Banquo
I found those AT 616 footers give you a lot of flexibility for high your pod can be and they also make fine leveling of the sp10 very easy.
How do you like the freedom you have now to not only use any arm you want but you can pretty much place it anywhere you want on the platform. :^)
Am curious as to what the approximate cost was for the EPA Pod. It is really nice.
Should have my 2nd sp10 up and running within the next couple weeks in the city.
Nikola did you find the room to set up your SP10.
Their footprint is very small with a pod which makes them ideal regarding space.
Cheers Chris |
Banquo363& Halcro, I noticed that cover on the underside
of the SP 10 is not removed so the AT footers are below
this cover. Is this solution optimal? Ie should this cover
not be removed?
Regards, |
Nice work Banquo,
An Audio Copernican's best friend is a good machinist :^)
Hopefully you will report back with further observations when you have listened to more of your favourite records?
Cheers
Halcro |
After around 7 months of annoyance and concern, I finally managed to assemble my nuded sp10 a month back. It took 6 months to fix my TT (note to anyone with a bum sp10: send to Bill Thalmann as *first* and only option) The TT sits atop 3 AT 616 footers and I had custom machined 2 tonearm pods, one for my Denon DA 305 arm and one for my Technics epa 100 mk2 arm. Both are stainless steel. One can view the pods in my systems page.
The Denon pod was made first nearly 5 months ago, before I had a handle on its conception. It is 3.5" wide and 3" tall. It weighs around 8lbs and has a collar mount made specifically for my Denon arm. Pin screws in the collar allow for VTA adjustment. This collar 'system' allows me the flexibility to swap different tonearms into the same pod. In fact, I had another collar made for a Syntec 220 tonearm I have (but don't use--because that arm is a PITA to adjust). There's a slot cut into the rear of the pod to accommodate the tonearm wire. The pod sits on 3 footers that are modeled after the footers that the Micro Seiki 5000 sits on. Smaller of course. They screw in/out to allow for leveling of the pod. The pod was very well machined and finished and looks spectacular. The guy who did it, Mirko, is an awesome machinist. I was worried about the light weight of the pod, but it hasn't turned out to be an issue as far as I can detect. The denon 103 that is mounted on it has never sounded better in my system.
The pod for my Technics arm weighs 16lbs and was machined from a 20lb block of stainless. It is 4.5" wide and 4" tall. For those familiar with the EPA 100 mk2, the arm's mount is quite large in diameter and so a large chunk of steel had to be cut away to accommodate it. Mirko asked me if I wanted another swappable system with this pod, but I decided against it since I had/have no intention on parting with this tonearm. The pod sits on 3 spikes that screw in/out for leveling and the spikes sit on 'pads' (or whatever you call them). There's also a rather largish hole in the back to accommodate the tonearm and ground wires. Given its weight, this pod is very stable and I have no concern about unwanted movement.
I have been acclimating to the sound of the new system. A couple of things to remark. First and foremost, the sound is relaxed, and what I had been judging as the 'exciting' and 'dynamic' sound of my previous set up , I now think of as distortions. Secondly, I can now better hear the fine distinctions between the various MM carts I have. I take that to be a positive sign. On that note, I can say with confidence that the AT 20ss is a killer cart and supplants my previous favorite, the Azden ym p50vl.
Of course, I cannot attribute these benefits to the pod alone. There's the not insignificant addition of the epa arm, which I had never heard before. Nevertheless, I can conclude that the copernican system does not do detriment to the sound; on that contrary, it is able to produce a very fine and very refined sound. At any rate, I'm satisfied. |
http://www.youtube.com/watch?v=HSZSzxnN1mg
|
Dear Lew - I have confirmed what Geoch said in an earlier post - as long as the platform is level - gravity and the extra weight on top allow the bearings to find their spot every time. The more weight the quicker its found. The bottom of the armpod and your platform needs to be smooth -flush with the top and bottom Junior.
