AMPLIFIER

- - AVENTURINE 6 Mark II Moving Coil Cartridge
Pyon Sound
11년 01월 29일    3773
image:    Aventurine6Mk2-TNP.jpg   Size(20 Kb)

  

 

 

{Production years : 2012 ~ Present}

 

Aventurin 6 Mk2 LO (Low Output)
Retail: MSRP USD $6000

  • Frequency Range: 10 Hz- 50,000 Hz

  • Frequency Response: 20 Hz - 20,000 Hz +/- 1dB

  • Output Voltage: 0,32 mV (@3.54cm/sec/45Deg. 1,000 Hz)

  • Output Impedance: 12 ohm @ 1,000 Hz

  • Channel Separation: 35 dB or more

  • Channel Balance: Below 0,5 dB

  • Compliance: 15 x 8th Power of 10/dynes

  • Cantilever Material: solid boron rod Stylus Chip: Micro-ridge diamond.

  • Coil wound on pure ruby

  • Recommended Stylus Pressure: 1,8-2,2 grams

  • Vertical Tracking Angle: 20-22 degrees

  • Weight: 11,5 grams

  • Optimal load resistance: 300 – 10,000 Ohms

  • Transformer matching impedance: 12 - 24 Ohms

  • Tracking ability at 315Hz and 2 gram tracking force >80µm

  • Suitable for Phono Stages with about 60 dB gain

  • Lacquered with Stein Music Maestro Lacquer for optimum resonance control

  • Cast bronze frame for maximum stability

  • Handcrafted housing made of a carbon / mahogany composite for best
    resonance control

  • Please allow at least 50 hours break in time

 

  The Aventurine 6 is the result of the many years reserch collboration between Steinmusic of Germnay and Mr. Albert Lucas Check, the world-renowned cartridge designer of the Benz Micro's top of the line LPs cartridge.
 
  Steinmusic has been devoting itself in developing the highest performing cartridge for analogue music lovers.  In this endeavor, Steinmusic has collaborated with Mr. Albert Lucas Check, the designer of the famed Benz Micro LP series  cartridges.  The first result is the Aventurine 6 moving coil cartridge. 

  The Aventurine 6 adopts the most advanced generator which is specially developed by Albert Lucas Check in accordance with the customized highest specification.  The generator is actually the upgraded design from that of the LP Ebony.  It utilizes a thinner high-purity copper coil and a stronger neodimium magnet than the LP Ebony does.  Such advanced generator design guarantees the best extraction of musical information from record grooves and the incredibly explosive dynamic sound.

  The cantilever is the light yet rigid boron tube which is hand-polished to enhance its sonic behavior.  The stylus tip is the most advanced Gyger-S type.

  The housing is the highest quality Swiss pear wood which is precision milled from the well-aged wooden block and barnished with the Maestro treatment to preserve the most natural harmonics from the reproduced music.

  The last innovation is the massive bronze frame which all structures are sit on and fixed to.  The bronze frame is manufactured by utilizing the precise Swiss die-casting technology.

  In addition to the above advanced technologies and innovated designs, the whole metal parts of the Aventurine 6 are CRYOGENATED for the uniform molecular structure and the best sonic performance.


  The end result is one of the world best moving coil cartridges which competes with any top-class cartridge regardless of price.

Original Aventurine 6 Mk1 cartirdge

(MSRP : US$4,900.00)

{Production years : 2003 ~ 2011}

 



 



<<<  Aventurine 6 Mk1 Review by a German Professional Reviewer >>>

 

THE WINNER

Marco Kolks

 

  In pickups are the ghosts. Some want to be a real "stripped" system, with no housing, while others swear by a closed sampler with housing. If this housing is still made of wood, it is the audiophile world in order.

  It is hardly surprising that for the greatest Moving Coil cartridge Aventurine 6 by Holger Stein, the finest Swiss pear wood is used. Since the manufacturer of Mühlheim, Germany has been a long time user of the C37-paint, he now claims to have found a new solution, Maestro, a more effective work. It is only logical that Aventurine’s wooden housing is treated with the Maestro in order to optimize the resonance behavior. The base of the Aventurine 6 is formed with a cast bronze and thus low-stress block mass. Some manufacturers and distributors use analog drives the way, like bronze, e.g. as in tonearms, because they say of this metal particularly harmonious with sound quality. The cantilever is a lightweight, warp-resistant boron-tube, which was also hand-polished. It is not difficult to recognize the body style since Aventurine’s generator system is delivered by Albert Lukas Check of Benz Micro. Aventurine 6 is actually the higher-quality version of the LP EBONY which is specially produced for Stein Music. Thus, a much thinner copper wire is used for generator and the more highly efficient neodymium magnet is employed. The Aventurine's needle tip is also the type of course Gyger-S.

