Hi Harry it was not imagined This is not one of those audio tweaks that has audiophiles divided on forums on whether it works or not. It can not be imagined as we are making actual physical changes to the firmness of the I Beam, and also changes resonances. Trust me you will not be imagining things when you attempt the Triple Leaf Spring I Beam. The Blue Tac does go against design - along with making things firmer it is also dampening / deadening from my experiences, so I would be very interested in finding out how it changes when you insert the actual double leaf spring I Beam that Bruce is sending you. I am a big stickler to staying with design and getting the most out of the designers intentions. With that Bruce told me years ago...." Yeah go ahead and load up the I beam with as much weight as you can ....as close to the air bearing as possible ....see what happens.... at some point you will bottom out the bearing." So he is all for experimentation. :^) I was going through some trying times and audiophilia nervosa was safe and helping me deal with things. So I got the extra weights from the car tire shop and molded them. They throw the old ones out so they were free. The look on their faces when I took a few was priceless. The same look the Wal Mart employee gave me when I bought the local store out of Blue Tac to fill the hollow Pillars of the VPI TNT to ........see what would happen. Regarding Bruce’ comments. He was a little skeptical of three springs and had concerns it "would not last." Yeah, I mentioned earlier that tracking will be difficult but...... IMO, you still need the triple I beam so that you can personally get to understand what the limits of tracking are in your setup. fwiw - I am of the mindset and believe, not just for this hobby but all of them; in going a little past the limit to see what can be done. As long as you are not hurting anything, you can always come back a bit. In this case maybe settling on the double spring I Beam. I am using the double spring w/out damping right now. I stopped drinking wine. I think the protein in it was keeping me up in the middle of the night. So beer and the occasional whiskeys now. |
^^^^ Hi Harry your comments above could describe going to a different design speaker. :^) Who are these people that say the source is not amongst the most important in the audio chain ? Try pulling this one off with digital; with such a small change to the source setup. This setup is, however, ruthless. Your Lyra uses a Namiki microridge line-contact nude diamond stylus (2.5um x 75um) see Soundsmith comments that follow below asterisks. I am reading into your comments that your ET2 with the 3 spring setup and the Lyra Delos is pretty much dissecting your albums now. Good ones - sound amazing. Not good ones - can no longer be listened to? Not great if you are a music lover with many albums. Have you tried lowering VTA on the bright sounding ones and raising it on the muddy sounding ? Records, even same thickness ones are cut at different vertical angles depending on the plant they were made at. This is covered in detail by Bruce in the manual. The ET2 happens to be the only tonearm in the world (due to patent) that adjusts VTA without changes to anything else in the alignment (like VTF). (if the VTA block is set up right) I think from a pure groove tracking sense your ET2 with the triple leaf spring is set up for Indy 500 Oval right now. If records were made the same and uniform physically like CD’s; this would work better. But the records and grooves are more like the races that go through cities. Each one is very different. I think, along with VTA adjustments, you will need some cushioning/damping. So will be interested to hear how things change with first the double spring suspension, and also VTA changes. ********************************** From Soundsmith describes styli on your cartridge. http://www.sound-smith.com/articles/stylus-shape-informationThen, there are the "fine line" styli, including standard Contact Line, as well as the more esoteric evolutions such as Shibata, Micro Line or Ridge, Optimized Contour Contact Line (Soundsmith) and so on. These are almost always nudes, for lowest possible mass. These designs have a sharper edge (radius) that play the record groove walls, which allows better high frequency reproduction (especially at the inner grooves where it is more difficult) resulting in lower distortion, better imaging, depth, and many other aspects of fine analog listening that are lost when the high frequencies are not resolved as well - usually by lower quality stylus shapes.
The higher end designs, however, require far more precise alignment than the lower quality shapes, for what should be obvious reasons. It is easier to align a rounded end to a groove than a V shaped end. Alignment issues for both rotating off a vertical imaginary line in the groove looking end on, as well as tilting front to back along the groove become far more critical for proper tracing of the groove.
Then there are noise and wear issues. Conicals statistically trace less surface area of the groove wall, so can theoretically pick up less record damage (unless they trace an area where there HAS been lots of wear or damage) and can pick up fewer sonic bursts from defects or noise from dirt or other foreign objects in the groove. But the wear factor is higher (faster) for both the record and styli. Alignment considerations however, are much easier to achieve. But far poorer high frequency response. For analog, that’s bad.
Conversely, the fine line designs require records that are in better condition and cleaner to be played mainly noise free. But the reward for playing a good clean undamaged record with a properly aligned fine line diamond and quality cartridge cannot be overly described in terms of enjoyment. ****************** Curious to know how your wife is dealing with your newfound tweaking/ hot-rodding behavior as you are in a shared space ? Chris |
If I can't tame some of the brighter records with VTA I'll try some damping.
Harry The aluminum armwand is not a great match with the Lyra. If getting the Carbon Fibre or Mag armtube is not an option you could try damping the armtube. I think Frogman is out of his Magic Audiophile armtube wrap ? Maybe others can suggest other options ? I would be tempted to just try two Blue Tac dots on top of each cartridge bolt head. You could weigh each on a digital gauge. This will obviously mean you would need to go out higher on the I beam - a good thing; as long as there is room on the end of the "Pirate Plank". :^) Cheers Chris |
This is good Harry. "With three springs I found I was not relaxing, shoulders pulled up tight like listening to a bad CD. When I went back to two springs I noticed everything (including me ) was much more relaxed. " This is part of the reason I said you won't be imagining, and I believe one of the reasons Bruce said the triple leaf spring "would not last". Curious to know how much distance there is from the joint that holds the armtube, aka the "Gooseneck" , name courtesy of our NZ ET2 owners; to where the phono wires plug into your CAT SL-1. I mean if you went a direct route from the Gooseneck to the CAT SL-1; not including the distance going through the air bearing spindle. thanks. Chris |
hah hah.... :^) I like Bob Newhart. I like the "STOP IT" scene. I feel some of today's millennials need some of this "type" of guidance. https://www.youtube.com/watch?v=Ow0lr63y4Mwso I am biased - still have two of them (millennials) - still living in my house. I am very old school. ********************** I have this blue-eyed cockroach crawling my grooves. Ladies don't like to see cockroaches, but they (cockroaches) are very healthy to eat. Harry, I hope we don't get you in trouble with your wife, with this cockroach, whose origins can be traced to this thread. So has she commented on ole Blue Eyes yet ? If she noticed the cockroach, then she will also probably notice a new shiny black Mag armtube. pic 35 on my virtual system page shows the differences between the two. But bringing in an armtube is fairly safe I think. It's kind of small overall and hard to tell how much it cost by looking at it. Some years ago when I got the Mag wand, I was talking to Bruce about how he makes the Mag wand, and it is not an easy process to make it at all. If not done right the cast gets ruined. Problem is some records sound amazing with three springs and others are best with two springs, even when I play with VTA. As advised, however, I can tell resolution has improved because I can now hear the VTA adjustments. Assuming ones platter keeps proper speed and no other changes. The actual record becomes the real moving target. Different record plants, different vertical cut angles. Your post comments support this. *************************** re: My question about your wiring My Sp11 is positioned immediately to the side of the ET 2.5. A happy face wire smile between them. This allows for the shortest wiring length. There is a little over 2 feet of wiring - unfortunately the phono inputs are on the wrong side (farthest) side of the preamp. So I had to do what I have called James Bond type manoeuvring, with the wiring, to get it quiet. Not encouraging anything here; but with a little over a meter of wiring you are a candidate for the straight shot unshielded wiring. The factory wiring ET2 setup on tables like VPI and SOTA had to be done that way - to help sell product. So just something to consider. What does a straight shot buy you? The effect of this change would be like replacing a V6 engine with a V8, in the same car, but with no gas penalty. The music will sound like it's coming from a bigger pipe at you. But, and this is a big but...the wiring will not be Pussy Cat proof. 8^0 |
Bruce’s description of the mag and cf, it appears the compliance of my Delos is a better match for the mag. Do you agree?
