I have used epoxied lead shot inside a DIY subwoofer because at that time I was convinced that lead is good for the sound and that it's just the right material, kind of soft yet hard enough to retain it's shape. Since then I have learned that lead, unfortunately, is one of the worst materials ever foisted on poor unsuspecting naive audiophiles and should be avoided even in small amounts, especially noticeable in how it destroys the bass frequencies. Note: I wound up having to take a hatchet and small sledge hammer to the DIY subwoofer just to be able to get it out of the house. Was that wrong?
Eminent Technology ET-2 Tonearm Owners
Where are you? What mods have you done ?
I have been using these ET2's for over 9 years now.
I am still figuring them out and learning from them. They can be modified in so many ways. Bruce Thigpen laid down the GENIUS behind this tonearm over 20 years ago. Some of you have owned them for over 20 years !
Tell us your secrets.
New owners – what questions do you have ?
We may even be able to coax Bruce to post here. :^)
There are so many modifications that can be done.
Dressing of the wire with this arm is critical to get optimum sonics along with proper counterweight setup.
Let me start it off.
Please tell us what you have found to be the best wire for the ET-2 tonearm ? One that is pliable/doesn’t crink or curl. Whats the best way of dressing it so it doesn’t impact the arm. Through the spindle - Over the manifold - Below manifold ? What have you come up with ?
2,371 responses Add your response
... (more food for thought).. would lead shot encapsulated in epoxy sound different from stainless steel shot encapsulated in the same epoxy in a similar project? The point being, as you eluded to, that the epoxy is keeping the encapsulated material from exuding it's natural reaction to resonances. The only possible difference would be the mass each individual component has. This goes to my point of a particular materials' resonant properties affect on overall sound. (We may be trying to say the same thing but getting to that similar point by different methods.) |
Richardkrebs: Regarding the "rapid dissipation of energy", in the above test that you described, I have to wonder if in fact it was that or possibly the lead blocking/trapping/redirecting any resonance? Having just said that, I'll ask myself... Where did it go? To be filtered back through the "parent" material a second time? This is just a thought, not a conclusion. I have to wonder, if the differing materials one uses will have a different reaction to lead as well? My own answer is, most likely. As you can tell, this is an ongoing process in my own mind. But, in the end, it's how things sound that ultimately matters. FWIW: I made my own version of the Bright Star "sand boxes" early on and in addition, just a few years ago, tried a small version under a prototype motor enclosure and in all cases, upon listening, I was not satisfied. I feel that sand traps/stores energy. If not, where does it go? Into the box itself, that has no real effective way of dealing with said energy? Just think of how some manufacturers of tts aligned themselves with Bright Star or even Ginko years ago but now, there are other, more effective methods, and you don't see those tt manufacturers advertising with said aftermarket products anymore. This fact is telling. (The introduction of Stillpoints will go down in history as a milestone in the history of effectively dealing with resonances in audio reproduction. Still, they are to be used with a certain amount of discretion. Just my two cents). In my tests I described in a previous post (with lead/brass & not with a component that has a motor spinning) there is the tendency for brass as a material to ring. I continue to feel that this "ring" of that particular materials' structure is what allows it to "pass' resonances in a way that ultimately provides superior sonics in the end. Some materials' "ringing" nature can be a good thing in terms of end-user sonic return. Think back to the RoomTunes "tuneable" speaker enclosure or Harbeth's philosophy of a certain amount of resonance makes great sound. I believe it all comes down to the individual materials used and how they are applied in a certain scenario. Others may find this discussion boring, I just am trying to give you my impressions and thought process. I can see that you've correlated your testing methods and your listening results with the materials you used and are satisfied. Thanks for the response! |
