This and That Harry
Hmmm, options for audiophiles. Let me see now - Lighter weights all the way out or heavier weights closer in? Tweak VTA a little up or a little down? Nudge the sub woofer volume a little up or a little down? How about the crossover point of that sub? Magnesium or carbon fiber arm wand? Wire straight in to preamp or via phono block? Now, how about that loading - 100, 1000, or 47k ohm? Oh, yes, and most of these are interdependent - change one and you have to change them all. Which to do first and which to do last. Is the tracking force still correct? Sure is fun ain’t it? Lets analyze Harry. Takes my mind off the oil stocks :^( *************** "Lighter - weights all the way out" follows physics; gives highest vertical inertia as well as following manual setup instructions. Heavier weights closer in? Opposite effect .... add enough weight close to the spindle and you will bottom out the air bearing. **************
Tweak VTA a little up or a little down?
Everyone’s setup will be different. Some cartridges don’t need much VTA adjustment. ************** Nudge the sub woofer volume a little up or a little down? How about the crossover point of that sub? I would only after setting up the system without the subs first. This assumes the preamp output does not go through your subs first, before going to your main speaker amp/s. Magnesium or carbon fiber arm wand? Magnesium for Winter duty. Carbon Fiber for All Season use. Wire straight in to preamp or via phono block? Bruce uses a straight in setup. Have never heard of anyone who uses a "straight in" setup; going back to the multiple connections. Now, how about that loading - 100, 1000, or 47k ohm? If you go straight in you can adjust the distance between the wires changing the capacitance and altering how your phono preamp reacts to the settings. This can be fun; along with the extra gain one gets when going straight in. Is the tracking force still correct?
Only with the ET2 :^) When is boating season going to start ? ?? |
Just throw some money at it like I did John - your statement brought back memories. I used to get dropped into various companies with a team, to fix problems. The first thing the CFO would say to us after the kickoff meeting. "Ok , so tell me, how much money is it really going to take to fix this problem? " |
Audio setup can be like a jungle.
Running your setup with a Straight Shot To Preamp "Unshielded Loom", is akin to ....running through the woods naked.
Free Willy. Well.... maybe some running shoes.
In both cases try to keep the run / loom short for best results, and with running - best not to Free Willy in May when the blackflies are hovering.
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You straight in loom guys are ganging up on me. Damn straight shooters .....8^0 Choices are clear to me. One can walk around the forest, or go through it. Harry - re: your mini farm comment. Farms, gardens, even "lawns" are a lot of work. Lawns around here are going to hell with the Pesticide ban. Controlling ones lawn has become a very difficult thing. Friends cross the border into the US at Niagara Falls to purchase (Killex) at big box stores; then smuggle it back. My neighbor’s "hobby" is his lawn. He goes out there and picks the weeds out one by one. and the original litz wire from Bruce effects the arm balance not at all. IMO, The best way to determine this John is with Gravity and physics. Forget the bubble levels. Move your arm to different spots on the platter. With air on - place the cartridge weight blue tac blob on the weights. Make it free float. If the spindle does not move it is balanced. Try it at the lead in, middle and run out grooves. I should put this much detail into my lawn. :^( |
John
The owners I have talked with before this thread started used to use bubble levels. If one really wants to find out the wiring effect (push and / or pull)... set the arm up without the wiring. Then add the wiring in and find out the truth. This is how I do regular setup. If one were a wire loom swapper kind of audiophile - which I am not. It would take all of 10 minutes to swap out entire wire looms using the wiring layout I am using.
As far as PSI - people should be using the PSI designed for the manifold by Bruce. If someone picks up a used ET2 and this is unknown - we have discussed the process on how to determine the PSI. If anyone wants to rehash, then lets rehash. Higher PSI won’t harm things unless you go over 19 psi. We can discuss why this is too if someone wants. There is a reason Bruce designed my ET 2.5 for 19 PSI.
With that it bears repeating that if someone is using higher PSI and it sounds better, it is likely because;
1) air flow quality is better over the previous pump - not because of the higher PSI.
2) your manifold capillaries are partially clogged.
If using the original pump on a stock ET2 - the pump may be producing PSI but it is unlikely the diaphragm is in spec. Air flow quality suffers.
The ET2 is like an Olympic runner when it comes to good air flow. The better the flow, the better the operation, and therefore the sound. If we analyze how other air bearing tonearms work, it is really quite fascinating (to me), how different each design is.
Cheers Chris
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^^ "This resulted in a homeopathic 50Hz drone"’8^0 If one wants to hear if their pump is introducing noise. Ensure your setup is good before attempting this. With the air pump ON and system on mute, lower the ET2 onto a "STILL" record. Now turn OFF the air pump, and unmute the system. Have your friend now turn ON the air pump, while you listen close to the speaker. Ensure your setup is good before attempting. |
ncampbell - for consideration.
Take a small piece of square wood thick enough to hold a wood screw and long enough to go through the ET2 mounting plate center hole.
Attach the ET2 mounting plate to this free standing piece of wood.
Assemble the ET2 .....WITHOUT cartridge, onto the mounting plate then while securely holding the tonearm, proceed to experiment and find the best position on the plinth.
When the best spot is found for the tonearm. Use some green painters tape or like, to mark the 4 positions of the wood on the plinth.
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Now remove the tonearm from the mount plate and the mount plate from the piece of wood.
Put the piece of wood inside the lines of the painters tape.
The hole in the wood tells you about where you will need to drill the small tonearm mounting hole, on the tonearm armboard for the center bolt to hold the tonearm.
After doing the measuring exercise 3 more times.....then feel confident to drill the mounting hole.
