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Ohne ihn hätte die Schallplatte sicher nicht eine so rasante Entwicklung genommen. Seine Entwürfe haben massgeblich alle anderen beeinflusst: von AT bis Ortofon. Die bekannteste "Raubkopie" hat es bis heute geschafft zu überleben: Das Nagaoka MP500 basiert auf seinem genialen ADC 10E

Bei General Electric durfte er 1956 als junger Ingenieur für die Western Electric, die die erste moderne Stereoplatte bereits gepresst hatten, dem ersten Magnet-Stereo-Tonabnehmer auf die Welt helfen, dem GE VR22. Verabschiedet hat er sich von ihr 1984 mit dem Sonus PME .5 LC

Eine Ära ging zu Ende !

Rest in peace Peter, Danke für alles !

 

 

 

 

Peter Pritchard *25.1.1928 - †23.8.2011

 Tribute



         Nachruf By Kalman Rubinson• Posted: Sep 4, 2011 :

"Die heutige New York Times enthält eine kurze Anzeige zum Tode von Audio-Innovator Peter Pritchard, der am 23. August in Austin, Texas im Alter von 83 Jahren verstorben ist. Peter gründete Audio Dynamics Corporation in New Milford, CT in den frühen 1960er Jahren. Sein original ADC-1 (bewegte Masse: 0,6 mg, Nadelnachgiebigkeit 20x10-6cm/dyn in alle Richtungen, Auflagedruck : 1 Pond oder weniger an Spitzentonarmen) war ein bahnbrechendes Produkt. In der Tat zeichnen sich alle ADC-Pickups durch ihre extrem hohe Nadelnachgiebigkeit und niedrige Auflagekräfte aus und er verfolgte diesen Ansatz in einer Reihe von erfolgreichen Entwürfen einschließlich der bekannten ADC-10, ADC-25 und XLM-Systeme. Sie basierten alle auf seinem "induzierten Magnet-Prinzip", das sich von den älteren GE Systemen mit variabler Nachgiebigkeit ableiteten, die Wechselspielern als erschwingliche, magnetischen Tonabnehmer in den 1950er verwendet wurden.

Das GE-Patent, eingereicht 2. Mai 1960, bestätigt Peter Ernest Pritchard als Erfinder (siehe Link). Da die meisten Tonarme der Zeit eine zu hohe Masse für das ADC-1 hatten, entwickelte und produzierte Pritchard den ADC-40 Arm, um seine Systeme, die eine gute Performance bei Auflagekräften von 1 Gramm oder weniger boten, aufzunehmen. Der ADC-40 hatte einen konischen, hölzernen Schaft und einen Skating-Ausgleich, beides seinerzeit bemerkenswert und ungewöhnlich. Vor der zunehmenden Verwendung von Moving-Coil-Systemen mit ihrer begrenzteren Nadelnachgiebigkeit, waren die ADCs (zusammen mit Shure V-15-Linie) Schrittmacher bei den Tonabnehmern.

Pritchards ADC führte auch eine Reihe von interessanten Lautsprecher ein, die auf den damals exotischen KEF-Treibern (einschließlich des legendären B-1814 rechteckigen Flat-Panel-Nasslautsprechers) basierten. Später produzierte er eine sehr erfolgreiche Lautsprecher-Reihe in New Milford, Conneticut. Pritchard verkaufte ADC in den späten 1970ern und begann mit der Produktion der erfolgreichen Sonus-Tonabnehmer-Linie, wiederum basierend auf denselben Grundsätzen, einer hohen Nadelnachgiebigkeit und dem induzierten Magneten wie beispielsweise bei dem beliebten Sonus Blue.

Ich bin ein ADC- und Sonus-Fan seit vielen Jahren und dachte, ich hätte das Audio Nirvana erreicht, mit der Installation des XLM am ADC-40 auf meinem Empire 208. Mich hatten auch seine KEF-basierten Lautsprecher interessiert und so gabe es etwas Schriftwechsel mit Pritchard in den 1960er Jahren. Ich erinnere mich an seine Antworten als freundlich und äußerst praktisch. Ich schreibe dies von meinem Haus in New Milford, und es gibt Erinnerungen an ihn und ADC bis zum heutigen Tag, so fahren wir z.B. oft nach der Pickett Distrikt Road, wo ADC seinen Sitz hatte. Wir finden häufig ADC-Produkte auf den lokalen Flohmärkten, erst kürzlich war ich in der Lage, eine Reihe von NOS-Nadeln für mein ADC-25 System zu kaufen. Vielleicht ist es an der Zeit, es um der alten Zeiten willen neu in meinem SME-III Arm zu installieren. Danke, Peter"

 



        Peter Pritchards Nachruf in der New York Times

 

Patentschrift

http://patentimages.storage.googleapis.com/pages/US3062925-0.pnghttp://patentimages.storage.googleapis.com/pages/US3062925-0.png 

         

