Lyra Atlas experiences

Could we get this thread back on line please? The battery comment by lewm is off topic.

Recently I have been able to compare DSD recordings of the Lyra Atlas, to direct vinyl playback, using the Lyra Titan i (since the Atlas is broken). The Atlas recordings show that it is clearly a superior cart, although some of the difference may also reflect larger use of the Titan i - it is more worn. The Titan is certainly a very good cartridge, even if surpassed by the Atlas. The Atlas in more rounded, less "etched" and "hifi", compared to the Titan i, with a considerably greater "being there" effect. Lower noise from vinyl issues - less crack and pop - and more deep bass, giving a more realistic deeper embodied sound of vocals - are parts of the picture.

I have never understood the "new battery" thing with the Foz.  Brand new 9V batteries are not uniform in their measurable voltage output, and they generally will be producing somewhat more than 9V when they are new, but the exact value varies between 9 and 10V.  (I once had to buy about 10 of them, and at that time, I measured each one right out of the box.) So, why would the Foz necessarily need a new battery, rather than a battery that makes nearly exactly 9V?  Used 9V batteries very often are producing 9V, exactly. Moreover, if used at a low current draw, they can go on producing 9V for a long time.  So there is something else going on here, in my opinion, unless the Foz draws a lot of current and just plain drags down a battery in a very short time.

OK, thanks folkfreak, sorry Raul! I remember it now. The Evolve model had a restriced run or small edition I believe? I upgraded my Clavis at the time. A friend had the Helicon but never got it quite optimal, he felt. For me, things really started to take off with Lyra when I bought a Titan, later upgraded to Titan i.

Varyat - is it sonically relevant - this is the core issue - very good question. Does the visual (subsonic) pumping cause damage? Not as far as I know. It may strain the woofers but they seem to tackle it. Does it have a negative impact on the music? I am not sure. I think that, yes, maybe, it imparts some more unruliness and listening fatigue in the long run, dynamic parts become more strained. On the other hand, LPs with subsonic pumping (in my system, with the cart-arm resonance down to 7hz or so) are also often very good-sounding albums.

Does woofer pumping cause any problems? Other than the visual display, does this cause any damage or is it sonically relevant?

@o_holter the Clavis Evolve was a limited model produced in 1999
https://www.vinylengine.com/library/lyra/clavis-evolve-99.shtml

Raul, where did you hear the "Lyra Evolve", as you claim in a post above? This is not a Lyra model I know of. Your idea that good cartridges will sound sub-optimal with tube electronics does not work out, according to my ears. Using the Lyra Atlas with the Aesthetix Io Eclipse dual power. Have you actually heard this combination? If not, please restrict your overall general judgements.

Bpoletti, from what I read, the Jelco 750D has more effective mass than my SME V - 13.48g vs ca 10.5g. So if there is rumble or subsonic pumping you should notice more.

Thank you bpoletti, very interesting. I still have my Clavis DC on the loft, and should probably take it down to test it for woofer pumping. I dont remember much pumping in the years when I used this now well worn cart, but that was with a different tonearm, the very difficult Souther / Triquarts parallel arm, skating around rather than giving a precise image of the groove (in my system at least), though the arm was so light that there was no resonance problem. The compliance of the Clavis, Titan and Atlas are the same I believe - as given from Lyra - 12 at 100hz.

I am no longer using the HW-19, but instead a Hanss T30 which I find superior in most (not all) respects.

Maybe we share an experience - with Lyra cartridges - even the Clavis, and even more, with the Titan, and the Atlas - changing the player and arm makes a difference.

@o_holter I have been using a long-in-the-tooth Clavis DC on and off for years.  I have not experienced any woofer pumping in my system.  If I may make a suggestion (I'm assuming you are using sorbothane pucks in your HW-19) you might consider using a different Duro rating, maybe softer.  Another potential culprit might be the bearing.  An "oil change" and cleaning may help.  Check the best to see if there is any obvious wear that could be getting into the platter assy.