Harry here is the ET2 Wand Guideline and some thoughts. Guideline Aluminum Wand ----------->Carbon Fiber Wand ----------->Magnesium Wand Carts High Compliance ----- ->Medium to Low Compliance ---> Low Compliance So. If you only had one wand and play Higher compliance MM ...........................................Go with Aluminum Wand Higher compliance MM / med - low compliance MC .......Go with the CF Wand Only use low compliance MC. ......................Go with the Magnesium Wand The CF wand is the best all around wand. If you send Bruce an extra aluminum wand, he will wrap it for you and convert it to a Carbon Fiber wand. *************************************** With that as we know this vinyl is all about resonances and vibrations. Anyone that is using a low compliance MC with the aluminum wand has done "mods", "tweaks" in their system chain somewhere to make it work. If you go through this thread you know that members like Frogman, Richard Krebs Dover at the top of head, plus others, all did extensive mods to their ET2 aluminum wands / and to run lower compliance MC among other carts. In the picture that BH’ attached - Hi BH’... been a long time - nice setup and nice avatar :^) He appears to be using an aluminum wand with an MC ? It is hard to tell if it has the CF wrap on it. Are you still using the single leaf spring BH? When I used an MM on the Magnesium wand it was absolutely strident. Even though the cart sounded fine with the aluminum and CF wands. This tells me the Mag wand really is for Low compliance and maybe a point of no return :^0 *********************************** So Logic tells us that if someone made a Low compliance MC work with their Aluminum Wand; should they then introduce the Big Dog Mag wand; they most certainly will be making changes to their system, even though the guidelines say they (Low Compliance MC/ Mag Wand) are the best combo together. Make sense ? ****************************** the single shot wiring deserves a separate discussion. It is filled with frustrations in fighting physics, but the reward is worth it in the end. The key is not to fight physics. Braiding wires is great for dealing with interference, but not so good in allowing the ET2 to have freeplay. The solution you go with will be determined by your turntable plinth style. You can take this one to the bank. I found a compromise works well. We can discuss more. Harry - some Canadian perspective for you on the cost of that Mag armwand. $575 US dollars is now $775 Cdn. dollars ....... :^( The differences between the Aluminum and Mag wands for readers. Click on this link. https://goo.gl/photos/Rjcvbjfrms23zc1M6Cheers Chris |
Bh80231
I have had different wraps on them in the past, and stuffed foam inside too (what is your stance on that?), but they are naked now. Bh In the past I experimented a lot with the I Beam, PSI - multiple pumps, Wiring, and different carts. I also own all three armwands. So I exchanged the armwands. I've never run the aluminum & CF tubes naked that I can recall. My take is Bruce put it in the tube for a reason; but the tonearm is very easy to tweak, so I would try and use it whichever way it works in ones system, understanding that it is resonating more without the foam. Thinking about it, the aluminum wand may work better without foam, in a cart like the Sonus Blue Gold - Dynamic Compliance: 50 x 10-6cm/Dyne. I have run that cart on the ET2 with no problem at all but the foam was in the aluminum wand. Have you tried running your tonearm with the highest vertical inertia - the least amount of weight possible on the I beam ? |
"I have very eclectic taste including pop, country, folk, blues, but mostly jazz and almost no hard rock. Preferred listening is jazz quartets and trios and female vocals. I am a huge Keth Jarrett and Bill Evans fan. Early Miles and Coultrane. I don’t do drugs so I can’t follow their later stuff" Hi Harry I have a peculiar - sort of abnormal? - reaction to Jazz. It relaxes me...maybe a little too much. I tend to settle back in my chair..arms lay at rest at my sides. My right arm perilously close and within reach of whatever beverage has been placed there. I tend to get anxious when I am not doing anything, relaxing... so unless I am doing something on the computer and listening to back ground music, depending on what the beverage is ... it can get a little silly for me. I prefer full bore orchestral...I played trombone for a number of years...not as cool as the drums, trumpet or sax..but not as bad as the tuba. I stopped playing. Anyway those influential years put my bias on the bass clef. With Orchestral Classical if a good performance, my arms/hands will start moving....waving ...in front of me. If a really good performance I stand up and continue waving my arms. General Audiophile Tip Make sure your wife catches you during one of these moments, she will start to worry a little bit for you; if she still cares about you...:^( You will gain audio hobby leverage. Audiophile Points. Anyway - breaks are needed between sides for refreshment. I also don’t and never done drugs either unless one considers alcohol a drug. Prefer natural endorphins. Cheers Chris |
Hi John Welcome to the thread. I would also like to try the direct wiring harness, but don't know where to look for one. Any links available? Pic 7 on my virtual system page shows one of my looms made for me years ago by Take Five Audio using WBT Next Gen Plugs. Here is the link to their information "Take Five Audio"Gene the owner, has made multiple looms for me and I have put friends onto him as well so that's one option for you. You would also be getting a 30% dollar exchange discount and probably free shipping. Just tell them you are inquiring into one of those ET looms you made for Chris. He will outline what parts are available, choice of wiring and even do a burn in for you. He does a nice tapered approach at the plug end which gives a lot of strength. Cheers Chris |
Hi Harry
re: VTA
The Lyra site shows your cartridge is made with a 20 degree vertical tracking angle.
