Post by Bigman80 on Mar 3, 2020 13:19:07 GMT
Holistic Audio HA103-SEL MC cartridge - Review: Part 1
Specs:
Cartridge Type: LOMC
Cantilever: Beryllium - Aluminium Alloy
Stylus: Ogura Solid Shank Diamond. 6x Polished
Freq Response: 22-32Khz
Channel Separation: 29db @ 1Khz
Channel sensitivity Difference: <1db @ 1Khz
Mass: 11g
Output Voltage: 0.38mV @ 1Khz, 50mm/sec
Tracking weight: 2.55 - 2.65g
Compliance: 11Cu @ 100Hz
Loading: 70 - 100ohm
Price: Circa €1895
System:
Turntable: Technics SP10 MK2, Panzerplinth, Tenuto Platter Mat
Tonearm: Phonomac MKVI AT1010
Phonostage: Bigbottle MK3 MM/MC Phonostage
Preamp: Neurochrome 8x2 Differential Pre
Power Amp: Neurochrome 686
Speakers: Mordaunt Short Performance 880
Cables: Spotfire IC’s, Speaker Cable and Tonearm Cables
Early impressions (0 - 5 hours)
I like to start every review with my favourite LP. Eric Clapton - Unplugged. It’s not about sound quality or performance at this point, it’s about the music. If a cartridge cannot get me to tap my feet to this album, there isn’t much hope of it lasting in my system.
Admittedly, things can change as a cartridge beds in. This is probably the wrong time to hit it with such an important test, but I know this album like I know myself. I had to do it.
The first thing I noticed is that there is quite a bit of surface noise. Click, cracks and pops. I attributed this to the fact that for a week, I have been indulging in the digital side of my system. The first track i listen to is “Running On Faith”
The guitar is played with a slide at the beginning and it was crisp and clean. Lots of detail too. The slide was clearly “notching” on the thicker wound strings and it was clearly audible. The vocals started and everything sat very neatly in the middle of the speakers. However, that's where everything else was too. It wasn't congested or muddy, but the soundstage was enclosed, almost imprisoned between the speakers. It was a little on the cool side of neutral too. I decided to just throw on as many LPs as I could in the time I had spare and let it play in the background. This was a wise decision!
Just as i got to the 3.5hr mark, The soundstage had opened up a good amount.. I would love to say I heard the expansion happen, but I didn't. I was not listening closely enough.
I tried a few LP’s after this time and gradually, the meat started to grow on the bone, and by the time i got to “Nirvana - Unplugged In New York” there was absolutely no way i wasn’t completely absorbed. Yes, it’s not the most busy or congested of recording and in fact, it's pretty easy for any cart to not trip up on this album, but i was looking for the connection to the music.
It was there.
Hours 5 - 15
Enthused by the human-like connection i had enjoyed in the first few hours on the HA103-SEL, I pressed on today with some more similar music. Sarah Jarosz for one had a particular enchantment to her voice and singing style with my previous cartridge, The Kontrapunkt b.
“Take Me back” is a stand out track on the album, Undercurrent.
I was actually taken aback by the fact the vocals seemed to be more of a “duo” than I have recalled it being before. Ms Jarosz previously being backed by a male vocal. Well that was how this had been presented to me previously.
As i sat here digesting the differences in presentation the next track started and immediately the Violin stood out.. It sounded like no Violin i’ve ever heard on a record before.
As the bow dragged the hairs across the strings, I heard it moving across them. Not just the note the violin made, but how it made it came through too. This 10 second section was replayed about 5-6 times just to gather in what could be heard.
Tonally, this cartridge seems to navigate between being neutral but still retaining a rich quality, without crossing into warm and rosey. It is certainly having a good effect. As of now, there are over 20 LP’s still stacked on the Piano and more coming out to be played.
Hours 15 - 25
At this point now, i think it’s time to start really pushing the cartridge to see what it can really do. Soundstage hasn't really shifted any more and its now feeling quite settled in the system.
I will of course allow the 28hrs run in time before i get too judgemental but it time. It’s had an easy ride so far. Nirvana Unplugged, Eric Clapton Unplugged, Sarah Jarosz, Secret Sisters, Albert King…...It’s all been pretty straight forward stuff.