I used the Clavis DC briefly in my VPI HW-19/III (spring sprung, not pucks) until changing to a modified TNT and then to an Aries Extended.  Arms used include Premier FT3 with Sumiko Analog Survival Kit arm wrap, Jelco 750D and JMW Memorial 12.  Never an issue.  

Have others experienced subsonic woofer pumping with the Atlas or other Lyra carts? If the answer is no, just a little, or yes - what tonearm do you use? Symptom: you see the woofer cone move in and out, even if you don’t hear anything, playing vinyl records - especially in-between tracks, and in the intro and outro grooves. You need to turn up the volume to do the test. You can also use your fingers to feel the cone movement. Example of test LP: Pink Floyd Meddle.

I am running my Lyra Atlas - it is maybe a total of 14 - 1500 hours by now.

No major problems. The bad spots in my vinyl collection are like before (mistracking, sibilance).

It has become more "slack" than in the beginning, as is to be expected. Mainly it works to the best, sonically (a bit more more rounded, mellow, ambience-tuned, dimensional).

Michael Fremer got problems with the Atlas after four years - his copy was bought in 2013, like mine. But he described "heavy usage". I suspect this means 2500 - 3000 hours or even more. At that point he heard clear signs of wear, especially, more sibilance. So far, this is not a problem on my cartridge.

Generally, yes, the Atlas is a big investment. But I have never looked back.

The Atlas goes so deep that the woofers can pump (subsonic movement), at least in some arm combinations with low resonance, like my SME V. Yet this usually means good sound, it is not very serious, in my judgement so far. See
https://forum.audiogon.com/discussions/why-are-my-woofers-pumping

Dear @downunder : The A90 as almost all top Ortofon models in the past  are not " expensive " as you said against other top cartridges as Lyra, Clearaudio, Air Tigth and the like.

This is the first time that I read a compliant in the treplicant Ortofon stylus tip regarding its playing time that you said " only " 1000 hours vs 3K hours against Lyra.

I own and owned Ortofon cartridges with replicant and non-replicant stylus tip shapes and never gave me any trouble, maybe because not over 1K hours but if I remember a scientific research by Ortofn people found out that over 500 hours the quality level performance of any cartridge ( Ortofon or non-Ortofon. ) begin  to fall down due to the playing hours where stylus tip starts to shows signs of that terrible and hard cartridge job over the LP grooves. If we want to mantain the " same " quality level performance on top cartridges I think that between 500-750 but no more than 1K hours needs for a a retipp.
Problem is that because we are listen it day by day we really don't take in count that lower and lower quality performance levels but exist that way.

Now, the 100th anniversary is a total Ortofon departure in their cartridge designs because for the very first time they use diamond as cantilever build material when Ortofon never showed to use more " sophisticated and expensive " cartridge materials but more focus in its design and excecution very high quality to that cartridge design.


Please do it me a favor and buy one an after 500 hours I will buy it from you. That cartridge is a must to have.

Btw, the Atlas SL has more "  pure and forgiven " sound because it has lower output that means less coild wire.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

Dear @tommyboy65 : I started to own LYra cartridge from the Evolve model passing for almost all models and as I said in that post I heard the Atlas too.

problem is not the Atlas, .poblem is that all tube I/O model.

Yes the Lyra and the specific Atlas " is terrific " performer even that you listen it through tubes that's the wrong electronics ( and yes, I owned and listened top tube electronics including the OP model and that's why I said what I said it. First hand experiences. ) to any LOMC cartridge. Tha's all.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

That is 50% off a new Atlas. You get a brand new Atlas as Lyra do a complete rebuild - the only thing reused is the body.
Sounds like a good deal to me for one of the best cartridges one can buy.

Rebuild costs are similar % in Australia.

How much did it cost to rebuild your Atlas. I’m facing a possible rebuild and may cost $5995

@rauliruegas    personally after owning the A90, I would never touch an expensive Ortofon cartridge with replicant 100 stylus again. @ around 1000 hours playtime, it does not last long enough.