Hier ein interessanter Bericht zu einem Vortrag den Peter Pritchard der Boston Audio Society  im März 1976 nach dem Verkauf von ADC und der Gründung von Sonic Research, gab. Er spricht über die Philosphie seiner Systeme usw. usw. Bemerkenswert auch die Bermerkungen zu der eingeschränkten  klanglichen Bewertung des Mediums und der Abtaster auf grund nicht vorhandener Qualität der damals vorhandenen Abhöranlagen. Ich glaube erst mit der heute erreichbaren Wiedergabequalität lassen sich rückblickend die Qualität seiner System erst ergründen. Auch zu Moving Coils und deren quasi "erkauften" Qualitätsanspruch über hohe VK Preise, gibts einiges zu lesen. Ich habe bei der Lektüre sehr oft genickt. Ich bin da absolut daccor in der Bewertung vieler, auch technischer, Details. Auch seine Heransgehenweise an die Entwicklung seiner Systeme kann ich sehr gut nachvollziehen. Zuerst über die theoretische Betrachtung, um das Ergebnis später im schlichten "Trial and Error" zu bestätigen. Auch die optimale FRes eines Abtasters mit 6Hz (!) anzusetzen, entspricht komplett meiner 45 jährigen Erfahrung um mit Phonosystemen Tiefbass zu reproduzieren. Ein hochinteressantes, mittlerweile auch historisches Dokument.



        Peter Pritchard bei der Boston Audio Society

         Meeting Feature 8.april 1976: Peter Pritchard

Our guest speaker was Peter Pritchard, formerly the President of ADC, where he designed cartridges and the tonearm that bears his name. He now presides over Sonic Research, also a maker of state-of-the-art cartridges. On the face of it, Mr. Pritchard could not have presented a greater contrast to last month's lecturer on tonearm design, Jacob Rabinow. The glib Rabinow presented the image of the compulsive inventor pushing forward the innovations sometimes at the expense of unrefined details. Peter Pritchard spoke in carefully measured words and seemed a man bent on the development of designs based only on carefully measured parameters at every Stage.

And yet there was also a certain commonality of viewpoint. Rabinow talked about ideas developed from gut instincts—inventions peppered with stardust. Pritchard approached much the same notion from a more conservative psychological foundation. He spoke of the limitations of knowledge and suggested that major innovations transcend what we understand to be the known parameters of performance. As one case in point, he offered Westrex, who developed the 45 -45 ° system of cutting stereo records without having the benefit of a cartridge with which to play them. After inventing the technique they went to GE to see if a cartridge could be made that would play the records without cutting them to spaghetti. He also noted that he has found new pleasures in Mercury's Living Presence recordings of the late fifties. He felt that Mercury could not have known just how good their product was,because they didn't have cartridges good enough to fully demonstrate their fine points.Even now, no pickup designer knows for sure how much his product is limited by record technology or vice versa. Real innovation has to be more than improving on the known, measured parameters. Quoting Pritchard: "We really don't know quite what we're doing in this industry.I shouldn't really say this for everybody else, but I think its true to a great degree. We all of us try very hard and we think what we're doing is in the right direction. We're all opinionated (naturally), but we tend to blunder around and very often we achieve things we don't know we've achieved until we look back and we see the significance of it afterwards.
       

Why Sonus ? Dissatisfaction with the state of the art led Pritchard to form Sonic Researchand produce the Sonus cartridges—that and the realization that the frontiers of audio performance could not be defined by known test procedures. For a time he believed that electronic componentry had reached its zenith. The specifications were so uniformly excellent that it appeared perfor-mance must be essentially identical. Then a customer who "harangued" him at a CES show aboutthe electronic components ADC happened to be using in their booth set Pritchard to listening toa variety of components. And, specs or not, they were definitely not alike. So he began tore-evaluate transducer designs: "What we were measuring, for the most part, was of very little significance . . . If we carried out conventional measurements, and we found they were reason-ably satisfactory, then that was only a beginning."Working first at ADC, he tried to isolate some of the unknowns. What, for instance, accounted for the oft-noted depth and apparent separation of the XLM? The separation measured on steady-state tones was not exceptional. Perhaps another kind of test would confirm what the ear heard.Working in the lab one weekend, he cut gashes into one wall of silent grooves in a test record.Using a dual-trace scope, he played back the gashes and watched the left and right signals. The gash produced the expected "splash" in the appropriate channel, just a slight "tail" in the other,indicating the excess energy was being dissipated in a random manner. Several competing car-tridges with exceptional steady-state separation figures produced nearly uniform "splashes" in both channels. Now there was at least a way of seeing what had there to fore been an unmeasur-able quality. When he left ADC, Pritchard had no intention of founding another commercial audio company„ But as a private audiophile without a laboratory to supply him products, he found himself dis-satisfied with the choices available. Feeling that significant improvements were possible, he started Sonic Research.