Slaw In my experience using solid lead never over damps the structure provided it is adhered to the structure with a glue that is of equal or higher hardness than the structure. Do not use glues like Ados! Using lead in this way actually increases the vividness or presence of the sound. Try a small sheet of your chosen plinth material. Listen to it thru a stethoscope by tapping it with something hard. Now epoxy glue a sheet of lead to the parent material. Try the tap test again. You will likely hear a sharper but much shorter "Tic". Think of speaker waterfall plots here, we want rapid dissipation of the energy. IMO the same applies to TTs as well. Next load another sheet parent material with a bag of lead shot. Tap test again. It will likely not be as sharp but will be a longer slurred sound. I think that the lead shot actually rattles and this is what you are hearing. Some years ago I made a TT stand. The vertical colums were 2" ID aluminim tubes. I tried filling these with sand, lead shot and a combination of both. Finally used solid lead rods inside the tubes. This was easily superior to the other iterations. Cheers and good luck with the project! |
Richardkrebs: I think that maybe a perfect example of what you are saying and what I've experienced, can be found in the Walker tt and associated stand. The stand, from my memory, included lead as a factor. This was most likely used as a necessity to deal with the system as a whole and it's (final, sonic) needs. (Maybe, with the inferiority of any stand, at the time, in order to effectively deal with such a well thought out, heavy design), they may have felt that deadening was superior to any other (systems) available then. I just realized, here we are on the ET thread... and now, in my responses, I've introduced brass, lead , Walker...anyone see the connection? From my memory, Bruce Thigpen had a working relationship with Bob Dilger on the Mapenoll, the ET arm was part of this project and then the basis for the Walker arm, then Pierre Spray (Mapleshade) had an association with Bob and apparently the folks at Walker (look at their similar racks and wire designs) It really comes full circle.. (in no particular order) |
Richardkrebs: Your observation is interesting, and more food for thought. I know from my experiments in using lead shot in various ways over the years that in does work to a certain extent, but one needs to be careful in the amount used while considering (as you say), the particular type of (situation) it is used in as well. In most of my listening experiments using it solely for a damping effect on top of speakers or stationary components, I've found that while it does work, too much deadens the sound in those types of applications. Since, I've found that brass works the best there. (Just the thought of lead as a substance, brings to mind (deadness), with no ability for any resonance to be controlled, just trapped and/or redirected). This is exactly the kind of thoughtful observation I was hoping to receive. Thanks, your thoughts are very welcome. |
Slaw. Many thanks for sharing the info on your compressor set up. Most interesting. Also good luck with your TT project. Just a comment on the idea of using lead shot. I have had mixed results using shot. Both in loose form and epoxy glued. In some installs it seems to create a smearing effect, however using one piece lead in sheet or rod form has always been positive. This provided it is not inserted into the energy loop we are trying to damp. That is, I have found it beneficial if the loop is laminated with lead. As always YMMV cheers. |
Also, I'd like to thank the following people for their influence on this project: Ct0157: for his early suggestion to have the arm & table separated Frogman: for his insight on tonearm wire construction Dgarretson: for supplying me with the bearing info needed for my future thread tensioning pod and the inspiration for my upcoming tonearm wire design all of the above have been a great resource! |
Ct0517: I think as far as our use of "tension" or "snaps" is mostly semantics. I appreciate your pointing out the (thread) above. (One never knows how or when or where some little, but very important piece of information, will come from). As you noted, I too found that the smaller gauge thread results in a more open/dynamic/pleasing sound. I do remember our conversation regarding the Rek-O-Kut, at the time I thought I'd like to have a second TT/project. I've done so much with my current TT and am very pleased (to say the least) that I now have the extra parts (platter/bearing) and more importantly the (shop) equipment and greater knowledge to actually build a second one, that is, whenever I find the time to update my main table as I somewhat described earlier. Here are some of my materials I've put together for the (main) project: (a) The purple heart boards (will be sandwiched using a 3M epoxy in conjunction with 1/16" quasitropic carbon fiber sheet. The boards will be oriented at 180 degrees on each consecutive layer. I'm hoping to have a brass ring machined for the bearing interface that will be countersunk into the top board, to give me a great ground structure reference to work with. (There will be pockets drill for lead shot/epoxy). (b) I'm kind of "up in the air" still on if I want this structure to be all there is for the platter base or have a separate/second/well damped lower base that will be isolated from the upper base by brass cones and possibly a mechanical fastening system that can be torqued for listening results. (c) The new motor enclosure,thread tensioning pod and arm pod will be of similar construction, however I'm still wanting to have my motor enclosure top plate machined from air-craft aluminum. |