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It's a lot of hot air in my opinion. John - this reminds me of the ET2 guy in Texas on this thread a couple of years ago. He kept his pump in his unconditioned garage - temps would reach 120+ F. Guess what happened to that hot air when it finally reached his ET2 manifold in his listening space at an air conditioned 70 F. Wish he was still around. I would ask him to talk to those Oil Guys and tell them to turn the taps down. Just for a bit (pun intended), so I could get a little pop. "8^0 |
Hi ncampbell Have you decided on the spot to put the ET mounting hole ? We discussed the Linn LP12 here last year. I did a quick search of emails and found the email trail with Bruce which I attach below for you. Hopefully the information helps you. I remember the consensus at the time was that the ET tonearm mount hole should be positioned very close to where the pivot hole is. So the ET 2.5 is mounted at an angle. The reasons due to the suspension designed for a back mount. This is referenced below. One way of attaching the ET 2 mount is to get a long enough Stainless bolt and nut with a large - small holed flat washer (Fender Washer) that itself is larger than your mounting hole. The washer will hold the bolt/nut tight and you can mount the ET base to it. ********************************************** Linn suspension https://www.youtube.com/watch?v=UBCQNTy1Kt0********************************************** re: aluminum mount. It has more heft, you can feel the difference in your hand when holding it. So as you are already dealing with a tricky suspension - I would forego it for now and go with the original carbon fiber. And then add the aluminum later if you like. JMO. I can tell you that the solid aluminum joint (gooseneck) for me changed resonances enough that the MM cart I was using became un- listenable with my 2.5 and Mag armwand. My turntable supports the aluminum mount with no issues. ********************************************** Email trail with Bruce follows - read from bottom up. Cheers Chris *********************************************** Chris This is probably the best strategy, the Linn, which is an excellent turntable, is designed similar to the original AR turntables 3 point spring suspension with a low natural frequency. The drawback is that the repositioning of 20 grams or so as a straight line arm traverses the record may deflect the suspension, I have not measured a Linn to know if this is the case. On a three point suspension like the Oracle, the ratio of masses was such that this was not a problem - brucet On 3/7/2019 7:16 PM, wrote: Bruce, "designed for a lighter load centered on the back side of the turntable where a conventional tonearm mounts." From what you are saying, the ET2, if this person really wanted to do this set up, should then mount it at an angle on the plinth at say 1pm, as close to where the pivot arm is mounted ? ---------- Original Message ---------- From: Bruce Thigpen <brucet@eminent-tech.com> Date: March 7, 2019 at 5:56 PM Chris This has been done a few times, you need to be very good with turntable set up, and it’s not ideal. The Linn suspension is designed for a lighter load centered on the back side of the turntable where a conventional tonearm mounts. It has been done but the potential user should be very good with tonearm setup and adjustment to complete the installation. - brucet On 3/7/2019 5:23 PM, Chris wrote: Bruce Someone is asking if he can mount an ET2 on a Linn LP12 turntable. I think the suspension is not appropriate based on this video. I have never owned one. Do you have customers using LP12 turntables ? Thx. Chris |
Been in meetings with the Bears. No.... not the ones on Wall Street. The real ones. The ones that speak the truth. heh heh gyneguy225
PV=nRT as I remember. John I would never have taken you for a formula kind of guy ? Formulae (Formulas?) make my eyes do this * ^ ( So, If it was all about formulas; shouldn't the Perfect Sound have replaced vinyl long ago ? . . . . Blackfly....... Blackfly......please go away. |
An ET 2 on a Linn LP 12 is a rare sight. Bruce Thigpen said a few have done it. I’m sure there are many LP 12 owners (Linnies), and ET 2 owners out there, that would be interested in seeing pics of this project.
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^^^^^^^ Quantity versus Quality setups. Dealers / Reviewers got to about a 6 or 7/10 tonearm capability on setup. I base this on the setup that was done on my previous HW19 MKIV and TNT turntables which both came with ET2’s. The ET2 ’s needed to be shipped on turntables for customers, in a user friendly setup. This affected the wiring arrangement and I Beam length (dust covers), amongst other things. Dealers gave a cursory glance to the I Beam setup - meaning - the motto was to throw all the weight on, even if was not all needed, and let the lead blocks end up..... wherever they end up. Hmmm.... single leaf spring with all that lead. Have you, Eric, ever witnessed this type of I Beam phenomena ? ******************************* Anyway, that was the setup level that dealers and reviewers got to, and heard, and was distributed to customers; Still the arm was rated as one of the best based on this. And like all good business goals based on volume. "Hey Bruce, send me some more arms please" "Ah and don’t fret over this CD thing everybody is raving about ." ******************************** Now imagine if these dealers/ reviewers, got to hear the tonearm, with the setups discussed in this thread ? How many dealers , reviewers, in later years have even actually heard the latest ET 2.5 with Mag Wand - Optimized Long I beam , Single Shot wiring with an MC cart? Single Shot ? Yes, even Bruce sets up with single shot in his personal set up.. ******************************* Eric, you represent on this thread a type of enigma to me. You see, from your postings, you are obviously one of Bruce’ biggest fans. Yet for some reason you have never chosen to own the product that this thread is about. So you can’t contribute direct end user tonearm experience. A real shame because you are passionate. 8^( ****************************** Audiophile Trivia Answer The TNT was designed for the ET2 when Harry and Bruce had a business relationship. attached Pic from the Robert Redford Movie. https://photos.app.goo.gl/WR7wMt5bD7tVeYPC6Then Harry brought out his own tonearm for the TNT - and guess what - it didn’t fit on the plinth ! I know , I owned it. I also made a full plinth years ago. And I put the ET2 and the JMW 12 tonearms on it https://photos.app.goo.gl/LXD18UujFqVxyoDA9Cheers |
Hi Harry got an email from Bruce that my I Beam is in the mail with some leaf springs. This is coming a little too early for me and is making me a little anxious as I am not home except for maybe 5 or so days, over the next 8 weeks. :^( Have always been amazed when pulling off the I Beam/weights; by the amount of HEFT, there is in the armtube/cart without the I Beam/weights attached . Very heavy. Pulling off the balancing act with just one single weight and an MC cart. Very impressive. Significant vertical inertia happening here. The best bass. For readers not aware the ET2 was built to go on many different types of turntables. The I Beam was made shorter to accommodate the different tables some of which came with dust covers. Bruce' new I Beam represents the Ideal length based on his testing. Look forward to trying it. Harry - last year I got multiple yellow jacket bites - won't say where - it hurts just thinking about it - when I tried to put some bolts into exposed holes in a steel roof only to disturb a nest. Felt like jumping at one point. *********************************** Hi Eric (Bdp24) what are ya'lls opinion of the Trans-Fi Audio Terminator in comparison? Just curious. IMO. There are more design and build differences between air bearing tonearms, than between pivot tonearms. This is because each air bearing tonearm is very unique in how the air bearing is executed, and its air requirements. Re; Transfi Bruce' tonearm uses a captured air bearing. The film of air inside the manifold fully surrounds, encloses the air bearing spindle. 360. My understanding is Transfi is designed more like a sled on snow, a boat on water, as it rides on a film of air and is not enclosed. A very different design. Someone correct me if I am wrong. |