  Lyra and Dyna cartridges last at least 2500 to 3000 hours easily.

  I owned an Atlas since 2012 and the last 2 months the Atlas SL after Lyra rebuilt my worn Atlas.
  Atlas has incredible life, dynamics and attack - but in certain systems can be a double edged sword.  Atlas SL is a little different where is it seems to be even more pure sounding so a little more forgiving.  

  I prefer both Atlas models to the Etna SL which is excellent but a little too forward in the vocal range and misses out on low bass but has excellent tone.

@rauliruegas gave bad advice at beginning of thread. I have an Atlas with an all tube system on an VPI Extended Aries I, with the 3D tonearm and it is freaking terrific! It is by far the best MC that I’ve ever owned. Just absolutely rotten advice. If you never owned a cartridge then how can you comment on the sound??? 

Thanks!
Karl - happy you enjoy the Atlas, I do too, it is in a very high league. My cantilever is maybe not quite optimal but I have never sent it in for a check.
Whatthe - I would probably think so too, with the Atlas SL. But my phono stage needs a stronger output from the cart, to do its magic.
Raul - yes the Atlas has run maybe 1500 hours, but according to the reputation of Lyra carts, it should be good for more, maybe 2500. Wear of the cart suspension is a possible cause of pumping - not sure. I think it has behaved this way more or less since I got it.

Dear @o_holter  @whatthe  @karl_desch : Masybe this is the best time to  buy a totally new LOMC cartridge ( o_holter, your Atlas has 1.k hours. ) that I have no doubt can set as a new reference or at least the more serious challenges to all other top today cartridges:

https://www.ortofon.com/mc-century-p-863?utm_medium=email&utm_campaign=HiFi%20NL%20May%202018&am...


Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

I have owned a lot of cartridges. Goldfinger, Anna, dynavector XV-1s, ikeda Kai, earlier atlas among others. At present I am spinning Lyra atlas sl. All I need to say, after decades, I am done! If I had to pick my second option. If I could not have the atlas sl. It would be the Kai. I love the low out put cartridges. Much more enjoyable to my older ears. Just my view.
✌️🖖

@o_holter Several months ago, I took the plunge and acquired a lightly used Atlas. I noticed that the cantilever was off center when playing and at rest. Sounded fine but I sent it to Lyra for cleaning and adjustment.

Back from Lyra it looked to be in perfect straight alignment.  I use a MintLP or an Accutrak arc protractor as well as a USB microscope and a Foz for setting up cartridges. 

Compared to to my previous Delos, the Atlas is more dynamic, more information gathering and has much deeper and better defined bass.  This is especially apparent in my stereo when mounted on a Mørch DP-8.  This cartridges sounds great on simple acoustic and jazz as well as more complicated rock and electronic.  I tend to use my Koetsu when I feel that rhythmic information is more important but I really love how music explodes off the recording with the Atlas.  I learn a lot about the intrinsic nature of a cartridge when I can compare it to others in my system.

I find that my Pass XP-15 is not that sensitive to loading but I settled on 500 ohms. I hope to listen to it through an Atma-sphere MP-1 in the future.

-Karl

mmakshak gave a good comment, above:
"Reading all this, you can see how intellectual arguments can lead anywhere(especially if you get one thing wrong).  I use parameters as an outside guiding force-not the be all and end all of all things.  You need to get in the ballpark(with these), and then use your ears to actually hear what anti-skate does.  I think, once again, focusing on one aspect of the sound, is a mistake.  You can make a minute adjustment-let's say one where the channels seem correctly balanced-but find, after sleeping on it, that your desire to listen has diminished.  This method introduces your subconscious, which holds many more parameters than your conscious, or intellectual mind. "

Hi there - an update on my Atlas experience.
It has now run - maybe - 1500 hours. My model was made in 2013. I try to use it sparingly.
I have no clear signs of cartridge wear, so far. It has changed tone, seems a bit more mellow now, not sure, cannot A-B-test
Michael Fremer noted "sibilance" as sign of wear, after some years of heavy duty use of the Atlas. So far, no problem for me. Also, mistracking is very rare.  
In sum - the Atlas continues to do a marvellous job.