SLAW - I use a #2 silk bead cord that lasts and lasts.Thanks very much Slaw for the info. your experiences with VPI and having to use a Cord type drive coincides with mine experiences from the past. IMO - The VPI decks (platter/bearing design) is not designed for use with thread /string. A heavier type cord is required. Sure you can use string/thread but it won't last long. This was the reason I asked. Years ago in conversations with Mike at VPI his preference was to use the Spider brand Fishing Line. Regarding your use of the word tension. IMO - tension is a relative term when it comes to TT's. For example. My Verdier La Platine Granito was designed for thread/string. The thread is set up very loose. When properly set up you can actually flick at the thread as the music plays and there is no noticeable pitch change. The platter keeps going. In fact the motor which flickers as it turns the platter can also be shut off and on within a couple of seconds with the same result. The string/thread side load (tension) on the Verdier platter is very low. In comparison my previously modded TNT "did" need significantly more side load tension to work. My experience has also been the smaller/thinner the string/thread in use, the greater, more explosive the sonics. This was one of the reasons that drove me to a final deck designed specifically for string/thread. I am using Guetermann s-303-800 Cheers |
Ct0517: I use a #2 silk bead cord that lasts and lasts. The previous one lasted over one year. When it broke, it just "laid down". To me, the word "snaps" brings up a vision of tension that I would never associate with this type of application/cord. I've had the current one on for at least one year. Apparently I'm doing something right! Wouldn't you agree? Richardklebs: The manufacturers' recommended cycle on/off intervals are no less than 15 minutes. I've done better than double that. My set-up is really a worry free one for years. |
Richardkrebs: Thank you for your questions. The tank on the Jun-Air is around 7 gal., so is my auxillary tank that is an aluminum tank from Harbor Freight. This is not an oil-less compressor. I can tell you emphatically that even before I added this compressor into my system, my way of virtually eliminating any and all pulsing and moisture was done superbly by my Motor-Guard M-30 (toilet paper filter). ( I do remember adding a comment that when I had a compressor that ran continuously that produced a large amount of moisture, I had remedied all concerns with the Motor-Guard filter). Still I pointed out that upon introducing the Jun-Air, it made an improvement that was noticeable and welcome. (Keep in mind my (DIY) Motroxix regulator and the (pre-filter and post-filter) that are really not needed but go to my over-riding philosophy of more insurance is better, as well as these two things are (visual) reminders of a potential problem that I may never have. They Do not interfere with the sonics at all. Frankly, with this compressor, I doubt if you need all of the above filters and traps, etc... I have a (storage bottle) for oil/moisture that escapes from the tank as well as a needle valve that I can easily open to expel any excess in the tank into the orange bowl. IMO, this is a perfect set-up, certainly one I'd recommend to anyone. From what I hear, (from the technicians for Jun-Air), these compressors never fail! I use the recommended synthetic oil that, while expensive, should rarely need changing. |
Hello Slaw - in addition to Richard's question I am interested to know about your modded thread drive VPI TT. Specifically.. What type of thread are you using ? How many LP's does it last for; and when the thread does give up the ghost; is it all at once and SNAP ! or are there the indicators of wavering pitch. Ct0517: Bigalt's 8 tt's should not surprise you. I think it is more of a "I wish I was there" factor. ha ha. (Shhhhh... you are very, very close) hah hah Slaw - do you recall a conversation we had about 3 + ? years ago. You were interested in 2nd TT - a Rek O Kut idler drive and asked me my opinion of idlers. One of my tables was a Jean Nantais Lenco idler. Do you remember what I said ? "Be careful what you wish for, it's a slippery slope." in reference to this turntable journey. My multiple turntable craze