Photo-electric pick-up cartridge
Made by: Digital Stream Corporation, Kanagawa, Japan
Supplied by: Soundfowndations Ltd, Berks
Telephone: 0118 9814238
Web: www.ds-audio-w.biz; www.soundfowndations.co.uk
Price: £4800

CARTRIDGEDS Audio DS 002
An ‘entry level’ cartridge at £4800? For the new baby DS 002 in the DS Audio line of
LED/photocell cartridges, that’s the cost of the tech – and it includes a phono stage!
Review: Ken Kessler Lab: Paul MillerOn a recent long drive witha fellow audio casualty, ourdiscussion turned to high-endcartridges and how there
seemed to be more technical variety ‘wayback when’. We cited MM, MC, movingiron, moving-flux, proprietary oddities fromDecca, Toshiba and MicroAcoustics andothers. Then I remembered that theDS 002, a new £4800 ‘baby’ from DS
Audio, was arriving in a few days. And‘normal’, it ain’t – by any measure.
DS Audio enjoyed instant impact since
its birth five years ago for having thesheer guts to release a new (or forgotten)
cartridge technology in the post-vinyl era,
one that was neither a straightforward MCnor MM design.

high-tech spin-off
Whatever we believe about the scale of
the LP revival, it will never again generate
the unit sales of cartridges on a scale equal
to the time when vinyl was the world’s
primary musical format. Thus, to deliverin this era of reduced numbers of highend enthusiasts something as radical asa photocell cartridge, requiring its own
phono amp/power source, takes chutzpah.
The parent company – Digital Stream
Corporation – is a big player in other fields,such as optical mice, so we are not dealing
with a tweaky one-man band. This is a hightech operation that was able to adapt its
core technologies into a spin-off, simply
because its principal players wanted
to do so.
So intrigued was the audio
world by the DS-W1 [HFN Nov’15] – causing it to burst outof Japan, even though it wasoriginally intended only forthe home market – that therange has grown quickly tothree models. The DS 002

is the lowest-priced model by a large sum,as its siblings include the original DS-W1
at £7500 and the extreme DS-Master 1
released last year, at £19,000.
The DS-W1, though still available,
followed an earlier, discontinued modelthat wasn’t sold outside of Japan. It is now
challenged from below, because theDS 002 employs trickle-down benefits fromthe DS Master 1. It must be emphasisedthat the prices include a phono amp (adifferent model with each), and one canupgrade either phono box or cartridgeto the top level since, usefully, both thecartridges and EQ boxes
are interchangeable.
Let me remind you thatthe DS-W1 is fitted with aboron cantilever, tippedwith a fine, line-contact
stylus. The DS Master 1,in addition to a massively
over-engineered phono
amp, arrived with a better body, a sapphirecantilever with a micro-ridge stylus, animproved optical system in which the lightsource and sensor are closer together, a
new cantilever suspension and a centring
system in the form of a tie-wire.

RIGHT: This shot clearlyshows DS Audio’s crimped
alloy cantilever, suspended by atie-wire, and fitted with a Shibataprofile diamond stylus

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Another benefit of the DS Master 1
was compatibility with a greater range oftonearms. I’ve heard it at shows in threedifferent arms, and it audibly betters theDS-W1. What’s going to please those
intrigued by the photocell technology, but
for whom the price of either of the earlier
cartridges is prohibitive, will be learningthat the DS 002 is closer to the Master 1
than the DS-W1.

spaced out
While being a direct beneficiary of theadvancements seen in the DS Master 1,
the DS 002 uses analuminium body insteadof the ‘ultra-duralumin’of the dearest model,
albeit of a similar design.
Its aluminium cantileveris fitted with a Shibata
stylus but it gains thewire suspension systemof the DS Master 1 for greater compatibility
with assorted tonearms.
This also contributes to easier set-up,
but I was warned by Editor PM to havesome spacers ready if I was going to use
my 12in SME Series V arm. The DS 002
is almost as shallow as a Decca, and thearm tube of the Series V is tapered, so the‘fat’ end nearest the pivot can foul theedge of an LP once the arm heightis set. I guesstimated thata 2mm shim would do it,
and it worked a treat, butdifferent arms will requiredifferent solutions.
Setting-up the DS 002
was much easier thantuning the DS-W1, andnot just because thebody is as user-friendly asthat of a Denon DL-103.
VTA was much less fiddly
and everything snapped
into focus once thesweet spot was reached. I
found that it worked best withthe cartridge top perfectly parallelto the surface of the LP.

‘Bass sounds as
if it might cutloose like a
runaway train...’LEFT: A pressed alloy body and top
plate with threaded lugs ensures the DS
002 can be bolted tight, though its very
shallow profile means a shim may berequired to prevent the back of the arm
fouling on its lift. SME owners take noteon offer, I turned to my recentlyestablished roster of LPs that includes
the Mobile Fidelity ‘One-Step Process’
edition of Santana’s Abraxas [MobileFidelity UD1S 2-001], Johnny Winter’s
The Progressive Blues Experiment [ImperialLP12431] as representative of a normal
release, and the 45rpm double LP of Bob
Dylan’s Highway 61 Revisited [MobileFidelity MFSL 2-463] in mono for contrast.

one-step too far?