Eric - Firstly understand that I respect your choices and approach. With that. Bdp24 - It’s just like one’s favorite loudspeaker requiring a certain type of power amplifier, one which may not be as good with any other loudspeaker. I have that amplifier that plays all speakers well. And I have that tonearm that plays all cartridges well and can be mounted on most any turntable. A few posts up read about the Linn LP12 / ET 2.5 project currently underway. I think the transducers should be the first components chosen when assembling a system, the two opposite ends of the chain (ignoring for the sake of this discussion the room). Then the most appropriate components moving towards the center of the system (the pre-amp) chosen to optimize the transducers. That’s my system philosophy. It's been my personal experience, this being a Quest centered around resonances and vibrations to get a signal - that the more capable turntable/tonearm and less capable cart - will outperform - the more capable cart which is on a less capable tonearm/turntable. so... In my Audio Quest the objective has been to get to a .....Constant...... with the Turntable / Tonearm . The Cartridge becomes the ......Variable. The Cartridge is the wearable, ever changing variable, like tires on the car. Replaceable. Now here is the "thing". What tonearm can play all cartridges, and be mounted on many turntables; for the above analogy is not possible without this tonearm capability. The ET 2.0 and 2.5 are two versions of such tonearms. just saying.....¯\_(ツ)_/¯ You obviously know that’s a good approach by having a Music Reference RM-10 for your QUAD ESL’s. I have 3 available rooms of varying sizes and materials with 4 kits set up. A kit being any whole system which satisfies Audiophile primal needs. In all The Rooms... - The Room is the Master ----> The Speakers are slaves to the Room ----> and Amplifier is the Slave to the Speaker. |
Richard did you not like my sled and boat analogies ? Pegasus
Or one needs an open bearing with less bearing stiffness, like the (very good) Adanalog MG 1 arm, or the many Ladegaard variations incl. the Trans-fi arm. I tell you snowmobile and boat racing on a slalom type course can be alot of fun .... the sliding and drifting around on turns is very addictive. 8^0 |
Tom - I believe that is the one that we were discussing earlier with UberW - Kevin. Buyer/Seller negotiations did not go well ? *************************************** Re; My "Room is the Master" -comments .....of course there will always be exceptions. In my situation....one Savannah Cat....has been known to shutdown whole rooms and prevent ESL speakers from being charged up. **************************************** @bdp24 bdp24 - Yes, the RM-10 is great on speakers other than the QUADS, but it is totally inappropriate for, say, Maggies (the RM-200 is good on Maggie ribbon tweeters, though). Plus, Roger used the ESL (and the Vandersteen Model 2) for his load in the design phase of the RM-10. Eric - I wasn’t referring to the RM10 amp. The amp I was referring to was this one.**************************************** bdp24 - The Decca/London sound is SO different, and unique unto itself. No other pickup I’ve heard makes LP’s sound so alive, so much like live music, and that is true regardless of the arm it’s mounted on, the amount of wear on it’s stylus, etc. Ok so what is your honest opinion Eric, of these reviewers opinions.....please. I ask because I have no opinion, never owned, and their reviews imply it is not an every day cart. Martin Colloms re:Jubilee
Good, well-modulated recordings contain peak amplitudes that are beyond the compass of Deccas—even the Jubilee. The cartridge sounded pretty wonderful until it failed to track, when all hell broke loose. It doesn’t mistrack in a subtle manner—you know immediately from the edgy, ringing rattles it produces that something is wrong. Nothing I could do with respect to setup or ancillary components did much to push the trackability envelope.
However, this is also a significantly flawed cartridge. This may not prove fatal—it just depends on the demands you plan to make on it, and the care you can lavish on both system-matching and alignment. As in the old nursery rhyme, when it’s good, the Jubilee is very, very good; but when it’s wrong, it can be horrid.
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Michael Fremer - London Reference
You have never heard a snare drum or cymbal retrieved from a vinyl groove until you’ve heard what the London does. When tracking correctly, its transient delivery was nothing short of astonishing—by a laughable margin, the most realistic I’ve ever heard. The entire drum kit, in fact, from the kick drum up, left my mouth agape. The same with voices, which were delivered with a coherence—a wholeness—that was scary with the lights out. Rhythmically, dynamically, and, to a lesser degree, spatially, the London Reference is in a league of its own. It speaks with a single voice of authority as has no other cartridge in my experience.
But not everything fared as well; in terms of both music and noise, it was difficult to predict what I was going to hear when I dropped the stylus in a groove. Some records that are silent when tracked by the Lyra Titan were full of pops, ticks, and other garbage through the London.
Some think the London tears through vinyl, but after playing some discs repeatedly, I didn't find that to be the case. Setup, however, is critical—the utter lack of "wiggle room" is made more of a challenge because you can barely see the stylus tucked underneath the body, and there's no cantilever with which to reference the zenith angle. And the London horribly mistracked some records and had difficulty with sibilants on others.
Would I make the London Reference my primary cartridge? No—its performance is too unpredictable. Would I recommend it for use as an auxiliary cartridge on a second tonearm? If you can drop $4495 and not worry and you play lots of jazz and rock, don't hesitate—you'll get your money's worth with every play, and you'll play it more often than not. There's a mono configuration available, and as a mono cartridge—its original purpose in life—it must be stunning.—Michael Fremer
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Hi Harry
Still has not arrived. a border customs thing ?
I have used a combination of different length I Beam bolt, the one the threaded hollow piece screws into that holds the weights, and different size cart bolts, to help get to the end of the I beam in the past.
Richard
I won't water ski for fear of throwing out, or twinging one of my knees. I consider my daily run as far as my health (physical and mind) goes - No. 1. Listening to music is a solid second.
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Harry the previous post was from Dover. I do not use magnets on my 2.5. FYI and FWIW Some years ago, Bruce was intrigued about our experiments when I asked him about this. So much so that he did try it himself. Feb 2013
Chris,
I tried this with neodymium magnets and the resistive force is extremely low, almost nothing, the velocity of the spindle would need to be much higher to induce back emf. It is a neat concept and I would like for this to work because it is very simple and easy to implement, but the measured force applied to the spindle is so low that nothing happens to the frequency response of the cartridge at resonance. I hope this helps.
brucet
When I asked him about how it was possible that people were hearing differences ......audiophiles believe quite a bit that is unexplainable from a science point of view, so yes it can be so.
brucet
IMO - This topic goes "Into the Dark" category as far as Audiophilia is concerned. You will find supporters on each side. Now the magnetic damping happening with my turntable is indeed real. Two large magnets bottom one stationary, top one moving fast enough to produce by design - a braking effect - to deal with the records behavior. See the gold rings in picture number 5 of my virtual system. Should be back home mid week will check the mail. |
bdp24 - Harvey lead me through how to create a tank circuit to combat the electrical resonance inherent in Decca’s, which surprisingly affect tracking.
Eric, Can you please provide more detail on how you created this tank circuit? https://en.wikipedia.org/wiki/LC_circuitI am sure other Decca cart owners (potential and existing) on this thread would appreciate the info as well. I am of the belief that good phono preamps have the electronic circuit design qualities, to deal with electronic resonance. But I never owned a London or Decca. In my "Panic Room" , my preamp that I use has a hot rod mode - One flip of the switch bypasses all circuits except what is needed to create the simple signal. I run MC's at 47k, the noise floor is very low, and I use unshielded single shot wiring direct to the preamp. **************************** Ah Chris, it is an RM-9 you have, not a 10. I guess I forgot I own both Eric. See my virtual system - click on the avatar. A few years ago my RM9 was totally rebuilt by a local person and was well - let's say it was turbocharged. It was built up a little. RM9's can be used with the Quads as long as one has self control. Obviously an over kill situation. But it provided me at the time with a glimpse of the "tone" I wanted with the Quads, and that led me eventually to the RM10 years ago as well. My Achilles Heel is speakers. Like Boats have not met one I didn't like and could not make work. I don't mess around with amplifiers. and I don't get emotional about them. They are Slaves for the speakers. They better work. I don't tolerate downtime, and IMO amps are the most likely component to fail in the chain. My RM9 bettered 200 wpc OTL monoblocks in a shootout some years ago. As you know RM9's became too expensive (for whatever reason) for Roger to continue to make. I believe they were a special order item only. How the RM9 compares with Dan's Krell 600 that is own is very interesting. |
Give me a place to stand and with a lever I will move the whole world.