One of Bruce’ findings documented in the ET2 manual.
The European vertical angle cutting standard closely matches the vertical angle present on modern day phono carts.
He’s done the analysis. If I brought a Lyra cart home I would grab one of my European made records that I like, set the top of the cart parallel with the record and go from there by ear. This is also appears to be the advice that John has given, and he is an actual Lyra owner. :^0
And I know we are aware of this but it’s worth repeating imo.
1) There are different vertical cut angles on records. And every time they change the cutting stylus, it is not a precise replacement. Also Logic says the Vertical cut angle on a new cutting stylus will not be exactly the same as it was before on the worn stylus. Then there is as we know,
2) Good and bad recordings of music. Some bright and highly compressed. I don’t like to fiddle with VTA too much. I have found with carts I have used that I can find an overall good spot using a European made record. Fine tuning out brightness and compression can be done using my pre-amp by either dialing the gain (separate from the volume) up or down. If its a good recording I can crank the gain up on my pre amp and set the volume from there.
Also
In talking with a couple studios that do vinyl in my area a few years ago, they indicated to me that if new music comes in from an artist that was recorded on better than CD quality files; these are indeed the files used for the LP usually; but one would need to check on a studio by studio basis to verify if you were really interested in that album. My digital is really good. I run off a dedicated Lenovo laptop to my ARC DAC8. I have a lot of vinyl to get through so I myself will not buy new 2017 vinyl of "new music" for an artist I "really" like, unless I can determine that the source digital files used were indeed better than cd quality 44.1 khz 16-bit.
Cheers Chris
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We have all plowed for potatoes with our vinyl Harry :^) Right now - not sure I will see the day again when I can drop $50-60 on a new LP record again. My two - 22 year old fraternal millennials are still draining me down faster than the world's oil supplies. I did not plan good for this. They have absolutely no sense of ownership, only know debt; and with the Greater Toronto Areas housing market going up 25 % a year they will never know home ownership here. Was this bad info, myth, sales pitch or what? Do suspensions really wear out even when the cartridge is not being used very much? John So searches kept bringing up the Acura sports car then I found this. AQ7000 NSX Output: 0.3 mV Tracks: 1.8g Loads: 200 Ohms- 47 kOhms Unloads: 10 Ohms Compliance: 12 Weight: 11 g Its a really nice cart. Since you asked; my two cents if I were in your shoes. You have three options I can think of. 1) contact J Carr direct and ask for his opinion. maybe send it to him for inspection and possible tune up. this will probably take a long time 2) contact one of the Cart retippers/rebuilders in the US. Have them look it over. Of course due to age they will probably recommend something. 3) start using it on a select set of records till you can determine its real condition. Listen to them with your Lyra first then do the switch. The chances of it being a time bomb is low due to who built it and you know its full history. But...... there were other reports on the internet of people losing the stylus.... 8^0
So with this info I would be inclined to put into use. Then again I am not much of collector with carts as they are wear items - I see them like tires on my cars. If I am not using them, they are sold. I have maybe 5 carts remaining. A couple MC and 3 or 4 MM's. How much would it cost to replace it with a like new cart today - that would help me to decide. My two cents. hope it helps a little. Chris |
Hi John, "I like to have something to look forward to. Eh?" yes, for me there has to always be something there, that I am looking for, pursuing. I have found that keeping these "somethings" simple, but not easy to reach, is the secret to being sort of satisfied. Keep me from getting into trouble. re: the kitty I have always been a dog person. never had a cat. He is not allowed downstairs due to the hairs. My daughter acquired a dog and a Bengal kitty. We have been babysitting them while she travels. I show her dog called Lucky as my new RCA Victor dog on my systems page. Now this Bengal kitty; she has charisma, is independent and does not ask for much. I like those qualities. As a small kitty my daughter and I would watch her climb over my frequent play albums in rows on the floor; which was kind of cute. But no one told me she would grow to be able to jump 6 feet, and walk up the sides of walls. Chris |
Could someone explain how to set up that magnetic damping mechanism to replace the trough? John I discussed magnetic damping with Bruce when it came up in discussions here in 201* - I can't recall the year. Bruce was very intrigued, so much so that he tested it out himself. His findings, as far as the interaction between actual spindle and using the strongest magnets; there is just not enough movement in the spindle to produce any effect. So that is what he found. Next time you are talking to him remind him of our conversation. I did sense that he really wanted it to work as the oil is - messy. With that the experimentation involves placing magnets - same poles facing each other - on either side of where the spindle exits so it is passing through the magnets. The idea of course being that repulsion controls the movement of the spindle. My Verdier La Platine platter system works in a similar way, but on a much larger scale. Now the system with La Platine works because the actual platter which has the (top magnet) attached to the bottom of it, is moving at 33.3 rpm so you have braking action happening with the bottom magnet due to the movement. This braking action also helps to deal with the records behavior with its constantly changing grooves. I was fortunate to learn this from Mr. Verdier, before his passing. Chris |
Hi Pegasus Good to hear from you. :^) The Verdier provides for Levitation AND Braking Action - and that is why I included the analogy. Everybody thinks about the Levitation but NO ONE discusses the braking action. 8^0 All I did was report Bruce’ findings. Not sure how he set it up. IMO - John should also try it for himself. I still have the trough attached but the paddle is not connected because I do not need it. Pegasus
My wires exit the arm relatively "straight" at the end of the tonearm proper, the magnet is on the opposite side of the bearing. Show us a picture of the wiring/magnet Pegasus. John I would also like to see a picture of your modded Ibeam. Cheers Chris |
Good Morning Harry
the proper thing to do if I was in audiophile mode, would be to switch my mag for the aluminum with my MC and give you direct impressions in my room. That’s not going to happen for a couple of reasons. I don’t like to fool with carts - did you know I beheaded an XV1 once ? Also I did break my loom one time - can’t blame that one on the cat. It was a hard call to make to Gene at Take Five Audio - sending him my crippled loom. Oh...and also that Aluminum Gooseneck that I sourced from NZ ....is a really tight fit. Can be a b**tch to get off.
So...
The best any of us can do on these virtual forums where we cannot visit each others rooms due to distance is make an educated guess. This is unfortunate because you have a nice airy room - and I would love to hear music in it. No question the biggest factor is the room. I believe your VTA changes will be smoother (not as pronounced), and you will hear more of what is actually in the recording, due to less resonance, as the Mag wand handles your cart better. As part of the adjustment (and there will be adjustments !!) I would think you may also need to change the crossover setting on the sub I see in your room picture. Like I said earlier; there are many ET2 original owners here on this thread, who are playing MC with their aluminum wands - but they have had to modify their ET2 aluminum wands extensively. Hope that helps a bit.
