I am posting to describe the result of the most recent idler tension spring mod to my Jean Nantais Lenco Goldring L70. I understand that this mod is described in detail on the group, but wish to present a “fresh eyes” assessment from someone not caught up in the usual group exchanges.
I am running the 100 lb “Classic” plinth, built about 2 years ago and later mod’d with a “Reference” level Lenco main bearing and a carefully rebuild motor assembly. About 2 weeks ago, Jean installed his latest innovation; replacing the idler / speed control shaft tension spring, and mounting a custom fabricated sleeve together with a precisely constructed silk thread and bias weight combination. The theory, as I understood it, was to ensure a constant pressure on the tapered speed control shaft / idler wheel and, thus, eliminate speed fluctuations; as Jean stated it "the maximum useful pressure, constant and unvarying at all speeds, to ensure maximum and stable torque". It simply seemed too obvious to be true – I had to try it myself! I had just heard from two trusted vinyl aficionados that the difference is sound from this latest JN Lenco mod was immediately apparent. I asked no further questions as did not wish my assessment to be biased by their experience.
What I found was a radically improved and stable pitch with an overall greater sense of space and dimension in presentation of the sound stage. There was a certain quality of air and openness around the instruments and vocalists, as well as “room clues” that had not previously been noticeable. This was especially startling as I was listening to LPs that have been in my regular rotation for close to 40 years (Joni Mitchell’s Blue and Ladies of the Canyon as prime examples) and found that my sense of the recording studio environment was far enhanced.
I then went on over the next few days to several well know classical pieces and found similar results with Glenn Gould’s – Goldberg / 32 Variations and Starkers Bach Suites / Solo Cello, and on and on. As I played 6-8 albums each day, I came to realize that each listening session presented a new experience from even my most trusted and best known reference recordings. I began to compare these recording on my other tables and found them lacking. What had I done?
My experience in these matters is considerable. I have had an idler wheel table in my system since 1972. Several years ago I purchased a mint Lenco Goldring L70 in a (rather heavy) stock plinth, after hearing a Lenco L75 rebuilt by Jean Nantais. I was shocked at the results with the L75 and wanted to understand what the JN mods could do for my system. I was then running a Garrard 301 and Garrard 401, as well as a Rek-O-Kut Rondine Deluxe and a Thorens TD124. I could hear the potential in each, but none matched what I heard in the early Nantais mods.
Now, with the latest spring replacement mod, even that first impression has again been elapsed by the addition of a simple thread and weight. I know it seems remarkable and, if reading it, I would have to ask “How is this possible?” My only response can be, “You have to hear it” so I invite each of you look at your options for making such a mod or having Jean provide you with the materials to do so.
I am running the 100 lb “Classic” plinth, built about 2 years ago and later mod’d with a “Reference” level Lenco main bearing and a carefully rebuild motor assembly. About 2 weeks ago, Jean installed his latest innovation; replacing the idler / speed control shaft tension spring, and mounting a custom fabricated sleeve together with a precisely constructed silk thread and bias weight combination. The theory, as I understood it, was to ensure a constant pressure on the tapered speed control shaft / idler wheel and, thus, eliminate speed fluctuations; as Jean stated it "the maximum useful pressure, constant and unvarying at all speeds, to ensure maximum and stable torque". It simply seemed too obvious to be true – I had to try it myself! I had just heard from two trusted vinyl aficionados that the difference is sound from this latest JN Lenco mod was immediately apparent. I asked no further questions as did not wish my assessment to be biased by their experience.
What I found was a radically improved and stable pitch with an overall greater sense of space and dimension in presentation of the sound stage. There was a certain quality of air and openness around the instruments and vocalists, as well as “room clues” that had not previously been noticeable. This was especially startling as I was listening to LPs that have been in my regular rotation for close to 40 years (Joni Mitchell’s Blue and Ladies of the Canyon as prime examples) and found that my sense of the recording studio environment was far enhanced.
I then went on over the next few days to several well know classical pieces and found similar results with Glenn Gould’s – Goldberg / 32 Variations and Starkers Bach Suites / Solo Cello, and on and on. As I played 6-8 albums each day, I came to realize that each listening session presented a new experience from even my most trusted and best known reference recordings. I began to compare these recording on my other tables and found them lacking. What had I done?
My experience in these matters is considerable. I have had an idler wheel table in my system since 1972. Several years ago I purchased a mint Lenco Goldring L70 in a (rather heavy) stock plinth, after hearing a Lenco L75 rebuilt by Jean Nantais. I was shocked at the results with the L75 and wanted to understand what the JN mods could do for my system. I was then running a Garrard 301 and Garrard 401, as well as a Rek-O-Kut Rondine Deluxe and a Thorens TD124. I could hear the potential in each, but none matched what I heard in the early Nantais mods.
Now, with the latest spring replacement mod, even that first impression has again been elapsed by the addition of a simple thread and weight. I know it seems remarkable and, if reading it, I would have to ask “How is this possible?” My only response can be, “You have to hear it” so I invite each of you look at your options for making such a mod or having Jean provide you with the materials to do so.