Archimedes
These are the thoughts that come to me with this sample I Beam that arrived by Australian Camel. The physics involved with playing vinyl and having it outdo the Studer (on some tapes) and my Digital just fascinates me. Significant leverage happening here. I am balanced with only the one molded weight on there. An inch from the end. I had to remove my larger horizontal bolt and go back to the original smaller one, along with the threaded weight holder. They are no longer needed with just the one molded weight on there. Just too much weight. The package of weights Bruce provides with the tonearm is now serious over kill. This is with my freedom fighter cartridge. I suspect my lone weight will go all the way out with the XV1 and maybe one skinny weight - maybe not. Initial impressions from a quick session. Nothing negative and all perceived positives. I am being punched in the stomach with the bass; like sitting 12 feet from the stage and Bdp24 (Eric) is playing his drums like he just got some really great news. 8^) The I beam is now the same length as the armtube; to me, it just looks right, balanced, the way it was meant to be. As Harry mentioned these first samples will be improved. I got word from Bruce that he was making updates to the printer. |
Am I missing something?
What Harry said. +1 You are not using Bruce’ Long I Beam designed for the tonearm. Getting one would allow us to do an apples to apples comparison. Remember, I did try to get a hobby shop I Beam. The ones I found were not fit - too flexible, cheap, mass produced. Bruce’ long I Beam is 3d printed. V2 should be ready in a few weeks. Also If your end cap is the original one, take it apart, and make sure it is still fit to take the extra stress the longer beam brings. imo - This is a cheap upgrade that affects the heart of the arms performance. The I Beam/weights. The most misunderstood aspect of this tonearm’s setup. Bruce has built the Long I Beam for the ideal length based on his testing. All ET2 owners should be contacting Bruce and getting one. |
Pegasus
My techno-intuitive thought on this is:
- The lower the resonance of the i-beam, the wider the frequency range over which the bearing/cartridge resonance can be controlled by it.
- the higher the resonance, the closer together both resonances and the more resonant interaction instead of control.
Does Bruce have the model? Or should I ask my more MATLAB-experienced son? Pegasus The model for the original I Beam was in part influenced by business priorities. We know this. This limitation is no longer there. Why don't you send your theory and questions to Bruce direct and let us know what he says ? brucet (at) eminent-tech (dot) com I am interested in your, John and others impressions of Bruce' Long I Beam. Harry and I seem to be in sync. Also, still am interested in seeing pictures of your dual path wiring setup. Cheers Chris |
Hi Guys
Been enjoying July Weather in Sept/Oct; which is ok since we never got July weather in July here this year. :^(
So still in outdoor mode floating on the water (not the air) and maybe a track session again one day if the Gestapo ever hands back the keys to me again :^(
Something about not being able to collect on Life insurance ?
Anyway - some interesting talk on achieving alignment. Got me re-juved reading.
Noted the suggestions for moving the ends of the spindle (Joint - aka as Gooseneck) and/or the end cap to get the stylus to drop into the lead in groove.
The larger newer 2.5 is built tighter and the ends of the spindle have sleeves which make the gooseneck and end cap flush with the spindle. There is only one way to mount it - tight. So if the hole that was drilled to mount the tonearm was less than perfect and you are faced with an armtube that doesn't come in to the lead in groove - the Cueing Eccentric adjustment would be probably the only way unless you are going to drill another mounting hole.
btw - Bruce used to provide the service of upgrading your 2.0 to a 2.5. You send him your 2.0 spindle and manifold and he would return a bored out 2.5 version at reasonable cost. He may still do this.
Re: Alignment
If you are using a full plinth with no armboard, and it is going to need one hole drilled to add the tonearm; the task at hand can get more than a little daunting. Especially if you are dealing with an expensive handcrafted plinth.
After mounting the ET 2.0 , 2.5 maybe 60-70 times on 5 or 6 tables...During a Serious bout of Audiophilia Nervosa Mode years ago ....... 8^(.....I can say let's not over complicate this. We are not after all trying to mount a pivot arm.
All you need is a straight line from the middle of the spindle to the end of the platter (ANYWHERE ON THE PLATTER) This straight line should track the line (path) your stylus will take. With the air pump on make adjustment making sure your stylus will land - without it actually touching - the line on the jig. This is easiest done when your ET 2.0 - 2.5 is mounted on a standalone or pivoting pillar/pod.
Past VPI HW19 MKIV and TNT tables with the ET2 revealed to me that the holes drilled by VPI were less than perfect. Maybe it was hit and miss with my examples ? Test your tables. Does your stylus when placed on the jig near the beginning still remain on that straight line at the end of the road ?
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Xbart - Brad - welcome to the thread.
Amazing what can be found at a US of A Garage Sale ...... EH
Real American Pickers.
Have you messed with the horizontal VTA Pillar bolts yet ?
It is my opinion that these should have come from Bruce' factory with plugs in place preventing adjustment....AND....a special section in the manual dedicated to them with the caption "for experienced users only"
I am pretty sure everyone here has used those VTA Pillar bolts in the beginning of learning setup to make the stylus "Walk The Line" - thereby messing up the ET2 VTA alignment. The only manual mention I recall is adjusting them for the tension felt in the VTA lever. This is an over sight IMO as Audiophiles will always tinker and can't leave well enough alone.
The mention of plugs for the VTA pillar post bolts...... reminds me of an incident this past summer involving a friends boat with a Volvo Penta i/o engine, with Holley carb. The friend had a rough running engine on this boat he bought. When we investigated we noticed someone had taken the plugs out the carbs' two metering bolts on each side, and tried to adjust them. We suspected something got messed up in their settings.
Long story short - Holleys are way too sensitive to do adjustment of the metering bolts by ear and watching the tachometer. To do it properly required the use of a Vacuum Gauge, sort of like the air pressure gauge used by the ET2. The vacuum gauge showed that the setting were way off.
Hope this post finds everyone well. Soon it will be cold and activities will commence indoors including running. My knees are taking a beating with age. I find now to run without pain I need to be running on an uphill incline so that my knees are loaded. This means treadmill. :^(
Hi Harry - read your note about v2 of the Long I Beam. Need to reach out to Bruce.
Cheers Chris
Happy Canadian Thanksgiving to everyone.