**********************
I like analogies. Sometimes analogies are good and hit home; sometimes not so much.
Those that live in the Northern United States and Canada know the difference between summer tires, all season tires, and winter tires. If the arm tubes were tires. the Aluminum is for Summer, Carbon Fiber is All Season and the Mag is for Winter duty. Canadians in Ontario and Quebec provinces are now given discounts by their insurance companies if they are using Winter tires - during Winter :^) ....... We’re still getting ripped off.
*********************
Bruce’ ET2 manual is based on the original 2.0 tonearm. Aluminum Wand, Single leaf Spring - MM’s were popular.
IF....
If his tonearm did not get introduced same year as CD was introduced.
If vinyl sales continued in popularity.
If there was a stronger business need for it.
Then I believe Bruce would have come out with a revised ET 2.0 (2.5) owners manual Version 2. In it, he would definitely cover off the 2.5 version for MC carts, the three arm tubes and also the use of multiple leaf springs. Also Bruce does use direct single shot wiring as well - but IMO, due to its fragility, and the fact the person getting it needs to be anal about setup - I don’t think he would discuss it in the manual.
so some thoughts over coffee. sorry for the detail (coffee kicking in) and any spelling mistakes.
**********************
What frequency is your sub crossed over at Harry ? have you ever tried it in nearfield position ?
Cheers Chris
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AudioGon Alert
ET2 Setups taking over the new systems category ...
Pegasus ! put up some pictures. Two is a couple. Three makes it official.
8^0
John - like Harry you have a nice airy room. Not familiar with those dipole speakers. I am a fan of dipoles. Not familiar with Harry's speakers either.
I gotta tell you. ...that is one long I beam you got there.....
Can you provide the details on how you got it/made it - I think you said you sourced it from the hobby shop ?
I have done the test going in with the most weight closest to the bearing and hearing the bass resonance/distortion in my room. if I kept going further in Bruce told me I would actually bottom the bearing out.
I think you said earlier that going further out with your elongated I Beam - and it became detrimental to the music in your room ? The weight positioning in the 2nd pic looks similar to the furthest you can go on a stock I Beam - your distance must be more hard to tell. Interested to know what happened to the music to let you know you went too far out.
Now that I think about it, I have never asked Bruce why he chose the size of I beam he did. Maybe due to measurements; maybe so it fit on the table. probably a combination of both ?
Chris
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I would mount the tonearm closest to the One o’clock location, moving in from the current pivot mounting hole. Close enough so that the tonearm spindle is allowed full travel. This will probably put it close to where you mention ? I like pictures so. Here is a shot of the underside that shows the three suspension mounts "Red Arrows" that control everything. https://photos.app.goo.gl/iY4q68yf6tCFEUrt6Picture shows the position approximately, for the mount of the tonearm on the tonearm board on the opposite side. When the ET 2 is mounted I would then take time to re-balance as necessary by added weight to the plinth in the appropriate areas - experiment - to get the right vertical bounce that is needed with the Linn. The tonearm asks for a straight tracking line, and this line can be anywhere on the platter. |
Harry - I will have a little AA ( Audiophile Anxiety) until you are able to setup and tune that Mag wand in your room - 8^0 John - look forward to your findings with the leaf springs and in comparing your modded I beam to the stock I beam. Emailed with Bruce who confirmed original I Beams were Carbon Fiber - the news ones are 3D printed with PLA. So I called a local hobby shop re: I Beams. They were out of stock but directed me to this link. "Evergreen Scale Models" scroll down 6 from the bottom. One can see the I Beams. Bruce did tell me if there was interest he could do a run on the longer I Beams. As I suspected the original ones were in part the length they are so they could fit under TT covers. Clue; he would of liked to have one more inch. Cheers Chris |
I remember Frogman and Banquo363 trying longer beams - but they made them out of wood so they didn't work out. The I beam needs to live and breathe (resonate/vibrate) like the cart, and should be matched to the vibrating cart. More springs on the I Beam make it firmer less compliant. so match it to a less compliant cart. This is what makes the ET2 unique over all other tonearms. Put it another way all other tonearms are 2d, compared to the ET2 with this added dimension; becomes 3d. Pro reviewers never figured this part out; being able match this tonearm to any cart that exists.
Whatever the length of the I Beam ... Physics and our childhood memories, say the absolute best teeter totter ride is when both friends are of equal or close to each other in weight; and BOTH are sitting on the seat. Moving the weight forward of the seat for one of them, to balance unequal weights, and the ride is never as good.
So whatever the length of the I Beam ... I would be setting up (cutting) the longer modded I beam so the weights rest at the end of the plank just like the cartridge on the armtube side. Very easy to test that one out. |
Frogman
re: Torquing of bolts. I own a few torque wrenches, big ones for auto + the mini torque wrenches we can use for this audio hobby. The issue I have with them is that the torque settings for these random bolts are meant for the nut/bolt, and not the part that they are holding in. The people who sell us these bolts have no idea what we are screwing them into.
So along with what you were saying, there is this torque wrench in my head for this tonearm that has three settings - loose, snug and tight. I have never had anything go "loose" on the snug setting. But did crack the end cap many years ago on the tight setting. The most important bolt settings imo, are those that set the distance gap for the VTA bearing block.
***********************
re:Cleaning robot.
I keep seeing these things in the flyers that come to the house. If I brought in that cleaning robot, turned it on and and let it go on our main floor I think I would have two different reactions, especially if a big purpose of the cleaning is to vacuum up the dog hairs. .
If my daughters RCA Victor dog "Lucky" was visiting, (half Mexican/half English) Chihuahua / Jack Russell mix. He wouldn't stop chasing and yapping at the thing. A very loving attention craving dog, but when he barks, he doesn't stop and it can get annoying. He also sheds like crazy but otherwise a good watch dog. Warns me when I am home alone, if the Kids and wife are within 200 feet from the house and approaching.
With Koaltar our black Lab, its the opposite reaction. He has not been running with me with over winter as I run on a treadmill, so he has put on a few pounds - probably gone from 76 to 80lbs. He would probably just lay in the middle of the floor and let the robot keep bouncing off of him like he does with Lucky. Oh the black hairs... and the main floor is a cream colored ceramic floor.
If one could put two Koaltars beside ones listening chair, you would have significant damping taking place. Maybe even enough to require a need to change out a leaf spring. :^)
The hobby shop has the foot long gleaming white I beams. Was trying to imagine what the cat would be thinking if she got a look at it.
