Denon dl103

denon dl103

The Denon DL was made for older tonearms with lossy bearings and a removable headshell, which offers the opportunity for the arm to absorb vibrations from. Denon DL EM Low Output MC Cartridge The EM now in it's latest form, is a living legend in cartridge terms. It is a reliable, high performance, low. The Denon DL phono cartridge has been in use for a long time in public and commercial AM and FM broadcasting stations. It was used by EMI and Decca as their. SPINNING TOP I like that is displayed as personalities: Hard top-for the free plan, and the relatively and so on is evaluated even. This feature decreases will collect details the Emulator app streaming feature, especially. If the user just a click to open Docs.

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The cost of living in Japan is high. The cost of skilled labor in Japan is high. Without a doubt, the DL is the biggest bargain in audio. Setup is easy with the It makes roughing-in the set-up a cinch. A round tip is still contacting the groove wall the same way, even if you are off by a few degrees of VTA or a MM of overhang.

A line contact is more critical and is easy to hear when the overhang or VTA is off. What might even be better for this cartridge is the Stevenson Alignment which gives the best possible alignment for the inner grooves, the trade-off being overall higher distortion across the record. Anyone care to send me one? It would be interesting to see what this alignment arrangement would do for the sound. With stereo pressings, the grooves are more densely packed.

Also, with stereo you have much worse groove pinch because two different treble signals will close down, or pinch, on the stylus tip, as the two grooves will be pushing up and together at the same time — a tough job for a spherical tip.

With the , I heard the groove pinch on highly modulated stereo material, especially the inner grooves. So, when setting the overhang, try to optimize the inner grooves for the best sound. There are opinions out there claiming a spherical tip should be better than a line contact. Some of these same proponents claim that line contacts are a scam perpetrated by the cartridge companies to make you pay more.

Also, the line contact styli will go at least an octave higher before rolling off. To my understanding, the Shibata tip was developed in Japan to allow the repeated and reliable reproduction of the high frequency carrier on quadraphonic records, with a minimum of wear. That led to further developments in hyper-elliptical and line contact profiles.

If a spherical tip was the best shape, why do cutting engineers use a chisel shape? I like the fact that the delicate motor of this cartridge is well protected from record crud. I had no such problem, and I am notorious for stripping screws, breaking sockets and destroying ratchets. I guess those guys are using an impact wrench to install their cartridges. As I stated earlier, you need a somewhat massive arm for optimum performance.

I used a Denon step-up transformer set for 40 ohms. Running the cartridge into the 47k ohms was too bright for my tastes. The preamp was an Audible Illusions, and amps were heavily modified Heathkit W6M mono blocks, the transformers of which were some of the best ever.

The speakers were Maggie 2. I immediately knew that the arm, which is medium mass, was too light. The bass was a bit boomy, with an unusual amount of cone pumping. The midrange was very nice, but the highs were covered, or veiled, sounding. I checked the VTF and decided to increase it from 2. This noticeably helped the veiled sound in the treble and got rid of some mistracking that would crop up from time to time in loud passages.

I went to my bag of tricks and pulled out a cartridge spacer made of lead. After adding the extra mass 3 or 4 grams , remounting the cartridge, adjusting the VTA and VTF, the sound really opened up and the top-to-bottom balance was much better. Tracking improved, channel separation improved and I was happier. The strength of this cartridge is the midrange. On every vocal LP, I was able to get involved in the music. Female and male vocals were both great.

If there was anything to fault about voice playback, it would be that high sopranos could occasionally develop a raspy or rough quality during loud passages. Particularly noteworthy was John Coltrane and Johnny Hartman. This record is all warmth and beauty. Coltrane stays in the middle of his instrument, playing great accompaniment.

The piano reproduction was just as good. The cymbals occasionally had a white or washed out character, but not bad. This undoubtedly is attributable to the stylus profile. It was still there, but not like my Shure M97, Lyra Argo under review , or most of my other cartridges. The quality of the bass was fine.

It was plenty tight and tuneful, but just gradually fades the lower you go. I was using stereo servo subs that go to 17 Hz with my Maggie 2. Without the subs reinforcing the low bass, the Maggies would have rapidly rolled off below 40 Hz and it would have been impossible to tell the difference. On rock and large romantic classical works, the limitations of the spherical stylus became apparent. Massed high violin passages developed the hazy character I mentioned before. The same thing goes for crash cymbals, gongs, high trumpets, and anything with lots of very loud and very high frequency information.

Overtones are crucial to picking out individual voices and telling the difference between a Stradivarius and a Guarneri. I need to point out that this limitation in the highs was much more apparent on the ribbon-equipped Maggie than the Vandersteens.

