{"id":29644,"date":"2021-09-30T10:09:33","date_gmt":"2021-09-30T08:09:33","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=29644"},"modified":"2025-02-18T13:27:13","modified_gmt":"2025-02-18T11:27:13","slug":"zyx-r50-bloom3","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/turntable-and-accessories-reviews\/phono-cartridges-reviews\/zyx-r50-bloom3\/","title":{"rendered":"ZYX R50 Bloom3"},"content":{"rendered":"

Review sample supplied by Colab<\/a>
\nRetail price in the Netherlands including 21% VAT:
\n<\/strong>R50 Bloom3 standard: 980 euro
\nR50 Bloom3 with Silver Base: 1.040 euro (as reviewed)<\/h4>\n

Originally, the intention was to review the Bloom3 as well as the Ultimate 4D X. However, this 4D sample was in a used condition and did not contain the Silver Base that is considered a must for these cartridges, so Pierre Costers of Colab decided to have it factory-upgraded before having it reviewed. Therefore, this review will feature only the Bloom3, and the 4D review will be postponed until later.<\/p>\n

Review Context<\/h3>\n

I will use the Bloom3 with two turntables (AVID Sequel<\/a> and Thorens TD1601<\/a>) in two different setups and compare it directly with two other cartridges (Dynavector 10×5 mkII<\/a> and Audio Technica AT33Sa<\/a>) whilst using the Aidas Rainbow<\/a> in the Origin Live Calypso mk4<\/a> as a reference.<\/p>\n

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Bloom3<\/h3>\n

Priced at 980 euro, the ZYX Bloom3 sits more or less in the same range as the 700-euro Dynavector 10×5<\/a> that I currently use with the AVID Sequel<\/a> turntable and\u00a0Audio Origami PU7<\/a> tonearm (12-gram effective mass version with Cardas 33ga internal wiring and super OFC external cable). It’s certainly much closer than the 3.100-euro Aidas Rainbow<\/a> that I use with the Origin Live Calypso mk4<\/a> turntable and Illustrious arm. For this reason, but also because setup and calibration with the PU7 and AVID Sequel are more straightforward, I opted to first try the ZYX Bloom3 with this turntable in the Main System<\/a>.<\/p>\n

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The Bloom3 is a low-output (0.24mV) MC cartridge with a Line contact nude diamond stylus mounted in a black ALMg5 (aluminum) cantilever. The website mentions it is a newly developed rigid cantilever but exactly how it is made more rigid is not clear. All the other specs can be found at the end of this review.<\/p>\n

Turntable- and tonearm matching and calibration<\/h3>\n

Although the Dynavector 10×5 is a very lively and quite forward and direct sounding cartridge that isn’t ideal for intrinsically lively tonearms such as the most affordable two Regas, the match with the tonally full, gently smooth, and slightly relaxed PU7 tonearm proved to work out wonderfully well. Something similar is actually the case with the intrinsically full-bodied and rich-sounding Origin Live turntable where the very robust and spritely Aidas Rainbow<\/a> cartridge injected precisely the right amount of upbeat urgency and attack while retaining the turntable’s deeply saturated character. Following this, it should be very clear that any cartridge’s success is highly dependent on the marriage with the arm and turntable. That’s why I will try it in at least two different turntables.<\/p>\n

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For setting up cartridges, lately, I’ve been using Acoustical Systems SMARTractor and I have to say that although it is a costly protractor, it works quickly, easily, and assuredly. Another recent development for me is the AnalogMagik cartridge setup software that I purchased a little while ago and have gained some experience with. Similar to Dr. Feickert’s Adjust+<\/a> (that is sadly no longer available), the AnalogMagik cartridge setup software<\/a> offers various calibration methods via an LP with test tracks and software that you install on a computer that does complex calculations, according to Richard Mak’s research. I will explain more about this software further below and in a separate review that will follow later.<\/p>\n

I had put plenty of hours on the Dynavector and got to know it well before I finally got around to optimizing its alignment very recently using AnalogMagik. Although the software is fiddly to work with and requires a lot of patience (not my strongest point), this did indeed yield further improvements in terms of precision, focus, and purity, which make it worth the effort. Knowing this, I will of course also apply the same procedure to the Bloom3 cartridge.<\/p>\n