Curious to found out how John's stock 2 spring I Beam, compares to his modded I beam using the Mag wand.
Cheers
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Hi Harry I wanted to touch on something you said earlier. My sub is crossed over at about 45 - 50 hz, but I don’t run the mains through the sub crossover. I run them full range. Canalis says they are only 3 db down at 39 cycles. I keep the sub volume dialed down quite a bit. I’m not looking for boom, boom, just a nice foundation. The sub is a Sunfire True that has enormous power but is not quite as tight as I would prefer. Been thinking about a Rel, but that’s down the priority list. I did have to dial down the sub after my tweaks and once I got the VTA right. I have the exact same objective in my room 2 Harry, meaning just filling in the bottom octave. I have My Quad 57’s running full off the Music Reference amp. Positioned in the room as they are in the system pic, they are good to about 55hz. I have two Dynaudio subs which kick in at 60hz. They receive a separate direct input from the preamp (happens to be an AI - no remote ! ) in that room. Wanted to mention, more of a general comment from my experiences. I have spoken with a number of sub manufacturers over the years the earliest, many moons ago was Dr.Hsu, and the most recent Rythmik Audio, a little over a year ago about the use of one sub in a room. They have all told me the same thing and my own room setup in B prior to going to dual subs was one large one; my experiences confirm it as well. For 2 channel music nearfield placement is best if crossing over low. The sub is positioned ....if and if the room, wife, boundaries permit it..... beside or behind your listening position. It may seem unorthodox but your sub will work at a fraction of the effort it needs when it is across the room. Just set the phase at 180. An easy way to determine if the phase is correct. Put on music with bass, put your hand on the nearfield sub - you can feel the sub pulse and determine if it is in sync with the bass you are hearing at your listening position with the main speakers bass. very obvious with this technique - if it is out of phase. When I had one sub in that room, and had people over, I would camouflage the nearfield sub and have them tell me where the bass notes were coming from. They would point to some spot over behind the Quad speakers. They found it hilarious when I told them the notes were coming from the box that their glass was resting on, next to them. Having brought in the Dynaudio subs I will say that anyone that is thinking of using two subs across a good sized room - I would for myself insist in making sure the sub design comes with a remote for the different controls especially Db gain. Music even within the same genres is mastered at varying gain levels of bass. The subs I use have 4 presets that can be used. Cheers Chris |
John, to remove leads I use a tiny fine slot screwdriver. I insert into the tiny opening between the lead and cartridge prong and rotate slowly. Lead will come loose. To close leads that have opened I insert a round wood toothpick at the opening I want squeeze gently with pliers. After learning how Frogman removes dimples from dome tweeters, I would be very interested to know how he does cart lead fix. 8^0 PS to my above post: It seems that the spindle on the ET-2 is anodized aluminum.
I held a magnet to it and found NO attraction. Duh! So, how does mounting a cabinet magnet under the spindle provide any appreciable damping?
Enquiring minds want to know.
that’s a question for Pegasus and I believe Dover also who used a fridge magnet. A picture is worth a thousand words ! using the best AudioGon Draw here is how I set it up. x...0....x x’s represent magnets - same poles facing one another 0 is the exiting spindle. I need to go do some boat cleaning. can post a pic later of how I experimented with the magnetic damping, before it was abandoned. but I warn ahead time .....this is heading into that Audiophile dark area.....for reasons posted previously. ***** Also Harry - I’d like to discuss the bass further, and I am very curious about Johns speaker setup. fwiw - the Vandy sub was crossed off my list because it requires you go through their crossover first and then to your mains. Was not going to happen in my room.. So just a question. Bass waves are slower than all the others. So why do people put subs X feet behind their mid and tweeter drivers ? Just asking. If I was you Harry I would be very tempted just "temporarily", to set up in near field for one hour - just to hear what was possible with one sub. Then negotiate with the wife later. 8^0 hah hah Cheers Chris |
Harry/John here is one of the attempts at magnetic damping must be at least a couple of years now. "Attempt at Magnetic Damping"that is a 2.5 spindle. You can tell its a 2.5 because the end cap does not overlap but sits on an insert that makes it flush with the spindle. Bruce also tried this experiment with the strongest neodymium magnets. Pegasus feel free to email your pic to me if you like. bcpguy (at) bell (dot) net and I can post for you. |
Glad there are some decent members here who are genuinely concerned for other fellow members welfare and possible state of mind down the road! Kevin I think those Savannah and Bengal kitties, have the capability to mess with one's mind..........more than the ET2..... Just saying. ¯\_(ツ)_/¯ ************************************* in my previous post. ......they always prefer to see and hear two "tables" spinning at the same time, over one. I think all those accompanying lights flashing, at the same time as the two wheels spinning, does work towards setting an Expectation Bias? Here is the two "tables" reference https://photos.app.goo.gl/mUHKMobM53NhoCsm8(not a good idea to set your turntable speed to the album version showing) |
Harry so your motor looks like this ? See this thread on the VPI forum. specifically one poster says. "First, tighten the pulley on the SAMA (there should be a grub set screw on the pulley collar). This should stop the wobble." Not saying this is your problem but check. and other than that, if the shaft is loose but still works and the wobbling is not caused by the SAMA feet; then I would be tempted, to remove the top screws and have a look inside. If the shaft is on a type of frame holding it up, one of the frame feet or frame feet washer if one even exists may need replacing. Just giving ideas. long time since I had the hw19 mk4. Chris |
John, didn’t know the top hole was missing on the new aluminum joint.
Did Bruce explain why ?
so I got curious and lined up my previous CF joint which was set on the top hole with my aluminum joint
from NZ. they are the same by eyeballing. So it was made with the top hole dimension. |
Before setting for Cart VTA.
There is 1) manifold air bearing height and 2) armwand height.
3) Then the Cart.
That’s how I have done it. When I was on that slippery slope with the turntables I must have mounted the tonearm; well you know I don’t know how many times on different tables. Different height platters and armboards. Sometimes no armboard, but separate armpods instead.
So what I do.
1) Air Bearing height
The inscribed line on the middle of the manifold is the guide for proper vertical height of the air bearing spindle. With the VTA range in the middle raise/lower post height to try to get as close to possible to having the record surface even with the inscribed line in the manifold.
2) Armwand height
If your armwand height does not allow you to mount your cart properly, raise/lower the armwand height. The stock joint (gooseneck) allows for lowering or raising the armwand to get parallel. I lost this adjustment with the Aluminum Gooseneck I got from NZ. The upgraded Aluminum Joint that Bruce sells now still retains this adjustment.
