http://www.vinylengine.com/images/forum/stylus_shapes/FG_stylus_with_ruby_cantileverErnie.jpg
This is glued on ruby, so i assume with boron the same. It seems to be more glue than expected.
Boron is used because its harder than aluminium, giving different damping properties.
This is glued on ruby, so i assume with boron the same. It seems to be more glue than expected.
Boron is used because its harder than aluminium, giving different damping properties.
Not always ? http://i170.photobucket.com/albums/u252/fftulip/audio/Dyn30B_sty.jpg ;-)
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Yes, but the 30 B has a solid boron rod, no tube. ( some say ist beryllium, but most sources say boron)
Today laser drilling is possible, whatever material, but with alu you can press fit due softness, then adjust the diamond and then glue, minimal amount, boron is very hard (9,3 Mohs), density is nearly like alu, so there i see no advantage for solid boron, its more mass than a tube.
A never ending story
Today laser drilling is possible, whatever material, but with alu you can press fit due softness, then adjust the diamond and then glue, minimal amount, boron is very hard (9,3 Mohs), density is nearly like alu, so there i see no advantage for solid boron, its more mass than a tube.
A never ending story
Resonance is one of the key reasons I use a Dual/Ortofon setup. In their days od heavy advertising, Dual claimed that all their tonearms with twin mechanical filters (which includes mine) wiil have a resonance of 2 dB 8...10 Hz, and showed this for Ortofon LM 20 cartridge. Resonance was +2.2 dB at 9 Hz, almost perfect.
This explained why I, unlike many other Ortofon cartridge owners, never had any need to complain of either slightly weak or exegerrated bass lines, rather it comes across as very well tonally balanced cartridge.
Have a peek at this by Calvin MyTechnics - en - calvins-audio-pages
As you erm, have a smidge of fabrication experience you should be able to produce something really quite nice.
Strain gauge does seem to have advantages. Shame the soundsmith setup is so expensive.
I believe it was really made by a company named Euphonics. At Scientelec, we were selling rebranded ones at the time.
There had a fantastic tracking ability and damping with high output level. The only problem was we do not provided response curve correction to compensate the RIAA flat range between the two time constants, using only the fact that they had a response proportionnal to the deplacement. So, a little lack of medium/ treble.
Was this something like the Stax oder Toshiba Electret Pick-Ups, which need their own RIAA Box?
No a completely different principle, I had an electret cartridge with internal caps to make the result RIAA. They used a small piezo-electric element similar to a condenser microphone but in this case solid. A semiconductor strain gauge is a true DC position sensor based on resistance change due to flexing in one or more dimensions. That is why you see an excitation voltage/current, the output is proportional to the excitation so depending on design you can get a lot of output.
@ Scott Wurcer
Thank you for explanation.
@SY
I think, all those special types needed their own and costly box. Not compatible.
Some of them in need of additional tonarm wires for power supply.
On the other hand MMs could be made very cheap and used the standard phono input.
I am pretty sure, that Shure sold x-times more M 75 than V 15 just due price.
And the stylus could be changed by the customer in a second or two.
Thank you for explanation.
@SY
I think, all those special types needed their own and costly box. Not compatible.
Some of them in need of additional tonarm wires for power supply.
On the other hand MMs could be made very cheap and used the standard phono input.
I am pretty sure, that Shure sold x-times more M 75 than V 15 just due price.
And the stylus could be changed by the customer in a second or two.
Couldn't find much, here's a description I guess the circuit inside was more complicated.
Micro-Acoustics
The Micro-Acoustics was drop-in compatible with MM inputs. So it's still a mystery to me.
Robertson had a box to interface with the Panasonic strain gauge. Ditto Win. Weathers had one for their FM cartridge. You could argue that this is special and costly, and you'd be right, but it was no more costly than other good phono stages. I think in their case, it was the desire of fashion-driven audiophiles to be able to mix and match, analogous to the commercial failures of powered loudspeakers.
Another fact, here in europe those special thingies were almost unknown, be it brand or technology. We only knew abouth the Stax, but i do not remember that it was demonstratet somewhere.
High End Focus was more on the newest stylus and other gimmicks, and there had to be a good story making them popular.
I met several distributors and makers for Pick-Ups, stories, stories...
And people were keen therefor.
High End Focus was more on the newest stylus and other gimmicks, and there had to be a good story making them popular.
I met several distributors and makers for Pick-Ups, stories, stories...
And people were keen therefor.
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