It appears that the DL-110 incidentally confirms my long-held disregard of "running in" audio components.
This DL-110 has been put through a grinder of about ten difficult LPs of mine since last post. I am awed that so much quality comes through, even on A/B comparison with the DL-103R and Stanton 881S. (It has been a frenetic two days).
The ONLY difficulty has been one faulty/noisy LP with a hashy background noise heard through all other cartridges here (only a bit more through the DL-110).
All the LPs have been a joy to hear, with a mild-but-recognizable sonic signature, but with total freedom from "considering its price". And, showing generous tracking ability, if not up to super-tracking status...that is, tracking (including sibilance) was NOT an issue on the folowing ten difficult LPs of mine.
My categories for attention in the recent ten LPs:
from very low through very high. No missing parts, and only a slight relaxation in the area of feminine voices and massed violins.
since this cartridge is virtually SILENT, no hum is robbing the attention from very low-volume sounds, and all the way into very loud sounds, either sustained or instant, such as an entire orchestra, a solo trumpet, some solo percussion instruments, high flutes at high or low volume, cymbals (jazz or classical music), drums (low whomps to high snare sounds), xylpohones, guitars, finger clicking, applause, sustained organ cords or rapid piano runs, or instant cords.
STAGING: to include DEPTH / AMBIANCE and DIRECTIONALITY:
a solo piano in stereo is perceived with its ambiance and spaciousness, orchestral sections are perceived in the area they belong, instumental quartets (either wind or string, or both) show believable placement, focus, and ambience. Opera recordings show appropriate stage movement and stage depth...even the direction where a singer is AIMING the voice, as in exchanging phrases between two singers. Massive choruses, as in Aida, are appropriately grand yet specific with appropriate ambience and impact...an impact, clarity, and massiveness which is never approached in mono versions of the same choruses.
TIMBRE, or TONE:
fidelity to the original tone, the original sound. Placing a glass tumbler on a table sounds different from placing a plastic cup on the same table. Different timbres, to be perceived as the originals.
The DL-110 excelled in all these categories of attention. Spot checking with the DL-103R and the Stanton 881S showed virtual exactitude, except for a Tiny golden filigree on the timbres of the DL-110!
That is saying quite a LOT about this unassuming pretty runt or the litter, which allows music in an integrated, whole, believable manner.
It is in my category of "outstanding". Nothing average about it at all. It excels and is a special candidate for a "blind" demonstration in front of unsuspecting auditors...just watch their dropped jaws when finding out who is the transducer working that magic. ( By the way, the DEFT 2 does not approach the DL-110's verisimilitude with music, despite its characteristic lushness).
An impressive and lovable cartridge regardless of price