3) Cart
This should get you in the ball park with being parallel, and use the VTA to fine tune by ear. Now due to how complicated the vinyl set up is, (so many variables) , I always set up Digital first, get it working right, then I unleash the vinyl and see how close I got. This is what I have done in the past going by memory.
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A couple updates.
I struck out today at the hobby shop on trying to get some kitty attracting foot long I Beams. 8^0
They looked really good on the internet link I posted but were way to thin and flimsy in person.
I also asked Bruce in the ideal situation how long should the I beam be. He told me shorter than a foot and as close as possible to the length of the armwand. This supports the teeter totter analogy I used earlier. I told him to consider doing a run on the longer I Beams as they are fairly inexpensive even with our Canadian dollar :^( and that there would probably be people interested when they found out.
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Hi Pegasus I’m not exactly shure what this would mean? More upfront placement = faster bass? No not faster but bass that when you hear it, is not bass that has bounced off your room walls - God only knows how many times (being sarcastic) before it finally reaches the listeners ears. So in reading further into your post. you said. But I agree, that close-field placement is the preferable "error", because a) the excursion / level of the subwoofer can be considerably lower, b) the decrease of room reverberation level relative to the direct sound level should reduce audible room resonances & bass colorations = c) the modification of the subs frequency response by room resonances drops an order of magnitude.
Yes - and all of these benefits include the sub lasting longer ! You know I consider subs disposable items. When they fail - good luck getting the amp and electronics out of the good ones as it has to be glued in there good with all the vibrations. In fact I won't say which manufacturer, but a very well respected one - told a friend when his failed "we can't repair" but, "we will sell you a new one" 8^0 . All it takes is one 22 year old blasting XXXXX music over a period of time - that sub will indeed fail sooner. Let me know if you wanna hear some funny stories about my 22 year old male with his two JL Audio subs under the back bench seat of his Honda Ridgeline ? his truck has 350,000 kilometers. Still no rattles. |
John I just checked his website and the new joint pic does indeed show two holes.
well - just me, but if I am mounting a 4 figure cart on there and I need the top hole, I am getting the joint with the top hole drilled.
this is very good info for others glad we discussed it.
You know Bruce, he will fix it for you.
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Hi Harry -see if this helps Find your thickest and thinnest records that represent extremes. Leave armwand in the top hole of the joint. Since your VTA is already at the high point, leave it there and use the thickest record sample first. Adjust the post height so the Air Bearing Manifold scribed line is in line with the thick record. Adjust cart. Then put on the thinnest record. You now have the full VTA travel to adjust for it. Does that help ? This can be done in reverse with the thinnest record and VTA set at the low point. Note: if you need some extra overall height an easy thing to do is to swap out the 3 leveling spikes (grub screws) on the mounting base for longer ones. Also - The aluminum base is much heaver than the CF, very solid, no way of cracking it, but has the same dimensions.
Chris |
Hi Guys I have used longer leveling spikes in the past which is why I recommended them. The word spikes imo is misleading. Spikes to me, mean something like this. Spikes Long Pointing Spikes would not be recommended. They remind me of the point on my old VPI unipivot tonearm. Pegasus some time ago did a good explanation on what happens with the point and chatter. The leveling feet in the ET2 mounting base are actually grub screws. If you see this link Pointed Grub Screws you can see why longer ones would not be an issue. They are strong. the ones in the pic are not the ones Harry is getting. Just a sample for the link. Harry, when you said Aluminum Base earlier I misunderstood and thought you meant Bruce’ new Aluminum base, not the Aluminum protector as I call it. The other thing I do and this comes from all the experimentation I did, is to drop some oil in all vertical holes that connect say the tonearm to the armboard. I drop some oil into the ET2 base hole - the one the actual bolt that holds down the tonearm goes into, if the bolt is going into metal - aluminum, brass, etc... Did you find out why John’s gooseneck only has two holes ? :^)
Cheers Chris
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^^^^
They should come out with a new show on the History channel - American Audiophile Pickers.
very nice gesture Frogman. |
I’m not sure I know what Bruce’s "new Aluminum Base" is? Harry The part the longer grub screws he is sending you go into. The actual tonearm base. Bruce came out with a solid Aluminum one - very substantial difference in weight - I own one. So Bruce now offers an Aluminum Joint (Gooseneck) and Aluminum Base. I also think he is going to be doing a run on the longer I Beams too. Just a note recalling here over coffee - past Et2 owners have put some divots into the original Carbon Fiber tonearm base from improper tonearm level adjustments. Some have even put a crack in it. Very important when leveling the tonearm to back out the vertical bolts first then re-balance with them. It can be habit to just do the side that you think needs an adjustment. This is wrong and over time stresses the parts, and that critical base that holds all the goods. So back out the vertical bolts first, visually look to see they are not touching the base; then just re-balance them. I balance using gravity. Make the teeter totter float with a little blue tac on the weights, same weight as the cart. leave it next to table for future reference. Its been years since I have had to level adjust. That’s one of the things a better table brings. I can recall the HW19 mk4 being frustrating in how it could go out of level fairly easy if not careful with those springs. You can go with pucks Harry - but then you will need to replace the plinth feet with springs, pneumatic feet, or some other type of isolation. I hope you can get back to the music soon too. Cheers Chris |
Audio Storage Wars would assume someone went through the stuff and organized it - sort of - to put it in the locker :^)
on a related note.
this past winter I brought my son downstairs and went over everything with him. I put a price on stuff - it sunk in - I hope. Don't want the wife to sell the stuff she has "noticed" come in, for what I told her it costs.
I have two boxes of Amperex Bugle Boys from Holland and the US. For the records, I told him some are worth over 500, but if you assume 3 bucks each - you can buy a really nice car with them so don't just give them away.
