I'm putting to rest worrying about sibilance


I just ran a test on three different turntables I own. I played various recordings, each of which exhibit sibilance to some degree, mostly female vocalists. The three tables are pro-ject the classic with the hana el, music hall mmf7 with factory mounted eroica h, and my brand new thorens td 240-2 with the ortofon om10 also factory installed. My dilemma began with constant worrying about the first table (the pro-ject) as I thought I was hearing a bit of sibilance only on certain records. So I played the very same records, mostly used from thrifts etc, on all three tables and adjusting volume or gain for each. Well, I found that all three table and cartridge combinations exhibit the sibilance in the same parts of songs on each recording. My findings are that what I perceive as higher sibilance on the hana can be contributed to its (imo) better high frequency response. In other words, the other tables and cartridges had the sibilance, but to a lesser prominence, but it WAS there. So my conclusion is that it Is just inherent in the lp medium to some degree, and more so with used records. I have farted around enough with the hana el and I am no longer going to fret over it. I would have a hard time believing that all three tables and cartridges are that badly aligned etc to all cause some sibilance here and there. All three were checked and seem to be dead on. The only table I personally installed cartridge on was the pro- ject (hana el) also, three preamps were tried during testing, my marantz pm14s1 built in, a musical fidelity lx lps, and a pro-ject tube box ds2. Lastly the hana el was adjusted when installed to align with the cartridge body and not the cantilever (just easier imo) using a proper protractor, and the vta was adjusted so that the hana is a bit ass down, as I think the hana sounds right like that. So there is my conclusion. I’ve been reading forum after forum about the sibilance issue somehave, but I think I feel better after doing what I did as described above, and refuse to drive my self nuts any longer!😁
Just to add, the listening was first performed on the other 2 tables, the mmf7 and thorens, again both have factory installed cartridges, also checked by me. In doing so I ruled out the hana inscribing the record grooves with the sibilance in the event its mis aligned, which it is not....
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Showing 2 responses by teo_audio

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.
Teo, so are you saying that Teflon dielectric causes sibilance? Not to mention “magnetic” electrolytics and RCA jacks? I don’t even know where one could buy the latter two items; they virtually don’t exist.. And gain stages by definition cannot be passive. And LOMC cartridges are just as prone to exhibit sibilance as are any other types, given the particular LP, the setup, and the right ancillary components.


I made incomplete statements that are more indication of directions to move in.... and expect folks to do their homework, is all.