Sonus Products. The Sonus product line consists of two, four, or five cartridges dependingon how one counts. The top of the line cartridge is called the Blue Label, the Red Label, or the Green Label, depending on which stylus is used. The same cartridge body is employed in allthree.The Green is a spherical tip, the Red is biradial, and the Blue offers the Pathimax stylus,which is similar to the Shibata tip, but is more conical at the intersection of the ground faces.The net effect is the same.The other Sonus cartridge is the Silver Label, which comes with either the elliptical or the Pathimax stylus. This cartridge is a ruggedized version with somewhat lower compliance and a heavier suspension, making it usable in a wider range of arms. According to Pritchard, its lab-oratory measurements are equal to or even better than the Blue-Red-Green cartridge, but the sound is not as open or effortless. Prices in the Boston area run from about $40 (for the Silver E)to about $86 (for the Blue).There's also a Blue Calibrated, which is a selected Blue supplied with a frequency run. When its time to change styli, return it to Sonus and they will replace the stylus and supply a new response chart. According to Pritchard, the cartridge pickers at the factory pick the Blues with the best frequency runs to become Blue Calibrateds.Pritchard recommends the Blue as having a smoother frequency response. Because the Pathimax contacts a larger surface area on the groove walls, the groove gives less and the stylus traces better on heavily modulated inner grooves. It should give better record wear than the elliptical tip. Even using higher-than-usual tracking forces, Sonus has been able to play records one or two hundred times without discernible wear. The stylus was chosen to take advantage of its better shape and not for CD-4 (though they feel it's a good CD-4 cartridge).Careful alignment is necessary to realize its full potential, however. Pritchard recommends that after adjusting for minimum tracking error, one place a pocket mirror on the turntable and look at the tip from directly overhead to check for vertical alignment.

Design Factors. So how does one design a good cartridge? What are the parameters? First, says Prtichard, the basic design principle is not critical to the final achievable result. One can use moving coil, moving armature, or something more exotic. The choice boils down to economic factors and to ease of design and manufacture. The more important problem, says Pritchard, is achieving accurate transmission of the motion of the tip to the generating element.It's particularly difficult to get all motion transferred. In this respect, the ideal would be a mass-less, infinitely rigid, cantilever-armature system. Because the ideal doesn't exist, cartridgemakers have to deal with resonances. One way is to taper the cantilever. That suppresses funda-mental beam resonances, but not higher order harmonics. Sonus chooses instead to make the cantilever as short and light as possible. This also helps reduce the total mass of the moving parts. Any mass becomes a storage point for resonances. When the stylus beam is long, nodestend to build and the actual pivot point of cantilever-armature starts to wander, perhaps as muchas 10 mils or so. By keeping the cantilever short, there's very little motion wasted in torsion.The mass of the armature is held down by using very thin, magnetically permeable material and by keeping it very short. The suspension system and the armature have square cross sections,to hold the pivot point firmly in place and suppress rotational motion.Sonus aimed for perfect symmetry of the moving parts. This contributes to good separationof transients and to steady-state separation that continues to the top of each cartridge's range.The production cartridges are not as good as the laboratory models in this respect, but the pro-duction models have to have enough stylus clearance to play ordinary records.A useful feature of the Sonus' electrical design is low impedance. Inductance is about 100millihenries and resistance is 300 ohms. This makes it easy to match cartridge and preamp, and it helps also when the Sonus Blue Label is used for CD-4.Pritchard also explained that it's nearly impossible to lower mass by using a nude diamond. In such styli, the diamond is secured by having a very thin sliver of diamond extend through the cantilever shank, where it's secured with something like epoxy cement. If one doesn't use enough cement, the stylus wiggles in the shank, and if one does use enough, the mass advantage is lost.The Sonus approach is to bond the tip to a tiny bit of steel. The steel is readily enchored to theshank without significantly adding to mass.

Distortion. Pritchard feels one really can't be sure what kinds of distortion predominate incartridges because it's difficult to say how good the test record is. A cleanly recorded mid-frequency sine wave can be reproduced with 0.1% to 0.2% THD. What distortion exists results chiefly from geometry and is random in nature, so it doesn't show up as even-order harmonics.IM tests don't tell much either, because they look at sum and difference products. For that matter, visual spectrum analyzers don't tell that much because (again) the distortion is mostly transient in nature. The best bet for finding cartridge distortion, says Prtichard, is an oscillo-scope and a trained eye.Some hysteresis distortion is inherent in moving armature designs, but it can be minimized.The moving armature is charged to the point of saturation. If it's a little less than saturated,flux density in the armature will change as it moves toward and away from the pole pieces andcharging magnet, especially at high velocities.In the Sonus, the problem was met by using a very powerful charging magnet and a short armature, and by placing the magnet over the pivot point, so the armature is fully enveloped in the magnetic field and its position relative to the field is effectively unchanging. A side benefitis that the magnet doesn't mechanically bias the stylus.

Do Stylus Suspensions Self-Destruct ? Well, they're known to come apart, but so far as Pritchard can discover, stories about suspension materials deteriorating are untrue.When the suspension fails, it's most likely because something has come apart.Cantilevers, on the other hand, do deteriorate. They're usually made of very thin aluminumand are protected only by the aluminum oxide that forms on the outside. The shank is just thousandths of an inch thick, and it can go. ADC had stylus assemblies coming undone because the cantilever and armature were made of different metals, and there was an electrolytic reaction between them. Sonus puts a plastic barrier between cantilever and armature.

