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About Shark

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  • Birthday 12/05/1957

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  1. Hi Tommy(?), the link below leads to the website of Transcendent Sound (Bruce Rosenblit) and offers one of the best value for money Phono Stages available. If your handy with an iron, buy it in kit form, if not, buy it built! These kits are very easy to build however. I've had mine for 8 years or so, modified it slightly, and I imagine you'll need to spend upwards of $5K AUD to better it. And it's bullet proof. If your in the Geelong area some time I'd be happy to demonstrate. Price on Bruce's website is in USD of course. I've attached an old photo of the internals of mine for your reference. The coupling caps have since been swapped for Jupitor Coppers and made a substantial difference. They are also super quiet for a Tube Phono which is no small feat. Note : they are M Magnet gain only, and a Step Up is required for M Coils. Cheers Mark. https://www.transcendentsound.com/phono-preamp.html
  2. Hi Rank Stranger, the Fascias are Acrylic, and the Transformer Top Plate is Billet Alloy as are the rounded corners. Cheers, Mark.
  3. Hi Guys, thought you may find some shots of my Transcendent Sound OTL Monos interesting. The circuits are slightly modified from the standard, and casework is all mine. They were completed about 10 years ago and still amaze me every time I turn them on. Cheers, Mark.
  4. Hi Aussievintage, yes, I too have wondered why so many great tweaks aren't just included with new product,..if they work so well. This question applies to all tweaks. The answer is probably the manufacturer does not own the Intellectual Property, and would need to pay the IP owner a royalty. Anther reason is price increases. We all know the feet from Stillpoints work a treat, but nobody supplies them as original product,..they just supply plain rubber feet, like on Audio Research amps,.....and assume the new owner will put on what they will post purchase. And using someone else's expensive feet will make money for someone else and not for the manufacturer whilst pushing their sale price up. The notion of solid mounting is as old as Tone Arms, and by saying "that's the way we've always done it" in my industry is one of the most dangerous statements you can make. Solid mounting most certainly has it's merits, I've been doing it for decades, but don't limit your options by excluding new ideas. You may be surprised. Regarding resonance, the Cart Body is going to resonate, it has to. It's a matter then of if you want to hold the resonance there at the Cart. and deal with it, or let it travel along the Arm Wand and create some havoc. The Isolators have caused no limitation in the frequency response of my setup I can tell you. Cheers, Mark.
  5. Ok, so Physics dictates that every action must have an equal and opposite reaction. No argument there. But the amount that the isolator is moving in response to wiggles from the Cantilever would be so small as to be irrelevant. Do either of my cartridges sound "soft" or undynamic as a result of a compliant mount, not by any aural measurement, and my system is very fast and any compromise in dynamics would be bluntly apparent. So to my ear, there is no audible loss of energy in the Generator System to the Isolator. Remember the Cartridge itself has an inertia of it's own therefore a tendency to maintain it's current motion status and will resist the Cantilever trying to wiggle it into submission. In this system the Cartridge/Cantilever needs to be viewed as co-dependant bodies "floating" independently. Balance this inaudible loss, against a "hard mount" (no pun intended) where the Cartridge Resonance will absolutely conduct along the Arm Wand then bounce back again, perhaps with some bearing chatter added, to arrive at the Cartridge Body and excite it, potentially blurring the new signal being retrieved. All this is nice theory,...but in the end, the proof is in the listening, and these Isolators really do deliver. The investment is nothing compared to an arm upgrade which might be ~ $2K (or more)! I'm not asking anyone to buy one,....just don't write them off just because tradition dictates otherwise. Cheers, Mark.
  6. An interesting topic, and one with some interesting ideas about pros and cons with Cartridge mounting systems, but there seems to be no actual experience on offer. So I'll add my two bits since I'm using a Cartridge Mounting System. Without my experience. I'd probably agree with "aussievintage" and "zippi" above and conclude "if the Arm is designed well, tracks true, has a good resonant nature, and good competent bearing system, then why decouple from it and introduce a possible "flexure point" (non rigid mount) which could cause misalignment. Perfectly reasonable rational. I'm not going to express an opinion on the "Cartridge Enabler" Material because I have no contact with it, but I will tell you about the system I am using. I got talking to Leonard Gregory ( Cartridge Man) via email regarding getting my tired Koetsu Rosewood Sig rebuilt. He convinced me to try his Music Maker Classic, his best Cartridge at the time. This unit had his Isolator riveted to the Cartridge so had to be used with it,...like it or not. Leonard's Cartridges have been hit seriously hard with the "ugly stick", but this Cartridge floored me sonically. I won't bore you with the details, suffice it to say I later went on to buy his Music Master, same Isolator System, (diff material) also riveted to the Cartridge Body. It tracks beautifully, does not sound the least bit over damped, and is one of the most balanced and dynamic Cartridges I've ever heard, and I've heard quite an few. This thing is everything I want in a Cartridge,...except for looks. The isolator Leonard uses decouples the Cartridge from the body "breaking" the feed back loop of the vibration from the Stylus, running down the Arm causing bearing chatter, and bouncing happily back to the Head Shell making a micro mess of the information the Stylus is trying to retrieve. The extent of this form of distortion is not apparent until it is removed, not unlike lowering an Amplifiers Noise Floor. This ideology works really well in application, and reduces a lot of the problems tone arms face while trying to control a madly vibrating Stylus/Cantilever at the other end of a stick. So a pretty good arm can perform really well because many of it's problems (bearing chatter, natural resonance and vibration conduction) have been reduced or eliminated. My own Kiseki Gold Arm is just a good arm, but performs exceptionally well partly due to this decoupling. Can't afford a Triplanar or a Graham,.....you may well consider a simple Isolator like Leonard's. I've included photos of my two cartridges and a link to Leonard's website. See what you make of it. Cheers Mark. The Cartridge Man Isolator WWW.THECARTRIDGEMAN.COM the cartridge man, music maker cartridge, stylus re-tipping, cartridge repair, stylus guage and turntable leveling guage...