was a temporary diversion for me. A welcome one as it helped in taking my mind off of other less pleasant stuff during a difficult time. I had at one time five TT's but only two in use at any one time. It was a comparison of drive types using the same tonearm and cartridge on two of them; same time using 15 IPS tape as a reference and switching between them. It was a fun, safe time right up to the point end when I got bold with experimentation and beheaded the well endowed Dynavector XV1. The drive type comparison is found on my system thread. A short visual synopsis is here In short very different, each drive type in the way the music is presented, all other factors being equal. Much like listening to a band or group in different venues, and or different nights. No two performances the same. fwiw I have just one main table now. The other two, are there in room 2 still but not in use. Would consider selling them but in no hurry to sell. As long as there are audiophiles buying this gear, prices will continue to rise, imo. At 53 I consider myself as one of the younger aging audiophiles trying to carry the audio flame. My kids soon to be 21 both love music. But convenience and portability are their most important considerations. They do not strive for the in room experience with the musicians. I believe this is because when they go out for entertainment, they go to clubs that reproduce music electronically.... mostly. When I was their age I was ...mostly..... in small venues listening to live bands... live music. I am trying to capture my personal fountain of youth. get those endorphins flowing ..... This thread is now well over one million views ......8^0 Happy past July 1 Canada day, and to my American friends Happy July 4th. Canada Day for me was memorable... there was a small traffic jam on a cottage road. As we approached the backlog it looked like cars were backed from what looked like a brown animal with babies (greenish in color for some odd reason in the distance ?) crossing the road. As we approached; it turned out to be ....a Beaver carrying a 6 foot maple tree branch across the road. He was in no hurry. Back to running with the bears. :^) Happy Listening |
Slaw. Taking a look at your systems page, I see a nice compressor setup with aux receiver. A few questions please... What is the total volume of the two receivers? You get impressive cycle off time, more than a typical LP side, which has to be a good thing. Also, is it an oil less compressor? If not, any concerns about oil vapour getting into the arm? Obviously the filter and separator are inline to protect against this, but we worry about such things don't we. Many thanks |
My personal experience with my and my friend's ET 2.5 is the lack of precision in manufacturing these parts. This is most likely the reason for his holding down the cost for so long. When I take my arm/housing off the post/arc block.. it is an issue that involves quite a bit of pressure! On my friend's very recent arm upgrade, it didn't involve any pressure in releasing these two mating components! This is a BIG difference in the issue regarding precision/mating parts that greatly affect the overall sound of the arm!!! I personally believe that the past precision of these parts were/are much better than the recent ones. Here's an interesting thing... www.stepcraft2.com . An in home CNC/3D printer!!! Wow! A game changer to say the least. |
06-17-15: Analogluvr Hi Analogluvr and welcome to the thread. Very nice cartridge. :^) So you bought the P which stands for Plastic body over the metal M - version ? Interesting how the manufacturer states how each cartridge version is more suitable for different music genres. The COLIBRI is available in three main versions: XC Version: (X = cross shaped modulator, C = matched crystal Copper wire coils) Low output all-round model Output voltage: 0.22 mV/channel Types available: XCP and XCM (P and M type suffix see *4) XC-HO Version: (X = cross shaped modulator, C = matched crystal Copper wire coils, HO = High Output) High output, most suitable for jazz music Output voltage: 0.30mV/channel Types available: XCP-HO and XCM-HO XG Version: (X = cross shaped modulator, G = matched crystal Gold wire coils) Medium output, most suitable for classical music Output voltage: 0.38 mV/channel Types available: XGP and XGM ************************************************** ************************************************** Colibri Static Compliance: 35 Micron/mN This makes it very high compliance. As one example the Acutex 420 str reviewed here by Bruce was even higher compliance. 