Holger Stein favors the way of the low-output version, which he attributes to a better transient response than a high-output version. He continues that the excellent sound characteristics of the low-output version are apparent across the whole criteria. After comparing both versions, I feel a little fuller figure with the low output version. However, the vote comes in the area of personal taste.

The amount of tracking force I choose depends on the tone arm. Aventurine is designed for medium-duty models, between 2 (SME 5) and 2.1 (Pluto 2A; Pluto 5A) or 2.2 grams (SME 312; SME M2-12). Although this system also comes with high-resistance impedance beyond the 1 kilo-ohm copper well, I decided in my chain of 500 ohms.

 

Comment

  Being ready with the immersion in the beginning of the record groove, the freshly unpacked and installed Aventurine 6 announces huge momentum, which immediately follows the first true sounding Music. In addition, tremendous wealth of tone colors pours out. The disk noise sounds are easily pushed into the background by the way, where I feel the resulting separation of the noise from the musical information as pleasant.

  Aventurine 6 connects the softness with shine, rounded unity with detailed precision, clarity with abundance. It is a pure pleasure to listen the orchestral pickup shots (Mozart;. Symphony No. 36 "Linz"; Set332 Decca). Violins are played incredibly realistic, warm, and silky with the proper differentiation of the harder-sounding violas. Brass (Sampler; CEC) sounds in its basic tones neither injected nor overly present. It is quite simply balanced.

  Freshness and clarity, that is equally brilliant, shine come to bear. Even with the cool and sleek images, Aventurine 6 is not annoying. I write this, above all, very pleasant warmth in the midrange. However, this heat will not be concerned with minor details to be fused. The Aventurine 6 remains honest. The flute sounds different for each title on the recording "Music for Flute and Harpsichord" (recording studio WD/TSD 22/9515-9). I attribute this effect back to the playing time with the instrument. The longer the flute is played, the more the sound loses its elasticity. Also soundstage images that have been thinly mixed at Studio sound fuller and pleasantly softer, although I expected to be slightly dull and unpleasant from my past experience. Even with the cold and thin sounding records, Aventurine 6 does not reanimate the natural freshness.

Between treble and midrange, the figure is clear and continuous. The high frequency is similar in quality to the excellent midranges. The overtones of the instruments sound very natural and instrument images are not dominant in the forefront, which I know well from other systems here. No images are exaggerated, but only naturally transparent images fill the soundstage.

Aventurine’s bass is deep-reaching and extremely stable. Its bass reproduction simply defines the overall characteristics of the system.  The bass is not only dynamic, but it also seamlessly connects to the midrange frequencies. The Aventurine 6 reacts tough, dry and fast (Ray Brown / John Clayton, Super Bass; CRP74018 Capri Records). The bass lays out a solid foundation for entire music and projects voluminous image lines, while there is no lack of grip and detail. The percussion sheet has flesh and nimble drums remain clear, even if they are being faded away into the pianissimo.

At the same arms, open and closed cartridges sound quite different. In direct comparison to Aventurine 6, the stripped cartridges lack physical volume for instruments and voices. Without doubt, physical volume is on the account of the lack of housing for those nude cartridges. After my listening experiences, I agree with the clever design of Aventurine’s bronze base and support Swiss pear wooden housing. Aventurine 6 has something very soft, flowing, warm, harmonious, which I cannot live without. In order to explore the tonal qualities fully, it requires an adequate phono stage. Ideal accessory for me is the TE Audio Phono-reference and the Model 42 Blue Amp. With them, this cartridge runs on its top form.

 

Conclusion

  I have had the Aventurine 6 now quite long in my system and have to admit that my initial enthusiasm has mainly placed on the tonal qualities of this cartridge in any way. After long hours, I have come to appreciate freshness, clarity, precision, dynamism, warmth and above all the tonal richness of the music that the Aventurine 6 reproduces as well as and as much as I did in the first hours. If there should be a celebration of one and only Winner, the Aventurine 6 surely deserves the guests.

 

MK

 

 

 

The above photo is the brief introductory review in the STEREO SOUND in Japan.  This review was printed in 2004.  The retail price in Japan was 399,000 Yen for the Aventurine 6 cartridge.


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