The story about Cadenza
Cadenza (from Italian: meaning cadence) refers to a portion of a concert in which the orchestra stops playing, leaving the soloist to play alone in free time, without a strict, regular pulse. A cadenza can be written or improvised. It’s usually the most elaborate and virtuosic part the solo instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement.
During the 19th century, composers began to write cadenzas out in full. Others wrote cadenzas for works, where the composer had intended for the solo to be improvised, in order for the soloist to have a well formed solo that they could practice in advance. Some of these have become so widely played and sung that they are effectively a part of the standard repertoire.
MC Cadenza Bronze Technical data
Output voltage at 1000 Hz, 5cm/sec. - 0,4 mV
Channel balance at 1 kHz - < 1 dB
Channel separation at 1 kHz - > 24 dB
Channel separation at 15 kHz - > 20 dB
Frequency range at - 3dB - 20 - 55 kHz
Frequency response 20 Hz - 20 kHz - +/-1,5
Tracking ability at 315Hz at recommended tracking force *) - 80 µm
Compliance, dynamic, lateral - 12 µm/mN
Stylus type - Nude Ortofon Replicant on conical alu cantilever
Stylus tip radius - r/R 5/100 µm
Tracking force range - 2,2-2,7 g (22-27 mN)
Tracking force, recommended - 2,5 g (25 mN)
*) Typical value
Tracking angle - 23°
Internal impedance, DC resistance - 5 Ohm
Recommended load impedance - 50-200 Ohm
Cartridge body material - Stainless steel / Aluminium
Cartridge colour - Bronze/Black
Cartridge weight - 10,7 gram
Cadenza Bronze is a true high-end reference cartridge, conveying music with supreme precision, impact and dynamics.
The Cadenza Bronze model is using a Replicant 100 stylus and a conical aluminium cantilever.
The coil wire is the famous Ortofon Aucurum wire, which is a gold plated 6NX copper wire.
Field Stabilizing Element/FSE, is used for optimal linearity especially during complex crescendo passages.
Cadenza Bronze stereo imaging capabilities illuminate the farthest corners of the soundstage in all three dimensions.
STYLUS RAKE ANGLE (SRA)
With a complex stylus shape like the Replicant 100, there must be special attention paid to positioning the diamond in the groove.
The Stylus Rake Angle is very important to the performance of the Replicant 100 stylus, and the long contact surface (the sharp edge) of the diamond should be almost perpendicular to the record surface when viewed from the side. The angle between the record surface and the cantilever is close to 23 degrees when SRA is 90 degrees.
A perfect starting point is to set the tonearm parallel to the record surface and to use the recommended tracking force. The contact surface will be close to perpendicular to the record surface with this setting. The SRA can now gradually and carefully be changed be adjusting VTF and, if necessary, the tonearm height. The target should be an SRA around 92 degrees, determined by the listening experience. In other words, the point of the stylus should point slightly towards the tonearm base.