42 x 10 -60 cm/dyne. For those confused by compliance....think cartridge springiness. (taken from - Galen Carol Audio) Any cartridge/tonearm combination will exhibit resonance at a specific frequency (or frequencies). This resonance is due to the interaction of the cartridge (acting as a spring), and the weight of the arm (acting as a mass). The "springiness" of the phono cartridge is described as compliance, the weight of the arm is specified in mass. As an example, a heavy weight on a light spring would obviously over-flex the spring, conversely, a light weight on a strong spring would not allow sufficient flexion. so .. Low compliance 12 x l0ˉ6 or below, is considered low compliance. Medium to high compliance is 13 x l0ˉ6 and 25 x l0ˉ6 is considered high. Very high compliance above that. You can express compliance as the Colibri does in um/mN. Here a rating of 5 to 10 is considered very low, 10 to 20 is moderate and above 35 is very high The Colibri is very high compliance. So if all other factors are equal the ET 2.0 with original aluminum arm tube would work best with this cartridge. ************************************ ************************************ other interesting stuff. The web site data for VDH shows the vertical tracking angle as 22 Degrees for the Colibri Here is info lifted from the ET2 manual Page 56 which I find useful. *Not all cartridges will be improved by using them at some angle other than the intended design angle. the top of the cartridge parallel to the surface of the record. *If the measured vertical tracking angle of a cartridge is high (greater than 22 degrees) its vertical performance will probably be improved by tilting it back 2 or 3 degrees. (front goes up) to match present vertical angles on records. *If the measured vertical tracking angle of a cartridge is 18 -20 degrees it will probably perform best when its top is mounted mounted parallel to the record. *Some cartridges are senstive to small changes in VTA, some are not. pls excuse an spelling/grammar errors. **************************************** **************************************** And if we really want to get ANAL-og with our ET2 setup. :^) low compliance cartridge - use triple leaf spring with I Beam. medium compliance - use double leaf spring. High compliance - use single leaf spring. The Colibri would use one leaf spring. We are matching I Beam Springiness with that of the cartridge. |
All 8 are set up and individually switchable in or out of my system. To make matters even worse I have 5 more that aren't set up ( talk about a TT junkie ). The ones set up are my VPI HW 19 MK IV with the ET2, a Merrill Heirloom TT fully upgraded by Anthony Scillia with all his mods and upgrades with a Triplanar VII U2 arm, an Amazon 2 TT with a Kuzma Stogi Ref 313VTA arm, a Townshend Rock 7 with a Helius Omega 10" arm, a Townshend Elite II TT with a Townshend Excaliber arm, a Marantz SLT U TT ( the original linear TT ), a Sony FL77 Biotracer linear TT and a Sony FL 7 linear TT. And if that's not enough, I have a PTP Audio Solid 9 TT on order which I'm going to pair with a VIV labs 7" Rigid Float Tonearm I already have. |
Bigalt 8 turntables.. Holy Moly.... How many are setup for active duty ? :^) We all seem to "collect" in this hobby. Audiogon member Manitunc from this thread, has admitted to owning Five ET2's. I admit to hobby collection problems also. Although I see my HP ET 2.0 and 2.5 as tools to complete the turntable setup. My collection problems seem to center around speakers. An interesting ET2 came into my inbox. A rare HP manifold version. not affiliated with the ad. I must say looking at all the parts shown shown in the ad, it must be intimidating to those not familiar with the arm ? I can remember some years ago, people would list ET2 HP models on auction sites for the same price as base models, unaware of differences. hmm.... |
Slaw, I appreciate your posts ( and humor ). I'm not as anal regarding my audio system as some other members. My hearing isn't as good as it once was ( a misspent youth doing a lot of target shooting without hearing protection ) so don't have the ability to hear many of the nuances that the various tweaks and upgrades to the ET2 provide. I love the construction and mechanical operation of the arm ( and the sound it provides ) and enjoy reading about the various mods, tweaks and upgrades that members undertake even though I'm unable to appreciate them myself. My HW19 Mk IV with Super Platter, SAMA, Walker Motor Controller and ET2 ( HP manifold ) with a Sumiko Talisman Virtuoso dti cartridge is one of my favorite turntables ( I currently have 8 ). |
Ct0517: Chris, you are the MAN regarding various set-ups.. but I submit, what really matters is how the arm's set-up transfers to "playing conditions". After all, as I think you will agree, this is what really matters. A long time owner of this arm will have no problem in, ( once in a while), adjusting for differing lp surfaces. (IMO) |