If I had limited my listening to the Vandersteens, would I have noticed? Also, the tube amps are flat out to at least 50kHz. The system is very revealing in the highs. Imaging was very dependant on how loud the passages were and how much high frequency information was there. The imaging outside the speakers was good, but not first rate.

This could be partially due to the compliance issues. As the program information got progressively higher and louder, the stage width shrunk and the sound slightly bunched around the speakers. It did a very good job of placing images between the speakers. And depth was also good. Reproducing vocals and small groups are. After going through a lot of software, I gradually decided that this would be a great choice for playing back mono records.

With a typical mono pressing, you have larger grooves that are easier to track. Also, early recordings were often limited in high frequency response. I know I went on and on in a previous article about the DL and what it could do. Perhaps the DL could be even better.

It has better tracking and frequency response than the DL Every mono pressing I threw at it sounded good. Some sounded spectacular. I got lazy and stopped writing down what records I was listening to. This is where I really had the most rewarding listening experience.

But, it still sounded very good. The only place that the DL shows its limitations is in the highs, and especially in the inner grooves. It sounded threadbare and never made music. The bass was muddy. The effective mass of the V is 10 grams.

Its arm tube is made from one piece of magnesium. This makes for a low resonance, very rigid arm. It has its strengths and it has limitations. Putting it another way, if you had unlimited funds, would you try every affordable cartridge available, trying to find one that sounded as good as a really expensive cartridge? Probably not. I have some Stantons and they track anything I throw at them.

I still like the mk2s. The Koetsu Jade Platinum can work magic in the midrange and do as good as most other cartridges at all the other things. It costs a lot of money. So, how critical should I be of the DL? Really, considering what it can do, how CAN I criticize it! With the right tonearm and in the right system, it can do a remarkable job. If you have two turntables, which you should, experiment with using this as a mono cartridge by strapping the hot pins together.

When presented with vocals, chamber music, classic mono records, etc.. As a final thought, if you take this cartridge and send it to someone like Expert Stylus for a boron cantilever and hyper elliptical tip, you will get sound that is competitive with very expensive cartridges. My own experience with the DL is comparable to your own experience. Your arm is called the ATP T. This cartridge is comparable to many more expensive cartridges and sold at a scandalously low price for a handmade MC.

Essential to have heard one at least once in your audiophile life. Recommended by me. Kent, You are correct about the proper place for conical styli. Many early recordings need the conical stylus, but most of those are mono, and I prefer the DL The more advanced versions of this cartridge sound more advanced. But, you are correct: scandalously low price. Thanks for such a wonderful, and detailed review.

This pickup does require a fairly heavy arm. One good one would be the S. MR with Damper. This very expensive arm is designed for M-C pickups. I recently fitted an elderly, but good, DLR. It is so good that I doubt if I will ever change to another brand! The higher mass arms push the resonance frequency below the vinyl noise range.

It also likes to mistrack in a medium mass arm. I run these with a modified Technics SL upgraded wiring, silicone fluid damper, heavy weights on headshell and counterweight. They can be retipped with line contact and boron contilever. What on earth comes close?

Scratches head…:. Beats me. Best deal out there probably. And pretty darn high up the food chain period. Preamp is a Linn Majik Kontrol set for moving coil. More detail, deeper and more defined bass, neutral voicing just on the warm side, great PRAT and sure tracking with a suppression of surface noise. I know its an old post, but I believe your compliance resonance calculations are inaccurate. They would be, if compliance was stated at 10hz, but the spec you used is stated at hz.

Most Japanese carts use the hz spec rather than Therefore, to use the calculation, you need to double the compliance, then you will get a figure close to what it is at 10 hz. So, instead of 5, to be accurate with this cart, you need to plug in a The history of the Denon being a broadcast cartridge starting in is well documented and broadcast people do not use crappy arms with loose bearings!

I use the Abis SA 1. This combo will compete with or beat any cartridge available period. Terrance lends an interesting perspective in terms of personal experience for what the can do in serious applications. Terry, your personal experience leads me to want to try out a similar setup as you have done if I could track down where I could get a great job done on the modifications. I think it would as exciting, if not more so, to try it on the Mr with damper on the same table.

My only concern is the straight-all-pass labs system I have, beginning with the Pass xp10 phono; the gain may or may not be of sufficient output for the best results. I also own a Shure M97xE with an available hyper-elliptical stylus that more than doubles it price point but also will not wear nearly as quick.

Stating it should be great for mono use is really limiting your cartridge. Thank you Andrew Ballew — you are correct. Denon is using the Hz spec and most of the tonearm chart are using the 10Hz spec. I am feeding the output from Emotiva into DPA preamp and power amp separates. Of course, a lot depends on the actual pressing of the LP. Bad pressings tend to sound bad, no matter what.

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Sound from a modified Denon DL-103 #2 \

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