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Brad -You are taking imo ...the right approach with this taking the setup in steps. Maybe its the project manager in me talking, but I think there is just too much to take in here (the way Bruce thinks) Steps are needed in the learning. There is also imo too much to un-learn if someone is coming from many years with a pivot arm. I honestly feel that someone with no pivot tonearm experience might have a better shot with this tonearm. The I Beam system with leaf spring and weights brings a fourth dimension that we have discussed here. Never seen a professional view discussed in a paper or online anywhere that demonstrated a good understanding of it outside of the manual. Except here ...... but we are all just a bunch of music lovers. 8^) The people (Audiophiles) I know from say 15 years ago - a few people who tried the ET2 were coming from years with a pivot arm and just could not seem to get around the idea of removing weight on the I beam and sliding the weight further back to get VTF; since on a pivot arm one normally just slides the back weight forward for more VTF and backward to get less VTF. Here you remove/add weights to get to the highest number on the I Beam- that's the objective. It's a different game. If one wants to set it up as designed. You can put on heavier or lighter cartridge bolts to achieve this as well. One other person I remember and this is definitely going back 15 years; had a 6 figure system and was selling the VPI MKIV with the ET2 on it that he had just bought recently. He also owned Dunlavy towers, an Allnic preamp, Nakamichi TT that adjusted for the record, and the Dynavector tonearm. This ET2/VPI setup he was selling became my first ET2. He could not figure out why it wouldn't work past the first track on an LP. The problem ended up being the pump - low on PSI. I ended up replacing it with the Medo with a computer fan next to it to cool it. The funny thing is I wrote at the time to A Salvatore about this and he ended up putting my verbage in his blog. Look forward to hearing about your progress. ******************************************** Hi Harry - "When you get snowbound you gotta get Bruce's second run long "plank". It is not possible Harry, to snow bound a true Canadian. The temperature however is another thing on its own. My bones alert me 24 hours prior to cold coming. The good thing with cold and this crazy hobby - my room heating system (Music Reference Tubes and or a Krell Class A Amp) produces dry dry air. Just what the ET2 likes. Cheers Chris |
Harry
A version 2 Long I Beam is now on its way north of the 49th parallel.
thanks for letting me know. Chris |
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21 bids , 11 bidders !
Coming down to the wire.
Will there be a dark horse bidder ? .
ooooooh.....It's started raining here and I am collecting leaves.
Don't want to do this anymore :^(
What fun ebay bidding can be when it's not you.... yourself.... bidding - 8^0
anyone here involved ? heh heh heh
I know what a base ET 2.0 original tonearm is worth - let's see what happens.
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Frogman - yes, the collect phase is a kind of mechanical collection from the mower bag to curbside paper leaf bag, for town collection and composting.
The birch and maple leaves get mulched into my soil. No problem and feels good to be dropping them into it. But the late fallers....the Oak leaves ......take all winter to fall and are a real problem as they don’t seem to break down. A PITA. Mulching them is like trying to mulch Styrofoam.
*******************
So when that auction I linked was in play - I got this email from someone asking about it and whether he should consider it. He was not a current or past owner of the ET2 tonearm. I told this person.
"Whether you should get the ET2 depends on your personality type. Let me use an analogy to explain.
Think back to the days when we used to drive our automobiles before GPS and Google Maps. So you are out on the road in an unknown area - a little lost - what do you do ?
Personality type A
would - open the glove box and pull out a hardcopy map; or stop and ask for directions.
Personality type B -
would - just prod onward blindly hoping they will reach their destination.
Type B should not own this tonearm IMO. "
8^0
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Put on the new long beam, and lose half the weight.
I wish real life was this easy. I run an hour a day and can barely stay at my weight.
Those evening liquid calories.... take a serious toll.
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Hi Mkiser - (Mark) ? long time since hearing from you. ;^) Pic 35 on my my virtual system shows how to set the gap with the tonearm not mounted.. You can see on the feeler gauge in the pic, that I have it set quite firm. I also do not find a need to use the VTA much. I aim to keep the manifold inscribed line even with the record. Here are some comments from Bruce that should help. I had to dig into email archives from 2014. Chris,
The gap is suggested so that the bearing blocks are parallel to the manifold housing, the gap value is arbitrary. I would not force a bearing block too close to the manifold housing such that the friction to adjust VTA is high, doing so would damage the arc block. The bearing block screw length is the same on all tonearms, 4-40 x 3/4 for the bottom pair and 4 x 40 x 5/8 for the top pair.
We no longer sell VTA arc blocks as an individual part. I hope this helps.
brucet
Chris,
My first rule would be to use the short end of the Allen wrench as the lever for torquing any screws on the ET-2. The short lever arm will limit the applied torque.
For the two bearing blocks that mesh the pinion to the rack in the arc block we first adjust the blocks so that they are parallel to the manifold housing with a .060 -.090 gap between the bearing block and the back adjacent surfaces on the manifold housing.
The friction between the manifold housing and the arc block define the feel of the VTA mechanism lever action. We want this to offer some resistance, but not too much when a VTA adjustment is attempted. Turn the 4/40 x 3/4 bearing block screws so that some friction is encountered when adjusting VTA but not so much that the VTA mechanism locks up. We would not attempt this adjustment with the tonearm installed on a turntable.
The main failures we see with the arc blocks are:
1.The threaded insert on back surface of the arc block is cracked due to over torquing of 8-32 stainless steel button head post mounting screw.
2.The bearing blocks on either side of the arc block which support the pinion gear are over torqued which crushes the pinion into the rack and binds the mechanism, if a VTA change is attempted with over torqued bearing blocks the pinion turns and the rack does not move, stripping the teeth on the rack.