Cto517: I appreciate your understanding my posts. That gives me a lot of pleasure. Regarding (ANAL), I doubt if there's anyone reading this that's more anal than I! I really take that as a complement! Whether or not it was implied or maybe just my own thoughts about it. I hope my posts do give all a reason to laugh now and again! It' is important to keep our sense of humor! |
Slaw is on fire ..:^) In regards to the recent leveling discussions, please permit me to describe in parallel my out-of- the -box method at setting up my ET tonearms. This method is straight in - cartridge leads to phono. The wiring is a separate loom on its own. Wire Loom It can be applied and removed in 10 minutes thereby allowing experimentation with different wires. Procedure 1) WITHOUT WIRING. Set up the arm per the manual. 2) Level using a a Blue Tack Pancake placed on the lead weights a little heavier than your cartridge - this allows the arm to free float in space. When leveling this way is accomplished; remove Blue tac and add your wiring. 3) Attach your wiring. again apply the Blue Tac on the lead weights. The arm "WILL" float one way - adjust the wiring positions only - do not touch the leveling screws which are already set for level of the tonearm. Adjust only the wiring itself. Using this process ensures your VTA Block Alignment is straight and true. If you are not able to make your ET2 free float with no movement after adding and adjusting only the wiring - the wiring arrangement is causing too much effect on the operation - PUSH or PULL of the arm. Revise your wiring arrangement. To understand this wiring phenomena - let's take a couple of steps back, look at the ET design a little closer, and let's make a comparison. In this picture is a ET 2.5 and the Kuzma Airline (picture lifted from stereophile) Kuzma and ET tonearms Note the red circles. They go around the air tube and wiring for each tonearm. The Kuzma as part of its design uses the wires and airtube for controlling the movement of the arm. On the ET tonearm neither is required for controlling movement. The air tube as we know on the ET is stationary and plugged into the stationary manifold. As far as the wiring goes with the ET ..... well this is an open book really; this is where some get into problems, and why this arm, imo, has the reputation for difficult setup. Too much freedom on what can be done. The Kuzma can only be setup as in the picture. . We have seen some very inventive ways of wiring here. This wiring freedom aspect is either a real good thing, or real bad thing ...all depending on ones experience level. In talking with ET2 owners, the more experience you have, the more people seem to appreciate having freedom on how to run the wires since the ET tonearm does not need the wires for damping as other linear trackers do. Wiring arrangement designs are also based on the TT/plinth style being used IMO - every ET 2.0, 2.5 owner who wants to get ANAL about setup; needs to at least one time, remove the wiring, and set up the arm/cartridge "sans-wiring" first, then add the wiring. Only in this way will you be able to really level things without the wire influence, and witness how much effect the wiring has on your leveling attempts and actual operation of the tonearm. Until you have done this "sans wiring" setup, no matter what method you employ to level; the turns you make on the two vertical leveling screws will be affected to some degree by the push or pull action of your wiring setup. To prove if this is true for your existing set up. In reverse, remove your wiring - do you need to make leveling adjustments to your arm ? |
Slaw, Maybe I'm misunderstanding you, but why not do that with no LP on the platter? This way you are lining the spindle up with a precision machined surface (the platter). Vinyl is far from precise with all the warps and what-not. The stylus does not have to be in the groove for this part of the set up. |
I don't mean this statement to reflect anything but as a point of passing on information. There is obviously a learning factor with this arm. One of the Et's great abilities is it's flexibility/adjustability. This can be a negative or a positive. It all depends upon one's logical understanding of how anything mechanical works. The longer one lives with this arm, and the more that person realizes that this arm is really simple in it's overall design, the easier it will become to set up and use. The virgin user will see it as an obstacle to overcome, while the veteran user see's it as the extension of everything in life. |
Ketchup makes perfect sense. (Although with the extreme adjustability this particular arm offers, you can adjust for a faulty set-up.) It has been my contention that if one uses this arm, (in order to get the maximum pleasure), you need to have your tt setup so you can visually see how the arm moves across the lp by looking at it from the left side facing the tt. (There is a whole lot to be said for the vision God gave us). A great check is to look at how parallel the spindle is with a lp while the arm is "half way" through it's travel when looking at it from the left-side-facing standpoint. At this vantage point, it's very easy to see if the spindle is correctly parallel to the lp surface. |