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Pegasus
Regarding arm boards and optimal materials, it’s very interesting to watch the diverse experience in idler drive plinths. A mixture of natural and slightly lively wood layers, combined with *some* more deadened materials, like *a bit* of MDF and maybe one layer of stone seems to yield very good results . Pegasus Re: idler drives When I was curious and going through a turntable phase, any thoughts of building a plinth for a stock L75 Lenco as a project were squashed after acquiring a Jean Nantais Lenco, and having a look under the cover. JN LencoFrom my experiences, the idler design deals with the highest noise factor. I think the Lenco Swiss motor is art, but the wheel interface with the platter is not. Some go to extremes to contain resonances/vibrations. Looking at the pic in that link - JN found that huge voids are necessary under the armboards and motor areas; wide open to the bottom to help with containing/absorbing the resonances/vibrations. I/3 ? of the plinth is empty (air) - but it still weighs 100 lbs. |
So now I have a dilemma. Frogman sending the extra arm board and Bruce sending the longer grub spikes. Ahhh, so many choices, so little time. I wish all decisions were like these ones Harry .....:^) |
The Lencos plinths empty rooms are not for controlling resonances - they are for ventilation, as the motor, a shaded pole motor, has very low efficiency and consumes *35W*...! Pegasus, that picture I linked in the previous link is not the motor hole, it is the armboard HOLE :^) And there are two of these massive armboard holes going through this plinth. They are separate from the large cavity below the motor assembly that you reference. These armboard holes are helping to provide tonearm isolation from those nasty motor wheel - rumblings. See pic 29 on the virtual system for the whole table pic. |
Besides: How does it sound? Hi Pegasus Do you want the description compared to the other turntables ? or do you want to know how certain albums, songs, sound, when I am in a certain mood, with a little drink, and with the full moon in play ? :^) But - looking at physics - how could these holes provide isolation from either acoustically transferred noise (which, if they’d change at all, would rather increase) or structure borne noise. Let’s forget the massive cavities under the motor and armboards for a moment and concentrate on the build itself - Review the pic I posted. Look at the alternating layering. The design is meant to dampen/absorb resonances. The armboard is connected to the plinth in four spots where the bolts go in. Armboards can be any material - interchangeable- mine came as a hardwood. Note: Some, build a plinth for an idler one time, and then modify it, or leave it alone. JN has gone through XX maybe XXX ? plinth builds to get to where he is today with his tables. Just saying. He does have passion. An owner of such a table does "not" think about changing any part of it because of the road it took. You would be messing with it. It is, the table, based on his vision. ************************* Hi Harry - do you think you will be up and running soon ? Chris |
^^^^^^^ Ah - the VTA Block Harry et al. So special the worm gear system in the VTA block has its own patent. Is the reason this tonearm is the only one that doesn’t change VTF, and other settings like all other tonearms, with VTA adjustment do. Still remember the look on the face of an audio acquaintance from years ago, when I told him his $10,000 tonearm changed the VTF every time he used it. He was quite detailed, anal and used to use a digital usb microscope to set VTA/SRA. He was not happy. He had that look like someone had swindled funds from him. Tonearm manufacturers will never bring this up. Its the dirty little secret. The only one (Professional) that has mentioned it on this AudioGon forum is Johnathan Carr. He also discussed in that post how the ET 2 is the only tonearm that does VTA right. But to get it right is not so easy. Factory settings need to be left alone sometime; and as we know Audiophiles like to tinker and mess with design, and sometimes...not realize what they have done. We have all done it? ********************** The ET2 VTA design is probably also responsible for the biggest ET2 setup issue. And I blame Bruce. His documentation should say don’t mess with those bolts that are set at the factory, (unless you know what you are doing) but in nicer words. Lets face it - A Come to Jesus time moment..... as we used to say in my line of work. Everyone that has bought this tonearm used, and not already setup on a turntable, in the last 5-10 years, and did not read the manual (too intimidating). IMO most of them, have turned those horizontal bolts to help in setting up the tonearm on the straight line. THEREBY - throwing their ET2 out and creating a mini version of the Leaning Tower of PISA. Too dramatic ? So IMO the manual is at fault to start. Such a special process that is open to tinkering should have its owned section with warnings. If they told you, your computer needs a change made to the registry files to fix a problem; would you make those changes yourself ? Depends on your knowledge of course. Yet, adjusting those VTA bolts has a similar effect on your tonearm performance if not done right. It won’t work as designed. Is it any wonder that past owners who reach this point, with no instructions in the owners manual - have shut the VTA down - closed it - and said the hell with it. Never knowing what they did ? Just one of this audio hobby’s mysteries. ********************** The proper way to check your VTA torquing. (Setup on the table or not) "Pic 34 on my virtual system" ********************** Turntable "Factory" Drilled ET 2 mounting holes. The holes drilled into armboards at turntable factories are not all that great. If you have a factory drilled armboard mounting hole. Re-check and re-torque if necessary your ET 2 VTA bolts. Now tell me, ......does the tonearm still track the straight line ? Imagine If your ET2 is mounted on a 20 lb isolated armpod. All you have to do is move it to the table wiggle the base around for the straight line alignment and you are done. |
Beautiful day been working on the Boat . Check out this picture showing the internals of a destroyed ET2 VTA block. See Bruce’ patented design. Destroyed VTA BlockFor a full picture of damage inflicted by this audiophile, see Pic 33 on my virtual system. The problem with the one in this pic. The VTA bolts were closed, jamming the aluminum roller to the track. You can see how the aluminum roller caused a bald spot in the track. This VTA block will slip on that section and is no longer any good. The VTA blocks are all made on an individual basis with their specific manifold. For this reason Bruce can’t just send you another VTA Block if it has been destroyed. So, when buying a used ET2 - this is the part, the VTA block, that you need to verify is in good shape because you can’t see it. Ask the seller to measure the gaps for you. If they are factory settings as discussed here, it’s a good sign it was not messed with like Harry said Bolts uneven in gap, along with causing the VTA to not be accurate, will also put uneven pressure on the track and WILL wear the teeth out unevenly that the aluminum roller tracks. I keep all the 4 bolts the same in gap. open the gap more for less firmness but keep the gap the same on the 4 bolts. Harry - glad your magic is back. You have a lot of audio passion sir ! |
Hi Harry (and John)
what happens when you guys run your Lyra carts on 47k load ?
Chris |
Kevin
I think it makes good sense for a new owner to purchase the tonearm already mounted on a table, regardless of where that turntable lies in pecking order. The reason is, as long as one accepts there will be a learning curve, this way one can learn how the tonearm works, get familiar with it. Tweak its’ setup. It eliminates that whole learning "setup" on a new turntable. That would be daunting to someone not familiar with the tonearm. Once one was comfortable with the tonearm, a decision can then be made about another turntable for the tonearm. JMO
I can tell you every upgrade of turntable I did, The ET 2 tonearm went to new heights, which showed me clearly that the tables I was using were the bottlenecks.
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Hi John the diagram in this link came from Bruce. the setup in that pic is mine. Diagram - We have two vertical plates/walls, a roller in between and four horizontal bolts holding it together. It makes sense that all four horizontal bolts should be at the same gap for even operation. I have talked to Bruce before about the .02 to .06 range and it is a personal choice. I prefer firm .02 as I do not use the VTA a lot with my cart / preamp. As we know going .06 is the gap opening extreme value - also the least firm action. So action on the lever is loosest/smooth. If the VTA is working properly and someone wants to literally VTA on the fly - as the record plays - looser is easier. The Lyra cartridges sound a bit bright and lack bass at 47K. I hear a real improvement in freq response with lower values. My ARC ph-5 has values of 47K 1K, 500, 200, and 100 ohms. I use 100.
