Obtaining a giant can of effective ’siblanc-b-gon’,and using it, consists of a LOW output MC, into a properly specced and applied transformer, and that going into a esoteric oriented RIAA amplifier of medium gain.
the RIAA circuit/amplifier/gain-stages (should be two gain stages, possibly each as passive)... must be built of non magnetic resistive components, with no Mylar, ceramic, or tantalum capacitors. All non magnetic electrolytics, and all non magnetic RCA jacks and so on.
When that is done, combined with the same emphasis and work in the tonearm (good bearings for zero chatter, etc) and it’s connectivity (good wiring, no teflon dielectric, etc, all non magnetic connectivity)...THEN..one can finally get to finding out if the sibilance is in the record (or original recording) or not.
This is done with careful set up of the cartridge, with all of the rest in place.
This is the road to low sibilance. It’s surprising how much it can be the gain stages (as a circuit design) being a problem, and not just the components in the circuit.
the whole thing is the sum of the parts and how it is arranged and then how it is applied. Any one of those steps being missed and you’ll be stuck trying fix a mess that is build into it and unrealized. (meaning -you don’t know what part is at fault, so you’ve no clue which way is up so there is no reference point to begin analysis from--you just spin and throw darts, making mistake after mistake with no end in sight)
If one wants to approach perfection then all the tiny steps must be meticulously applied as a whole set with zero of them missed or ignored.
It’s like you are trying to toss (like blindfolded mini-putt) a ball really hard down a long darkened careening hallway, and bounce perfectly of about a dozen bumpers..and nail the ball into the hole..and never be able to really see any of that pathway you just nailed. Evey inch of following the path must be perfect or the result will be a fail.
In the end, all you can do is play with low output cartridges and see if you can get the compliance of that cartridge to work in the perfected system...and then.. you finally get to hear if sibilance is on the record, or not.
To give you an idea of how rarely it is done to that required level, you can pick any piece of equipment for sale on the 'gon..and then go through them inch by inch. Somewhere near 1 in 50 to 1 in 100 will be built to that required level.
So it's all running in circles in the dark - for the vast majority of us. Never having a clue of how to fix it.
the RIAA circuit/amplifier/gain-stages (should be two gain stages, possibly each as passive)... must be built of non magnetic resistive components, with no Mylar, ceramic, or tantalum capacitors. All non magnetic electrolytics, and all non magnetic RCA jacks and so on.
When that is done, combined with the same emphasis and work in the tonearm (good bearings for zero chatter, etc) and it’s connectivity (good wiring, no teflon dielectric, etc, all non magnetic connectivity)...THEN..one can finally get to finding out if the sibilance is in the record (or original recording) or not.
This is done with careful set up of the cartridge, with all of the rest in place.
This is the road to low sibilance. It’s surprising how much it can be the gain stages (as a circuit design) being a problem, and not just the components in the circuit.
the whole thing is the sum of the parts and how it is arranged and then how it is applied. Any one of those steps being missed and you’ll be stuck trying fix a mess that is build into it and unrealized. (meaning -you don’t know what part is at fault, so you’ve no clue which way is up so there is no reference point to begin analysis from--you just spin and throw darts, making mistake after mistake with no end in sight)
If one wants to approach perfection then all the tiny steps must be meticulously applied as a whole set with zero of them missed or ignored.
It’s like you are trying to toss (like blindfolded mini-putt) a ball really hard down a long darkened careening hallway, and bounce perfectly of about a dozen bumpers..and nail the ball into the hole..and never be able to really see any of that pathway you just nailed. Evey inch of following the path must be perfect or the result will be a fail.
In the end, all you can do is play with low output cartridges and see if you can get the compliance of that cartridge to work in the perfected system...and then.. you finally get to hear if sibilance is on the record, or not.
To give you an idea of how rarely it is done to that required level, you can pick any piece of equipment for sale on the 'gon..and then go through them inch by inch. Somewhere near 1 in 50 to 1 in 100 will be built to that required level.
So it's all running in circles in the dark - for the vast majority of us. Never having a clue of how to fix it.