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#1
Posted to rec.audio.high-end
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A Couple of Things
Just a few observations, and some bits and pieces I have accumulated
over the years relative to some of the discussions herein. 1) Acoustic Feedback for a Turntable Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force. This latter will be a function of the tracking and the peculiar design of the arm/cartridge combination - it is no 'across-the-board' the same. If the one thing (tracking) changes, so does the other (anti-skate). c) If a linear TT, make sure that it is functioning properly without any binding, over or under travel. ****** TO CHECK FOR FEEDBACK****** Put the arm on the record, about midway with the turntable STOPPED. Turn the volume to just a tad louder than your normal listening level. *NOTHING* should happen. Walk around the room a bit. *NOTHING* should happen. If you start getting feedback, then something is wrong and the TT is not properly isolated. 2) If you like vinyl, use it. There is, or should be no guilt involved. I like vintage radio. Vintage radios typically do not sound like my audio system. Doesn't make them bad. Just different. Doesn't make them good either. Just different. Remember, the Opposite of BLACK is *NOT* white - it is "NOT BLACK". 3) If you want to preserve vinyl (the most expensive part of any vinyl- based system is the vinyl itself, and therefore worth its preservation) - then do so. If you want to do it using an analog medium, then do so. It remains a somewhat free country even in these troubled times - so the difference between any one medium over any other medium are two things: the cost and the trouble involved. If it is a hobby, perhaps the trouble is not relevant. If one is using discretionary income, then neither is the cost. 4) Although I still stand amazed at some of the various types of Snake- Oil and poison Kool-Aid available to those in the Audio Hobby - one's right/freedom to subscribe to them remains. Just please let it be an informed subscription. Writing for myself, I will continue to be an "Anti" in the GREAT CABLE DEBATE as all the "Pros" have yet to offer a single iota of independently verifiable proof of their assertions - and that extends to Jojoba Root, cable catenaries, little green men from Mars and so forth. But those who are Pro also have their place in the choir - however laughable it might be...... hee hee. Cutting to the chase - go out and have $%^&*(*& FUN with the hobby. Ain't nobody here gonna be converted by fly-poop-from-pepper debates. But a lot less fun will be had if any of those debates are taken seriously. Peter Wieck Melrose Park, PA |
#2
Posted to rec.audio.high-end
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A Couple of Things
"Peter Wieck" wrote in message
... Just a few observations, and some bits and pieces I have accumulated over the years relative to some of the discussions herein. 1) Acoustic Feedback for a Turntable Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force. This latter will be a function of the tracking and the peculiar design of the arm/cartridge combination - it is no 'across-the-board' the same. If the one thing (tracking) changes, so does the other (anti-skate). c) If a linear TT, make sure that it is functioning properly without any binding, over or under travel. ****** TO CHECK FOR FEEDBACK****** Put the arm on the record, about midway with the turntable STOPPED. Turn the volume to just a tad louder than your normal listening level. *NOTHING* should happen. Walk around the room a bit. *NOTHING* should happen. If you start getting feedback, then something is wrong and the TT is not properly isolated. 2) If you like vinyl, use it. There is, or should be no guilt involved. I like vintage radio. Vintage radios typically do not sound like my audio system. Doesn't make them bad. Just different. Doesn't make them good either. Just different. Remember, the Opposite of BLACK is *NOT* white - it is "NOT BLACK". 