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Bud wrote:

I actually prefer the essence from the other end of summer, that wet, clear water running sound, so exuberant and hopeful ... though autumnal music has its own joys.. you only need encounter Vivaldi's  Four seasons portrayed by N. Marriner and the Academy of St. Martins of the Fields on an early Argo pressing to understand the joys of Autmn  If you have any friends at Polk Audio you might try to find out what compound they use on their cone drivers. It is a very elastic material and quite sticky, so it might be preferable to the PVA. The MicroScale material is a clear gloss, I forgot to note that earlier.

I know what you want to say by the “other end of summer” - this is why I have two “reference” cartridges: one yellowish another is more blueish. Anyhow, this all usually brings to the infinite chase of  the “better tones” instead of the “getting” the “absolute tone”. I still have a lot of options with the HF’s “polishing” and recently have discovered some promising things…. Will see when were I will be ending.

BTW, I do not see the Vivaldi's  “Four Seasons” as a work that has ANY colors. To me it is a pure B/W work based upon the sequences of contrasts instead of the sequences of the shadows and half-tones. Probably because of this the Marriner with the Academy would not be my first choice, although there are much more color-try to load performances of this work. For my B/W, high optical gamma version I usually go for some radical “smaltzy” play: something like the “Sonatori De La Giolosa Marca” with Giuliano Carmignola or “Eropa Galante” with Fabio Biondi…

Rgs,
Romy

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