So, first up in my arsenal of testing LP’s is:
Jimi Hendrix - Electric Ladyland.
I start with an all time favourite…….Voodoo Chile (Not Voodoo Child)
The opening to this track is steeped in acoustic space, which the cartridge delivers exceptionally well. The introduction of the band comes in with a crescendo and again this is done well but the guitar just isn't raw enough to stir my inner rocker. It’s almost too polished, too smooth.
The kick drum, which used to hit me in the chest with the Kontrapunkt b, isn't as punchy or hard. It’s there but not as raucous. I miss that energy instantly.
As the track gets into its busier periods, there is no doubt that this cartridge is navigating the grooves and organising things at a higher level of precision than the Kontrapunkt b did. The soundstage is far less congested and it seems massively less chaotic.
In fact, i’d go as far as to say it’s made this LP sound like a far better recording than i knew it to be. There is far more audible information and it keeps the soundstage clearly laid out, even with Jimi Hendrix trying his best to create mayhem.
Mitch Mitchells is playing more strokes per minute than i realised too. Cymbals have a weight to them, indicating a substantial construction material was used in their manufacture.
It’d just like a bit more zest…...a bit more fury, but I know this is the guitarist in me talking and not the audiophile.
I don’t listen to Jimi Hendrix to hear how well he was recorded or how many BPM Mitch Mitchell plays, I listen for the raw energy and the feeling like your heart is gonna explode, with rays of light bursting out of your chest as you ascend to a higher consciousness as Jimi opens the gateway with his mind bending solos……….……….but that's probably just me lol
Magic mushrooms anyone?
The point is, it hasn’t quite hit the mark, but has excelled in other areas.
Next up:
The Who - Live at Leeds
Magic Bus. A track which gets absolutely out of hand via any medium and playback device. It is a delightful demonstration of power…...a tour de force of Keith Moon’s ability to hit the drums at a force that isn't recorded often enough.
I have to say, this is probably the best this track has sounded anywhere.. In total contrast to the Jimi Hendrix track, the cart is actually helping this Track sound far more cohesive. The soundstage is reminiscent of when i heard it via the Chord Dave and that's a huge compliment. There's a raucous nature to this performance and it’s portrayed really vividly.
Lots of energy and drive. Weirdly missing from the JH LP. Maybe I have heard that properly for the first time?
Still, the Kick drum isn’t as punchy as i am accustomed to, but it’s definitely got heft, and rhythmic timing isn't affected, which has happened with some cartridges in the past. I suppose it could be described as slightly softer, but not to the point that it’s an issue.
Just different..
Overall, I've played a variety of Live ALbums this afternoon and each of them has been a superb listen. Absorbing and attention grabbing. Spacious soundstage, even in my width deprived listening room. Good depth too. I really like the lucidity and palpable imaging from it. There are definite layers of sound, texture to the music to a tactile degree and i have been impressed by the apparent metallic weight of the cymbals on a few albums now.
At this juncture, i am already thinking this cartridge is better in a lot of ways to the Kontrapunkt b. If the kick drums get a bit snappier, i’ll be over the (Keith) moon.
I plan to revisit the same albums after i've hit the 28hr mark
Part 2:
As i crept over the recommended 28hr point, i didnt realy feel that too much had changed. That was pretty much it thought. Then at around the 30hr mark, I noticed a weight had arrived. A heft………. a bit of beef.
I waded through a lot of those albums again and sure enough, that detailed presentation and natural tone had remained pretty much as it were, but now it definitly had a better, fuller bottom end.
So, what do i mean by “better”
In truth, I had been missing the Kontrapunkt’s wild man nature. It’s ability to create an energetic, chaotic or almost destructive bottom end. I could feel the effort the drummer was putting into the kick and the bassist was always up to 11 on the amp.
The HA103-SEL still doesn't do that, instead it has shown me that at times the K was actually a little ragged, a little wild.
Oddly enough, it is the same in the HF too. The HA delivers a silk top end and the mids are refined and honest, but what sets this cartridge apart from almost everything else i have heard, is the absolute control.