- brucet
***************************************** ***************************************** Mkiser
I've had this setup sounding really good, and for a while the new Zephyr was spot on, more like listening to a master tape than an LP. Re: Master tapes reference. I still own a Studer and some 15 IPS master tape dubs. When I first brought it home many years ago it was a great reference for me and it still is. Over time, and tweaking, I have my main vinyl rig competing and out performing some of the tapes in my room. The good ones (tape) are just really good, and I also don't have LPs for some of the tapes. Cheers Chris |
I’m going to be sending my manifold, spindle and manifold housing back to Bruce soon. There is an air flow imbalance that causes the spindle to push in one direction as I increase pressure. It was pushing out. I flipped the manifold and sure enough it started pushing in as I increased pressure. Mike. This is interesting. My understanding is that the stock 2.0 smaller lighter spindle needs about 3 psi to levitate. The larger heavier lower resonance stock 2.5 spindle, designed for MC carts, needs in the neighborhood of 5-6 psi to do the same thing. This is for Bruce’ stock builds. Then we get into the custom builds that Bruce has done for clients, like myself. He set my 2.5 up for 19 PSI. In discussions with him at the time it was my understanding that this is the PSI limit for the design. So based on the above, why are you choosing to increase the PSI ? and does the spindle stays balanced, when it is run at the PSI that Bruce set the manifold up for at his shop ? Just thinking out loud over coffee this morning. If I were located far from Bruce in Florida, and the (spindle, manifold) were going to be sent to him for maintenance anyway; I would first be tempted to try rebalancing the manifold on my own. As you are using direct shot wiring set it up without the wiring and just the spindle on (Look Mom, no wires ! - hah hah ) So with just the spindle on, turn on the air at the factory set PSI. Do observations. Now bump up the pressure and observe again. Slide out the manifold itself, and adjust the screws on the one side a bit, on the side it it pushes towards. Open them up a bit equally. What happens ? If it gets worse turn them in again and go to the other side and repeat. Again, just something to try, before it goes back to Bruce. *********************** lots of turntable tweaks in your Audiogon page. I really like the way you have set up the thread/floss on your turntable. Interested in the differences you heard compared to the belt setup. |
We're getting 6 inches of snow in Greensboro right now, so this is prime listening time
Has the makings for an Audiophile / Music Lover perfect storm. 8^0 For the benefit of the readers these are the set screws that Mike and myself are talking about. Click on blue text ET2 Manifold and Set Screws The Picture is courtesy of a good audio friend. Have not heard from him in a really long time. If he sees this - Hope all is well ! *************** A shout out for Mike's radio show info. World Peace Party on WQFS Guilford College radio, 2-4 PM EST every Monday WQFSClick on the "tune in" button *************** Frogman - those Oak leaves are still falling, appear about 40% fallen, and when falling they seem to be attracted to our two storey eavestrough :^( Sometimes I wonder what music Bruce listened/listens to when he sets up a customer tonearm. Have never asked him. |
Mike
that manifold picture was sent to me by my audio friend down in Southern California. He had bought the ET2 used (not sure where it was sourced from), but it’s a good sample of what can happen when one runs the tonearm in a humid dirty climate without proper filters / moisture control. The good thing is this is not like rust on a car, and it is easily cleaned up; if one is a Type A personality :^)
My Timeter Air pump heats up the air, then with coils, condenses the air, and drains the moisture into a pan inside the pump box, like a car’s AC system. It sends clean desert like air down the line. Have never seen any liquid buildup in the bulb next to the table (except for the time the pumps drain tube became plugged - a story in itself). I have had no reason to pull out the manifold to look at it, so not sure if the screws have been buffed like yours.
What I can tell you is being set up for 19 PSI, it is very difficult to push the spindle through manifold (tight) without the air on. With the air on it is the smoothest bearing.
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Hi Mike re: your carts my two cents. I’ve set up two complete armwand / wire looms. One for the Zephyr and one for the Delos using the carbon fiber and aluminum wands respectively Your carts from the specs appear to both be line contact designs. The Zephr at 10 μm/mN compliance the Delos at 12 x 10-6cm/dyne at 100Hz. Similar compliances. I would be running both of them on the Carbon Fiber or Mag armtubes not the Aluminum armtube - at least not without modding it. I see you have added wrap in your virtual system picture. I feel if you move the Delos to the CF it will return more information to you. Be interesting to find out. But I don’t like to recommend activities that involved switching out carts, due to the risks involved in beheading them. 8^0 ************************ Some perspective on the thread application. Re: your modded TNT Getting the tension right is a PITA, as I have to move the entire turntable to change it. If I applied the thread tension that I use on my string drive turntable, to my former modded thread drive TNT, the TNT platter would barely move. It is applied loose - so loose that you can flick the thread as the record plays and not interrupt it. The string drive turntable’s pulley, and platter / bearing inertia design keep it going. The VPI’s platter/bearing and motor pulleys being designed for belt, take some time to get it right as you say, with thread. But once dialed in I found a profound performance increase. Like the musicians were playing based on receiving some good news earlier in the day. The speed controller needed to be set much higher, but the resulting shorter and tighter bass notes improve pace and tempo and put the TNT on a par with my other tables at the time. I once tried a thread slingshot approach with the motor a few feet away. That was interesting - like kicking in a turbo. But the thread could not take the strain. My findings Adding belts to a string drive design is easy to do, but it degrades performance. Adding string/thread to a belt drive design, is not as easy to do, but it improves performance. |
When setting up Azimuth
If I am using a tube amp/s, make sure its channel output is even. Then I set up digital first and with the speakers in near field (takes the room anomalies out) . If your main speakers can't be moved use a temporary smaller pair of speakers. Then go to the vinyl with the same material. Match it up as best as possible by ear.
I don't like the idea of using test instruments for Azimuth because, if the generator is not aligned with the stylus, you will be chasing your tail forever. Its an unknown. We can't tell if the Cart generator is lined up properly.
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Hi Dave. why would using a test instrument (say a Fozgometer or an oscilloscope) that reads each channel’s signal output independently and also the output signal balance between both channels give an improper result? Sorry for any confusion. It is my understanding that "some" good carts yielding very high levels of separation, are not necessarily Symetric. They are Asymetric. If you try to use an electrical device in this type of scenario to balance the channels, you will not set up the cart as it was intended to be setup from the factory. It will be an "improper result". I got this information years ago in talking with Peter at Soundsmith who has retipped for me in the past (two - carts I had bought used), and one of my own - that I beheaded. *^( ***************** Now Mike just happens to be using a Soundsmith cart and a Lyra Delos. Mostly I’ve been swapping between two full arm looms (cartridge, arm wand, wiring), one with a Lyra Delos and one with a Soundsmith Zephyr MIMC. Assuming two full ET2 arm looms implies to me that Mike is pulling the Gooseneck bolt.... to exchange armtubes ...thus leaving Azimuth settings intact for each cartridge. Mike pls correct me if I am wrong. Now what if....... the Lyra has balanced channel db levels (by design) ........and the Soundsmith Cart....... not (by design) They would need different azimuth settings. I am not saying that Mike’s Soundsmith cart is one of these Asymetric Carts but what if......... I set the cart visually level, then fine tweak Azimuth by ear, match it up with Digital. If one chooses at this point, test out the channel separation with an electrical device. If there is an imbalance, contact the Cart manufacturer and ask if this ok. That’s what I would do. ********************* This got me curious so I did some digging. Here is a video from Peter at Soundsmith. Watch at the 3:30 mark. Azimuth ************************ And to throw another can of worms out there. SRA is a moving target and it depends on your records and the plant they were made at. European standards differ from American plants. Angles differ by plant. Every time they put on a new cutting stylus (every 10 hours ?) it is never put in the same way as before. Think about it. |
Slaw
It’s not easy (impossible) to get perfect sound from lp to lp because all of the variables involved in lp manufacturing and with the ET’s design. One’s best hope is to have the flattest pressing you own from a listening & visual perspective to set things up. Trying to chase perfect sound from lp to lp will be futile. Bruce acknowledges and details in the ET2 manual some of the problems that exist with vinyl. One of the most glaring problems is lack of standardization. Page 51 - ET2 Manual The angle that the cutterhead stylus is placed at when a record is cut results in an included angle in the final disc. This included angle must be duplicated with the reproducing stylus or distortion will result. The problem today lies in the standardization of the angle by record manufacturers and corresponding standardization by cartridge manufacturers. One solution is to use a tonearm that easily adjusts the stylus for this included angle. From my experience how much variability is heard between records even same thickness ones, will depend on the cartridge stylus type, the system kit being used, the Room itself, and the listeners hearing ability. As discussed here multiple times, Bruce’ tonearm design focuses on this included angle cut into the record, and he came up with a worm gear VTA tonearm design that allows for adjustments on the fly, without changing set up alignment or VTF. This is a patented design as we know. But the VTA block needs to be setup correctly as discussed here also. All tonearms except for the ET2 change VTF when you adjust for VTA /SRA. Furthermore Slaw, the ET2 manual is very clear. For bad ass records (not using those words *^0) - use a pivot arm. No one here that I am aware of plays bad ass records with their ET2. There is no perfect record or tonearm, but at least Bruce tackles the problem with his design while other tonearm manufacturers choose to ignore this problem, trying to forget the Elephant in the room. I mean imagine a manufacturer selling a tonearm that is marketed as "VTA on the Fly" , but not telling the customer that your VTF will go up when lower VTA/SRA, and VTF will go down when you try to raise VTA/SRA.- ON THE FLY. Physics 101. |
Pegasus
Non changing VTF is a question of having the centre of gravity aligned with the vertical bearing when floating the arm. This is not an exclusive feature of the ET2 arm, there are more that are concipied this way AFAIR.