A Sonus Arm ? There's a Sonus arm on the back burner now. Pritchard would like to make it an integrated arm-cartridge that could be de-integrated by the user when he got the urge. But integrated designs have never been commercial successes. Dealers react negatively on the basis that the audiophile simply doesn't want to give up the privilege of interchanging cartridges of dif-ferent manufacture.The Sonus arm would be a modernized Pritchard, making use of materials not available when the original arm was designed (as an answer to the SME, which was at that time too massive and undamped for the ADC-1). It would be as light as possible and its cross section would change a long its length.These features would make it a low-mass, non-resonant device. It would have a simple,damped pivot, and its overhang would be less than that of many current designs. A large overhang reduces tracking 'error, but adds to skating force. He prefers to hedge the compromise in favor oflower skating force, because anti-skating devices put an unwanted load on the stylus suspension system. Not only must it provide uniform restoring force to the stylus to keep it on the record,but it must counter the anti-skating device's tendency to pull the stylus off center.Though Pritchard would choose to damp his arm, he agrees in principle with Rabinow to the extent that there are other ways of attacking the problem. Pritchard said that "if you can design everything else to its optimum, then you don't need damping." And yes, he and Rabinow are still talking.

Sonus Speakers ? Maybe. But don't hold your breath. The field is so fiercely competitive andall the commercial angles so well covered that Pritchard will enter only if he can make a material contribution to the technology.

Unfinished Business—ADC. The present ADC Super XLM Mark II is not Pritchard's design.After BSR bought out the company, they asked for a CD-4 version. Pritchard added a Shibata stylus to the XLM but wasn't happy with the result, so he shelved it to work out a new design.After he left, BSR dusted off the cartridge on the shelf, made it a little more rugged, and call edit the Mark II. In theory, it should track inner grooves better, but he doesn't know what kinds of tradeoffs were made in the redesign. Peter Mitchell pointed out that print reviews generally have panned the cartridge for CD-4 use.Someone wanted to know why ADC cartridges were so compliant that an arm with negative mass was needed to achieve a fundamental resonance between 10 and 20 Hz. Pritchard challenged the assumptions. In the first place, the cartridge was designed for a combined resonance of about 6 Hz. And in the second, their experimentation showed a resonance of about 10 Hz in typical record changer arms.You pick your tradeoffs, said our guest. A lot of room resonances occur around 10 to 20 Hz,as does much of the feedback transmitted by resonating records, so ADC chose to put the basic resonance lower. True, record warps ought to show up occasionally in that area, but in practicethey hardly ever do. Besides, if one keeps the Q of the resonance low enough, there won't be anyreal trouble. And finally, 6 Hz is a good match to many of the low-cut filters on preamps.

Marketing Footnotes. Pritchard agrees that there's a lot of opportunism in cartridge pricing.This results from market competition and from the fact that much of the public needs a high price to convince it that the puny little cartridge is as important as the electronics or speakers.Moving coil designs have an advantage in this area, because they really are exceptionally expen-sive to make. Their prices are high even when discounted, and people assume they must be goodbecause they are expensive. There was a time when moving coil designs enjoyed an advantage inhaving low-mass moving elements, but with modern materials, he feels this gap has been closed.A recent ad for Sonus cartridges recommends the different stylus configurations of the premium cartridge for different arms. That piece got out without Mr. Pritchard seeing it. As soon as he saw it, he ordered it withdrawn. Any of the cartridges can be used in a high-quality arm.There was a question about the GE cartridge. Pritchard had worked on that classic, and itcame about as close as any design has to becoming a universal standard. What happened, and could it be duplicated? Yes, said Pritchard, the GE was a dream almost too good to be true. It was a sound, economical, reliable, rugged design optimized over a period of years. The highly competitive, cut-throat cartridge market hadn't yet developed, and GE was able to control its market through a system of franchised dealers. They had 75% of the cartridge market wrapped upin their corporate grasp, as only a giant corporation could. And they lost it all in six months, as only a corporate giant could. Up there in the clouds they got a little short-sighted. Stereo, they thought, was only a gimmick that would fade away. When it didn't, they did a patchwork job onthe classic design, ruined it, and there by hastened their decline. Such a utopia will never happen again, mused Pritchard. And yet, for all we know, they could sweep the technology out from under us, Tomorrow, we could be playing records with laser beams.

Get out the stardust and start sprinkling. — Henry G. Belot

         

       

Liste der von Peter Pritchard entworfenen Systeme  in chronologischer Reihenfolge :

(in Klammern Bodyfarben) = Schliff ; Nachgiebigkeit bei 10Hz; empfohlene AK; dynamische Masse; Ausgangsspannung

Liste in kompatible Konstruktionsgruppen unterteilt !

 

 

Peter Pritchard beginnt mit 28 Jahren als Ingenieur bei General Electric

1956 - General Electric  VR 22 = 26µ; 3cu; 4-8p;8mV at 5.5 cm/sec

        General Electric  VR 22-7= 18µ; 3cu; 4-8p;8mV at 5.5 cm/sec

        General Electric  VR 22-5 = 13µ; 3cu; 4-8p;8mV at 5.5 cm/sec

        General Electric Stereo Classic CL-7 = 18µ; 3cu; 4-8p;12mV at 5.5 cm/sec

        General Electric Golden Classic GC-7 = 18µ; 3cu; 3,5-7p;8mV at 5.5 cm/sec

        General Electric Golden Classic GC-5 = 13µ; 4cu; 3,5-7p;8mV at 5.5 cm/sec

        General Electric Golden Classic VR-1000-7 = 18µ; 4,5cu; 3-7p;5mV at 5.5 cm/sec

        General Electric Golden Classic VR-1000-5 = 13µ; 4,5cu; 3-7p;5mV at 5.5 cm/sec

        General Electric Golden Classic VR-1000-3 = 8,5µ; 4,5cu; 3-7p;5mV at 5.5 cm/sec

        "variable reluctance cartridges"

