Breakthrough Design Solves Crosstalk and Azimuth Problems Without Loss: Jolida Foz XT-R Crosstalk Reduction Device Improves Image Focus and Soundstaging, Works With Any Cartridge
A breakthrough design, Jolida's Foz XT-R crosstalk reduction device uses a distinctive electronic approach to solve crosstalk and axial tilt. Named "Foz" in honor of XT-R designer, audio legend Jim Fosgate, this affordable analog component significantly improves turntable performance for a nominal cost. Using the same technique found in high-separation surround processors while bypassing problematic physical adjustment approaches, the award-winning XT-R incorporates signal cancellation to reduce inter-channel crosstalk. XT-R corrects for a misaligned stylus or cantilever, misaligned generator, and misaligned tonearm azimuth (axial tilt). It works with moving magnet, moving iron, and moving coil cartridges and even reduces crosstalk from cross-coupling of the generator coils or tonearm wiring. XT-R will compensate for up to seven degrees of axial tilt and can improve crosstalk to a maximum of 40dB, netting tremendous enhancements to stereo imaging. We guarantee you will hear the difference. 100% Music Direct Guaranteed.
“I found using it to be an utterly fascinating and engrossing exercise—one that provided a new window into the intricacies of vinyl playback.”
—Jacob Heilbrunn, The Absolute Sound, Editors' Choice Award
Axial Tilt and Crosstalk Defined, and How They Spoil Analog Performance
To obtain optimal turntable performance, the tonearm and pickup cartridge must be properly adjusted to within a few thousands of an inch to minimize axial tilt. Axial tilt occurs when the cartridge needle is not perpendicular to the record groove. In addition, a low dB channel separation of the cartridge can result in crosstalk, which happens when the stereo signal from the left side leaks into the right side, and vice versa. Crosstalk negatively effects soundstage depth and width, as well as the position of sounds across the stage. When the crosstalk is "in phase" on both channels, soundstage width and depth get reduced. If the crosstalk is "out of phase" on both channels, the stage will be wider and deeper. When azimuth is off, the crosstalk on one channel will be "in phase" and the other "out of phase." This tilts the stage to one side or the other, impacting the positioning across the soundstage.