Stepped Approach<\/h3>\n

Freshly lifted from its colorfully dyed silk bag that carries a nice herb-like fragrance that comes from the special wood used for the box, the Bloom3 was mounted in place of the Dynavector on the AVID Sequel. After completing the initial setup using the Acoustical Systems SMARTractor and using the specified 2,0 grams VTF, in all fairness, I should have gone straight to optimizing it using the AnalogMagik software just as I did with the Dynavector. But I figured it would be more interesting to approach this review in a stepped approach. So please bear with me while I undertake this journey.<\/p>\n

Music Selection<\/h3>\n

There’s a fixed day every week when my good friend Wouter comes over, invariably with a bag full of LPs and I decided to let my first impressions of the Bloom3 coincide with this visit. Wouter is quite a collector and from my point of view has pretty much everything in the Soul genre, usually double or triple, and often in several versions. That’s how we discovered and later confirmed that USA pressings usually sound better than European pressings (95% of the time), at least in the case of American artists.<\/p>\n

Wouter always manages to come up with new stuff that I never heard before but invariably really dig! For instance, we recently connected the dots where David Frank and Mic Murphy are concerned. I was already a huge fan of their System albums but Wouter found out that the duo, and sometimes only David, produced many other artist’s records and that these records all had that same sound that I like so much. Basically, whenever David Frank is involved, the music will have his unmistakable trademark prominent and juicy basslines.<\/p>\n

The Godfather of 80’s electric R&B, as he is referred to, produced “Tell me Tomorrow” by Angela Bofill, and if you know her but not this album, go listen to it and you’ll see that it stands out from all her other work. Another great discovery is “Step By Step” by Jeff Lorber, a musician who I already like a lot for his smooth and catchy synth work but when combining forces with David Frank, the music becomes irresistibly funky. He also worked with Phil Collins on the track “Sussudio” and wrote Robert Palmer’s fantastic hard-hitting track “You Are In My System” together with Mic Murphy. Man, this discovery was sparking so many AHA moments, it’s crazy. One final example I’ll throw in is Chaka Khan’s “I Feel For You” album. It has always stood out from her other work and now I know why! Yup, the title track is indeed produced by David Frank, while the duo co-produced the first track “This Is My Night”.<\/p>\n

But that’s quite enough music history for now. All I really wanted to say is that I will use a nice selection of Soul\/Funk\/Electric R&B albums for the review of the Bloom3 cartridge. To be honest, that basically already covers 80% of my regular music diet already, the other categories being Electronic, Fusion, and Smooth Jazz.<\/p>\n

Alright, let’s finally proceed to the cartridge review at hand!<\/p>\n

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Bloom3 with Avid Sequel<\/h3>\n

Without changing the gain on the phono preamp just yet, I proceeded to listen to the Bloom3. At this point, the cartridge was brand spanking new and will still need running in, as well as the Analog Magik treatment, but it sounded highly refined, smooth, and musically appealing right from its very first notes. My initial thought was that it honors its name because it had a friendly sound with a carefully dosed amount of bloom<\/em>, which is most evident as a thickness in the upper bass and a creamy richness in the lower midrange. At this point, compared to the fully bedded-in Dynavector, you could say that the ZYX sounds smooth and a little warm but as I would find out with further use, that would be a misjudgment. But even though it was a little bloomy at first, it was not lacking resolution or texture. Right from the start, the Bloom3 proved to be a great tracker, unveiling easily the same amount of detail from the grooves as the Dynavector, and with airier treble and substantially greater finesse.<\/p>\n

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Although a Line Contact stylus should track just as well as a Shibata stylus under equal circumstances, I did notice that the sibilance on a loud “S” with one particular track (“Heaven Sent You” on Stanley Clarke’s Time Exposure) was a little bit more “spitty” and leaning to one channel with the Bloom3, whereas it was slightly more subtle and centered with the Dynavector. It will be interesting to find if this will be mitigated once the ZYX has been fully optimized using the AnalogMagik software. It’s my guess that it will be but that experiment will have to wait until a little later. This torture track aside, the ZYX showed consistently great tracking with all the other LPs and is significantly more fluid and refined than the Dynavector.<\/p>\n

The ZYX’s easy-on-the-ear sound was what made Wouter remark that the Bloom3 is friendlier and easier to listen to than the Dynavector. As he put it in Dutch “er is meer rust”, which translates to it being calmer. For me, while I agree with his statement, this is not always a preferable trait, especially if it means that the sound becomes dynamically compacted or less energetic overall. While still in its running-in period, the bass was rich and saturated, and in terms of dynamics, the Bloom3 was certainly not restrained, but I did feel that it was a little reticent in terms of incisiveness and slam in the upper bass and lower midrange, where it was still a little soft for my taste. Also, we noticed that the soundstage stuck to the speakers and did not project very deeply.<\/p>\n

