Dynavector DV-20X2A moving coil cartridge
It never ceases to amaze me how technology and processes used to good effect in other industries can be adapted to hi-fi applications to achieve improvements in the sound quality of a product. A great example is the annealing process applied by Japanese manufacturer Dynavector to the key iron parts of the magnetic circuit of its moving coil cartridges, such as the DV-20X2A under consideration.
It’s no surprise to see such innovation from this company. It was established way back in 1978 by Dr Noboru Tominari – a professor of mechanical engineering at the Tokyo Metropolitan University – who introduced the first high-output moving coil cartridge, the 10X, which you could use straight into a moving magnet input. Today, they still make a range of high-output moving coils, including a high-output version of the DV-20X2A, although it is the low-output model I am looking at here.
This cartridge is to all intents and purposes largely identical to the 20X2 model, apart from the fact that its pure iron pole piece and front and rear yokes in the magnetic circuit have been annealed to improve the metal’s microstructure. Annealing is a process of heating and cooling that is said to restore the distorted crystalline structure of the metal and improve its magnetic permeability, it is not unlike cryogenic treatment. Dynavector carried out extensive trials to discover the exact annealing process that worked best for its cartridges.
Although the annealing process makes the metal softer, it does not make it weaker. In fact, Dynavector points out that it makes it more flexible. Indeed annealing is used for many aerospace components as the process helps make them less brittle and more resistant to fatigue. Dynavector also says that the rejuvenation to the iron parts’ crystalline structure also brings a significant improvement in sound quality by reducing fluctuations in magnetic flux.
The DV-20X2A is the second cartridge from Dynavector to feature components treated by the annealing process. The first was the XX-2A, which I reviewed in June. The other key elements of the DV-20X2A are its flux damper, first introduced in the original XX1, and ‘softened magnetism’. The flux damper uses a closing coil on the front yoke to stabilise flux disturbances caused by the vibration of the cantilever.
‘Softened magnetism’ sees the addition of highly permeable material attached to the magnet to reduce the magnetic resistance of the circuit while maintaining magnetic force. Dynavector has done this because high-power, rare-earth magnets, such as the neodymium type used in the DV-20X2A, have extremely high internal magnetic resistance, which causes large fluctuations in the magnetic flux density, which it says adversely affects sound quality. In its more expensive models (with the exception of the Karat 17DX), Dynavector opts for Alnico magnets instead, which it says do not suffer from the problems associated with the more powerful rare-earth types.
Retailing at £975, the DV-20X2A has an aluminium body and hollow, hard aluminium cantilever with a micro-ridge stylus, PCOCC internal wiring and an output level of 0.3mV (2.8mV for the high output version). It weights 9.2g and is recommended to track at between 1.8g and 2.2g, running into a phono input load impedance of greater than 30 Ohms.
Setup
To find out what the DV-20X2A could do, I mounted it in the excellent Sorane SA1.2 tonearm from Connected-Fidelity fitted to a Michell Gyro SE turntable. This played through a Gold Note PH-10 phono stage and Vitus RI-101 II integrated amplifier, driving Marten Oscar Trio floorstanding speakers.
Setting the DV-20X2A up in the Sorane arm was a piece of cake. Cartridge alignment and VTA were carefully adjusted but, as with any cartridge, establishing the best tracking force to use takes a little more time, and some trial and error, within manufacturers’ designated limits.
I found that the best tracking force to use in the arm and turntable mentioned was 1.8g, which I used throughout my listening. I generally find cartridges sound their best at the lightest recommended tracking force, but users should experiment for themselves as different systems, using different components, may yield different preferences.
The Gold Note PH-10 is an excellent and versatile phono stage and I set it to plus 3dB (62dB) gain and the standard RIAA curve, and then experimented with the loading impedance. It offers options of 10, 22, 47, 100, 220 and 470 Ohms for moving coils and 1k, 22k and 47k ohms for moving magnets. After trying a few tracks, I ended up setting it to 22 ohms, which I felt was cleaner and more insightful on various instruments and vocals, and was tighter and better controlled on bass guitars and synths than on either the 47 or 100 Ohm settings.
To help me get the DV-20X2A into a proper market context, I also had another MC cartridge at a similar price from a well-respected maker on hand in a second Audio-Technica headshell to provide a performance benchmark.
Sound quality
I started off with a track I know inside out from legendary guitarist Larry Carlton, namely Hello Tomorrow from his Discovery album, where he plays acoustic guitar rather than his signature electric. The Dynavector immediately felt right to me in its presentation of dynamics and balance, with excellent note shape and body to his acoustic guitar, while kick drum and bass were tight, punchy and tuneful. I felt that the track had more rhythmic energy and impetus than it did on its similarly-priced rival and its articulacy and delicacy were beginning to win me over.
Female vocals are always a telling test and I chose the title track from Sarah Jarosz’s Build Me Up from Bones – a superbly recorded album from Craft Recordings. The DV-20X2A conveyed her vocals well, open and packed with expressive detail and nuances, while the mandolin was crisp, clean with good body and note shape. Pizzicato and bowed violins were delicate and delivered with great movement and rhythmic flow. The various layers of instrumentation were well separated and defined, and the sound was well balanced. Again, I felt that the Dynavector bested its rival in terms of musical detail, dynamics and cohesion.
One of my favourite George Benson tracks is No One Emotion from his excellent 20/20 album, and if its scorching tempo doesn’t get your foot irresistibly tapping along, there’s something sorely wrong. Well, my foot was soon moving to the beat with this track played on the Dynavector. The synth bass line had good weight and pumped the track along purposefully, while Benson’s vocals were crystal clear and well articulated. Keyboards had real sparkle and presence and the bass line had a characterful growl. On its rival, the track seemed slower. Still good, but lacking the excitement and impetus of the DV-20X2A.
Slower in its tempo but nonetheless possessed of a very purposeful beat, Broad Daylight from Ben Sidran’s The Doctor Is In was next on the Gyro platter. Straight away the Dynavector nailed the weight of the bass guitar line and its distinctive ‘walk’, while Sidran’s vocals were open, expressive and articulate. His nimble fingers on fast piano runs were well conveyed, where its rival blurred the individual notes together slightly. Its rival also was a bit light on the bass guitar, which robbed the track of its rhythmic push. It was still good, but I preferred the nuances and dynamics of the DV-20X2A.
Conclusion
For me, what is most important in any review is that the piece of equipment on test speaks to me musically, conveys the essence of the music in terms of the contributions of individual musicians and how they play together to create a cohesive whole. The Dynavector did not disappoint when judged on these criteria.
It boils down to musical integrity and coherence. Can I hear what the musicians are playing and how their parts complement the whole? The Dynavector DV-20X2A delivers the goods in spades and is able to see off some well-respected rivals at the price. I recommend it wholeheartedly.