AFAIR - as far as I remember. Oh wondrous flying Greek horse - 8^0 - please do tell of another design that strives for this high level .... and achieves it. If you don't post back I will assume none exist. You see I am interested in some reading to get me past this last stretch of holiday stress and cold weather. Pegasus From the info in your posts here, I recommend you remove your VTA block, re-align with a feeler gauge. re-install, and if not level... (leaning tower)... it's something before it causing your symptoms. I would not install the bearing, armtube, end I Beam until this was resolved. **************************** True story I knew an audiophile guy, lets call him "the Fogz", not to be confused with the Fonz.Fogz had this room imbalance, I think because of the HVAC runs - ceiling left side. It was a small room, the negative being the sound bounced around easily; the pro being it was easily pressurized for that "Maxell Tape" effect, but .........In order to get a center stereo 2 channel image at his listening position, he would need to either adjust his preamp balance to compensate, or move the left speaker forward (1 foot) 12 inches closer to him than the right speaker. He sat about 10 feet away. He liked to listen to digital and vinyl and to set up his own Cartridge. His Digital was always sounding different to him, more accurate, less distortion and better overall ...than his Vinyl ( he was using a pivot tonearm that did not have easy Azimuth and VTA/SRA adjustment ). True Story... names have been changed. This Audio hobby is a set up game. But Analog (Vinyl) is 10 fold the complexity. Merry Christmas to everyone. |
Off Topic, but what are the speakers over Peter's left shoulder?
Cheers
Grant Hi Grant they sure do look like slim two panel ESL's don't they? ...or doors ? You got me curious so I asked Peter. Dear Chris;
Thanks for the inquiry.
Yup – they look like speakers. They are the insides of cabinet doors for the TV.
What you cannot see are the Soundsmith Dragonfly speakers, directly behind me, which have replaced the Soundsmith larger stand mount Monarchs. The Dragonfly’s are great, but I was surprised at how well they do in place of the larger stand mount Monarch’s. They always get rave reviews at shows, and we have won best of show with them many times.
Most folks are not aware I have been designing speakers for over 40 years, and was director of Engineering at Bozak. |
Damn if I had known you were going to ask him, I would have asked if he thought his MIMC* would be suitable for the ET2? Grant The limitation is not with the ET 2 and 2.5. As you know they can handle any cartridge, but the 2.5 "was" designed for heavier lower compliance MC’s. So this MIMC would probably work better with the 2.5 and its larger lower resonating air bearing spindle. The limit will be based on your preamp capability. From the website. The name is an acronym for “Moving Iron for Moving Coil preamps). In other words, with its .4mV output, the MIMC should be used with a moving coil phono preamp capable of producing between 58-64dBs of gain.
**************************************************** (ignoring the Koetsu I am too scared to use) I have a cart like that too that I call the XV1-AXE. Japanese Design, German Rebuilt I once beheaded it - 20 feet from the turntable years ago. It was on a ET2, on a brass armpod - (see pic 39 on my audiogon virtual system page ) I had carried the whole shabang over to the bench to repair one of the leads with some solder. Somehow the 20 lb pod got moved in an awkward way and I felt a light tug............. Still hurts to think about it Anyway sent it to Peter and because of the manner in which its well endowed cantilever was sheared off, it damaged internals. He said it could not be rebuilt. At least he was not willing to do it based on his business model. So from advice from Audiogon user Nandric, I sent it over seas to Axel Schuerholz in Germany. He rebuilt it. He even had to make his own cart body bolts for it. Got it back and used it for a bit. One word - Organic. just amazing. But I was scared to use it out of fear over what happened. It still intimidates me today. Kind of like my daughters cat. That MIMC design you reference can be retipped multiple times at $350 a shot. but as a vinyl, tube and ESL tragic good wording. 8^0 Reminds me of the Tragically Hip - Gord Downie - RIP of the remaining speakers (4) that I have held onto that will passed on ... two are full ESL’s and one is a hybrid - B&W ESL DM70 Continental. Happy "frigging cold" New Year to Everyone |
Pegasus
This is in my system with two twisted naked 0.1 mm silver wires, two L/R independent caple looms in a ca. 10cm diameter, very low torque on the arm apparently. Pegasus You have spoken repeatedly about your wire setup but have never been generous enough to share pictures of it to those in this forum. It is a new year and pictures are worth a thousand words. I ask you to share again. if you would like send me the pic and I will post for you. From my experience the best wiring setup is to have the wiring come off the armtube down into a happy face loop. I discovered this during my armpod experiments. The wires, going down into a happy face loop after the armtube have the least effect on the movement of the air bearing spindle. Remember the ET2 is a free bird, unlike say the Kuzma Airline for example; does not need the wiring and airline for damping. Different design. Those that have wiring arranged in a Kuzma Airline type setup, on their ET2, are asking for trouble. Your wiring is controlling the spindle and will make you think maybe things are not level with its pushes and pulls. My Verdier uses a tall Solid Aluminum pillar for an armboard, that is bolted to the plinth, so the wires come down naturally. The ET2 really does like to be placed on a pedestal. I show pictures of this wiring set up on my virtual page. I am reposting a thread archive shot of Frogman’s wiring set up for everyone benefit here also. Frogman, I hope you do not mind ? 8^0 Frogmans wiring For anyone using a plinth that was fairly flat with the armboard (like here with FM’s TNT), this is IMO, a great arrangement and the way I would do it also, if I had a flat plinth. Notice the happy face loop coming off the end of the armtube. |
Slaw (Steve) Regarding your VTA question - I find it rather odd from a previous owner/user of this tonearm ...how many years ? ... to be asking this question. This ET2 patented VTA feature is in fact what distinguishes it from all other tonearms including other air bearings. Bruce understood that records come with varied included cut angles, so he designed a tonearm to easily deal with them. Now the smart designer in whatever field, would never discuss secrets about how a patented design works .......in an Owners manual. To use this VTA feature properly, and to see how it executes, is to understand it. Period. And we have discussed it in this thread previously. Your question therefore indicates to me that either your setup was off, you just never understood it, or maybe a combination. ********************************* As some of the ET2 owners here are Johnathan Carr fans I will let him re-affirm things. This is for SLAW and it is also for PEGASUS Jcarr and the ET2 VTA********************************* for those not wanting to click on the link. Jonathan Carr
However, as I recently wrote in Stereophile, the construction of every tonearm that I am aware of (with the sole exception of the Eminent Technology linear trackers) guarantees that altering SRA will simultaneously cause the effective length to change, along with the tracking force.
