The OPUS 3 Continuo is the result of a lifetime's dedication to research and development in recording and reproducing the sound and atmosphere of natural, acoustic music and instruments. It has become widely accepted that the construction of a turntable greatly affects the reproduction quality of the HiFi system and even with the advent of CD, it is apparent that more of the original performance can be redeemed from an analogue recording.
At Opus3 we have the unique combination of experience in being present at the recording venue, transfering the master tape to the disc, amplifying and reproducing it through the loudspeakers, and recreating the image in the listening room.
We know that at any split moment in a recording there is a plethora of microsounds which make up the timbre, dynamics and the three dimensional presentation of the original sound. This information not only holds the obvious differences between the sax and the clarinet, but the spirit and the life - the emotion of the artists. Unfortunately, microbyte technology has not yet managed to represent these analogue sounds, but the Continuo, coupled with it's partner the Cantus parallel tracking arm. We have created a material which is a compound of crushed marble and poly- urethane that is incredibly dense and hence almost resonace free. The size and weight of the turntable combined with it's 3-rubber/air suspension mountings decouple the unit from airbourne and floor/wall vibrations feeding back from the listening environment. The isolation is further enhanced by the mineral compound used in the platter and the special felt-like mat supporting the record. This latter item is essential to cope with the standard crosssectonal shape of the LP disc (which continually varies from hole to edge) and the tremendously high forces and vibrations injected into the disc by the stylus, in its attempt to follow the modulations of the groove.
Our experience has shown that the materials used in supporting a record are audibly imposed over the reproduced image. Hence we have aimed to choose a dry or dead soundstage to attain the largest contrast between it and and the tonal colour of the music. To drive the platter we are ulitizing a simple 24vac motor coupled via a rubber belt of 3 mm dia. Two grooves in the motor pulley allow for 45 and 33 1/3 RPM simply adjusted by finger tip pressure. The motor is driven by a separate mains adaptor and is suspended within the chassis by three vibration dampers.
MK II WF - $ 2,900.00 / Wood Veneers / Including Standard Cantus Tonearm, Dustcover and Record Mat
MK II WF - $ 2,000.00 / As above, but excluding Tonearm
MK II GF - $ 3,400.00 / Black or White Pearl Gloss Finish / Including Standard Cantus Tonearm, Dustcover and Record Mat
MK II GF - $ 2,500.00 / As above, but excluding Tonearm
SE 1 - $ 3,900.00 / Black or White Pearl Gloss Finish /Polished S1 Cantus Tonearm & Platter, AT Feet, Dustcover and Oyaide Mat
SE 2 - $ 4,300.00 / Black or White Pearl Gloss Finish /Polished S2 Cantus Tonearm & Platter, AT Feet, Dustcover and Oyaide Mat
SE 3 - $ 4,700.00 / Black or White Pearl Gloss Finish /Polished S3 Cantus Tonearm & Platter, AT Feet, Dustcover and Oyaide Mat
Opus 3 Cantus Parallel Tonearm Series
A tonearm's main task is to provide the cartridge with an absolute reference to the platter. Its second task is to allow the cartridge to precisely follow the advance of the disc groove, and insulate against unwanted information such as disc unevenness below the audible range. Essentially it should allow the cartridge the possibility of reading the disc information as it was originally engraved on the Master / Plate by the disc cutting lathe.
The traditional solution is to make a so-called pivot arm which has the benefit of good adherence. The disadvantage is that the pivot arm causes the pickup head to read information in the wrong place, with high distortion as a result. The next problem is that the pivot arm is a resonator with unwanted energy artifacts. It also exhibits compatibility problems with different cartridges. This, as the sensitivity of the acoustic tube transmits mechanically trapped energy.
The Cantus represents a “rethink”, whereby the majority of the traditional problems of disc playback have been eliminated by innovative design solutions.
The first prerequisite for low distortion, is that the stylus tracks precisely in each play-subsection of the disc, as and where it was engraved by the lathe. The second premise is that the system is released from resonance, and the amplification of resonances arising in the system.
The Cantus is by design in every way free of resonances. The reduction of the resonant system makes the Cantus practically insensitive to external disturbances, acoustic feedback, and hum. It also provides a stable soundstage, when the system moving mass is low.
The requirement of fidelity is of course primordial. As such, the Cantus must be - and is - also adaptable to virtually any turntable. It must be - and is - reliable. The Cantus is simple to operate, and if an accident should occur, this is easily repaired.
There are 4 versions of the Cantus:
Mk II - $ 1,000.00 / Including Litz Wiring
S1 - $ 1,250.00 / Including Litz Wiring / Polished Aluminum / Aluminum Headshell
S2 - $ 1,650.00 / Same as S 1 / with on-the-Fly VTA Adjustment
S3 - $ 1,950.00 / Same as S 2 / with Adjustable Scale for 2nd Trolley
Additional Trolley assembly / for second Cartridge / with Wiring and DIN plug connector - $ 375