Dear Thuchan - thank you so much for the info on the
Toho TH-80. They share Henry's Copernican philosophy and the basis of our discussions here with isolated arm pods and platter/motors.
http://www.vinylengine.com/library/toho/th-80.shtml
That small block of steel that is in my video is almost 19 lbs.
My brass cylinder is 4" diameter and 4.2" tall and over 16 lbs.
Sorry for the quality of the video using my phone. It is very difficult to make my 16 year son (camera man) stand still for 60 seconds. He doesnt share the passion (yet). maybe that is a good thing :(
|
Dear Chris,
thanks for the impressive images and the short movie. It really looks a bit shaky in the beginning but I do believe it will work properly. I guess your tonearm handling is influenced by the camera's position not using the headshell's guidance.
I received similar results when putting the Continuum table on a similar support structure like the Symposiums do
Regarding a tonearm's support I am using a 16 pounds heavy TOHO TH-80 arm base. In this design the tonearm itself is completely separated from the vibration source. It is an arm base which is made of cast iron cut-processed and heavy enough.
It adopts a function to adjust the height within the range from 0 to 35mm and provide a built-in level for balance adjustment. I mounted a FR-66fx on the TOHO TH-80. The results show that a stable and heavy tonearm bases IMHO is crucial for a setup.
What is the weight of your tonearm base?
best & fun only -Thuchan |
Chris, IMO, as long as the Jr's come to rest at the same exact spot every time, you should be OK with that novel set-up (by my standards). And the high mass helps that to happen. High precision of the manufacture of the Jr's is also imperative. |
Dear Nandric - Hard to believe isn't it. Your right it does move like a ship floating in a harbor when you push on it. But with 18.9 lbs of "very well trained" seamen on board all of them pushing down it doesnt move at all when the stylus touches the groove. They obviously know how important their role is here :) . Totally rigid and in support of this Copernican thread. At least that is what my ears tell me. What else matters more than your ears?
It goes against everything traditional vinyl folks believe in - when it comes to principles and foundations.
Those that try this (with a cheap cartridge) are what we call in my line of work "able to think outside of the plin... sorry I mean box" ! :^)
Cheers Chris |
Dear Chris, Thanks for the video in the first place. I was
very confused with what I have seen. That is, I assume, how
our brain works. One does not expect to see the opposite of
what one believes to be the case or 'the truth'. But there
was some unexpected by-product. I got a (more) vivid picture of those galleons which Lew 'invented' for the sake
of argument. I want my arm pod as firm and weighty as possible and in correspondence with my ,uh, belief. However 'mechanics' is not my trade so no quess from my side about mechanical matters. I may get a reprimand from both : Halcro and Lew and this would be to much to bear for a single post.
Regards, |
Henry I just emailed you and some of the others here a short 59 sec video of the Symposium Jr. setup that i did with the video camera on my phone. I hope u get it - it is 16 meg. I will need to do a shorter one. If anyone would like more than a picture just email me. I am not putting it on youtube - yet.
I got the new cartridge running on the VPI arm with the Jrs.
Some more impressions.
Unless your cue lever is remote controlled :) you need to have a smooth and very fast one to lower and raise the stylus. As little interaction touching the arm pod is preferred. As Geoch mentioned in an earlier post lubrication of the lever - definitely - ensure it is working properly.
Initial setup sounds really nice probably set up about 80% - room for improvement - regarding the sound - in my system the VPI 12" arm is not as fast as the ET arm but still nice in its own way.
Cheers Chris
|
I wish I had Dertonarm's Uni-Protractor - setting up a pivot arm is so much more work than a linear tracking arm !
|
I believe Henry your first post is still very relevant – I added 6 words at the end based on this experiment so far.
“The tonearm is now the centre of this ‘Turntable System’ and is the most important element. It must be rigidly held on a base which is perfectly flat, non-magnetic and relatively immune to structure-borne and air-borne feedback. This base must ideally have no contact with mechanical or electrical interference and must under no circumstances, move or deflect in any manner” (once the stylus hits the groove).
