#at7v.

[audio-luddite]

More listening.

That is the point no?

I had some time with the wife away.  I spun up a few albums.

One of the “you always listen to the same things” albums is “Famous Blue Raincoat”.  Jennifer Warnes singing Leonard Cohen songs.  It is a biggy in the world of audiophiles.  It is also excellent music.  Such a rare combination.

I have two copies of this.  Both sound very fine, but one has a tick on side two, so I got another.  Both are normal original production not the fancy 180 gram reissues.

It is amazing from lots of angles.  Great songs, great performance, great recording.  I have played it dozens or even a hundred times.  No real idea.  Just accept that I know this one.  It is almost certain that all but a few of those plays were using the Signets TK7. The vast majority with were my current electronics, and lots were with my crazy invisible speakers.  I know what this sounds like on my stuff.

And it was different last night.

The differences were not that subtle.  First thing was the mix seemed altered.  Instruments were more or less prominent in specific places. JWs voice was more realistic, and I had never before noticed her breathing.  I could clearly hear every inhalation.  I could separate each background singer and identify when JW was backing herself up. More detail was coming off the plastic.  I was entranced and puzzled.  I always have to know why, knowing I can’t find out, so I end up guessing.

It was different, but was it better? That is a solid I do not know. The change in the mix was bothering me, but I really liked the extra detail in the voice.  My guess is that the cartridge has a slightly different frequency response. Is that the cartridge, or the mount, or the phase of the moon?

This was the AT7v in the generic head shell with a 1 gram lead weight shim.  All those things affect sound.  Most of my listens to this album were with the Signets on a Grace 707 with a carbon fiber shim to suppress vibration. I cannot try the Grace as it is boxed up in the crawlspace.  The TK7 is now in a pretty solid alloy fully adjustable head shell quite different from the Grace 707.

Everything affects everything.

I started to think of those guys doing reviews. All my recent purchases have been reviewed, and I read them. Often they list their equipment, and I have never seen those lists without some compromise or quirk in the chain. Or even a crazy extreme thing that makes you question the judgement or even sanity of a golden ear. One guy had a turntable that costs 6 figures! It is easy to tell the best if you only read the price tag.

I guess where I am at is I can get everything off an album.  The specifics may be different, but if there is a sound there it cannot hide.  I have favorites.  I have things I am familiar and comfortable with.  And I am curious.

Right now I have four cartridges mounted and ready to ride. All are good and recommended in some way. 

One is a price performance thing.  That is the Vessel A3Se at $100.  It is really nice, but it is not as nice as the other three.  I regret buying it.  That is only because I had two that were better by a big margin.  By Better I mean more information off the LP and more complete sound.  I restrain myself in describing the differences in negative terms towards the Vessel.

Two are no longer made so I had a legitimate question about keeping my system operational.  They are the Signets TK7 I am always going on about, and the AT440 Mla.  The first is a honey, but the proper stylus is no longer available.  The second has a mixed reputation and parts are still available for now. They have very similar sound, that I like.

I would like a current production unit if only because it is supported.  Hence the AT7v.  Not too expensive and you know pretty damn good.  The tribe suspects it is a derivative of the Signets in some fashion.  But JW tells me it is different in significant ways.

I bought a Grado Green which I found pretty damn good, but it is now married to another turntable.  That was part of the current production exploration.  I will probably buy one more Grado.  I am tempted by the Timbre Opus 3. It is funky with a wood body. Grado is a very good company, and I really like contrarians like them.  Who needs Moving Coils?  Nobody!

I might sell the Signets to pay for the Grado.  I have two other ATs that sound very much like it.  Maybe someone else would like to try it?  It replaced a Shure V15 iii and was much better if you need a common reference.

[audio-luddite]

Music is the point right?

I spent Saturday going through a lot of albums.  Almost all date from the 70s and 80s.  I was playing it loud for three reasons. One there is a construction job going on next door and the cats are upset.  Two the wife is away helping with the grandkids.  Three I like it.

An important reason for having lots of Watts (500 ish) is to be able to play loud clearly.  A big amp loafing will sound better than a little one straining.  (Sorry class A triode guys)

So comments, conclusions and all that?

I am gaining even more respect for the Audio Technica AT7V.  I am hearing new things on several albums. Different balances and details emerge. But one thing I had not thoroughly tested, really big classical recordings.  Well check that box.

Saint-Saens Symphony #3 L A Philharmonic Zubin Mehta.  It is called the Organ Symphony as its got one. And a couple of Pianos.  Camille Saint Saens was a keyboard prodigy on the order of Mozart.  He was the organist for several large cathedrals as it was a solid income.  He knows that instrument.  He wrote a fair bit of music. He was a hero and teacher to many notable later composers. He did good work. This one is a LONDON /DECCA LP FFRR dating from 1971.  Still in remarkable shape.  This is a solid bit of the repertoire.

This symphony is a big as they get.  There is lots going on and the little AT7V pulls it all out.  Even with the Organ roaring all the other instruments are there and in their proper places and most important they sound right.  Woodwinds sound woody, Brass is brassy and big drums shake the room.  Oh and when the low pedals of an Organ fire up that shows up on the Richter scale.

As a side note this level of clarity needs a special amplification stage.  You either need dual Mono amps or an amp with independent power supply or filtering each channel.  Full out there will be crosstalk through shared power supply rails.  It sounds like mud and confusion.  Some people will blame the wrong thing when they hear that.  It is the power amp.

Now I am not going to say this is the best sound possible.  There really is no best.  We are getting everything off the record.  I was just listening to the performance and it is a good one.  It is about the music.

Finally for the time being this is the boss pickup.  I am even thinking of selling the Signet.