3) If you want to preserve vinyl (the most expensive part of any vinyl- based system is the vinyl itself, and therefore worth its preservation) - then do so. If you want to do it using an analog medium, then do so. It remains a somewhat free country even in these troubled times - so the difference between any one medium over any other medium are two things: the cost and the trouble involved. If it is a hobby, perhaps the trouble is not relevant. If one is using discretionary income, then neither is the cost. 4) Although I still stand amazed at some of the various types of Snake- Oil and poison Kool-Aid available to those in the Audio Hobby - one's right/freedom to subscribe to them remains. Just please let it be an informed subscription. Writing for myself, I will continue to be an "Anti" in the GREAT CABLE DEBATE as all the "Pros" have yet to offer a single iota of independently verifiable proof of their assertions - and that extends to Jojoba Root, cable catenaries, little green men from Mars and so forth. But those who are Pro also have their place in the choir - however laughable it might be...... hee hee. Cutting to the chase - go out and have $%^&*(*& FUN with the hobby. Ain't nobody here gonna be converted by fly-poop-from-pepper debates. But a lot less fun will be had if any of those debates are taken seriously. Peter Wieck Melrose Park, PA As this is a high-end group I would suggest additionally that if you're using subwoofers or bass speakers that with your level of listening do perform at a high SPL i.e. you enjoy your music at realistic levels or greater (no neighbours to bother about) then you will need to pay special attention to turntable isolation if you want the best performance from your system. http://www.lurcher.org/ukra/mike_g/mike_g.html As you'll see from my system I went to a lot of trouble freeing the turntable both airborne and structurally, it really paid dividends sonically with a far cleaner bass response and much improved imaging. This is an old web site as I now have room treatment in the way of bass traps, diffusers etc. and the mid/treble speakers are brought out into the room more and I have more digital equipment however I've had 25 years of enjoyment out of this main system and it still works superbly every time - I guess I've had my moneys worth but nowadays the cost of electricity does make listening quite a bit more costly. Regarding cables, as I used to be in the audio business so I didn't pay anywhere near original cost and I always liked the sound of Cogan-Hall interconnects (this is a personal choice not backed up by any double blind tests). |
#3
Posted to rec.audio.high-end
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A Couple of Things
Peter Wieck wrote:
Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force... Oh no, this is completely mistaken. First (after leveling): set overhang. Arguably, this is a far more critical aspect of setup than everything else, and a very difficult alignment to get correct. In any event, it must be done first. Second: set tracking force. Third: set stylus rake angle. Fourth: set overhang again, because it is influenced by steps two and three. ...If the one thing (tracking) changes, so does the other (anti-skate). So does overhang. So does SRA. c) If a linear TT, make sure that it is functioning properly without any binding, over or under travel. Actually, the same is true for a pivoted arm. |
#4
Posted to rec.audio.high-end
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A Couple of Things
"C. Leeds" wrote in message
... Peter Wieck wrote: Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force... Oh no, this is completely mistaken. Well, missing a few important pieces... First (after leveling): set overhang. Arguably, this is a far more critical aspect of setup than everything else, and a very difficult alignment to get correct. In any event, it must be done first. Second: set tracking force. Third: set stylus rake angle. Fourth: set overhang again, because it is influenced by steps two and three. Hmm, all this *expert* advice and no mention of azimuth? ;-) I'm surprised that either or both of the two Scotts haven't already commented on this omission, as they have been (and I think highly appropriately so) been discussing it and its effects here just lately. |
#5
Posted to rec.audio.high-end
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A Couple of Things
Arny Krueger wrote:
... Peter Wieck wrote: Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force... I wrote: Oh no, this is completely mistaken. First (after leveling): set overhang. Arguably, this is a far more critical aspect of setup than everything else, and a very difficult alignment to get correct. In any event, it must be done first. Second: set tracking force. Third: set stylus rake angle. Fourth: set overhang again, because it is influenced by steps two and three. Mr. Krueger answers: Hmm, all this *expert* advice and no mention of azimuth? ;-) Azimuth can be set last. I noted the required steps in sequence, as did the original poster. Incidentally, some arms cannot be readily aligned for azimuth. Arguably, if the pickup arm and cartridge are properly constructed, then no azimuth adjustment is needed. |
#6
Posted to rec.audio.high-end
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A Couple of Things
To avoid feedback, why not make a digital recording of your LP with