Juniors
Everything is still very hard and rigid between the platform and the armpod with the Jrs.
http://cgim.audiogon.com/cgi-bin/vs.pl?vopin&zz1301604425&viewitem&o3&1303046315#item
The fact the armpod moves “prior to” the stylus touching the groove is irrelevant. The fact it moves no more once set down is VERY relevant. I say this because if it is moving that big 12 inch arm would have distortion, would skip and the stylus would be toast.
My VPI arm does this exact same movement prior to touching the stylus. Who here has a VPI that can share their thoughts on it?
Obviously weight on the Jr. bearing is critical. My first steel armpod block of steel which I am testing with is 18.9 lbs.
What I tried was very early preliminary testing ONLY with a cheap old cartridge. It proved TO ME per Geoch's earlier post that this concept functions - no more - YET. I picked up an MM based on Rauls suggestion and listened to it last night on my ET with the brass armpod to get a feel for it. It’s a decent cartridge – I will mount it on the VPI and continue testing using the Jrs. with it and report back.
You have to have the light touch with this when interacting with arm 1) lowering the stylus 2) lifting at the end. DONT try this out when you have had a few glasses of your favourite beverage :)
Can someone else come on here and describe in their own words "the action" (shaking and squirming) of the VPI JMW arm prior to setting the stylus down in the groove ? I say this again because it is the same action the armpod does prior to the stylus touching the groove. It would help others to visualize what is happening.
Cheers Chris |
Well Chris......what can I say?
This sounds almost contradictory to the 'Copernican' precept whilst at the same time supporting it?......if you follow me?
I'm trying to find the right theoretical position for this revelation?
Give me time?
Henry |
|
Symposium Jr Initial Impressions under Armpod
Okay – I agreed to be the guinea pig for this and now am glad I did.
I say this because I have never tried symposium rollerblocks in the past. We all have various products we use for tweaking - this was not one of them for me. This experiment with the Jrs has to be the most odd and extreme one for me as it goes against conventional thinking – I admit that. But then I am going through a period of experimentation since the nude TT and armpod – we are on a roll. And the costs for the real improvements I can actually hear have been negligible.
What is the easiest way for me to describe for you what using these Jrs. is like under an armpod ? If you have ever used a VPI JMW pivot tonearm (I know there are a great many of these tonearms out there) then you are very familiar with the way the tonearm “shakes and squirms” in its pivot as you lift it and set it over the lp until the needle hits the groove. The Symposium Jrs. under the arm pod “extend” this type of movement down into the armpod so that the armpod and tonearm have the same action and feel. This best describes what its like to use them. It moves around but it does not and will not fall over. It finds its original place again very easily.
They are very easy to set up. But –BOTH surfaces must be level and straight (1) the platform on the bottom, that the Jr. rests on and (2) the bottom of the armpod that the top Jr is up against. If you are using a brass cylinder as an arm pod you need to make sure the bottom of it is smooth.
From my last post the test setup was on purpose, in a bad location suspended hardwood floors. The Jrs. reduced skipping when walking by greatly compared to the regular setup on spikes. The sound difference was noticeable to me even with the cheap old cartridge I was testing with, so I decided to go the next step and set the armpod up next to my sp10 in my sound room.
I believe if you take a cheap but functioning cartridge and put it in a good system, that you will make it sound much better than you think it has a right to sound. Likewise take a good cartridge – put it in a below average system and it will sound like a cheap cartridge.
The cheap grado black cartridge was bearable in my system with the Jrs. It was not bearable without them. Re-read what I just said in last 2 sentences because I am saying a lot here.
Am I ready to try the Jrs. with a $500 - $1000 + cartridge – not yet . Will it make a $500 cartridge sound better – if I was betting on this I would put my money down on it. But I need more time to practice.
On the whole tonearm/armpod/Jrs setup -
You either have the touch or you donÂ’t. I canÂ’t speak for you and I will not be responsible for cartridge failure due to clumsiness or accidents. If you are able to line up a cartridge on your own with the micro movements that are required, than this should be very easy for you.