The Atlas should have no tracking problems with any commercially made LP.

ferrari250, agree, my experience is the same. Working with loading and adjustment is very important. Although the Atlas is so good that it is in a sense also a problem - it still sounds good, even with suboptimal adjustments (to an extent) and loading.

I am sure there are golden ears out there who would dispute this, but this is what I have found, with my average ears, living with Lyra cartridges for many years. I can get them into a very good setup. With each new generation of Lyra (for me: Clavis  - Titan - Atlas), this zone has been widened. If you cannot setup this cartridge to sound good, something is seriously wrong.

This is all very fine. But the challenge starts from there - how to make the cartridge play not just very good, but optimal.

Tracking - I had some early versions of the Clavis with tracking problems. I moved up to the Titan, with less, and then the Titan i, with even less problems. After I got the Atlas, there is even less mistracking. Tracking problems are mainly non-present, appearing very seldom.

@  o_holter, Check your loading and sra, of course vta as well.  Your system may react differently than others with loading and gain. Do not expect the Atlas to be the "end all be all", nothing is perfect everything depends upon preferences, equipment synergy ~ critical and listening tastes.   All of my past Lyra's have been tracking champions and their customer service top notch.  

Stingreen - sorry, did not see your post before - i use the Aesthetix Benz MC Demagnetizer. The Lyra Atlas manual says periodic fluxbusting is ok provided one follows the instructions (I do). 

0_hotter....when you say demag every second month....you only use the Cardas (or similar) disc???    I certainly would check with Lyra if it is wise to do this.  Some high end cartridges have internal wiring that could be melted with some demag treatments.

My Atlas plays very well. Recently I have bought a Spin clean washer, because I want to listen to music when I clean my records (my noisy vacuum record cleaner is in the basement, for now). Not surprisingly, the record washing results in better-sounding records. Also, for Atlas best sound and maintenance, I use the Zerodust, a light carbon brush now and then, each week, and the Lyra stylus treatment once a month or so. Demag ca every second month.

Rereading the thread:

Thanks Stingreen - I very much appreciate your contributions, and will do a new check. So far, however, the azimuth seems ok. Like Mmakshak commented above, it can be hard to judge, what is the cartridge, what is the speaker positioning, and so on - you need to sleep on it, and use your subconscious to get the whole system fully tuned to the room. This is an endless task. Happily it is also filled with joy - just listen to the music!
 
Ninetynine - the SME arm should be heavier, to be optimal for the Atlas. I am not sure. I tried some damping/heavier stuff but went back to the original. As often happens when I try to tweak the SME V.

Nandric - stylus shape is important - I did not get how this would translate to anti-skate and weight.

Some of the debate turned to mistracking - although not the main issue in my case. It seems that most users, including me, thinks the Atlas sounds great and seldom mistracks. As stated before, this thread is about getting optimal sound.

Raul has argued that the Atlas needs a solid state (or hybrid) phono preamp / riaa solution to sound its best. Too many tubes will not do. The debate - here as elsewhere - has turned to solid state vs. tubes. I agree that phono preamps are not the main subject of this thread, but a little discussion will not hurt. After all, the phono is a main part of making the cartridge sound good. But we should restrict this to phono stages actually listened to using the Atlas. Raul, have you heard solid state phono stages that serve the Atlas in a superior way?

All in all, with 3851 views on Audiogon and 98 posts so far (one of them calling our discussion "erudite"), I think the thread has been succesful. The group of Atlas owners / users is fairly small, but our discoveries and debates have a more general interest. Each of us are likely to be sometimes wrong, but together, we may be right.  So I look forward to more comments.