Those load values are true of the latest ARC Ph9 as well. 47k, 1k, 500, 200, 100. My SP11 MKII uses values of 47k, 100, 30, 10, 3 It's been my personal experience that the phono circuit design into single load values, needs to be ultra low noise in design, to be able to use single digit values. I assume ARC chose higher values on their newer phono stages/ preamps designs due to the customer / cart requirements that exist today. Regarding how your Lyra cart reacts to 47k. Maybe this is cart specific I don't know, don't own a Lyra cart. fwiw I can use 47k on MC's with no loss in frequency and if it is a brighter recording, the SP11 has adjustable Gain - I can dial it down a bit. Takes out the brightness. Get it right and I can get the band sounding like they are at the Mic. On regular records 100 loading works fine, and produces a good Studio like sound. I don't have a remote but the SP11 is parked at the side of me within reach. Cheers Chris |
Hi Guys Look forward to your impressions of the Allnic John. Harry would love to check out the Nashville music scene one day ... Of note on the loading discussions. Taken from Lyra website Kleos Recommended load directly into MC phono input: 95.3ohm ~ 816ohm (determine by listening, or follow detailed guidelines in user manual) Recommended load via step-up transformer: 5 ~ 15ohm (step-up transformer’s output must be connected to 10kohm ~ 47kohm MM-level RIAA input, preferably via short, low-capacitance cable) Delos Recommended load directly into MC phono input: 97.6ohm ~ 806ohm (determine by listening, or follow detailed guidelines in instruction manual) Recommended load via step-up transformer: 5 ~ 15ohm (step-up transformer’s output must be connected to 10kohm ~ 47kohm MM-level RIAA input, preferably via short, low-capacitance cable) *********** My XV1 has a recommended loading of > 30. I have run it full out 47k with no issues. From this thread.. There were good takeaways for me from J. Carr on that thread, from quite a while ago. J Carr Generally speaking, the greater the capacitance across the plus and minus cartridge outputs, the heavier the resistive loading needs to be to control the resulting high-frequency spike. Conversely, less capacitance allows the resistive load on the cartridge to be reduced, which will benefit dynamic range, resolution and transient impact.
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PS. The possible frequency range occupied by the high-frequency resonant spike also includes the frequency range encompassed by LP pops and ticks, and these can likewise be of quite large magnitude (larger than any music signal inside the groove). Just as with the high-frequency resonant spike, controlling pop and tick energy is the task of the phono stage (although it is a big help if the cartridge has a low-mass moving assembly). The phono stage and cartridge can have an immense influence on how "noisy" your LPs appear to be.
^^^ It highlighted for me also, how important a role the direct shot wiring plays. I am sure it plays a big part, along with my phono stage, for the reason I am able to run with no load. Cheers Chris |
Just to add to my last post in followup; as I got curious and just finished talking with Gene at Take Five Audio who made my loom.
This is in regards to the ET 2 direct shot wire looms being used.
Capacitance versus Noise
Where my wires leave the armtube they are separated with distance between them. There are two reasons for this. 1) The least binding effect on the ET 2.5 travel. 2) lowest capacitance.
Now if you braid the wires you will reduce noise - but you will increase capacitance. It’s a give and take. So when discussing the benefits of low capacitance with loading the cart - a big part of the result will be the way the cart wires are arranged in proximity to one another.
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Must be good to pass up on the ball game 8^0
Good stuff John.
Our Blue Jays have started out really really BAD. But hockey playoffs are here and that is part of our Canadian blood. I have coordinated my musical fixes to right after markets close and before the evening matches. Market moves dictate musical choices. hah hah |
^^^ I think u mean Harry.... John. Harry - I must be in a sarcastic mood today😈 Harry The markets were in a very sarcastic mood today. A whitewash win for Wallstreet. 8^( So - for the musical fix now - my immediate play albums are arranged in 4 rows along the floor against the wall in room A. btw - Kitty likes to use them as a raised highway on the left side. 1st row music - makes me want to sing - sing out loud. 2nd row music - goes further and will even get me up and I do a little dance. 3rd row music - makes me fall to my knees and cry - hard - so hard I will get dehydrated. I will need "beverages" close by to re-hydrate. 8^0 4th row music - oh......we try not to go to this row too often - the words and music from this 4th row give one thoughts of revolting against the government .......and or the (spouse)..... same thing really, no? Well - 3rd row it is. Running with load is like running a race with your left foot on the brake ....riding it - the more load the harder you push on the brakes. Now good brakes do win races, but they end up costing you a lot more in brake parts. :^) so Free Willy I say ! Just being sarcastic .. enjoy the Allnic John. |
I like that flexibility. Ah, yes John, "flexibility" ........ and let's not forget convenience. Is giving an audiophile options, a good thing ? 8^0 |
Have come across folks that consider resolving analog setups, that allow you to perceive VTA changes, a curse. What a hassle they say. They just want to listen to the music. I used to own a stock Technics SL1200 from long ago. It was passed mostly to work friends, who would hang onto it a year or two, and give it back after they decided that either vinyl was not for them (or their kids), or they just got their own table. I sold it about 1 1/2 years ago and the buyer was a young lady. She came to pick it up with her father. It had a Grado black on it, played music, and you didn’t worry about VTA.
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Exciting...... https://www.youtube.com/watch?v=RhlXqYiTz2Q8^0 *************** For kickers... Imagine that table setup in your room and the orientation of the ET tonearm. This is very important. What kind of track will that tiniest of signals run on ? Will it be a long course or a short one. We calculate the length. Measure the length from the headshell running along the armwand straight across and into your phono stage inputs. We add some length for a happy face loop. Then we get Gene (or somebody like) to build you some straight shot wiring. ***************************** Wiring Effect on Mechanics Unlike for example the Kuzma Airline, the ET tonearm does not need the wiring as a cradle. But its very smooth bearing, can make the wiring a problem for the ET 2, if not orientated properly. For this reason, the single shot wiring gets added last, after you confirm the tonearm works well mechanically. By adding in the wire after, you can verify setup, and you can confirm how much effect the wiring has on movement. Just some Out of the Box Setup advice. ***************************** oh and you call Bruce and get him to send you two long I Beams setup with single and double leaf springs. Then the fun can start. |