I found it was easier to put the needle down than it was to raise it at the end of the record. But then I had it setup in the back as a second arm. It is going to take practice. A light touch to keep the armpod from moving. Very definitely give this a try with a cheap cartridge. You need to try it out to see if this is for you. As our friend Geoch said – not for the faint hearted? But the results are definitely rewarding to those that are able to do it.
Cheers Chris |
Dear Thuchan
For me personally it did not meet my needs either in the plinth that I used. 7 layers of birch version. Not an exotic one like you mention.
My current nude set up with isolated arm pod gets me much closer to my personal audio nirvana.
You have a great many tables. All I can say is there are a number of us here that would love your opinion of it in a nude set up with an isolated arm pod. It is a different animal set up this way.
But I am sure you have many higher priority projects so I understand it if this is not possible. Time is so short for these activities I find.
Thank you for your impressions. Chris |
Dear Chris,
I was finishing the last meters on my loudspeaker project, now having exactley calibrated the attenuators and all fixed in a special box. This was the time to close the rear front cover. All done now!
Next I went into the Technics SP 10 MK II experiment in a nice but not Panzerholz or slate based wooden plinth. It is a good sounding machine, nevertheless not exactely reaching my demands. Maybe I am a bit spoiled too and it is different with a MK III in a plinth of Albert or Dobbins. But the prices for a good combo are getting insane regarding how much this Pro-series went in earlier times.
I am glad that you like tubes, there are also nice ones from the US :-)
Dear Corb, -thanks for the hint.
Best & Fun Only - Thuchan |
Dear Thuchan – thnx so much for the tube book reference. I had such a wonderful time a few years ago swapping tubes when I had an SP8 and changing its sound. I miss that THICK sounding preamp.
I have a large drawer full of tubes from the experience and I have told my fraternal 16 year old twins that drawer may not look like much – but in 10 years what it contains will be worth – well at least 2 – 3 times if not more than what they are worth today. What’s in their dad? Old TV tubes I tell them. And they laugh. “Yeah they are from Holland, Germany former Jugoslavia and other places like that and some from the US. But don’t be in a rush to get them – they may break”.
Prepping for the Juniors
I set up an alternate rig to practice with the Juniors next weekend to see how they work and to see how good they isolate.
See here
http://cgim.audiogon.com/i/vs/i/f/1302538853.jpg
I purposely placed the setup in the middle of the upstairs room containing hardwood floors. What a terrible location but perfect for this experiment - if they work here they will work anywhere. Based on what Geoch said about parallel tracker users using them, I chose to set up my 12” pivot arm on my first armpod (the steel one). I figured this would be of more interest to people here. Again based on some fears about learning how to use the Jrs. (from Geoch’s posts) I mounted a cheap Grado Black on the arm and aligned it with the table and started to get used to it. I have to say with the armpod it took no time at all to align the pivot arm. I set it high so that the Jrs. would fit under the armpod and the arm could be lowered.
BTW for this experiment - I pulled an old SL1200 out of a closet to use as the drive system while I play . I have to say as well how good that SL1200 keeps time. Hmmm - with a little damping and new feet – who knows ?
I will practice with the Juniors here on weekend before trying them under the brass armpod.
Cheers Chris |
thuchan
you should find the screws here:
http://www.spaenaur.com/
don |
Dear Ct0517,
still looking for my long screws, will come up with an assessment. I was a little engaged on other topics in the meantime. If you are interested in tubes - I fell in love with the sound they produce - there is a wonderful book available by i-tunes, for the first time in English: The hifi tunes Book of Audio Tubes. You will love it, also the images.