I asked Jimbo round for a listen. His opening test was a severely impressive LP with a Cellist playing Bach. One instrument played by one man.
Your system wont be able to cope with this” - Said James.
I gently placed the HA103-SEL onto the groove and waited a second.
“It isnt on” - said James
Then the Cello appeared out of the often acclaimed “inky black” background.
I sat there listening intently and i was right to do so. There was a ton of information. The Horsehair beng dragged across the string, his fingers landing on the neck, his intermittent breathind and lots and lots of LF information from the instrument being handled.
James said “Is there a lorry going past” as he looked out of the window.
There was not. It was extremely low level information he had never heard before.
The track finished and we discussed how, not only had the system and the cartridge coped with the LP, it had in fact done so with ultimate control, precision and poise.
The HA103-SEL had passed the test and excelled.
We continued to throw every type of recording at it that we could and never did it fail to be anything than utter refinement and control. It is only when you hear this cartridge in full effect that you realise how far up the ladder it has taken your vinyl replay. I mean that sincerely.
What Kilian has managed to do with this cartridge is make it detailed, natural, fast with transients and almost silent in the groove. It has superb attack and decay, but it's the refinement that is addictive. You can play anything with it and the channel separation and detail makes it a multilayered experience, whilst the tonality and neutrality make everything very natural sounding.
It has not lost the music to do this, and that is truly amazing.
I don’t think this cartridge will ever recreate the magic of Jimi Hendrix in the way my Kontrapunkt b did, but now i don't care, for i have gained far more in other areas that i would never have heard had i not made the move.
That's not to say it doesn't rock, because it does, but it’ll never be a Keith Moon. It’s more of a Mitch Mitchells. Technique over apocalyptic raw power .
This isn’t a cheap cartridge, but it’s worth every penny. I have no idea what you could get, either new or used that would give you as much as this does for the money.
The last couple of hours on the cartridge have been significant, so if you do try one of these, make sure you allow at least 30hrs before getting too serious about your evaluation.
Big thanks to James for his time and vinyl and to Kilian Bakker of Holistic Audio for the cartridge..
Specs:
Cartridge Type: LOMC
Cantilever: Beryllium - Aluminium Alloy
Stylus: Ogura Solid Shank Diamond. 6x Polished
Freq Response: 22-32Khz
Channel Separation: 29db @ 1Khz
Channel sensitivity Difference: <1db @ 1Khz
Mass: 11g
Output Voltage: 0.38mV @ 1Khz, 50mm/sec
Tracking weight: 2.55 - 2.65g
Compliance: 11Cu @ 100Hz
Loading: 70 - 100ohm
Price: Circa €1895
System:
Turntable: Technics SP10 MK2, Panzerplinth, Tenuto Platter Mat
Tonearm: Phonomac MKVI AT1010
Phonostage: Bigbottle MK3 MM/MC Phonostage
Preamp: Neurochrome 8x2 Differential Pre
Power Amp: Neurochrome 686
Speakers: Mordaunt Short Performance 880
Cables: Spotfire IC’s, Speaker Cable and Tonearm Cables
Early impressions (0 - 5 hours)
I like to start every review with my favourite LP. Eric Clapton - Unplugged. It’s not about sound quality or performance at this point, it’s about the music. If a cartridge cannot get me to tap my feet to this album, there isn’t much hope of it lasting in my system.
Admittedly, things can change as a cartridge beds in. This is probably the wrong time to hit it with such an important test, but I know this album like I know myself. I had to do it.
The first thing I noticed is that there is quite a bit of surface noise. Click, cracks and pops. I attributed this to the fact that for a week, I have been indulging in the digital side of my system. The first track i listen to is “Running On Faith”
The guitar is played with a slide at the beginning and it was crisp and clean. Lots of detail too. The slide was clearly “notching” on the thicker wound strings and it was clearly audible. The vocals started and everything sat very neatly in the middle of the speakers. However, that's where everything else was too. It wasn't congested or muddy, but the soundstage was enclosed, almost imprisoned between the speakers. It was a little on the cool side of neutral too. I decided to just throw on as many LPs as I could in the time I had spare and let it play in the background. This was a wise decision!