This is how I see it... Again, assuming everything is level, I prefer to use my method as it is taking into consideration playing lps in real time. According to the correct way, as stated here and in the manual, I've done that countless times over the years. But there are other factors, wire loom and it's effect, warped/uneven records, damping methods.... having said this, there's really no way you can get perfect level given these unforeseen factors. This is why I choose my method that takes into consideration the arms movement under dynamic (playing an lp) conditions. |
Bigalt, Another problem with your method is that, because the post adjustment has three screws, when you are "leveling" the tonearm as you do, you are also messing with how vertical the post is. It should be perpendicular with the TT platter when viewed from the front of the TT. These parameters need to be set up and locked in. It's not something that you should ever adjust, unless you feel that they might have went out of adjustment over time. |
Bigalt, What you want to do is put a straight edge on top of your platter, parallel with the tonearm spindle. Then, adjust the tonearm so the spindle is perfectly parallel with the straight edge. Just use your eyes. You may have to play with the lighting on the straight edge (use a flashlight at different angles) until you can see both the top of the straight edge and top of the spindle. This will get the spindle much more parallel to the platter than any other method. Most levels, digital protractors, etc. are not accurate at all. Now, do not ever touch the adjustment screws on the post. Once the spindle is parallel with the platter it will never need to be touched. Now all you do is simply level the TT until tonearm does not drift in or out. The problem with your method is that you do not know that your platter is perfectly level to begin with. Care to share how you are determing that? |
If the record is perfectly level then I don't see how my method would take the spindle out of level with the record surface but would make sure the spindle was level with the record. If the record is level the stylus should drift in or out out if the spindle isn't level. If the spindle is parallel with the record surface but the platter and record surface isn't level I believe that this would cause the stylus to drift in or out depending whether the spindle was higher or lower than the edge of the platter. |
Dover. For the sake of brevity I left the word "vertical" of the tracking angle. Pretty sure that this adjustment is applicable to a linear arm. My point was...if the spindle is NOT parallel with the platter, the VTA will change as the arm moves across the record. Bigalt. Agree 100% a level platter and a level spindle go hand in hand. Perhaps I misinterpreted your earlier post. I took it to read that you make this adjustment from time to time. Assuming that the plinth is not in some way distorting over time, I would expect this adjustment to be a set and forget one. Thereafter any shift in level of the whole TT system, say with seasonal movement of the floor/wall, would be corrected by re-levelling the whole TT. |
If the record is perfectly level then I don't see how my method would take the spindle out of level with the record surface but would make sure the spindle was level with the record. If the record is level the stylus should drift in or out out if the spindle isn't level. If the spindle is parallel with the record surface but the platter and record surface isn't level I believe that this would cause the stylus to drift in or out depending whether the spindle was higher or lower than the edge of the platter. |
06-04-15: RichardkrebsRichardkrebs, "tracking angle" does not apply to the ET2 as it is a tangential tracking tonearm. "Tracking angle" only applies to pivoted arms. The correct terminology if I interpret what you are trying to say is Azimuth may be out. It appears that you are suggesting Bigalts azimuth may be out, notwithstanding that if his platter is level, and he levels the arm, then assuming the wand is mounted correctly, it is not possible for the azimuth to be out, unless the stylus is not mounted in the cantilever correctly.. |
Slaw The arm was lowered onto a spinning Blank ( no grooves at all ) record and the leveling screws adjusted until there was no drift in either direction. I know this method is not appropriate for pivoted tone arms but it seemed it should be OK for air bearing tangential tonearms. If there are reasons not to use this method I'd appreciate the information. |