Once you switch on the EQ/phono
stage unit, the cartridge lights up
with a blue stripe across the front, which
the infantile toy lover in me found bothmesmerising and reassuring. OK, so it’s
not necessary, but it looks pretty cool,especially if you’re the sort who turns out
the lights when listening to music.

soundstage magic
It was a blast from the (recent) past, theDS 002 providing the same ‘blackness’
in the silences as the DS-W1, as wellas bass that sounds as if it might cutloose like a runaway train… but neverdoes. Again, it was not apparent witheither LS3/5As or KEF LS50s [HFN Jul ’12],
manifesting itself as added richness rather
than the harbinger of woofer Tourette’s.
Crucially, too, my reference Wilson

Alexia loudspeakers [HFN Mar ’13] do not
encourage ill-mannered bass, whatever thesource, as their coherence and control willrein in the worst offences.
The audible gains offered by theDS 002 were foreshadowed in the DS-W1,
which Editor PM posited might be due to‘the response of the cartridge being freeof the multitude of small HF resonancesthat afflict all MM and MC types. It could
be the single most important factor
in determining the “smoothness” and“blackness” of its sound’. Whatever thereasons, this cartridge certainly exploits
speakers with tight focus and a ‘hotseat’, like Wilsons or others with a regime
involving positioning to the millimetre, orsmall monitors that act like point sources.
With this level ofsoundstage magic

THE LIGHT FANTASTIC
Inside the DS 002 light from an LED shines on a photocell,
generating an electrical current that’s modulated by the(rear) of the vibrating cantilever interrupting its path. It’s aderivative of the technology used in optical guitar pick-ups
and optical mice. In this case, power is fed to the LED via
the cartridge’s R– and L– pins while the audio-modulated
output is returned via R+ and L+. Matching the wavelengthof the internal LED to the sensitivity of the photocell was key to maximising
the efficiency of the ‘photo generator’ and it’s here, along with minimising themoving mass of the pick-up while optimising the suspension of the cantilever,that much of the ‘tweaking’ of the design has been directed.
In contrast to velocity-sensitive MM/MC pick-ups, where the output increases
with groove excursion and frequency, DS Audio’s photo-electric conversion issensitive only to the amplitude of the stylus’ movement. However, as LPs are cut
with the RIAA replay characteristic then the DS 002’s output still requires phonoequalisation before being passed to a line-level pre or integrated amplifier. PM

It is not, of course, all about soundstageor imaging, and I appreciate fully that
there are those for whom such matters
are secondary because they are 1) usuallyartificial, 2) a product of stereo with nobearing on mono and 3) have nothing to
do with sound quality per se, only withspatial concerns.
Many of the industry’s sages – startingwith Arnie Nudell, then of Infinity, and thelate Jason Bloom of Apogee – impressed
upon me that you cannot have one without
the other. Tonal accuracy/neutrality versus
imaging/soundstage – I believe them, as I
have found that few monumental systems
do one without the other (mono aside).
Great imaging and poor tonal quality?
Great sound but dire soundstage? Whychoose between them?
Recently, I was taken to task for using
the One-Step album because it gives an‘unfair advantage’ to any component
being reviewed [seep117]. I see it inexactly the otherway: analagous
to test-driving a
Ferrari on a perfectroad rather thanon cobblestones.
But I did not want
to start with theSantana release,which would set thetone of the session by spoiling me. Instead,
I turned to the Johnny Winter album,
which is simply ‘normal’ in that it is a circa
late-’60s standard pressing, recorded withno added privileges such as a legendary
producer or monumental studio. Ifanything, the sound has been describedas ‘grungy’, perfect fodder for those who
think a good system can cut through murk.
Or, more accurately, not add to it.

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DS Audio DS 002
LEFT: Anotherview of DS Audio’s
alloy cantilever andfulcrum/suspension
arrangement. The
cartridge pins are
gold-plated andwell spaced toaccommodate mosttonearm leads/tags –power for the internal
LED is supplied via thegreen and blue pins

Indeed it does, for the DS 002’s
sonic cleanliness meant that nothingunsavoury was being added tothe playback. It is pristine almostin the manner of a Shure V15Vx,
but without sounding sterile. It’s
particularly beneficial if, like me,
you’re drawn to the Winter releasebecause of a passion for bottleneck
guitar. The ringing and jangling
elements enjoy a clarity and twangthat adds to the presence while
diminishing the artifice of it being arecording, not reality.