your speakers turned off. Then ditch the turntable and just listen to the digital recording at whatever volume you like. If you use a decent ADC you'll hear all that LP sound in all its untainted glory. And you can add the file to your iTunes or whatever other library and listen to the LP as many times as you like without worrying about the incremental damage you're doing to it. All this stuff about the tedious messing about we had to do with turntables, cartridge alignment, arm balancing etc etc makes me realise what a fundamentally flawed and inconvenient medium the vinyl LP was. And of course the ridiculous costs of components that tried to wring a silk purse from a sow's ear. Ah I can hear the flames approaching! On 23 Oct 2008 19:48:58 GMT, Peter Wieck wrote: Just a few observations, and some bits and pieces I have accumulated over the years relative to some of the discussions herein. 1) Acoustic Feedback for a Turntable Setting up a turntable - after the basic plumb/level/square stuff with the base: a) Set the tracking force. b) Set the Anti-Skate force. This latter will be a function of the tracking and the peculiar design of the arm/cartridge combination - it is no 'across-the-board' the same. If the one thing (tracking) changes, so does the other (anti-skate). c) If a linear TT, make sure that it is functioning properly without any binding, over or under travel. ****** TO CHECK FOR FEEDBACK****** Put the arm on the record, about midway with the turntable STOPPED. Turn the volume to just a tad louder than your normal listening level. *NOTHING* should happen. Walk around the room a bit. *NOTHING* should happen. If you start getting feedback, then something is wrong and the TT is not properly isolated. 2) If you like vinyl, use it. There is, or should be no guilt involved. I like vintage radio. Vintage radios typically do not sound like my audio system. Doesn't make them bad. Just different. Doesn't make them good either. Just different. Remember, the Opposite of BLACK is *NOT* white - it is "NOT BLACK". 3) If you want to preserve vinyl (the most expensive part of any vinyl- based system is the vinyl itself, and therefore worth its preservation) - then do so. If you want to do it using an analog medium, then do so. It remains a somewhat free country even in these troubled times - so the difference between any one medium over any other medium are two things: the cost and the trouble involved. If it is a hobby, perhaps the trouble is not relevant. If one is using discretionary income, then neither is the cost. 4) Although I still stand amazed at some of the various types of Snake- Oil and poison Kool-Aid available to those in the Audio Hobby - one's right/freedom to subscribe to them remains. Just please let it be an informed subscription. Writing for myself, I will continue to be an "Anti" in the GREAT CABLE DEBATE as all the "Pros" have yet to offer a single iota of independently verifiable proof of their assertions - and that extends to Jojoba Root, cable catenaries, little green men from Mars and so forth. But those who are Pro also have their place in the choir - however laughable it might be...... hee hee. Cutting to the chase - go out and have $%^&*(*& FUN with the hobby. Ain't nobody here gonna be converted by fly-poop-from-pepper debates. But a lot less fun will be had if any of those debates are taken seriously. Peter Wieck Melrose Park, PA --- Rob Tweed Company: M/Gateway Developments Ltd Registered in England: No 3220901 Registered Office: 58 Francis Road,Ashford, Kent TN23 7UR Web-site: http://www.mgateway.com |
#7
Posted to rec.audio.high-end
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A Couple of Things
On Oct 30, 8:16*am, Rob Tweed wrote:
To avoid feedback, why not make a digital recording of your LP with your speakers turned off. *Then ditch the turntable and just listen to the digital recording at whatever volume you like. *If you use a decent ADC you'll hear all that LP sound in all its untainted glory. And you can add the file to your iTunes or whatever other library and listen to the LP as many times as you like without worrying about the incremental damage you're doing to it. All this stuff about the tedious messing about we had to do with turntables, cartridge alignment, arm balancing etc etc makes me realise what a fundamentally flawed and inconvenient medium the vinyl LP was. *And of course the ridiculous costs of components that tried to wring a silk purse from a sow's ear. Ah I can hear the flames approaching! That's exactly what I do, actually. Except I also record flat to a combo mic preamp/ADC FireWire box with balanced cabling. Totally off the deep end! But the results are great. |
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