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But with every LP side that we played, the bass got more into focus, while the soundstage grew deeper and deeper. Meanwhile, the cartridge’s dynamic behavior was never in question, not even when compared to the very snappy High-Output 10×5. It was just a bit shy in terms of ultimate slam but that applied only to its bass region and, as it turned out, was not only due to the cartridge needing more playing time but also in large part due to the ZYX being a low-output cartridge. After having adjusted the phono preamp’s gain, BAM, it all snapped into focus. Well, in a manner of speaking, because the actual focus<\/em> was never an issue with the ZYX, to begin with. I mean that the solidity and attack in the bass region were now fully in line with the cartridge’s overall expressive presentation.<\/p>\n

After a few more hours of playback and with the right amount of gain, compared to the relatively dry and upfront sounding Dynavector, the Bloom3 was still a gently smooth and slightly rich-sounding cartridge but it was also remarkably fast and articulate, and importantly, entertaining. We played record after record with ever bigger smiles on our faces while I kept raising the volume. That’s one major advantage of the ZYX over the Dynavector. While the latter still has more slam, it also has more of an edgy and “in your face” sound and this can become overbearing for some ears and in some combinations. With the Bloom3, there’s simply never any fatigue.<\/p>\n

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<\/p>\n

Prolonged use<\/h3>\n

As mentioned, I initially had a feeling that the Bloom3 was indeed a little “bloomy”, that is, a little rich and friendly. But that was mainly the case during the first couple of hours. The more it played, the more its performance converged to become ever tighter, more coherent, and more expressive, and the more records I played, the more I got the feeling that it’s not at all bloomy but really very neutral and highly refined and non-edgy, as well as incisive and dynamic.<\/p>\n

Of course, a comparison with only one other cartridge, especially such a different-sounding one, doesn’t say quite enough. So, I also have a comparison planned with another similarly-priced cartridge, the 800-euro Audio Technica AT33Sa<\/a> that I use with the Thorens TD1601<\/a> turntable in the other listening room.<\/p>\n

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But first, let’s see if the Bloom3’s performance can be further elevated by optimizing the tonearm and cartridge\u00a0parameters using the AnalogMagik software.<\/p>\n

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Optimization using AnalogMagik software<\/h3>\n

The software offers measurement methods for Azimuth, Speed, Wow&Flutter, and Arm Resonance, VTA, Anti-Skating, Loading, and VTF. As such, it comprises a very complete suite that takes some time to come to grips with. After having performed careful manual alignment using the Acoustical Systems SMARTractor<\/a> protractor with the UNI DIN calculation prior to taking AnalogMagik measurements, I found that the software-aided calibrations that most consistently yield improvements are VTA and Azimuth, with varying results for VTF and Anti-Skating. Of course, these adjustments can also be made manually and by ear. In a forthcoming AnalogMagic review I will discuss every parameter in detail but for the purpose of this review, let’s just jump a few hours ahead in time to where the Bloom3 is fully adjusted.<\/p>\n

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It would be worrying if the extra adjustments transformed the cartridge beyond the first impressions after careful manual calibration. And indeed, after the AnalogMagik calibrations, the Bloom3 still sounded as described, which is highly refined, linear, transparent, neutral, but now with further improved accuracy. It already tracked sublimely well but the better alignment made the cartridge sound notably cleaner and more precise, no matter what LP we played. The bass was tighter and more articulate, vocals became more realistic, and were more clearly inhabiting their own space in the soundstage, and there was something special in the treble. Even though it came across as being refined from the start and compared to the Dynavector perhaps even gently polished, there was now more bite and clarity, but in a sweeter, entirely non-edgy manner. In short: the sound had become more precise as well as more natural and the best way that I can summarize it is to say everything sounded that bit more realistic. I should also note that a cartridge can sound a little lean or soft, or indeed bloomy when its adjustments are slightly off. When having grown accustomed to such a friendlier presentation, the sound of a fully optimized cartridge may come as something of a reality shock. Well, it may not be day and night but I would say it is similar to upgrading slightly warm-sounding cables with cleaner, more revealing ones. For suddenly, you will hear more of what’s actually in the record. Fear not, for it’s not as if the turntable will suddenly be entirely unforgiving, as precise adjustment will most definitely not prohibit smoothness, liquidity, or warmth when this is in the recording. If anything, I found that precise adjustment tends to more readily bring out the energy, expression, bounce, and musical intent from the recording at hand, even if it is of so-so production quality.<\/p>\n