best & fun only - Thuchan |
Dear Nandric, I have met Thom Mackris a few times, and we exchange emails occasionally. I hold him in very high regard. His turntables are works of art that employ very heavy plinths that do not have a "deck" surface surrounding the platter. I have long thought that this is the best way to go for belt drive. His tonearm support structure is very firmly linked to the subchassis. He does not use separate arm pods at all. So his approach to design would agree more with my ideal than with Halcro's et al. I do not know anything about Mr. Lurne or his current products. I had some experience with one of his early turntable efforts many years ago, and frankly I was not impressed at all in any way with it, except its cost. I am sure his work is much improved if you like it. Anyway, one cannot "prove" that one design approach is superior to another by simply naming names. In the commercial market, there are all kinds of turntables, and they sound good and bad. Your own Mr. Kuzma makes great products that fit either description, Copernican or the other. |
Dear Lew, Our respected member Mackris stated in some thread :'When thinking about a turntable design, you need
to consider the physical energy paths in much the same way
you consider the current paths in an amp. design.' I know
that you are not much impressed by P. Lurne but he deed exactly this in his new Belladonna TT. I am sure you will find some very interesting ideas in his new design (www.tnt-audio.com; the Belladonna ,part II).
Regards, |
Dear Lewn - I would never hate anything that makes great sounds and music. Music is music. How you get there doesnt matter. As long as each of us gets to what makes us happy if that is possible in this hobby. It is a hobby right?
There are complicated and simple solutions to our audio goals. I find as I get older - I turned 50 in February - I much prefer the simpler ones and the ones that get me more involved.
I echo what Raul said - I look forward to hearing your impressions of the MKIII and Thuchan's impressions of his MkII.
FWIW - I knew something was off with my brass armpod. I got home tonight after being away, measured it and it is actually 4.25” tall. I was so like a little kid setting it up last weekend I never bothered to measure. Anyone ordering from Metal Supermarkets better make sure they give you the size you need especially if the little extra will make a difference.
Cheers Chris |
Dear Lewm: ++++ " You guys would hate it .... " ++++
well not really, because we don't need it we even don't have to think on it ( half true half joke. ).
Btw, nice to see you own the MK3. Now I understand why I see your add saling the MK2. Congratulations for that, obviously your feedback on the MK3 will be appreciate.
Regards and enjoy the music,
Raul. |
Cantaloupe? Where do you ever see canned cantaloupe? I toyed with the idea of stewed tomatoes, peas, corn, etc. Anything that is sloshing around but has some substance. Cantaloupe might work if the water content is high enough. Note that I am taking your response seriously. Not.
Soon I will mount photos of my anti-no-plinth, made to my design and then assembled by me for my SP10 Mk3, using a huge slab of slate bolted to a substantial wood base made from solid cherry and baltic birch and with a brass billet imbedded under the table to dampen any bearing vibrations via connection of the bearing housing to a brass rod which screws into the brass billet, a la the Albert Porter idea. It weighs about 90 lbs without the SP10 installed. The wood base really adds substantial further dampening to the slate. You guys would hate it. |
Just a short follow up on my experience with the footers used under the platter/motor.
First I believe it is more important that you have a good solid level isolated platform. I dont think footers should be used as a bandaid for fix platform problems. Fix the platform first.
I have experimented with footers 1) when necessary to up hold a DIY project like this or 2) to change the sound of manufacturers feet.
This applies to one above.
I tried different feet and they all worked. I would still be using the maple shade heavy footers but the at616 came along and they are adjustable. That was my only reason with the different armpods. Its very subjective – we all have different gear and even more different - stands and shelves holding the gear. Experiment with them.
As to weight of the armpod – I don’t know how much weight will work best. My footprint weight changed substantially with the brass - and I believe for the better – it certainly did not get worse – common sense says more is better – but as Lewn pointed out with Vyger some people get carried away. At least I think so. If you have ever picked up 10 lbs of steel or brass with one hand it is substantial – its not going anywhere when coupled with spikes. The next armpod for my other tonearm will again be out of brass, slightly shorter (to accomodate a test witht the jrs. eventually) and will cost $116.
Some people spend this much on an lp :). |
Lewn - I disagree - I think that cantaloupe slices would work better than the orange as they are not as acidic, they are in season right now, and studies have shown when talking to workers from their place of origin that they resonate the least : >)
I am having a hoot with this and looking forward to making another arm pod for my other pivot arm and also testing out the jrs on alternate equipment first.
|
Hey Chris,
You can always elevate your turntable by putting some big tall feet under it, to enable you to use a more massive pod. How about that Vyger turntable? The pod would be 4 feet high or so, judging from photos. In brass, that would be significant mass, I'd say.
