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Getting The Most Out Of A Koetsu Urushi

Recently acquired a Koetsu Urishi Tsugaru from a known and well trusted source. This cartridge has been refurbished by VDH, and has under 100 hours on it. Mu current cartridges consist of an Ortofon Winfeld, ZYX 4D, and Denon DL 304. 

The Urushi is certainly different than my previous cartridges, and I do hear lots of potential there. Currently have it installed on a DP 75 in a VPI plinth, with an Acos GST 801 arm. Phono stages available are the Liberty B2B-1 and the internal stage on a Musical Fidelity Nu Vista M3. 

The question is system configurations on how to get the Urushi properly sorted out. Are most Koetsu users also SUT users? Is there any upside to running it on this cartridge versus my phono stage in MC trim? Secondly, the output cable on the 801 is not verified as the stock one for the 801, and since the arm is wired internally with silver wire, I have considered the possibility to changing it out to a known cable of good quality. Which that one is to be, I have not made a decision on. 

I do also have a Technics SP 10 MK II in a variable density plinth, and I might consider putting the Urushi on there, although it might necessitate a change in tone arms. I have a 12" Riggle String Theory arm on it, and I suspect the wood arm may fall into the slightly warm camp, which is not what I would suspect this cartridge needs. It does seem that the SME V is a go to choice, but been thinking of other options also. 

Anyone with thoughts and experiences they care to share?
neonknight
lewm
6,770 posts
 
Thanks, Nandric.  I too do not subscribe rigidly to the "rules" about matching cartridge compliance to tonearm effective mass, but just like the rumor that the Urushi is a painted Rosewood, there is a rumor that the FR64S is a really good match with Urushi.  And the benefits are said to derive from the rather high effective mass of that tonearm. Whereas the TP is "medium" effective mass, at best.  (Of course, one can always add mass to a low mass tonearm to suit any low compliance cartridge.)

For a year now I have been running my Acutex LPM320 (stated compliance = 42!) on my FR64S, albeit with a light weight headshell, and the combination produces no issues related to bass resonance.  (This is where I got into a big hoo-hah with Raul, as you may recall.)
quincy
176 posts
 
This manufacture utilizes a very low output (mV) design strategy.  What is your current loading and gain setting on your phono stage?
terry9
931 posts
 
I have a KRSP with diamond cantilever. I say, set up, set up, set up. You just can’t be too careful with setup.

I find that azimuth adjustments of 10 minutes of arc are detectable. Also, torque adjustments. Of course, tracking force and vertical tracking angle also matter.

I use the silver SUT’s from Lundahl, as they are the best I have ever heard (K&K Audio, no relationship). Just add a box and RCA jacks, $2000 all in.

Ultrasonic record cleaning is an obvious way to keep your Urushi happy, and your system relatively free of surface noise.

YMMV

wspohn's avatar
wspohn
210 posts
 
I agree that the SME V arm is magic with the Urushi and that's what I use, into a Vendetta phono stage. No transformers needed.  I have also used it with a Conrad Johnson Premier 15 which also had ample gain.

Other arms that might be worth trying if you ever see them would be the Zeta (which I haven't owned), and Mission Mechanic (which I have used).  If you can't find them and don't want to spend the money on the SME I have herd that the Rega RB 900 works pretty well.
terry9
931 posts
 
As to tonearm, I use the Trans-Fi air bearing. For $1000 it's the biggest bargain in high end.
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