santana’s vibrancy
This places the instruments in theroom with unmistakable actuality.
The lower registers possess plentyof mass, with the DS 002’s plumpbottom proving beneficial – forthis LP can sound slightly thin withcertain cartridges, especially MMtypes. While pedants and purists
would say the DS 002 is adding its
own colour to the music, I preferto think of it as serving the purposeof the bump in an LS3/5A’s lower
registers, which suggests bass thatthe small monitor just doesn’t have.
Here, there’s plenty of stage
width and depth for the DS 002 toexploit, particularly on the leaner
tracks, like ‘Bad Luck And Trouble’.
This is effectively a guitar versus
blues harp battle, spread across theroom. Each element was locatedwith utter precision, while the Bob
Dylan 45rpm mono had perfectcentral positioning. The whizz-bang
dexterity of the DS 002 in three
dimensions was of no concern
here, and one could focus on soundquality. Every vocal tick and musicallick was as natural as I’ve ever heard
it. The DS 002 showed why many
enthusiasts are declaring the MoFi
Dylan monos better than the 1960spressings, as ‘visceral’ doesn’t begin
to convey how real it sounds.
Then we come to the vibrancy
and shimmer of the One-Steprelease. With this LP, we witness thepanoply of the DS 002’s talents, andthe results are spectacular. There ismore warmth to be found in classic
MCs, chiefly old-school Koetsus orOrtofons, while Deccas are yet to bebeaten for upper-frequency sparkle,
but this cartridge struck me as a
dream mash-up of all that I love fromthose disparate types.
Dazzling details, the faultlessinterplay of the Latin rhythms thatdefine Santana’s oeuvre, powerfulpercussion – all exist on this LP and
the DS 002 revealed the lot. You’llsoon forget the blue lights, theoptical tech. You’ll simply listen.

With a recommended downforce range of 1.6-1.8g and tested
at 1.7g, the DS 002’s Shibata stylus requires a slightly heavier
hand than the line-contact type fitted to the DS-W1 [HFN Nov’15]. It’s a good tracker but not quite as secure as the DS-W1
which surmounted the maximum 80µm groove pitch andcleared both channels at +18dB (315Hz lateral cut, re. 11.2μm
at 0.5% THD). By contrast the DS 002 is secure to +15dB but‘lets go’ at the maximum +18dB groove modulation. The VTA isbetter adjusted in the DS 002, however, down from 29o to 22o.
The DS 002’s bodyweight is some 1.6g heavier at 8.1g
but its dynamic compliance is even lower at 15/20cu, so it still
delivers a low 8-9Hz subsonic resonance in medium mass arms.
Once again, this is emphasised by the DS 002’s strong sub100Hz bass that amounts to +5dB/20Hz, so this breed of pickup is still not ideally suited to big, reflex-loaded loudspeakers!
By way of proof that DS Audio is aware of this excessive bass
‘punch’, it offers a filtered output, bringing the response down
to +2.8dB/20Hz [see dashed blue trace, Graph 1].
Output is 0.84V via the equaliser (re. 1kHz/5cm/sec) andwhile the DS 002 still shares the DS-W1’s bright upper treble
there’s now a marked improvement in L+R and L-R response
symmetry [see Graph 1], indicating a more uniform soundstage(left-to-right and front-to-back). Distortion is higher at 0.5-9%(–8dB re. 5cm/sec) but, once again, more uniform between
phases [Graph 2]. The final indication of DS Audio’s improved
generator design lies in its stereo separation – now 25dB (mid)to 10dB (high treble) where the DS-W1 was almost ‘mono’. PM

ABOVE: Frequency response curves (–8dB re. 5cm/sec) lateral (L+R, black; subsonic filter, blue dashed)versus vertical (L–R, red)

HI-FI NEWS VERDICT
Charmed by the DS-W1, I am
staggered to find its ‘budget’
sibling is even more enchanting.
Any reservations about the surfeitof bass are easily addressed bysystem tuning, and should neverundermine the pick-up’s unique
virtues – especially the openness
and transparency – that must be
attributed to the photocell tech.
This is clean, yet sweet, precise
in imaging and grand in scale. It’s
another triumph, for sure.

Sound Quality: 89%
0-------- 100

ABOVE: Lateral (L+R, black infill) and vertical (L–R, red)
tracing and generator distortion (2nd-4th harmonics)
vs. frequency from 20Hz-20kHz (–8dB re. 5cm/sec)

HI-FI NEWS SPECIFICATIONSGenerator type/weight

Optical / 8.1g

Recommended tracking force1.6-1.8mN (1.7mN)

Sensitivity/balance (re. 5cm/sec)

838mV / 0.56dB (from Eq unit)

Compliance (vertical/lateral)

15cu / 20cu

Vertical tracking angle

22 degrees

L/R Tracking ability

75μm / 70μm

L/R Distortion (–8dB, 20Hz-20kHz)

0.3–9.1% / 0.5–8.1%

L/R Frequency resp. (20Hz-20kHz)+7.8 to –0.8dB / +5.0 to –3.7dB

Stereo separation (1kHz / 20kHz)

25dB / 10dB

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