        -------------------------------------

Auftragsarbeit für "Dyna Empire" New York ( Die Initialzündung für sein ADC 1 Patent )

1960 - Empire 108 = 15µ; cu6; 1,5-8p;0,5mg;8mV (5,5cm/s)

        -------------------------------------

 

 

Peter Pritchard gründet mit 34 Jahren ADC, basierend auf dem oben gezeigten Patent

 
1962 - ADC 1 (gold) = 8,5µ; cu 40; 0,3-0,5p; 0,5mg; 8mV (5,5cm/s)

         ADC 2 (silber) = 15µ; cu 30; 0,75-1p; 0,5mg; 8mV (5,5cm/s)

        ADC 3 (rot) = 15µ; cu 25; 1,5-4p; 0,5mg; 8mV (5,5cm/s)

        ADC 1 proffesional (schwarz) = 8,5µ; cu 40; 0,3-0,5p;0,5mg; 8mV (5,5cm/s)

        ADC 1 MKII (gold) = 5x20µ; cu 40; 0,75-1p; 0,3mg; 8mV (5,5cm/s)



        "moving magnet cartridges"

        -------------------------------------

1963 - ADC Point Four (schwarz) (Nadel rot)= 10µ; cu 30; 0,75-1p; 0,3mg; 0,91mVs/cm

        ADC Point Four/E (schwarz) (Nadel schwarz) = 5x20µ; cu 30; 0,75-1p; 0,3mg; 0,91mVs/cm

        ADC 660 (Grau)= 17µ; cu 20; 1,5-4p; 0,3mg; 1,45mVs/cm

        ADC 660/E  (Grau) = 5x20µ; cu 20; 1,5-4p; 0,3mg; 1,45mVs/cm

        ADC 770 (Rot) = 17µ; cu 15; 2-6p; 0,3mg; 1,45mVs/cm

        ADC 220 (Rot) = 17µ; cu 15; 2-6p; 0,3mg; 1,1mVs/cm

        "induced magnet cartridges"

        --------------------------------------

1964 - ADC 10/E (schwarz/gold) = 7x18µ; cu 35; 0,5-1p; 0,25mg; 0,75mVs/cm

1966 - ADC 10/E MKII (Schwarz/gold) = 7x18µ; cu 35; 0,5-1p; 0,25mg; 0,75mVs/cm

        ADC 990 (Blau) = 17µ; cu 20; 1,5-3p; 0,3mg; 1,5mVs/cm

        ADC 990/E (Blau) = 7x18µ; cu 20; 1,5-3p; 0,3mg; 1,5mVs/cm

        ADC 550/E (Grau/Gold) = 7x18µ; cu 30; 0,75-1,5p; 0,3mg;  1mVs/cm

        ADC 220 MKII (Rot) = 17µ; cu 15; 2-5p; 0,25mg; 1,5mVs/cm

        "induced magnet cartridges"

         ---------------------------------------

1968 - ADC 10E MKIV (schwarz/gold) = 7x18µ; cu 35; 0,7p; 0,25mg; 4mV (5,5cm/s)

1969 - ADC 25  (schwarz/gold) Set (Nadel Schwarz Roter Punkt) = 7x18µ; cu 50; 0,5-1,5p; 0,2mg; 0,75mVs/cm

         ADC 25 (schwarz/gold) Set (Nadel Schwarz Blauer Punkt) = 7x23µ; cu 50; 0,5-1,5p; 0,2mg; 0,75mVs/cm

         ADC 25 (schwarz/gold)  Set (Nadel Schwarz Weisser Punkt) = 17µ; cu 50; 0,5-1,5p; 0,2mg; 0,75mVs/cm

         ADC 26 (weiss/gold)´(Nadel weiss) = 7x18µ; cu 50; 0,5-1,5p; 0,2mg; 0,75mVs/cm
 
         ADC 27 (beige/gold) (Nadel beige)  = 7x18µ; cu 40; 0,5-1,5p; 0,2mg; 0,75mVs/cm

        ADC 50X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 60XE (beige/schwarz) (Nadel Beige mit grünen Punkt) = 7x18µ; cu 20; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 90XE (beige/schwarz) (Nadel Beige mit blauen Punkt) = 7x18µ; cu 30; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 220X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 230X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 1,5mVs/cm

        ADC 240X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 1,5mVs/cm

        ADC 250X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 1,5mVs/cm

        ADC 990X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 25; 1,5-3p; 0,3mg; 1,5mVs/cm

        ADC 220X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 20; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 220XE (beige/schwarz) (Nadel Beige mit grünen Punkt) = 7x18µ; cu 20; 1,5-2,5p; 0,25mg; 6mV (5,5cm/s)

