Congrats!
Every type of component influences PRAT (if that is what one wants to call it) to one degree or another. We tend to be more comfortable describing issues of tonal and spatial distortion, but less so issues of rhythmic distortion. Sure, source components (tt’s, especially) tend to be the worse culprits, but I have experienced amps and preamps that are more rhythmically “alive” than others and some that sound rhythmically stifled; regardless of tonal signatures. I’ll let the more technically astute explain why.
**** I think descriptors such as micro and macro dynamics, transients, attack and decay are far more precise terms. ****
Agree.
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to me, good music makes me want to tap my feet, swing, move etc etc., whatever you want to call it
a great hifi only helps in that regard
i have done a lot of foot tapping on many a long drive in car with very average car stereo
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@mijostyn + 1 - Great point; I've never understood it when somebody says a great system will get their foot tapping. Their foot wouldn't tap to the music on a lesser system? Hell, when I was a teenager, never took more than a handheld 1960's transistor radio to get my foot tapping and head bopping as long as the music elicited that!
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PRAT may be the most obscure audio terms I can think of. I relate it to music and performance far more than to system. Both pace and rhythm are generated by musician, not system. Timing even more obscure, this has most meaning to me in relation to clocking with digital.
I think descriptors such as micro and macro dynamics, transients, attack and decay are far more precise terms.
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You can use the term PRAT any way you want. Or it can be a criterion by which to judge or describe vinyl reproduction. Would be my response.
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From @lewm ’s post above
Excuse me, but wasn’t it Tiefenbrun’s (Linn’s) point that turntables create PRAT, not cartridges or anything else in the signal path.
So does this mean digital music does not have any PRAT?
Mine does!
- bags of it, but it was all due to my cables.
- Granted a good cartridge/TT combo will "contribute",
- but for me, cables were the turning point
Now my digital rig is equally as good as my analogue rig - or vice versa :-)
And for me - it was the cables that did it !
But please let's not turn this thread into a Analogue vs Digital debate
I like analogue as much as the next guy
But for me - PRAT is the manner in which the system delivers the music
- it can be dependent on any component or cable
- for me PRAT is the sum of the following
- dynamic performance of the system
- the clarity, which can contribute to the sense of space of the image
- the artist placement within the image due to "time-aligned" left and right channels being "right"
- and those those tiny details that make the venue come alive alive - what I call venue acoustics
Just an observation
Enjoy the music - Steve
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Measured wow/flutter, according to multiple trials with Analog Magic, is around .06%. This is a decent figure for sure, but to improve it I suspect I’d need to overhaul the bearing, which I’m not willing to do at this point. The next upgrade will be a new table.
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It’s certainly viable, just like any other adjective we care to use to describe our subjective impression of how a system or a component may sound to us. Such adjectives are most meaningful when the other guy was in the same room with you at the same time listening to the same music.
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Marketing term or not it’s a viable adjective to describe the sound of a high end system. One reason why the Rega P9/RB1000(2012) is the oldest component in my system.
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And the turntable. It’s telling that Phoenix is driving the motor.
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My feet tap to the music not the system. It is great that your transient response and dynamic contrast have improved with your new cartridge but, rhythm and timing belong to the musician.
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A highly modified VPI classic 4, with the SOTA Eclipse motor and controller upgrade, including an Origin Live belt and an SME 312S arm and Funk Achromat mat, and last but not least, ISO Acoustics Gaia 2 feet. The motor is sitting on two levels of rubber standoffs to eliminate transmitted noise through the highly conductive plinth. The belt I had to run the calculations on and experiment with several belts to get the perfect one down to the millimeter, as the motor is fixed. The reason I bought the table in the first place was that it was relatively cheap way to get a table that would take a 12 inch arm. So, I was able to overcome the severely under engineered design, over a period of several years of frustration as I discovered deficiencies, to provide a great platform to let this new cartridge sing.
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Excuse me, but wasn’t it Tiefenbrun’s (Linn’s) point that turntables create PRAT, not cartridges or anything else in the signal path. So, what turntable? Probably not an LP12. But maybe.
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The term PRAT was developed by the marketing department.
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Congratulations. I think it took me forty years to put my finger on what PRAT was. I knew that my foot was the key. Once I recognized it… how to listen and hear it, I really recognized what high end audio reproduction was about. My system now ARC / Sonus Faber is so musical I have a hard time tearing myself away because the music is so seductive… as opposed to the details being so amazing.
‘PRAT is what should be the primary driver of purchases, but in fact is one of the hardest characteristics to detect and use as a selection criterion in our purchases. Hence one of the reasons so many have amazingly detailed and unmusical systems.
Welcome to the world of high end music!
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