Just as i got to the 3.5hr mark, The soundstage had opened up a good amount.. I would love to say I heard the expansion happen, but I didn't. I was not listening closely enough.
I tried a few LP’s after this time and gradually, the meat started to grow on the bone, and by the time i got to “Nirvana - Unplugged In New York” there was absolutely no way i wasn’t completely absorbed. Yes, it’s not the most busy or congested of recording and in fact, it's pretty easy for any cart to not trip up on this album, but i was looking for the connection to the music.
It was there.
Hours 5 - 15
Enthused by the human-like connection i had enjoyed in the first few hours on the HA103-SEL, I pressed on today with some more similar music. Sarah Jarosz for one had a particular enchantment to her voice and singing style with my previous cartridge, The Kontrapunkt b.
“Take Me back” is a stand out track on the album, Undercurrent.
I was actually taken aback by the fact the vocals seemed to be more of a “duo” than I have recalled it being before. Ms Jarosz previously being backed by a male vocal. Well that was how this had been presented to me previously.
As i sat here digesting the differences in presentation the next track started and immediately the Violin stood out.. It sounded like no Violin i’ve ever heard on a record before.
As the bow dragged the hairs across the strings, I heard it moving across them. Not just the note the violin made, but how it made it came through too. This 10 second section was replayed about 5-6 times just to gather in what could be heard.
Tonally, this cartridge seems to navigate between being neutral but still retaining a rich quality, without crossing into warm and rosey. It is certainly having a good effect. As of now, there are over 20 LP’s still stacked on the Piano and more coming out to be played.
Hours 15 - 25
At this point now, i think it’s time to start really pushing the cartridge to see what it can really do. Soundstage hasn't really shifted any more and its now feeling quite settled in the system.
I will of course allow the 28hrs run in time before i get too judgemental but it time. It’s had an easy ride so far. Nirvana Unplugged, Eric Clapton Unplugged, Sarah Jarosz, Secret Sisters, Albert King…...It’s all been pretty straight forward stuff.
So, first up in my arsenal of testing LP’s is:
Jimi Hendrix - Electric Ladyland.
I start with an all time favourite…….Voodoo Chile (Not Voodoo Child)
The opening to this track is steeped in acoustic space, which the cartridge delivers exceptionally well. The introduction of the band comes in with a crescendo and again this is done well but the guitar just isn't raw enough to stir my inner rocker. It’s almost too polished, too smooth.
The kick drum, which used to hit me in the chest with the Kontrapunkt b, isn't as punchy or hard. It’s there but not as raucous. I miss that energy instantly.
As the track gets into its busier periods, there is no doubt that this cartridge is navigating the grooves and organising things at a higher level of precision than the Kontrapunkt b did. The soundstage is far less congested and it seems massively less chaotic.
In fact, i’d go as far as to say it’s made this LP sound like a far better recording than i knew it to be. There is far more audible information and it keeps the soundstage clearly laid out, even with Jimi Hendrix trying his best to create mayhem.
Mitch Mitchells is playing more strokes per minute than i realised too. Cymbals have a weight to them, indicating a substantial construction material was used in their manufacture.
It’d just like a bit more zest…...a bit more fury, but I know this is the guitarist in me talking and not the audiophile.
I don’t listen to Jimi Hendrix to hear how well he was recorded or how many BPM Mitch Mitchell plays, I listen for the raw energy and the feeling like your heart is gonna explode, with rays of light bursting out of your chest as you ascend to a higher consciousness as Jimi opens the gateway with his mind bending solos……….……….but that's probably just me lol
Magic mushrooms anyone?
The point is, it hasn’t quite hit the mark, but has excelled in other areas.
Next up:
The Who - Live at Leeds
Magic Bus. A track which gets absolutely out of hand via any medium and playback device. It is a delightful demonstration of power…...a tour de force of Keith Moon’s ability to hit the drums at a force that isn't recorded often enough.
