Way before I knew about SPUs and DL103s, I experimented with an entry level Audio Technica AT31E MC cartridge. Since my NAD 3020 didn't have an MC input, a pair of Sony HA-T10s were recommended at the same discount NYC store. I mounted the cartridge on a Grace G707 which was perched on a "molested" AR-XA. The sound was very different compared to my Grado GTE+1 - quieter background, more detail, deeper and wider soundstage, albeit less midrange presence and warmth.
I moved on to a Grado Signature 8, 8MX, MZ and lost track of my Sony HA-T10s. I probably loaned them to an audio buddy who forgot to return them. During a moment of nostalgia, I hit the BIN button for a pair @ a little over $100, shipped! I've listened to them with all the MC cartridges pictured above and they make pretty nice sounds!
However, I can only justify the price I paid because of sentimentality. To my ears, the Shure mic transformers below are mucho better performers at ~ $40/pair + some DIY. Remember that HA-T10s were mass produced MC step ups, not limited production transformers using exotic nickel/amorphous/Finemet materials. Thus, sellers asking $200-400/pair are greedy!
Let me just say this to Shure microphone transformer sellers - as good as they are, once you break the $100/pair barrier, you've got tons more competition. So if you've got business smarts, be reasonable!😎
Soulless creatures will assert that I love listening and looking at distortion when I say that triode amps make music sound more gratifying while classic lenses make pictures look more pleasant to the eyes.
They can carry on with their SINAD and MTF charts while I enjoy the 21st century with retro tech gadgets, which were designed by human ears and eyes aided only by primitive computers and instruments.
Leica M and LTM lenses have significantly appreciated in value, with M42 lenses following at their heels. However, the German lenses below can still be found at reasonable prices in DKL and Exakta mounts. These are just as easily adapted to current mirrorless interchangeable lens camera bodies.
I pulled this Schneider Kreuznach Xenar 45mm f2.8 out of a Kodak Instamatic Reflex camera. It doesn't have the sharpness nor resolution of its bigger brother below but it renders nice colors with low to medium contrast. The short throw focus and compact design makes it a nice street shooter.
This Voigtländer Color-Skopar 50mm f2.8 is normally found in a Bessamatic, also a compact design like the Xenar above but heavier. It's almost at par with the Xenon in terms of sharpness, color saturation, resolution and contrast. However, vignetting becomes apparent at wider apertures compared to the Xenar and Xenon.
Fujica ST801 + DKL>M42 lens adapter + Voigtlander Color Skopar 50mm f2.8 Ultrafine Extreme 100 in Rodinal 1+50
The monochrome film pics above were taken by the DKL lenses mounted on my Fujica ST801 M42 camera body via this DKL>M42 lens adapter. This adapter can also be mounted to an M42 adapter for your favorite mirrorles interchangeable lens digital camera body.
The Exakta VX camera was immortalized by James Stewart's character in Alfred Hitchcock'sRear Window. I don't know if Hollywood contributed to the asking price for these cameras, but we'll focus on its cheaper siblings instead.
Based on the serial number my IhageeExa + Isco-Göttingen Westar 50mm f2.8 was produced between 1956-1959. It's a very basic design with 4 shutter speeds -1/25, 1/50, 1/100, 1/150 + B and the mirror was integrated with the shutter mechanism. It came with a waist level viewfinder, which can be replaced with various focusing prisms including an eye level viewfinder that's interchangeable with the higher end Exakta. The Westar lens is a basic single coated triplet. I got it from my friend Mike, who's also an audio hobbyist.
I've only shot two short rolls with this camera. I'm having issues getting used to the waist level viewfinder, which might be psychological since I don't have trouble using medium format twin lens reflex cameras.
I've been hunting for a Meyer Görlitz Domiplan 50mm f2.8 in M42 for many years but couldn't justify the asking prices for a single coated three element lens. So I ditched the M42 idea and got an Exa II camera with a Domiplan lens cap instead. The Exa II was upgraded with a focal plane shutter with speeds from 1/2 - 1/250 in geometric progression + B and was fitted with a fixed eye level viewfinder. This camera was manufactured between 1960-1963, which makes it just a tad older than I am.
As long as the Exa and Exa II are loaded with ISO 100 film, the limited shutter speeds is a no brainer. It's just like shooting my Leica II and its Fed and Zorki cousins. Just as I expected, the Domiplan and Westar triplets can be very sharp in the center. From there, it builds up lots of character towards the edges, especially at wider apertures.
Vintage glass + digital camera bodies take the edge out of pixels just like triodes and transformers make music more harmonious.
My buddy John Piro has a knack for finding obscure vintage hifi pieces and has built up quite a collection. A couple of summers ago, he offered his spare blonde plinthed HF500.
I had just acquired my first and only genuine Gray Research 108C viscous damped tonearm and couldn't pass up the opportunity to pair them up.
Capstan Drive
The Gray Research HF500 turntable employs a unique drive system. Strictly speaking, it is not an idler drive. A round section rubber belt is partially embedded around the outer rim of the platter, which is driven directly by the motor shaft. Capstan drive is probably a more appropriate technical term.
45 + 78 rpm capstans
To change speeds, the corresponding 45 or 78 rpm capstan (or bushing as termed in the manual) is placed over the native 33 rpm motor shaft.
AFAIK, the only turntable from this era which also drove the outer periphery of the platter is the equally rare D&R turntable, but as depicted above, it uses a rubber idler wheel.
The Gray Research capstan drive may have been the inspiration for Mr. Takeshi Teragaki's three turntable designs for Seiko-Epson - ∑2000, ∑5000 and ∑5000II.
This iron platter/bearing combination weighs close to 20 lbs. The 1" spindle tapers to 13/16" which turns on a 1/2" thrust sphere at the bottom of the sintered bearing well.
