammond 182M15 transformer, 80VA with dual 15V secondaries in series. I used the build guide instructions to bias the boards. Here are the numbers that I am getting:
Unloaded Raw: L= 44.8 VDC; R 45.4 VDC
Biased boards:
Left channel: R+-G=32.88 V; T1-T2=3.596 V; Raw= 42.5 V
Right channel: R+-G=32.88 V; T1-T2=3.596 V; Raw=42.4 V
How do these numbers look? Should I try to raise R+-G above 33V by playing with VR2X? Do I need to measure/verify anything else before proceeding to hook up audio and installing it in a chassis.
Thanks.
I recently powered up and biased some FSP circuits that I put together a few years ago. These are the blue boards with the Raw power supply board from a Tea-Bag group buy. I set them up for use with MM cartridges.
For the time being, I am using a single Hammond 182M15 transformer, 80VA with dual 15V secondaries in series. I used the build guide instructions to bias the boards. Here are the numbers that I am getting:
Unloaded Raw: L= 44.8 VDC; R 45.4 VDC
Biased boards:
Left channel: R+-G=32.88 V; T1-T2=3.596 V; Raw= 42.5 V
Right channel: R+-G=32.88 V; T1-T2=3.596 V; Raw=42.4 V
How do these numbers look? Should I try to raise R+-G above 33V by playing with VR2X? Do I need to measure/verify anything else before proceeding to hook up audio and installing it in a chassis.
Thanks.
Don't know about that single Hammond transformer with a serialized secondary shared between two PSUs diode bridges though. If such an arrangement will cause noise or something. FSP has been made with dual smaller 15+15 in series or single bigger 32+32 independent. No posted experience with a single 15+15 in series shared Tx. Anyway, you will see what happens.