  7. Well I really need to chime in here and set this straight. I've been a long time user of Revirginiser, (years in fact over hundreds of records) and used the VRC several times as well, and both are polymers, and leave absolutely nothing on the record, no residue, no anything! They cannot do this being a polymer. You may tear the cured layer and leave a bit of cured polymer on the record if you apply it poorly, but these bits are easy to see and remove. It's not for everyone, if you want fast clean,...forget it. If you want thorough clean, try it. It's especially good if you have particulate "welded" into the side walls of your record as happens when the stylus rides up over a particle (pop) and it sticks to the newly softened groove wall. The polymer physically sets around the partial and rips it out on removal. VRC promises at least the same or better performance than Revirginiser so it's well worth a try. I am saddened by the apparent ill health of the inventor/owner of Revirginiser. It is a revolutionary product.
  8. I just knew someone was going to notice that Sticky Note and say something. And yes,..I did indeed pay him. Thanks for the reminder..
  9. Hi Hergest, I couldn't agree more regarding a "slip on" stylii and their terrible compromises, so no, the Music Maker Classis has a continuous Boron cantilever, and the Master has a continuous Sapphire cantilever. Cheers,
  10. Hi MWHousten, I've read a lot of reviews of various cartriges over the years and developed an overall sense that MM designs are cheap and limited, and if you are really serious about vinyl playback, then you buy into the MC realm. I ended up buying a Koetsu Roewood Sig for my horribly modifed SOTA Sapphire/Kesiki Gold Table. The sound was sublime. When it was time to re-tip, I queried Leonard Gregory (the Cartridge Man) about doing the job. He only services his own cartridges these days but he said my Koetsu would be distant second place to his Music Maker Classic. A Variable Reluctance cartridge not unlike a MM, but with a high spec line contact stylus and silver coils. "Garbage" I thought, but internet reviews seemed to support his ascertion, so I invested in one. At 4.0mV it didn't need a step-up tranny, so straight into my modified Transcendent Phono Stage. I was blown away. Fabulous timing, stunning dynamics and timbral rendering to die for. It had such a linear/balanced sound. Really natural. How could this be,..."MM type carts are not supposed to achieve high end performance". I have been so taken by the Classic, I traded it in for the Music Master, the more refined bigger brother of the Classic. And so it is, same basic fabulous sound base, but more refined, more delicate, sweeter highs, and perhaps more open. I try the Koetsu every now and then, and it really is good, but at the end of the day, Leonard was right, the Koetsu come second and at $3000 AUD, the Music Master is probably one of the best cartridges available, in any generator format. You also save considerable cash on not having to buy $300-$2000 AUD for step-ups, and additional pricey interconnects, and it's a stage taken out of the amplification chain, which is never a bad thing. I must say however, the Leonards cartridges are damn ugly to look at, luckily I play my table in subdued light. Cheers,
  11. "So took them home with me " Enjoy itsmoi, I'll be surpised if you ever regret it. and further - "There is something else though. It is called "synergy" it is important that the different pieces of equipment works well together. It means you have/buy equipment and cables that work well together. That is another discussion for another day, but that is why I said that you should take your amps etc to Greg as it will influence what you are hearing. " For anyone else looking at speakers, this is pricless advice. Wish I'd said it. I've heard too many expensive systems that don't have synergy,...and they can sound awful! Cheers, Mark.
  12. Yes indeed,...a very long time, but I tend not to change gear unless I feel I'm going forward with regard to performance, not just sideways sideways because I'm bored with my current product. I've met countless audio nuts caugth in this cycle. Cheers, Mark.
  13. Hi Itsmoi, I've had Greg's Epitomes for 24 years now including the later introduced Sub Bass upgrade. By memory, mine were the 4 pair he'd made. They are such brilliant perfromers, thet I have truned over nearly all the gear I had from that time, but the Epitomes remained. I finally popped a midrange driver 2 years ago, (my fault, not the speakers) and had to scour the planet to find an upgraded pair unused on a shelf in the States. I'm now in the throws of rebirthing these speakers, in the form of aesthetic enhancement and crossover rebuild because I cannot see how I can be as happy with another speaker that I could actually afford. While these are not the model you are specifically asking about, there are 2 points to be gleaned form this. 1 - Greg's Spearkers last a long time having premium components incorporated into them, and good reserved design in their makeup. 2 - While the the initial outlay of Greg's lineup may seem pricey, it's a true reflection of the cost to build and if you keep them for a long time like I have, then the price atomized over all those years becomes quite cheap. And you are buying direct from the manufacturer. This alone saves you buckets of cash. If you decide to buy into the Osborn Range, you can buy with confidence. I'll be interested in your reflections post audition. Cheers, Mark.
  14. Yep, sure did, Ampex recorders and all the usual mic and freq response details. Audio Fidelity Records is the label. No doubt they produced a string of gems like this.
  15. Well, ......I bought a used collection of vinyl and amoungst it was - "The sounds of the 1965 Winternationals". Yep, the sweet sounds of Top Fuel Dragsters doing burnouts, and leaving the line, which is fine since I'm a bit of a petrol head,.....but hard to believe they actually made a record of it. Cheers, Mark.
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