O-holter.....just reading the thread again.   I got rid of my SME V because it didn't have the ability to adjust for azimuth.  Sure you can shim the cartridge, but that is really unworkable.  When azimuth is set correctly, the soundstage widens, yet the instruments become smaller...life like and in their proper space in the sound envelope.  Depth is increased as is dynamic shadings.  These attributes are much too valuable to give away on an arm that can not accomadate for it.  These are the exact abilities that make the Lyra Atlas so special. I've head the Atlas on a few arms, and on mine - a VPI 3D.  All the top arms sound a bit different, but to my ears, none was better than on my VPI 3D.  I understand Harry is working on the addition of another pivot to make the arm even better....the mod is easily incorporated into all 3D arms, and has a modest price tag.

Platter mats - well, maybe too off topic....no reaction so far.

So, back to a main issue raised earlier in the debate. The Atlas needs a solid state Riaa to sound its best. Or at least, not too many tubes (Rauliregas). He may be right. I hope to be able to audition some s-state riaas in the near future, and will report back.

Dctom - Thanks for interesting information. I also enjoy the Atlas. For me, each step up in the Lyra line over the last twenty years - Clavis, Clavis DC, Titan, Titan i, Atlas - has been worth it. The Atlas shines through even when some components aren't optimal.

I used the SME V on a (modded) VPI-HW19 player for several years, and although it worked ok, the arm matches better with the Hanss T30 player I use now. It gives the arm a more rigid platform, more in line with the philosophy behind the SME V. I can compare since I have DSD recordings from vinyl using the two players with the same arm and Lyra cart. There is no doubt that the Hanss benefits the music (although the tonality is good in the HW19, pitch and stability is better in the Hanss, music seems to get a higher resolution with a greater level of detail). So, getting the Hanss player in a sense was the biggest "tweak" I did to the Atlas (and is much recommended if one can get it for a reasonable price). The T30 has two motors, six thin drive belts, heavy sandwich construction, magnetic bearing, 10 kg aluminium platter - and I think all of these contribute to the result.

Some people don't like the sound in this type of heavy platter, including Paul Seydor in the Absolute sound (2012), reviewing the T-60, a bigger version of the T-30. Seydor had a lot of nice things to say, and only one critique - he heard a certain metallic coloration or glare, and preferred using the player with a platter mat on top. He used a Graham Phantom II arm with an Ortofon Windfield. (Review here: http://www.theabsolutesound.com/articles/hanss-t-60-turntable-and-graham-phantom-ii-supreme-tonearm/ )

I understand what Seymour was writing about. I can hear a bit of this glare too. Yet I mainly prefer the T-30 (with the SME V and Atlas) without a mat.

Since this may of be interest to others, and to be sure, I did a new test, over a week, trying out the best platter mats I have tried so far, the Japanese fo.Q rs-912 (recommended by Seymour - a set of two mats, thin and thick).

However, my conclusion is: I like the sound better without a mat - even with some "glare". This goes for most of my records. Sometimes, however, the LP is so hard-sounding (and engaging platter resonances, I imagine) that the music sounds better with one of the rs-912 mats.

Like Seymour, I find that the thin mat (with holes) works best; the thick (or the two combined) is too much.  So for example, when I want to play my worn mono copy of Dave Clark 5 In Session, the mat makes it more bearable. It functions a bit like a filter, and also goes some way into refining the sound. However, listening more closely, I find that I lose information. This is a no-no for me. So - even with a bit of glare, I prefer the "full" sound from the record directly on the platter.

I use a heavy (1kg) TT brass record weight rather than the light-weight clamp that came with the Hanss. This, also, is a bit of plus and minus (I miss the screw-down clamp design on the VPI), but mainly, it gives the music more body, it sounds fuller, and also reduces the glare a bit.

