Audiophilepure

Headshells, of course, are another matter. While the Stealth’s included headshell is perfectly fine, it’s rather lightweight—ideal for the included 2M Blue—but lower compliance cartridges still may prefer something like an Ortofon LH-2000. That will necessitate using the Stealth’s included auxiliary counterweight to balance the tonearm. (Side note: the Stealth’s arm, clearly patterned after Technics right down to its basic dimensions, even accepts Technics 1200 series auxiliary screw-in counterweights, so if you ever lose the one that came with the table and your Music Hall dealer is unable to locate a replacement part, you could always go that way.)

Generally, headshell swapping wasn’t revelatory in my listening, with mostly slight differences between generic headshells and premium models from the likes of Audio-Technica, Ortofon, Yamamoto and some vintage goodies from Orsonic. Still, I don’t think that carefully-judged experimentation in this area is unwarranted, and while the performance differences may be minor relative to the package as a whole, it never hurts to have different headshells of varying weights and characteristics available for practical reasons like compliance matching or the ability to adjust azimuth, with the Stealth’s tonearm lacks. Is it rational to keep a couple thousand dollars worth of headshells around, like I do? Judge not lest ye be judged. 

The Franco Serblin Studio Ktema speakers showcased at the new Sound Factor showroom in Finland. In the showroom, bass resonances are managed using precisely calibrated Helmholtz resonators, while sidewall reflections are controlled with cylindrical slat diffusers. The front wall is constructed from plywood but does not incorporate dedicated acoustic treatment elements.

https://www.stereophile.com/content/gryphon-audio-designs-diablo-333-integrated-amplifier

It should be noted that Gryphon has opted for the path less taken with their PS3 Phono Stage; only a single pair of balanced Neutrik XLR inputs is included—there are no single-ended RCA inputs. Robert Harley states in his Complete Guide to High-End Audio: “Balanced phono inputs are rare on a preamplifier; virtually all phono cables are terminated with unbalanced RCA plugs, not balanced XLR connectors.” I have never owned a turntable set up with a balanced output. I checked with VPI President Mat Weisfeld, and indeed the tonearm of my VPI HW40 could be rewired—but then it would not work with my current reference preamp, which only accepts RCA inputs for the phono stage. To take full advantage of the PS3 Phono Stage module, in terms of signal/noise issues, customers would be advised to look into this possibility, depending on their own turntable design. For this review, I settled on a stereo cable terminated on one end with RCAs, and on the other with XLRs, figuring this would yield a better result than using cheap adapters.

https://www.analogplanet.com/content/reel-reel-revival-part-2-format%E2%80%99s-sonic-advantages-some-major-players-and-why-threading-tape

Ballfinger tape machines are made in Germany, and are known for their blend of traditional analog sound with modern design aesthetics. They are crafted with high-strength aluminum and focus on professional use while appealing to enthusiasts. The company designs and manufactures all components in-house, from drive motors to servo units, ensuring quality control and precision. The M 063 H6, in particular, has been highlighted for its advanced tape transport control, which prevents looping and tape deformation, and its high-quality audio electronics. These machines can handle 1/4in or 1/2in tape widths, with options for direct drive and various tape speeds.