You made me think of this, because I have just recently elevated my Lenco in its slate plinth, not so I could use a massive arm pod but in order to accommodate some "feet" that I made out of cans of Mandarin Orange slices in water, sitting on tiptoes. In my rationale, the closed system of Orange slices floating in water helps to dissipate energy (by sloshing of the water damped by orange slices) going from the floor up into the shelf and hence into the slate. For $6 plus the tiptoes, which I had on hand already, it "works a treat", as the Brits like to say, and if you don't like it you can eat the Mandarin Orange slices, for another kind of treat. |
Mass loading is very good – at least that is what my ears are telling me.
Version one aluminum armpod was only a few lbs lighter than the brass - but the weight was dispersed over a longer armboard. The increased force provided by the brass is a positive thing that can be heard. I am not going to provide a lovely description like Dgob provided us with. Let’s just say last weekend I found myself reaching for more lps – some I had not heard in a while – if this is not positive behavior for this hobby I don’t know what is.
Recommendations.
How high is your platter? The higher the platter the more material you will be able to use to get more weight (either a bigger diameter or higher armpod). I have the AT 616’s adjusted now to their highest point – and my tonearm is adjusted to its lowest point. Any higher and it will not work in my setup. I came close and actually had fears when I brought the brass home that I had miscalculated. After analyzing - I breathed a sigh of relief - thank u Bruce Thigpen for all the adjustments u put on that ET arm :)
Symposium Jrs.
With that a source came through and I now have symposium jrs. on their way to me. I understand that they are 1 ½ inches high so my current armpod will not be able to be used for this experiment - as stated my tonearm is set at its lowest adjustment. If anyone can suggest a way of doing this without propping another layer under the sp10 let me know.
So I will get another armpod made a lower one for this - probably about 3 inches high and maybe try it out on my 12" pivot arm as well. I had plans for another armpod anyways
Cheers Chris |
|
No matter how you set it up, it will be of great interest to me to learn what you think of the SP10, in light of the pantheon of great turntables you have at your disposal. |
Dear Lewm, Dear Raul - this thread is not about the naked guys only! look in the middle of the thread, also implying the philosophical implications...
but thanks, yes I am aware of the option but I do not regard it as the best possible option as I stated before.
What I am doing here is an experiment and I am not sure where it will end. Of course there are better solutions as Lewm mentioned. I will find out.
Best & Fun Only - Thuchan |
Dear Thuchan: +++++ " And then too, since you posted here on this thread, there is the no-plinth option. " ++++++
yes, do you already thinked about?, one alternative does not preclude try the other.
regards and enjoy the msuic,
Raul. |
Dear Thuchan, If you find that you enjoy the SP10 MkII but would like to get more out of it, you might consider the Panzerholz plinth made by Albert Porter, the Steve Dobbins treatment (removes the motor assembly from the chassis, etc) or a slate plinth. All 3 are above the rest of the plinth crowd, apart from some homebrews possibly. And then too, since you posted here on this thread, there is the no-plinth option. |
Dear Lewm, yes - I bought a very good MK II motor unit in a very modest plinth. I would not say it is a master piece. I will let build a new one made of plywood, not a very extravagant solution but carefully handcrafted.
Best & Fun Only - Thuchan |
Thuchan, I assume you know this, but in case not, thread size is M5. What material(s) are you using to build your plinth? |
Dear Corby, many thanks for this good hint. Will follow your suggestion
Best & Fun Only - Thuchan |
Dear Ct0517, got it, sorry i did not think of my ET-2 cause this is such a perfect installation on the Naka I will not change it anyway. My plinth at the moment is not designed for a linear tracker and I do have so many other tonearms lying around - also need some clearance now...
of course this could be agood match!!!