For a period, I tried damping the platter on the bottom, using Gladen Aero-Butyl, but the Hanss distributor warned me against this, since even if I applied the damping material evenly, it would still interfere with optimal balancing of the platter. So I took it off, again (quite some work). It did help the metallic resonance, but not so much - I don't hear a big difference without it. Maybe a sandwhich or composite construction would cure it better. With the VPI, I had the heavy (HW-19 version 3 or so) lead platter, but even if it was stable and gave deeper bass than the ones before it, I liked the sound better in the (hw-19 v 4) Black Knight platter.

It seems typical for the Atlas that kind of problem is less prominent than with earlier Lyra's like the Titan. At least, this is my experience. The Clavis was much "harder" than the Titan, and the Titan was harder than the Atlas. Hard in both senses - sounding hard, and hard to get right, to adjust to optimal sound. It feels like the Atlas is more "forgiving" of resonances, sibilances, etc. along with almost no mistracking - even as it is extracting more information from the groove. This is impressive. Even when using a "lowly" phono stage like I do now, the cartridge gives me clear informattion, what sounds best.

 

I use a kuzma 4pt for my Atlas. Have had a range of carts in the Kuzma, Benz, airtight, vdh etc. The Atlas is the best sounding, excellent dynamics, tonality and tracking.

I did have a sme 20 with the the smeV arm, but this was previous to me obtaining the Lyra. Obivously I found the  Kuzma TT (and ref313 arm I had initially) preferable  to the sme,  the 313 also tracked better than the sme with the same cartridge.

I use a mini oscilloscope with the set up to adjust azimuth. 

Have tried various phono stages with the Lyra, eg. Dartzeel, Thoress - I use the Ypsilon with Lyra's Erodition MC step up. I found the Erodition suits the Lyra better than the Ypsilon MC20 step up.

Downunder - I remember, trying to tweak the Souther arm, we got the feeling, although it looked nice in theory, it was hard to achieve in practice, whatever we did, the cart scated around in the groove (and as you can imagine my rather over-controlled SME V cured that). Happy for you, if the new Thales design works well.
Oystein

@downunder : That has a name: tonearm true engeenering !!!!!

R.

Dear @downunder :  ""  you can hear the difference in clarity and purity of the lower % tracking error. ""

there is no doubt about because lower tracking error means at least two things: lower distortions and higher music information.

As always and your tonearm included the name in the tonearm/cartridge set up is accuracy behind that set up. The differences we can hear between Baerwald and Löfgren B are not because one alignment been superior to the other but because differences, minute differences, on each alignment set up.

I can remember when appeared the MINT LP protractor where every single gentleman that use it was and is totally satisfied and where all of them heard more or les what you stated and why is that: because the MINT LP is really outstanding?, no because for the almost very first time some one took in count tne meaning of ACCURACY. It's a bargain of protractor ( I think around 150.00 ) an unbeatable till today, it's dedicated protractor for the TT/tonearm/cartridge of the owner. We don't need nothing else.

But your tonearm is in a different league and my " hat off " for the manufacturer.

In the other side you are not hearing only the improvement of the tangential tracking in your tonearm but its overall construction and blend material building, bearing and many other things. Good.

Regards and enjoy the music,
R.

Hi Raul

thanks,  That is why I did not mention Linear tracking :-)

It is quite amusing that many arguments over different alignment curves like Baer, Loef and Stevenson and what sounds best.
  Here we have a tonearm that is proven with maths and splendid execution to reduce tracking error to 0.0006 % vs over 2% for all other alignment curves.

  yes, I am a believer,  as you can hear the difference in clarity and purity of the lower % tracking error.

cheers

Dear @downunder :  """  I am now a believer in tangential tracking tonearms.  """

well, your tonearm is a pivoted design that tracks tangentially and this is not the same as all linear tracking designs we all now as " linear trackers ".

Been pivoted is a great advantage an additional advantage to its tangential tracking. Very good design!. Congratulations.

Regards and enjoy the music,
R.