        ADC 250XE (beige/schwarz) (Nadel Beige mit grünen Punkt) = 7x18µ; cu 20; 1,5-2,5p; 0,25mg; 1,5mVs/cm

        ADC 550XE (beige/schwarz) (Nadel Beige mit orangen Punkt)= 7x18µ; cu 30; 0,75-1,5p; 0,3mg; 1,5mVs/cm

        ADC 660XE (beige/schwarz) (Nadel Beige mit grünen Punkt)= 7x18µ; cu 20; 1,5-2,5pp; 0,3mg; 1,5mVs/cm

        ADC 990X (beige/schwarz) (Nadel Beige mit roten Punkt) = 17µ; cu 35; 1,5-3p; 0,3mg; 1,5mVs/cm

        ADC 990XE (beige/schwarz) (Nadel Beige mit blauen Punkt) = 7x18µ; cu 35; 1,5-3p; 0,3mg; 1,5mVs/cm

 

         "induced magnet cartridges"


         "Alle Systeme mit C.E.D. = Controlled Electrodynamic Damping"

        --------------------------------------

 1971 - ADC XLM (schwarz/gold) = 7,5x18µ; cu 50; 0,6p-1,2p; 0,15mg; 4mV (5,5cm/s)

         ADC VLM (schwarz/gold= 7,5x18µ; cu 40; 0,75-1,5p; 0,15mg; 4mV (5,5cm/s)

         ADC Q36 (weiss/silber) = 7,5x18µ Diasa; cu 30; 1-1,5p; 0,15mg; 4,5mV (5,5cm/s)

         ADC Q32 (weiss/silber) = 7,5x18µ; cu 25; 1-2p; 0,15mg; 4,5mV (5,5cm/s)

         ADC Q30 (weiss/silber) = 17µ; cu 25; 1-2p; 0,15mg; 4,5mV (5,5cm/s)

1972 - ADC K8 (blau/silber) = 17µ; cu 20, 2-4p; 0,3mg; 7mV (5,5cm/s)

        ADC K8/C (schwarz/silber) = 17µ; cu 20, 2-4p; 0,3mg; 7mV (5,5cm/s) (mit fixed mounting headshell)

        ADC K8/E  (schwarz/silber) = 10x18µ; cu 20; 1,5-3p; 0,3mg; 7mV (5,5cm/s)

        ADC K6 = 15µ; cu 10; 2-5p;0,3mg; 7mV (5,5cm/s)

        ADC K7 = 17µ; cu 10; 2-5p; 0,3mg; 7mV (5,5cm/s)

        ADC K7/E = 10x18µ; cu 20; 1,5-3p; 0,3mg; 7mV (5,5cm/s)

        ADC P30 = 17µ; cu 10; 2-5p; 0,3mg; 7mV (5,5cm/s)

        ADC P32 = 7,5x18µ; cu 10; 1,5-3p;0,3mg; 7mV (5,5cm/s)

        ADC P36 = 7,5x18µ Diasa; cu 10; 1,5-3p;0,3mg; 7mV (5,5cm/s)

        ADC RK 50/E = 10x18µ; cu 20; 1,5-3p; 0,3mg; 7mV (5,5cm/s)

        Peter Pritchard verkauft 1975 mit 47 jahren sein Lebenswerk ADC an die BSR group und gründet Sonus

1975 - ADC Super XLM MKII (schwarz mit goldenen Punkt/gold) =  Shibata 5x50µ; cu 50; 0,75-1,5p;0,2mg;

         ADC QLM 30MKII (grau/silber) = 15µ; cu 30; 3-5p; 0,15mg; 4,5mV (5,5cm/s)

         ADC QLM 32 MKII (grau/silber) = 10x18µ; cu 25; 1-2p; 0,15mg; 4,5mV (5,5cm/s)

         ADC QLM 34MKII (grau/silber) = 7,5x18µ; cu 25; 1-3p;0,15mg; 1,8mVs/cm

         ADC QLM 36MKII (grau/silber) = 7,5x18µ Diasa; cu 40; 0,75-1,5p;0,15mg;1,1mVs/cm

         ADC XLM MKII (schwarz/gold) = 7,5x18µ; cu 50; 0,5-1,2p; 0,15mg;1mVs/cm

         ADC VLM MKII (schwarz/gold) = 7,5x18µ; cu 40; 0,75-1,5p; 0,15mg;1mVs/cm

 

1976 - ADC Integra ST XLM I = 10x18µ; cu 35; 1,1-1,9p; 0,15mg; 4mV (5,5cm/s) (integrated 7p headshell)

         ADC Integra ST XLM II = 7x18µ; cu 35; 0,9p-1,5p; 0,15mg; 4mV (5,5cm/s) (integrated 7p headshell)

         ADC Integra XLM I = 9x18µ bonded elliptical; cu 35; 1,2p(1,1-1,9p); 0,15mg;1,1mVs/cm (Int.SME headshell +VTA +weight adj.)

         ADC Integra XLM II = 7x18µ Diasa; cu 35; 1,2p(1,1-1,9p); 0,15mg;1,1mVs/cm (Int.SME headshell +VTA +weight adj.)