I have to say, this is probably the best this track has sounded anywhere.. In total contrast to the Jimi Hendrix track, the cart is actually helping this Track sound far more cohesive. The soundstage is reminiscent of when i heard it via the Chord Dave and that's a huge compliment. There's a raucous nature to this performance and it’s portrayed really vividly.
Lots of energy and drive. Weirdly missing from the JH LP. Maybe I have heard that properly for the first time?
Still, the Kick drum isn’t as punchy as i am accustomed to, but it’s definitely got heft, and rhythmic timing isn't affected, which has happened with some cartridges in the past. I suppose it could be described as slightly softer, but not to the point that it’s an issue.
Just different..
Overall, I've played a variety of Live ALbums this afternoon and each of them has been a superb listen. Absorbing and attention grabbing. Spacious soundstage, even in my width deprived listening room. Good depth too. I really like the lucidity and palpable imaging from it. There are definite layers of sound, texture to the music to a tactile degree and i have been impressed by the apparent metallic weight of the cymbals on a few albums now.
At this juncture, i am already thinking this cartridge is better in a lot of ways to the Kontrapunkt b. If the kick drums get a bit snappier, i’ll be over the (Keith) moon.
I plan to revisit the same albums after i've hit the 28hr mark
Part 2:
As i crept over the recommended 28hr point, i didnt realy feel that too much had changed. That was pretty much it thought. Then at around the 30hr mark, I noticed a weight had arrived. A heft………. a bit of beef.
I waded through a lot of those albums again and sure enough, that detailed presentation and natural tone had remained pretty much as it were, but now it definitly had a better, fuller bottom end.
So, what do i mean by “better”
In truth, I had been missing the Kontrapunkt’s wild man nature. It’s ability to create an energetic, chaotic or almost destructive bottom end. I could feel the effort the drummer was putting into the kick and the bassist was always up to 11 on the amp.
The HA103-SEL still doesn't do that, instead it has shown me that at times the K was actually a little ragged, a little wild.
Oddly enough, it is the same in the HF too. The HA delivers a silk top end and the mids are refined and honest, but what sets this cartridge apart from almost everything else i have heard, is the absolute control.
I asked Jimbo round for a listen. His opening test was a severely impressive LP with a Cellist playing Bach. One instrument played by one man.
Your system wont be able to cope with this” - Said James.
I gently placed the HA103-SEL onto the groove and waited a second.
“It isnt on” - said James
Then the Cello appeared out of the often acclaimed “inky black” background.
I sat there listening intently and i was right to do so. There was a ton of information. The Horsehair beng dragged across the string, his fingers landing on the neck, his intermittent breathind and lots and lots of LF information from the instrument being handled.
James said “Is there a lorry going past” as he looked out of the window.
There was not. It was extremely low level information he had never heard before.
The track finished and we discussed how, not only had the system and the cartridge coped with the LP, it had in fact done so with ultimate control, precision and poise.
The HA103-SEL had passed the test and excelled.
We continued to throw every type of recording at it that we could and never did it fail to be anything than utter refinement and control. It is only when you hear this cartridge in full effect that you realise how far up the ladder it has taken your vinyl replay. I mean that sincerely.
What Kilian has managed to do with this cartridge is make it detailed, natural, fast with transients and almost silent in the groove. It has superb attack and decay, but it's the refinement that is addictive. You can play anything with it and the channel separation and detail makes it a multilayered experience, whilst the tonality and neutrality make everything very natural sounding.
It has not lost the music to do this, and that is truly amazing.
I don’t think this cartridge will ever recreate the magic of Jimi Hendrix in the way my Kontrapunkt b did, but now i don't care, for i have gained far more in other areas that i would never have heard had i not made the move.
That's not to say it doesn't rock, because it does, but it’ll never be a Keith Moon. It’s more of a Mitch Mitchells. Technique over apocalyptic raw power .
This isn’t a cheap cartridge, but it’s worth every penny. I have no idea what you could get, either new or used that would give you as much as this does for the money.
The last couple of hours on the cartridge have been significant, so if you do try one of these, make sure you allow at least 30hrs before getting too serious about your evaluation.
Big thanks to James for his time and vinyl and to Kilian Bakker of Holistic Audio for the cartridge..