PS: if you can please email me: rauliruegas@hotmail.com 

Downunder - nice to hear. A friend of mine has a Phantom, I found it a bit better than the SME V but not a revolution. Generally, going far up in price means that the performance improvement diminishes. But perhaps the Simplicity belongs to the exceptions. My Hanss T30 player can take an additional arm (Rega 300 type armboard) besides the SME V, and I am considering an investment, although I have been sceptical of the concept of two (or more) arms.

Hi o_holter

Yes those Southers/Clearaudio's were known to have problems - I thiunk they work a lot better now.

  The execution and build quality of Simplicity II is superb - tracks perfectly.  The clarity, directness and stability the tonearm brings to music is uncanny.     My other tonearm is Graham Phantom.

  cheers

Halcro - like in "silence is golden"? If the music is bad, no cartridge will save you...
Downunder - yes, the Thales arm looks very interesting. I had a parallel arm (Souther/Clearaudio) ten years ago but could never make it work. The Thales design seems in another class. Does it track ok? What was the arm you had before?
Yesterday I pulled out my Aesthetix Benz MC demagnetizer, and reconnected the batteries (they tend to go flat, if connected). I used it two times, both phono leads connected. Its been eight months since the last time. Did I hear a difference? Yes. Clearer sound. I find it interesting that the difference is easy to hear even with the small Fanfare 3 stage I use now (my main phono stage is on repair). 

I find with my Atlas, the greatest improvement is when I hit the 'mute' button......

’This is an easy one for me. The biggest leap in sonic improvement for my Lyra Atlas has been to put a Thales Simplicity II tonearm onto my TW Acustik AC-3.

My TW turntable now sounds the best it has ever sounded, even my tube phono stage sounds much better now.

I am now a believer in tangential tracking tonearms.

cheers

Thank you, Astro58go. My meaning starting this thread was to be informative for others also, not just Atlas owners.
Regarding solid state or tube amplification of the Atlas, opinions differ. I suggest we focus more on what can actually help, tweaks that can be done, whatever the gear used. Setup is often even more important. This is a great cartridge that deserves the best.

I've read this thread with great enthusiasm. Although I don't own an Atlas, probably never will, I find the comments here instructive for anyone.

I own an original Foz. I've since read on the Analog Planet, that the current Fozgometers are self-calibrating. I found mine to be helpful with my ET arm, since that arm isn't as user friendly as my VPI 3D in this area. I will say that my 3D is, as Stringreen says, very easy to set azimuth and once one gets it close, listening then adjusting is very easy. Therefore, using it to set azimuth for critical listening isn't the best way IMO on the 3D arm. (Having said this, I'm sure the Atlas is so much more resolving than my carts.....)

whatthe, Are you asking for another's help in setting up your system from someone that has no personal (listening) knowledge of said system in your room, does not know you?, and may have differing listening biases than you??? I just find this to be rather extreme. Just saying....

Dear @whatthe : Please email me here: rauliruegas@hotmail.com

Appreciated,
R.

Rauliruegas, I am not sure I fully understood your posts. I own a Ypsilon VPS-100 phono and MC-26L transformer. I have owned the Lyra atlas in the past and have considered buying the SL version. I have owned several phono stages many being SS. At present l am using ikeda KAI, which I enjoy. But I miss the in your face of the atlas and have considered the addition. What stops me is I have become lazy as of late and have been listening mainly to my digital front end. Runs in cycles. Are you saying my system (phono) (rest of my system is SS) is a bad fit? I will admit I am getting older(60) and my hearing is not what it use to be. Although distortion seems to bothers me more then ever. My ikeda Kia rivals the best carts I have owned (and I have owned a lot). The atlas is the only one I miss. Your thoughts? I have temporarily posted my system for your responce. It is a "simple" one. After yrs of very large and complicated ones.
thanks 

As I said, enough it's futile to go on with.

No, I'm not always right and I posted here about but some gentlemans like you just read but not really read and that's why your total misunderstood on the main subject.

R.