         ADC Integra XLM III = 5x18µ nude elliptical; cu 35; 1,2p (0,9-1,5p); 0,15mg; 4,2mV (Int.SME headshell +VTA +weight adj.)

 

1976 - ADC QLM 30MKIII (grau/silber) = 15µ; 3-5p; cu 10; 0,15mg; 1,5mVs/cm

         ADC QLM 32 MKIII (grau/silber) = 10x18µ; 2-4p; cu 15; 0,15mg; 1,5mVs/cm

         ADC QLM 33MKIII (schwarz/gold) = 17µ; cu 15; 3-5p;0,15mg; 5,8mVs/cm

         ADC QLM 34 MKIII (grau/silber) = 7,5x18µ; cu 25; 1-3p;0,15mg; 1,8mVs/cm

         ADC QLM 36 MKIII (grau/silber) = 7,5x18µ Diasa; cu 35; 0,9-1,5p; 0,15mg;1,1mVs/cm

1977 - ADC QLM 55 (schwarz/schwarz, geschlossene Bef.Löcher) = 17µ (Microtip); cu 25; 2p, -/+ 0,5p;0,15mg; 5,2mVs/cm (Instamount clip-system)

         ADC QLM 55/E (schwarz/schwarz, geschlossene Bef.Löcher) = 5x18µ (Phase Aligned Elliptical); cu 35; 1,5p -/+ 05p;0,15mg; 4,2mVs/cm (Instamount clip-system)

 

1977 - ADC LM20 MKIII (schwarz/silber) = 15µ; cu 30; 3-5p; 0,15mg; 4,5mV (5,5cm/s)

         ADC XSM MKII (schwarz/silber) = 7,5x18µ; cu 40; 0,5-1,2p; 0,15mg;1mVs/cm

         ADC XSM MKIII (schwarz/silber) = 7,5x18µ; cu 40; 0,5-1,2p; 0,15mg;1mVs/cm

         ADC XLM MKIII (schwarz/gold) = 5x18µ square nude; cu 35; 1,1-1,7p; 0,2mg; 1mVs/cm

         ADC VLM MKIII (schwarz/gold) = 7,5x18µ nude; cu 20; 0,9-1,5p; 0,15mg; 1,1mVs/cm

 

1978 - ADC ZLM  (schwarz/schwarz) = 5x70µ Aliptic; cu 35; 0,75-1,25p; 0,1mg; 1mVs/cm

1980 - ADC ZL1000= 6x38µ square nude wide contact; cu 40; 0,8-1,2p; 0,2mg; 0,9mVs/cm

 

         ADC Astrion (Gold/Plexiglas)= 6x38µ square nude wide contact (saphir cantilever); cu 35; 1,0-1,4p; 0,25mg; 4mVs/cm

 

                NAD 9000 (Schwarz mit goldener Schrift/silber) = 15µ; 3-5p; cu 10; 0,15mg; 1,5mVs/cm

 

         NAD 9100 (Schwarz mit goldener Schrift/silber) = 10x18µ; 2-4p; cu 15; 0,15mg; 1,5mVs/cm

 

         NAD 9200 (Schwarz mit goldener Schrift/silber) = 7,5x18µ Diasa; cu 35; 0,9-1,5p; 0,15mg;1,1mVs/cm

       

1982 - ADC Digital Series I (Grau/Silber) = 15µ bonded; cu35; 1,25p; 0,15mg; 4mV (5,5cm/s)

1982 - ADC Digital Series II (Grau/Silber) = 7x18µ Diasa; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s)

         ADC Digital Series III (Grau/Silber) = 5x18µ nude elliptical; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s)

 

         ADC Digital Series IV (Grau/Silber) = 5x70µ Aliptic; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s) T4P-Mount System

 

         ADC Integra XT I "Digital Series" (Grau/Silber) = 15µ bonded; cu35; 1,25p; 0,15mg; 4mV (5,5cm/s) T4P-Mount System

         ADC Integra XT II "Digital Series" (Grau/Silber) = 7x18µ Diasa; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s) T4P-Mount System

         ADC Integra XT III "Digital Series" (Grau/Silber) = 5x18µ nude elliptical; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s) T4P

         ADC Integra XT IV "Digital Series" (Grau/Silber) = 5x70µ Aliptic; cu35; 1,25p; 0,1mg; 4mV (5,5cm/s) T4P

        "induced magnet cartridges"

"Schräg geschriebene Systeme sind nicht mehr unter der Ägide von P.P. entstanden, basieren aber auf seinen Entwürfen und sind deshalb auch hier gelistet."



