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This innovative design concepts were recognized by the CES CHICAGO in 1979, and DV/KARAT was selected as the winner of the award of DESIGN AND ENGINEERING in this exhibition.

• Anmerkung : Stellen Sie sich vor, Sie und/oder Ihr Produkt sind auf einer der deutschen Funkausstellungen oder auf einer der sogenannten Hifi-High-End Messen "der Gewinner". Also erstens mal "der Gewinner" wovon oder von was und zweitens "der Gewiner" im Vergleich wozu. Die Marketing Abteilungen der jeweiligen Messegesellschaften hatten immer irgend "einen Gewinner" von "irgendetwas" ausgelobt und dann mordsmäßig laut in die gerade aktuellen Medien rausposount. Geblieben ist davon überhaupt nichts oder errinnern Sie sich an einen Gewinner von irgendetwas auf irgeneiner Funkausstellung aus Berlin ?

We were already given the same award from CES by our products in the past two years, that is, by DV/505 bi-axial and dynamically damped tone arm in 1977 and the DV/10X high output moving coil cartridge in 1978.

In addition to these honors, DV/KARAT will be given the honor as the pioneer of the new generation of the cartridges with the more advanced design concepts.

As partly described above, the today's top quality cartridges are designed to follow the criterion of the frequency response to be as flat as possible in the wide frequency range.

Not a few cartridges whether they are MM or MC have attained this criterion by their clever design. But the sound characters by these cartridges are embarassingly different with each other. By the conventional theory, the very flat frequency response with very wide bandwidth means no deformation or variation of the wave forms in output signals.

But there exists the evident difference in sound character from one cartridge to another. It is true and can be analysed theoretically that the performance of MM cartridge is virtually different from the one of MC cartridge because of an additional time constant in its characteristic equation of the transfer function, and this results in the difference of the sound quality between MM and MC cartridges. But it seems to be very puzzling to find that the high performance MC cartridges have their own sound character even though the technical data are quite similar with each other.

These condition could be partly explained by the difference in damping rubber material, cantilever material and stylus shape. But they are not straight forward or fundamental. By facing these actual difficulty, the conventional design theory of cartridges is thought insufficient and too much optimistic for designing the top quality moving coil cartridges. In other words, more exact and precise design concepts are needed to settle these confusion.

After many reviews of today's design theories for cartridges, we were required to reconsider the physical conditions of the cartridge from the more fundamental point of view. The most of design theories of today's cartridges are either the electro-mechanical simulation method or matrix algeblaic method which starts from the simpler vibration theory.

By the former method, the vibration system like a cantilever of a cartridge is considered as being comprised of many cascaded small segments like a ladder. Each segment is represented by the simple electro-mechanical analogy of resistance, capacitance and inductance which forms a simple electrical circuit.

Interconnecting these simple electrical circuits makes the complex network, the performance of which is similar to that of the actual michanical system.

This is the simulation method and this method is quite common to the electrical engineers. With this method, the detailed discussion relating to the frequency domain becomes easy. On the other hand, by the matrix method, the detailed consideration of the flexural modes of the bending vibration of a cantilever is possible.

Above two methods are effective to consider the steady state of the vibration of a cantilever, but no information of the wave propagation along the contilever is available by these approximation method. To avoid these difficulties, we have started from the next most rigorous vibration equation of a bending vibration of a cantilever in order to have more detailed aspects in this problem.

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As shown by these analysis, the wave propagation velocity along a cantilever is obviously not constant but changes inversely as the wave length. A nonharmonic flexural pulsive signal may be regarded as consisting of a superposition of harmonic waves of different wavelengths.

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• Anmerkung : Das ist der Text im roten Dynavector Original-Prospekt. Ich habe nichts dazu erfunden oder erdichtet. Wenn Sie jetzt ehrlich zu sich selbst sind, haben Sie weder die Voraussetzungen noch die Beweisführung noch die Analyse verstanden. - Ich auch nicht und ich habe über 9 Jahre an den Unis Technik studiert. Ich behaupte mal, 99% der Leser und Bewunderer des "Zauberers" haben (auch) nichts verstanden.

Each of these waves has a different propagation velocity, so it follows that a flexural wave of arbitrary shape like in a musical wave form picked up from the record surface cannot propagate along a cantilever without DISPERSION, which results in a change of the wave shape in the output. A medium exhibiting a wave velocity Cb(lambda) depending on the wavelength is called a DISPERSIVE MEDIUM. The only flexural wave form propagating in a uniform cantilever without altering its shape is the simple harmonic wave.

As described as above, it is inevitable that the musical signal is deformed by its propagation along a cantilever as long as the transverse or bending motion is used for picking up the signal from records surface like in the today's phono cartridges. In the most cases today, the physical constant E/p which means the propagation velocity of the longitudinal wave in the medium is considered as the one of the measures for evaluation of the cantilever in a phono cartridge.
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But this velocity has nothing do with the vibration of a cantilever, because the cantilever vibrates only in bending or transverse direction not in longitudinal.

As shown by (Formel 2) or (Formel 3), the propagation velocity can be improved by the larger constant of E which is the strength of cantilever material and the larger number of l/m which means that the profile of the section of the cantilever is the important factor. The fastest cantilever is considered to be the one having the large diameter and thin wall of the very hard and very light material.

When the very light cantilever of smaller diameter is used in the design attempting to have the very small equivalent mass by which the resonant frequency can be very high, the propagation velocity is not so much improved even by the very light and hard material used.

