So what is an SPU? What makes it different from any other cartridge?
Location: Queensland Australia
Posts: 61
I'm Hugo.
So what is an SPU? What makes it different from any other cartridge?
Having no experience whatsoever of these type of headshell/cartridges, what does SPU mean ?
Turntable : Project 2 Xperience Tone Arm & Cartridge : Project 9c Ortofon 2M Blue Phono Stage : Project Phono Box SE II Digital Source :Primare CD21 Integrated Amp : Primare I30 Speakers : ProAc 110 Headphones : Beyerdynamic DT770 Pro
Revox A77 MK IV 2 track 15 & 7 1/2 IPS
TEAC A-3300SX 4 track 7 1/2 & 3 3/4 IPS
Akai 4000DS MkII
Originally, it stood for Stereo PickUp ... one of the early moving coil cartridges at the dawn of stereo replay.
Inside the headshell, essentially they are no different to a normal moving coil pickup, although they have a relatively low output and low impedance, so need careful matching with a suitable phonostage.
Location: Queensland Australia
Posts: 61
I'm Hugo.
Do they exist purely for nostalgia's sake? Is there anything inherent in their design that causes them to sound any different to other MCs?
Quality coils, a range of tip options depending how much you want to spend, fairly short cantilever and stiff suspension/low compliance ... so no, not really markedly different from some other cartridges around (the basic design goes back to the 1950s).
They do fall into a particular 'style' of presentation that Miyajima, Ikeda and others strive to emulate, and not a million miles from what Koetsu try to do too (though I generally prefer SPUs to Koetsus). They are known for their richness and punchiness, while the higher end ones with fancy tips and/or exotic coils also have exceptional resolution and really well articulated/fleshed out bass.
I run an SPU Royal N as a day to day cartridge alongside a Miyjima Madake, the Madake is a bit 'more' in all departments (like the Shilabe and Kansui that came before it) but I certainly don't feel short-changed listening to the SPU, it does everything I want it to do, and it does it very well. It's more of a character thing ... compared to some other cartridges they have a lot of life and excitement about them as well as a rich sense of tone colour - you either like that or you don't. Some prefer a more neutral, less fullsome/leaner, more 'hif' presentation (I think of my old Lyra Helicon when I write that) - personally I couldn't go back to that but whatever floats your boat.
Nothing nostalgic about them ... I just think that's how vinyl is supposed to sound!
SPUs are a cartridge that interest me, but I have always been put off by the high tracking weights involved. Does anyone have a feel for how much additional pressure is exerted on the vinyl groove at 4gms VTF versus 2? Given the infinitessimally small contact patch that the pressure passes through, I would think it is quite high. I remember hearing many years ago a story (quite possibly apocryphal) to the effect that when playing a record, the vinyl momentarily reaches a molten state as it passes under the needle, and then solidifies soon after, and another that the groove wall remains susceptible to deformation by pressure for up to 24 hours after playing a record. Is there any evidence that using SPUs - or any other high VTF cartridges - cause higher levels of vinyl deterioration?
IB
Thank you Tom
I am looking into the SL15 that lurks in my old S15T
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Location: belgrade serbia
Posts: 840
I'm gordan.
send it to thomas schick if you really want to know what it is capable of. no one deals with them with such an understanding of the original design.
SPU is by far the most successful line of products in history of vinyl reproduction aimed devices. no one else has a 7 decade long production with extremely coherent sound that's easy to recognize, from 60s to 2000s. beautiful devices, just beautiful.
i also don't think the line of contemporary products is that confusing as long as one is aware of different models for japanese and global market, as well as anniversary editions.
Gordan.
Speakers: Oris Swing MkII
Amps: Thomas Mayer 300b/ Hiraga La Maison de L'Audiophile 20
Preamp: Silver AVC by eng. Ferenc Lazar
Phono Preamp: Shishido LCR by Solaja Audio
Decks: Garrard 301 Martin Bastin reworked/plinthed with Fidelity Research FR64fx
Garrard 401 in eng Ferenc Lazar solid wenge plinth with SME 3012/2
Cartridges: SPU Spirit/ Koetsu Black revisited by eng. Salai/ Miyajima Shilabe
Step Up Transformers: Tango MCT 999/ Ortofon T-5000/ Lumiere SUT
Digital: Shigaclone by eng. Ferenc Lazar with Lampizator Amber II
Wires: of sufficient length