        Nomenklatur :

         QLM = Quality Low Mass

         VLM = Very Low Mass

         XLM = Xtra Low Mass

         ZLM =  Zero (theoretical) Low Mass

      

              P = Protected (Kürzere kräftigere Cantilever mit harter Lagerung für Wechsler)

 

              X = härtere Aufhängung/Lager


              K = OEM Ware für Plattenspielerhersteller, technisch weitgehend identisch mit "P" Modellen

 

Proffesional = selektierter schwarzer Body und oftmals höhere Ausgangspannung durch grössere Spulen

 

    Improved = Neue optimierte Cantilever, Flip down Stylusguard, geschlossene Befestigungslöcher

                      für ZLM und XLM-,VLM-,QLM- MKIII Modelle



        -------------------------------------------

        Sonus gegründet 1975       

1976 - Sonus Blue Label (Body silber)(Nadel schwarz  mit blauen druck und weissen "S") = 7x76µ Pathemax; cu 50; 0,75-1,25p; 0,15mg; 0,8mVs/cm

1976 - Sonus Red Label (Body silber)(Nadel schwarz  mit roten druck und weissen "S")   = 7x18µ; cu 50; 0,75-1,25p; 0,15mg; 0,8mVs/cm

1976 - Sonus Green Label (Body silber)(Nadel schwarz  mit grünen druck und weissen "S")   = 15µ; cu 50; 0,75-1,25p; 0,15mg; 0,8mVs/cm

         

1979 - Sonus Gold Blue (Body gold)(Nadel weiss mit blauen Druck "S")= 7x76µ Pathemax; cu 50; 0,75-1,25p; 0,15mg; 1mVs/cm

1979 - Sonus Silver E (Body silber)(Nadel weiss mit auf silber gedruckten schwarzen "E")  = 7x18µ; cu 40; 1,5p; 0,15mg; 1mVs/cm

1979 - Sonus Silver P (Body silber)(Nadel weiss mit auf silber gedruckten schwarzen "P")  = 7x76µ Pathemax; cu 40; 1,25p; 0,15mg; 1mVs/cm

1979 - Sonus Black C (Body silber)(Nadel schwarz mit weissen Druck "C")= 17µ; cu 30; 2p; 0,15mg; 1mVs/cm

1979 - Sonus Black A (Body silber)(Nadel schwarz mit weissen Druck "A") = 7x18µ; cu 30; 1,75p; 0,15mg; 1mVs/cm

1979 - Sonus Dimension 5 (Body Platinfarben matt)(Nadel schwarz mit roter "5"/platingrau) = 7x76µ Pathemax/Lambdaspitze/Bor; cu 50; 0,75-1,25p; 0,1mg; 0,8mVs/cm

 

1981 - Sonus Blue (Body gold)( Nadel schwarz mit blauen Druck "S") = 7x76µ Pathemax; cu 50; 0,75-1,25p; 0,15mg; 1mVs/cm

1981 - Sonus Red (Body silber)(Nadel schwarz mit roten Druck "S") = 7x18µ; cu 50; 0,75-1,25p; 0,15mg; 1mVs/cm

1981 - Sonus Green (Body silber)(Nadel schwarz mit grünem Druck "S") = 17µ; cu 50; 0,75-1,25p; 0,15mg; 1mVs/cm

        "induced magnet cartridges"

         ------------------------------------------

1982 - Sonus Super Blue 1.1 (Body gold)(Nadel blau mit blauen "S" auf weissen Druck) = 7x76µ Pathemax/Lambdaspitze/Alu; cu 25; 1,25-1,75p; 0,1mg; 0,8mVs/cm



1983 - Sonus SPM1 (Body schwarz T4P) (Nadel Grün mit schwarzen Sonus Schild) =  8x17µElliptisch, cu 25; 1-1,5p;5mV

1983 - Sonus SPM2 (Body schwarz T4P) (Nadel schwarz mit schwarzen Sonus Schild) = 5x17µ Elliptisch, cu 25; 1-1,5p;5mV

 

1983 - Sonus SPM3 (Body silber T4P) (Nadel schwarz mit schwarzen Sonus Schild) = 5x17µ Elliptisch, cu 25; 1-1,5p;5mV

1983 - Sonus SPM4 (Body gold T4P) (Nadel schwarz mit schwarzen Sonus Schild) = bonded 5x40µ nude Line contact, cu 25; 1-1,5p;5mV

1983 - Sonus SPM5 (Body gold T4P) (Nadel schwarz mit schwarzen Sonus Schild) = 5x40µ nude Line contact, cu 25; 1-1,5p;5mV

 

1984 - Sonus PME .2 NE (Body schwarz T4P) (Nadel schwarz mit Klappschutz) = 5x17µ Elliptisch, cu 25;1-1,5p mV

1984 - Sonus PME .5 LC (Body schwarz T4P) (Nadel in klar oder schwarz mit goldenen Schriftzug mit Klappschutz) = 5x40µ Line contact, cu 25;1-1,5p mV

        "induced magnet cartridges"

         ------------------------------------------

1985 - Peter Pritchard verliert mit 57 den langen Kampf vor Gericht mit BSR um seine eigenen ADC Patente und muss Sonus aufgeben

        

1986-  ADC XLM MKIV (Body schwarz/gold)(Nadel schwarz/gold)= 7x76µ nude Pathemax; cu35;1,5-2,0p; 0,15mg; 1,5mV/cm (nur privat auf Bestellung gebaut)

        "induced magnet cartridge"

XLM MKIVXLM MKIV         

         
        PS: Es gab zu allen Zeiten von einer Vielzahl von P. Pritchard Modellen immer wieder spezielle "Selected" Systeme. Das waren von Hand auf absolute Kanalgleichheit ausgesuchte Spitzen-Modelle und wurden mit einem Messchrieb und handgeschriebenen Protokoll für ein vielfaches des regulären Handelspreises angeboten !