After experimenting with a couple of belt sizes, a 3/16" (cross section diameter) x 36" polyurethane round belt x from McMaster Carr, catalog #3044K705 gave the steadiest stroboscope readings at all speeds.
Disassembly
Remove the four screws as indicated by the red arrows.
The plinth lifts from the bottom frame.
The top plate is a massive 1/4" thick metal resting on rubber pads at each corner. Prior to installation of new rubber pads, motor vibration could be felt at the tonearm finger lift.
With new rubber pads installed (+ new motor mounts, see below), vibration was practically nil. The material I used looks very similar to replacement rubber soles used by shoemakers.
Removing the motor
To release the motor from the mounting bracket, straighten and pull out the cotter pins.
Left = worn out motor mounts Right = fresh motor mounts
Another source of vibration were perished motor mounts. Brand new replacements are available from Surplus Sales of Nebraska - Rubber Shock Mount, Part No. RPS - 426-0001.
New rubber mounts installed
Before reassembly, I cleaned the motor and re-lubricated the bearings with engine oil.
None of these camera accessories will enhance anyone's picture taking abilities, but talking about camera gear is a pleasant respite from audio.😉
My Olive BillinghamHadley Original has been a loyal companion since the mid-90s. Due to its larger size, it encourages me to bring more gear than necessary. Recently, I got this navy canvas/chocolate leather Hadley Pro Small for moments when I want to travel light.
A Leica M3 + 35mm and 50mm lens, Fuji X-E3 + lens, a 5 roll film case + other accessories and gadgets easily fit in the small Hadley Pro.
When I posted the above picture + caption in my 2020 preview, I was drawing an analogy in which the turntable is a violin, the tonearm is the violin bow, and the phono cartridge is the violinist. Due to unforeseen circumstances that year, I was only able to cover 11-12" transcription length tonearms contained within the Garrard 401 + Alfred Bokrand AB309 essay. Even if I'm committed to transcription length tonearms for ultimate LP reproduction, below are capsule reviews of 9-10" tonearms I also like and use.
Although not the last word in terms of detail retrieval, the DA305 has the ability to recreate the atmosphere of a fine concert hall. Aside from bringing out the best from the Denon DL103, it also partners well with low compliance magnetic cartridges like the Shure M3D. Musically, very honest!
The FR24 displayed excellent synergy with medium to high compliance magnetic cartridges. It was the perfect mate to the Nagaoka MP10 and is equally at home with the high compliance Shure SC39ED. The sound was not as exciting when paired with lower compliance cartridges. A beautiful design with a bejewelled feel!
Tonally, the FR54 sits in between the DA305 above and the FR64fx below. I love this tonearm because it sounds detailed yet musical - a combination of virtues that's not easy to achieve. It is best paired with low to medium compliance magnetic and moving coil cartridges. Although at the limit of its range, it can handle an Ortofon SPU and does quite a fine job on playback!
This is the most massive tonearm in this group and the only dynamic balance design. Top flight low compliance moving coils like the SPU are its natural partners - definitely not designed for high compliance cartridges. It allows the proper cartridge to trace every micron of detail from the LP groove. However, there are moments when this virtue gets in the way of musicality, since it can also sound analytical and dry. It's the antithesis of the Denon DA305. Could this be the reason why its FR64S sibling is more sought after?
In the mid 90s, the G540L proved to my ears that the concept of a removable headshell being detrimental to good sound was a myth. So I unloaded my Rega RB250, RB300 and Sumiko FT-3 and started collecting tonearms that accepted IEC headshells.😊
As I mentioned in my reply to a reader's query in Snell Type J III, Part 1, I'm the temporary caretaker of a pair of 15 ohm Rogers LS3/5As while my buddy Jose's basement is getting sorted.
ca. '93
Long time readers know that I was aBBC LS3/5A user. A pair of 15 ohm Rogers replaced my Magnepan SMGas in '86. As a partner in a company that distributed Spendor speakers in the Philippines in the early 90s, I also owned a pair of 11 ohm bi-wireable Spendors.
ca. '94
In the preceding two pictures, my pair of DIY PP2A3 monoblocks struggled to drive the Spendors in my tiny apartment. Despite that, the BBC near field monitor opened my ears to the virtues of directly heated triodes. Alas, they were superseded by Altec 755s because I needed more efficient speakers to pursue flea-powered single ended directly heated triode (SE DHT) amps.
The Bextrene cone KEF B110 5" woofer + the complex crossover/EQ network = 82 dB/1W/1M, very inefficient! But kudos to BBC engineers, IME, the speaker is still a relatively easy load for low-powered tube amplifiers because of its high(ish) impedance across the audio band.
Just as I remembered, the LS3/5As are very capable of portraying the midrange magic of an SE300B or even an SE2A3 at near field distances. However, to get some boogie factor out of them, they need the power output of at least a Dyna ST35. But as good as the ST35 amp is, a catch-22 situation ensues because it sounds veiled compared to the aforementioned SE DHT amps.
Snell Type J III + Rogers LS3/5A
I was viewing the past through rose-tinted glasses when I posted (#3) in HiFi Haven - mea culpa! There's a greater similarity in tonal character between the Rogers LS3/5A and Snell Type J III. The Altec sound is another entity altogether!
Given my post SE amp/High Efficiency transducer expectations, the Altec 755As in Dr. Bae/Silbatone cabinets are tonally more lifelike across the audio band, offers better resolution, has more low frequency extension, greater micro and macro dynamics and plays at higher SPLs in a package that's not significantly larger.
Listening to the LS3/5As was like seeing a former flame. The familiarity is there but the chemistry and fireworks are gone. (◞‸◟)ﾉ