Best & Fun Only - Thuchan |
thuchan
the screws can be 140mm long. if you counterbore the 5 holes in the bottom to fit the screw heads to a depth of appx 3/8" that will allow 3/8" penetration into the sp10 thread sockets, which is more than enough. c/b the holes to allow for a washer as well, so 3/8 deep x 3/4 to 1" dia. should work fine.
don |
Dear Thuchan
I selfishly meant your Eminent Technology arm.
But any other surface mount tonearm would make this very simple and quick to try out.
Chris |
Dear Chris,
you are right, many footers are lying around here. Maybe need to clear a bit. Which arm do you mean? EMT 997?
Best & Fun Only - Thuchan |
Deat Thuchan - a suggestion while searching for your screws, that you have a glorious opportunity to test out the sp10 on 3 nice footers.
I am sure you must have many lying around ?
Your ET arm :) would require one bolt for it to be mounted for test purposes on a basic arm pod.
Just a thought.
Cheers Chris |
Sometimes we have a good and interesting result and an attractive explanation for it, but they don't always really go together. This happens all the time in science. |
Dear all,
I asked my carpenter if he could produce a plinth for my SP10 MK II. I know when starting this i left the path of wisdom, at least to most of the supporters of a naked solution. The plinth is 140 mm high. Does anybody know how long the screws should be to fix the motor? the holes for the screws are going to the bottom of the plinth (140 mm). I guess among us are some experts who have gained much more experience with the Technics SP 10 MK II than me.
Best & Fun Only. -Thuchan |
lewm
you are correct in your assessment of the positioning of the adjustment screws. it is not a perfect adjustment, but it is better than nothing, which is what most arms have, nothing.
i have mounted the breuer directly on the raven via an armboard, on the back of the table now. i have installed 3 thumbscrews in the armboard where it meets the plinth in order to get some azimuth adjustment. i mounted a van den hul colibri on the breuer and am having a heck of a time getting the azimuth good. i think i need another armpod!
as far as your second statement, i really don't know why isolation is a better sound, removing resonance was an educated guess. something changed for the better, whatever it is. |
kbell
the spikes are stock brass thumbscrews from spaenaur and they were turned to a point on a lathe,
the wiring on my breuer and on my davinci are both stock, no mods there. |
Dear Corby, I did not at all mean to imply that you cannot adjust azimuth in the manner you have chosen, using the Foz or any other method. But if you do it that way, leaving aside the argument about whether or not the base of the tonearm should ideally be in a plane parallel with the platter, at least you need to position the inner one of those thumb screws very carefully so that it lies in a straight line drawn from the pivot to the spindle (I think). Then, you could adjust that one thumb screw to tilt the top of the cartridge toward or away from the spindle, i.e., to adjust azimuth. (It's still imperfect because of the offset angle of the headshell, but many tonearms with adjustable azimuth live with the same source of error. Changing azimuth with Triplanar and Talea, for example, has a slight effect on VTA.) It seems to me that the location of the adjusting thumbscrew is critical in your system, otherwise the 3-dimensional location of the cartridge body wrt the LP (azimuth, VTA, possibly VTF, etc.) will be inconstant as the stylus traverses the LP, even moreso than with Triplanar, Talea, etc.
Also, I have to disagree with your argument about the primacy of removing "resonances" via the arm pod. True, the cartridge puts out some mechanical energy into the tonearm. In the best case, this energy is transmitted via the headshell and arm wand into the tonearm base, into the mounting board, into the chassis of a conventional turntable. But do you really think the energy is of such a magnitude that it is not dissipated in all these structures long before it could disturb the bearing and platter in any way? I think it is the job of the tonearm/headshell to take away the mechanical energy from the cartridge and that this energy is probably completely dissipated as heat before it even gets into the plinth. If the tonearm does not do that job, if the energy of the cartridge is reflected back to the cartridge rather than transmitted, then you do have problems with mechanical resonance, etc.
I don't mean to sound critical. These are just armchair discussions, as far as I am concerned. If it sounds good, it is good. |
Corby, are the tonearm wires on your arms the same aa they were stock or have some of the arms been rewired with custom wiring? |
Corby, what is the source for the threaded spikes you use on your armpod? |