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Not Bloomy<\/h3>\n

At this point, I can no longer maintain that the Bloom3 also sounds a little bloomy anymore, not even slightly so. Rather, it proved to be highly neutral, linear, precise, and transparent, while having great dynamics and attack but with great subtlety and without ever becoming “bitey”, let alone edgy. In fact, the Bloom3 has so little intrinsic character that I don’t think that I would recognize it in a blind test and that is definitely a good thing because it means that it simply lets the music shine through unaltered.<\/p>\n

What also became clear after the final calibrations is that the bass has developed considerably from the first minutes of play through continued play and now after the final adjustments. The bloom and richness that I had noted in the bass and lower midrange before, were now unmasked as being indicative of the cartridge needing more running time, as well as evidence of a non-ideal cartridge setup.<\/p>\n

Now that the Bloom3 is performing optimally, and compared to the Aidas Rainbow (in the Origin Live turntable) it is extra-double confirmed that the cartridge is absolutely not lacking in terms of solidity, incisiveness, or dynamics. Or in terms of tracking precision, for that matter. I have yet to optimize the Rainbow cartridge using the AnalogMagik software but as it is now (and after meticulous manual optimization) I can’t say that it is any more revealing than the Bloom3. The only aspect that stands out when comparing it to the Rainbow is that this cartridge and the tonearm\/turntable have a more tonally fuller, more planted sound. When also adding the Dynevector to the mix, I think it’s fair to say that the Bloom3 is comparatively slightly lean in the bass. Not lacking incisiveness or solidity, mind you, just slightly less full in the bass than the other two carts. Maybe, it’s actually more<\/em> accurate? Who’s to say at this point. But let’s put a pin in this for now, as I will do a final comparison using the Thorens turntable that will shed more light on this matter.<\/p>\n

Finally, with its increased tracking precision, I was curious to find how the Bloom3 fared with the Stanley Clarke torture track that elicited more, and off-center sibilance from the groove than the Dynavector did before it. Well, I think you already guessed that the tracking was now indeed fully on par with the Dynavector in the same turntable and arm. What’s more, even the Aidas Rainbow cartridge in the Origin Live turntable didn’t trace any better with this track. Just out of curiosity, I pulled up the digital files from my CD and confirmed that there’s also some sharpness in the digital file. Especially when a sharp hi-hat combines with a loud vocal “S”, it clearly makes matters difficult for the LP and with all cartridges. Now, I wonder if this is specific for this particular LP or this version and if there are other pressings that are modulated more cleanly. Discogs, here I come!<\/p>\n

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Bloom3 with Thorens TD1601<\/h3>\n

For this final comparison, I will skip detailing the differences pre and post-AnalogMagik calibration of the Bloom3 and I will move straight to the relative differences between the AT33Sa and the Bloom3, both mounted in the Thorens TD1601 standard TP 92 arm and both fully optimized, in the Secondary System<\/a>.<\/p>\n

As part of the AT33Sa review, a low-output MC cartridge with a Shibata stylus, using both the AVIDs and the Thorens turntable, I noted excellent tracking, high resolution, superlative refinement, and a slightly rose-tinted character. It certainly wasn\u2019t lacking in articulation or precision, but its friendly presentation, combined with full but slightly soft bass, did make it less lively and outgoing than, for instance, the Dynavector 10×5. Although the Bloom3 worked wonderfully well with the heavyweight AVID Sequel, I wondered if it would make just as nice a match with the leaner-sounding Thorens TD1601.<\/p>\n

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For this final comparison, I had invited both Wouter and long-standing Thorens-o-phile JW who recently also changed a classic Thorens for the TD1601. We had selected a range of records of varying production quality and after having re-familiarized ourselves with the sound of the Thorens\/AT33Sa combination, I swapped the cartridges while Wouter and JW proceeded to treat some more of my LP\u2019s to an Ultrasonic Cleaning in the other room. Honestly, that was great, for the longer I took, the more LPs would end up cleaned! But inevitably, the moment came that the Bloom3 was mounted, calibrated, and all set to go.<\/p>\n

