Sound Smith Product Reviews

Janine Elliot takes a listen to the Soundsmith Carmen Moving Iron Cartridge that is made in the US and costs £759.00.

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  For weeks, I've been moved by two things in my immediate environment: there are the 1400-plus masterpieces from great artists, some of extremely dubious provenance, which the collector Cornelius Gurlitt had managed to keep hidden from public view not far from me in Munich for decades. Their value is said to be at least a billion Euro, which led to even greater oohing and ahhing than the recent record figure of well over a hundred million Euro that a single Francis Bacon piece recently reached. Our copy-and paste present is obsessed with originals, with the non-copied.

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Using a VPI Traveler V1 with Sumiko EvoIII Cartridge playing a Blood Sweat & Tears album from the local thrift store cleaned with Spin Clean.

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"The Mezzo and the Nautilus can perform this sonic magic of sounding lifelike and with the exact intentions of the musician, whether it’s played in the concert hall, in the studio, or on electronic hardware and software. Both these cartridges made each record sound like the best sounding record I've ever heard. That is, until I played the next record.” - Tom Lyle, Enjoy The Music

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"...three names proudly stood at the top of my hi-fi fan-boy list: Nelson Pass, Andrew Jones—and Peter Ledermann, whose company, The Soundsmith, is based in Peekskill, New York. Why Ledermann?"

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The Soundsmith setup produces one of the, if not the, most detailed and three-dimensional soundstages I have yet heard in equipment designed to reproduce LPs. It reveals all of the detail in the usual studio efforts to fake a stage... It won’t add what isn’t there, and plenty of analog records are only two-dimensional. With good LPs, however, the combination of detail, low-level dynamics, overall dynamic range, and natural timbre can be extraordinarily revealing...(Tony Cordesmann - The Absolute Sound)

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Even right out of the box the Mezzo's sound was quite impressive. After about forty or so hours of use it became even more impressive, and I became aware of the many things it got right and the very few (if any) things that it got wrong. It allowed me hear exactly what was pressed into the grooves of the record that was on my turntable. It was also quite striking how quiet the cartridge was when traveling through the grooves of each record -- the vanishingly small level of surface noise that the Mezzo reproduces is quite an accomplishment. But what was much more noticeable even early in the review process after only a playing a few records was that the Mezzo sounded like real music.

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Everyone who had a chance to audition it in our reference system was astonished by its ability to deliver such a high level of performance for such a reasonable price. After 15 minutes of listening, some of the most experienced audio enthusiasts expressed surprise at the cost, expecting it to be higher.

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If I had to summarize it, the Soundsmith MMP4 is simply a miracle and one of the most significant improvements in my system. With the Soundsmith MMP4 instruments are more focused without compromising the warmth I love in my tube system and I can now really appreciate how great the VPI Scout and the Benz Glider are. 

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The SMMC1 effortlessly produced music from "black" backdrops. It produced big, vibrant, well-formed images on a luxuriously wide if not particularly deep soundstage. The incisive immediacy reminded me of the best of what was great about hi-fi's "good old days," and why some audiophiles still swear by "old school" MM cartridges from Empire, Pickering, and the like. In short, it was about as clean and articulate a tracker as you're likely to experience for any price—the kind of cartridge that made me forget about audiophile performance checklists and just kick back and listen for pure musical enjoyment.

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They Said What?

I played this album a few times on my system before adding the Zephyr MK III ES. I found it far superior to the CDs I'd listened to, with excellent tone on Miles' trumpet and a deep and wide soundstage. But when I listened to it the first time with the Zephyr MK III ES, it was another level of cool. Right off the bat, the surface noise was down, significantly. Secondly, the soundstage was deeper and wider than I have ever heard on my system before. James Cobb's snare had more snap and his high hat took on more air. Song after song, I was completely engaged in the music.

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