Unfortunately the most of the up-to-date high quality cartridges are designed by the criterion of the very wide frequency response with very high resonance frequency.

The propagation problem is not particularly accounted or rather overlooked in their design. By these design the great number of frequency components contained in the pulsive signals disperse easily after travelling along a cantilever making the original pulsive wave form rather mild wave form losing some sharpness existing in the original sound. With these cartridges, we can hear the exessively smooth music from records, which seems to be very favourable sound.

Yes, many audiophiles love these character of the reproduced sound, but we can never approve such sound character by our standard as the real music listener. In other words, the most important factor in the music, that is, the excitement of the real musical performance is more or less lost in these design. As long as we use the today's principle of the cantilever in the cartridge design, the most drastic concept to improve the propagation problem is the use of the far shorter cantilever by the very hard material.

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The results were really treamandous and surprising. Every detail of the music in the record was more precise and had more liveliness and excitement as in the real music. Every instrument came closer to the listener out of the speaker boxes and they were positioned in the correct place.

In addition to these outstanding features, the sound from the old timer records which are stocked in the library as the nuisance was found to be astonishingly fresh and exciting when reproduced by this prototype.

As mentioned above, DV/KARAT is just the answer of us to fulfill the most difficult desire which almost all cartridges could not satisfy yet although their technical specification looks very excellent.
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The damping coefficient of the rubber is regarded theoretically or practically not constant but affected more or less by the variation of the amplitude and the frequency of the signal. If the frequency response of the cartridge is flattned only by the excessive use of the rubber material, the sound quality of these cartridges is controlled by the characteristics of the rubber.

In addition to these unfavourable character, the performance of damping rubber is seriously affected by the temperature. The most cartridges change their sound quality and tracking ability by the change of room temperature. On the contrary, in the structure of DV/KARAT the rubber material is used only for the suspension of a cantilever to avoid its upward leaning when playing records.

This is not for the damping action, therefore, the sound quality and the tracking ability are almost not dependent upon the room temperature whether it is very cold or warm. The creeping time effect of the change of the rubber characteristics is also negligible.

You understand now why the philosophy and the construction of DV/KARAT are so different but outperforming other traditional cartridges. Almost all old masterworks on discs by B.Walter, M.Callas, J.Heifetz, V.Horowitz, A.Rubinstein, L.Klauss, etc., etc., presumably sleeping in your library can revive and sound again with similar excitement and high fidelity like the modern direct cut records, sometimes with more natural ambience than today's hi-fi records.

DV/KARAT guarantees you to extend your enjoyment by record music to the extent of hearing the live musical performance.

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• These styli are polished from the natural octahedron diamond grains as shown by Picture 3.
• Diamond cantilever polished into the shape from the natural diamond shown by Picture 4.
• Ruby cantilever is also cut from the artificially grown single crystal of ruby and polished as shown by Picture 5.

To avoid the dropping out of the stylus from the cantilever, a very small hole must be drilled to fit the stylus in it, but this drilling was long time wanted without success, but NAMIKI succeeded finally by the use of the YAG laser beam machining process.
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As a standard, we use B & K 1009 testing record for testing the frequency response from 20 to 20,000 Hz and this data sheet is attached to each cartridge before delivery. In addition to this record, we use JVC TRS 1005 record for the frequency response from 1,000 to 50,000 Hz.
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• Anmerkung : Nach der glaubwürdigen Aussage von Vinyl-Platten Spezialist Brüggemann vom Schneidstudio Brüggemann in Frankfurt im Jahr 2013 waren seine selbst erstellten Testplatten nach 20 mal Abspielen völlig untauglich für irgendwelche seriösen qualitativen Tests oder Prüfungen. Und dort hatte er nur 15 und 18kHz Sinusfrequenzen drauf.

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CBS STR 112 testing record is used to measure the intermodulation distortion. The output voltage of the cartridge playing CBS STR 112 is fed to the real time spectrum analyser which is shown in Picture 13.

The spectrum diagram on the screen of this instrument is hard-copied on the paper to make the calculation of the intermodulation distortion figure.

Fig.7, a, b, c, d, e show the typical spectrum when 400 Hz plus 4,000 Hz are applied in the lateral direction to DV/KARAT in 6, 9, 12, 15, 18 dB excess state of 400 Hz component which is added on the constant 4000 Hz component.

By this figures, the intermodulation figure of DV/KARAT is -30 bB at 6 dB, -27 dB at 9 dB, -23 dB at 1 2 dB, -20 dB at 1 5 dB and -16 dB at 18 dB. This intermodulation figure seems to be far better than almost all other cartridges whether they are MC or MM.
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As obviously as described above, the DV/KARAT/ DIAMOND is the products of innovative thinking. It is entirely the new generation of phono cartridges. Every detail which was missed by the traditional cartridges is now recovered with astonishing precision.

Your old stock of records of early 1960 or end of 1950 revives with refreshing musicality and high fidelity. By DV/KARAT, all records with no exception sound their best, making it useless for you to care about the recording condition before buying. Then you will find all records since 1960 are more or less hi-fi recording and some of them can outperform today's direct cut records.

DV/KARAT widens your choice of music in record, and revives a lot of famous master works with the perfection being thought impossible before. You are wholly rewarded by DV/ KARAT and no further worry about cartridges is needed. Only one thing is "listen to music with perfect satisfaction". The best results are available by the use of our DV/505 tone arm and DV/6A or DV/6X stepping up transformer.
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