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Coming from the AT33Sa, and used at the same 300-ohm setting and the same gain on the AVID Pulsare II<\/a> phono stage, at first, we needed to re-adjust to the very different bass behavior but also noticed that there was something special in the midrange. At first, the bass felt a little lean, not carrying as much weight as the AT33Sa. But as we played more records, we found that the Bloom3 is actually more accurately relaying what\u2019s in the grooves. Sometimes it would appear to have less bass, but other times it proved to actually have more impactful bass, whereas the AT33Sa would invariably make the bass bigger but also softer, less distinct. To our delight, the unbiased behavior in the bass carried through to the midrange that was less romantic but all the more realistic for it. JW has often preferred romance and smoothness over expression and dynamics and for some time, I followed in his path, but his views, as well as my own, have smoothly changed over the years. On the matter at hand, there was absolutely no argument as we all wholeheartedly agreed that the Bloom3\u2019s purer, more direct, and less romanticized approach better did the music justice and actually got us emotionally more involved. Meanwhile, the Bloom3 was perhaps not quite as ultra-refined and airy as the AT, but the more albums we played, the more we felt that the AT actually has a bit of treble lift. And in terms of tracking, the Bloom3 did just as well as the AT.<\/p>\n

I did experiment with different loading settings but the 300-Ohm setting proved to be ideal. A lower setting would subjectively add some warmth but also reduce the cartridge\u2019s spriteliness and punch, and with it, the very aspect that sets it apart.<\/p>\n

As we proceeded to play record after record, we found that the Bloom3 just gets out of the way and lets the music do its thing. Even if the recording was lean or even downright thin, the Bloom3 still allowed the spirit to shine through.<\/p>\n

At this point, it suddenly struck me that, in order to balance out the AT\u2019s smoothness, I had used the leanest cables that I could find between the Thorens and phono stage as well as between the phono stage and amplifier. Of course, we were now hearing this as a slightly leaner sound! But even though the cabling in this system could be re-assessed, there was no denying the fact that we were all enjoying the heck out of it! And as closing time neared, the thought cropped up in my mind that I really didn\u2019t want to part with this cartridge anymore. All good things must come to an end? I think not! I\u2019m not yet sure how I will finance it, but the Bloom3 must stay.<\/p>\n

Conclusion<\/h2>\n

Even though I have found time and again that the marriage between a turntable, the arm, and the cartridge can make or break a performance, the Bloom3 worked just as magnificently with the AVID Sequel and Audio Origami PU7 arm as with the Thorens TD1601 and its stock TP-92 arm. Although these two turntables are far from representing a cross-section of the market, given that these are two very different turntables, this does tell me that the Bloom3 seems to be universally applicable. That’s the beauty of well-balanced, truly neutral products: they don’t require extra-special synergy to strut their magic.<\/p>\n

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\n

Bloom3 Specifications<\/h3>\n

Type : Moving Coil (Dynamic) \u201cREAL STEREO\u201d Generator System
\nCryogenic Treatment : Temperature: -196 \u2103 (-320\u043eF)
\nOutput Voltage : 0.24mV (0.48mV) (3.54cm\/sec, 1kHz)
\nFrequency Response : 10 Hz – 100 kHz, \u00b11dB 20 Hz – 20 kHz
\nChannel Separation : \uff1e 30dB \u3014 1kHz \u3015
\nChannel Balance : \uff1c 0.5dB \u3014 1kHz \u3015
\nRecommended Tracking Force : 2.0gm \u3014 20 \u309cC-25 \u309cC \u3015
\nTracking Force Range : 1.7gm – 2.5gm
\nTrackability : \uff1e60\u03bcm \/2.0gm
\nEQ Compliance : horizontal : 15\u00d710-6cm\/dyne, vertical : 12\u00d710-6cm\/dyne
\nInternal Impedance : 4.0 \u03a9 (8.0 \u03a9)
\nLoad Impedance : \uff1e 100\u03a9
\nCoil Wire : 6N OFC\u03c60.035mm
\nCantilever Material : Black ALMg5 tube \u03c60.45\u00d7\u03c60.30mm
\nStylus : Line-contact Solid Diamond \u25a10.1mm
\nContact Radius, Life Time : 6\u03bcm\u00d735\u03bcm, 2000Hour\/2.0gm
\nOutput Terminals : \u03c61.25mm gold plated\u3014EIA\u3015
\nTerminal Board : Glass Epoxy Plate
\nDimensions : 16.2mm(W)\u00d719.7mm(L)\u00d7x17.6mm(H)
\nNet Weight : 5.0gm, 7.7gm(TB), 9.5gm(SB)<\/h4>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Manufacturer: ZYX<\/a>
\nZYX Distributor for the Benelux: Colab<\/a>
\nAcoustical Systems Distributor for Belgium: Colab<\/a>
\nAcoustical Systems Distributor for NL: Actual Hifi<\/a>
\nAnalogMagik Distributor for the Benelux: Actual Hifi<\/a><\/p>\n

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