To make sure that any SRA-induced audible changes are truly attributable to SRA rather than sundry alignment shifts that came along for the ride, you must recheck the overhang and tracking force and "put them back" to what they were prior to the VTA change.
At the end of the day, you may ponder about the real value of "VTA on-the-fly" mechanisms (grin).
kind regards, jonathan |
Are the oak leaves still (!?) falling? Indeed Frogman, this unprecedented cold snap, seemed to have caused many of the remaining brown oak leaves to finally lose their grip, and float down on top of the fresh white snow. Looking almost plague like. Any talk of global warming will fall on deaf ears here. |
Nandric - With all those compressors, tubes and other devices your ET-2 remind me of a patient on intensive care. The difference is that
you succeed to keep the thing so long alive (grin). Dear Nandric (Nikola) I have to tell you that I find it very ironic that my wife and yourself are sending me similar messages about health and reference to patients/intensive care. She likes to joke to me about the hazards to my health, as I pound my bones on the treadmill every day. She sees my knees bandaged up prior to starting, and of course hears me complaining of pain all day, especially in colder weather. You of course are referring to the health of the components required to keep my ET 2.5 running. So it got me thinking and it became even more ironic to me, (you know Canadians and Irony....go hand in hand ) that my messages back to both of you happen to be identical, as to why I partake in these activities. Because within 10 minutes of commencing each activity - everything becomes crystal clear. And when the activities stop - it's all downhill from there. Now Nikola .... tell you a secret - the biggest, real threat to the longevity and health of my ET 2.5/Platine vinyl setup can be seen in this picture. Do you see the problem ? |
^^^
What LP’s ? not referring to records.
Look again 6 O’clock
there is the biggest threat
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Nandric
but how do you know which one to
chose next among them? Nikola I have four rooms that contain records and I think they will become a burden when I am not around anymore. I have started talks with my son about how to deal with them. What is important.is the records I play. The records I play I call my "ready play" records, and are stored next to me, at arm reach in my main room 1, on the floor in four rows, against the wall. They are organized, updated - these four rows - based on my current state. The first row music and or lyrics make me want to smile and sing. The second row goes one further and may provoke me to want to get up and dance. Maybe wave my arms around. Room 2 is better for arm waving. If you want to score points with the spouse, let her see you dancing by yourself, especially to Classical. She will get confused and you will gain leverage. The third row - brings me to tears. Mostly women opera singers, or the violin. The fourth row - just out of arms reach. You know I need to be careful with the fourth row. Too much playing of music from this fourth will plant seeds in your head for revolting against your government (or the wife - same thing) One can get into big trouble with too much music and lyrics from the fourth row. |
Frogman You know I have always been a dog kind of guy.... . But this Bengal kitty stole my heart. Alas, finding Dutch Amperex Bugle Boy tubes on the carpet floor in the main room was a warning sign. My turntable is on a low table, beside the wall, the bottom covered so one can not see under. Who wants to look at sand. A reminder of what is coming. There I was listening, and a took a glance over at that marvel of engineering 4 feet away - only to see a tail wagging behind the spinning record. Like a conductor with his wand? This one Bengal colored. Heart stopped, I pulled two muscles jumping up from the recliner. I bent over to look under the table and repeated over and over - "here kitty, kitty. come here my good little kitty kitty" The TT thread is easily replaced. But that cantilever and exposed naked tonearm wiring? Now when she visits the door stays closed. But not sure what to do about the exposed electrostats in the adjacent room ? That room is open. |
Frogman - There is no way that I could deal with a 100% Mexican Chihuahua. let me explain before people get their shorts in a knot.
As it is "Lucky" , named as such by my daughter and her BF, rescued him; So he is 50% Chihuahua and 50% Jack Russell. This means 50% of the time he is in a Chihuahua barking fit, and the other 50% of the time he is on the other side of the couch staring at me, probably thinking God only knows what thoughts. He is probably thinking why doesn’t this guy give me more treats for being his RCA Victor dog front man. 8^0
Lucky, of course can be found on the first picture of my Audiogon Virtual System. Ok maybe I will give him more treats for pulling that RCA Victor dog duty.
Audiophiles can shoot me if they like, but I find it vastly more interesting looking at pictures of dog and cats, et al ...... in the audio room setting then the gear itself. So boring. Especially Digital Gear. But then I am a career IT guy. My laptop is stuck to my sleeve.
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A couple owners have reached out to me privately on proper torquing of the VTA block. So I thought it would be good to rehash the procedure here now. See the picture 35 on my virtual system for reference. lt is done with the VTA block - NOT - mounted. Hold in your hand and use the feeler gauge. The Gap value is arbitrary based on personal preference. Ensure you do not over torque. Bruce' instructions follow *************************************************** . Chris,
My first rule would be to use the short end of the Allen wrench as the lever for torquing any screws on the ET-2. The short lever arm will limit the applied torque.
For the two bearing blocks that mesh the pinion to the rack in the arc block we first adjust the blocks so that they are parallel to the manifold housing with a .060 -.090 gap between the bearing block and the back adjacent surfaces on the manifold housing.
The friction between the manifold housing and the arc block define the feel of the VTA mechanism lever action. We want this to offer some resistance, but not too much when a VTA adjustment is attempted. Turn the 4/40 x 3/4 bearing block screws so that some friction is encountered when adjusting VTA but not so much that the VTA mechanism locks up. We would not attempt this adjustment with the tonearm installed on a turntable.
The main failures we see with the arc blocks are:
1.The threaded insert on back surface of the arc block is cracked due to over torquing of 8-32 stainless steel button head post mounting screw.
2.The bearing blocks on either side of the arc block which support the pinion gear are over torqued which crushes the pinion into the rack and binds the mechanism, if a VTA change is attempted with over torqued bearing blocks the pinion turns and the rack does not move, stripping the teeth on the rack.
I hope the above helps
- brucet |
^^^^
1) Someone over torques the VTA block bolts.
2) they continue to use VTA, even though something does not feel right.
3) this strips the rack of teeth, creating bald spots, rendering the VTA block useless.
4) Now there is a need to replace the VTA block.
Please share with the readers here what Bruce' response is.
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