I, too received mine a few weeks ago and couldn't be more pleased. Sound is more "freed-up" from the speakers than ever before. There is more separation and air between instruments especially towards the end of records. It's not a miracle worker: Scratches still sound, overplayed, groove-damaged records are still beyond help, and garishly-recorded strings and brass still sound bad. In any case, the protractor has definitely "raised all ships," so to speak, helping my VPI/Dyna 20xl get more off both excellent and marginal-quality records.
Set up took quite awhile the first night, mostly because of fumbling with best lighting and focusing and re-focusing my eye with the 10x loupe. A warning: I used only one eraser to stabilize the VPI platter and it raised the platter enough to throw off the alignment once I took the eraser out. The next night it took all of 45 minutes to get everything absurdly accurate, and that's what makes the protractor so excellent--that mortals like myself, (with a little patience and fortitude), can get everything so dialed in.
( At least if VPI drilled the platter hole to the exact millimeter, the record hole is in the right place, and the tonearm base...AHHHHHH!)
What's best about the Protractor is that it allows |
and that's what makes the protractor so excellent--that mortals like myself, (with a little patience and fortitude)... - Jdaniel13 - "More you see .. more you mint .. more you mint .. more you listen " :-) |
... garishly-recorded strings and brass still sound bad. The good news: based on my experience there are fewer such records than you probably suppose, especially in classical. System improvements of all kinds (including the Mint) consistently make most "bad" records sound better. The bad news: reread the above and save up more pennies. |
Dougdeacon--it's embarrassing to admit but I got more obsessive about second-guessing garish brass and strings than you can imagine, picking up reel to reels of things such as Bernstein's Mahler 2nd, Bernstein's Copland, Stravinsky's own Firebird ballet, Munch's Berlioz Requiem. My conclusion is that Lp's throw pretty much exactly what's on the master tape.
My downstream system is Musical Fidelity A308 and Vandersteen 3a Signatures and Jaquar interconnects and CV-6 bi-wired speaker cables, all with battery packs. |
System improvements of all kinds (including the Mint) consistently make most "bad" records sound better. I couldn't agree more. You'll know you're on your way when Phillips LPs (v. few of which are 'bad') come to life with the venue context of back and side wall reflections. Tim |
Perfect example, Tim.
We've got most of the Mozart symphonies on Philips, with Haitink in the Konzertgebau. For years I described those LP's as veiled, soft, rolled off highs, little sense of soundspace, etc.
Today, while they may not quite match an audiophile label, they've gotten much closer. Low level detail, extended highs and the rich and deep acoustics of that hall are in ample evidence with multiple echoes off back/side walls and the whole bit.
Same for many DG pressings, the band behind Ella on the Verve reissues of the 'Songbooks', etc., etc. The number of bad or even mediocre LP's is much lower than supposed, at least in our collection.
Jdaniel,
I've admired your passion for and knowledge of classical music since you first joined the forum fray a few years ago. I wish I had the time to acquire your knowledge.
Regarding sonics however, I invite you to visit next time you're in the neighborhood, and perhaps expand your sense of what's possible.
If your master tape and LP of the Munch Berlioz Requiem (for example) both sound strident, that doesn't disprove or even test the hypothesis that such stridency arises from distortions in the reproduction system. 'A priori', it is impossible to know whether such problems are due to a bad recording or to the exceptional dynamics and complexity of the recording presenting too many challenges for the system(s) you've heard. In this case, I guarantee that system problems are to blame. I have that LP and it sounds magnificent. Three years ago I'd have firmly endorsed your conclusion, but I was wrong and you are too.
With respect, there is equipment which will do less damage to a signal than the pieces you listed. None of it is cheap, but it exists. Play those problematic LP's or tapes in some systems passionately and uncompromisingly built over many years to minimize distortions while maximizing dynamics - in most cases you'll be happily surprised.
|
Well Doug, I'd love to visit. However with regard to Berlioz Requiem, the passages in question are certain loud choral Soprano lines in the opening "Requiem." It sounds like oversaturation to me, but I'll keep my mind open, always works in the end! I've settled on Davis' Classic version which came out on SACD--I like the Westminster acoustic. I've also discovered that the better the system, (even my humble equipment), we end up with a paradox: the more ruthless or heavenly the results, sometime in the same recording! |
"Play those problematic LP's or tapes in some systems passionately and uncompromisingly built over many years to minimize distortions while maximizing dynamics - in most cases you'll be happily surprised."
Well said Doug.
Minimising distortions throughout the 'playback' chain whilst ensuring 'reserves' of amplification power is, I believe, the key. |
I would like to mention, I have a Wally Tractor Universal and what I love about it is that it works for 3 out of 4 of my tonearms. It handles the Phantom, Breuer and 10.5 inch Schroeder. The Phantom jig is never perfect and the Wally tractor allows me to get it spot on. As for the differences, having never seen a Mint. The Wally is the exact thickness of a 150 gm or so LP. Also it is made out of plastic so it won't break. And it has the arcs and the lines all set for parallax so I am able to sight the stylus point perfectly without feeling I am looking at the wrong angle. Lastly it contains both Baerwald & Lofgren arcs for each arc. Truly a pleasure to use.
On a brief note, I had my Schroeder setup perfectly even before I received the Wally just using the simple 66 null point protractor made out of paper included w. the Schroeder. But the Schroeder pivot point is fairly easy to sight due to the nylon thread being the pivot. |
Dgad: the only thing I would humbly report is: the 10x magnifying glass revealed that my stylus could be more than a mm off the line, even though with my naked vision, it seems to be sitting on the line. |
Hello... I know this thread has been neglected for some months, but I found it and read with great interest and pleasure its remarks and follow-through on the Mint Tractor and Yip's related products.
Your insights and experience have helped me decided to buy one. The experience I had doing this with Yip yesterday and today was nothing short of remarkable and a real pleasure. He is an extraordinary gentleman and is very willing to assist in every way.
I am very much looking forward to using the Best Tractor (as well as his Mint cleaning fluid and tools) in the next week or so after they arrive. I'll give the thread a report.
Meanwhile, if you have any followups or further thoughts since April, count me as interested!
:) listening,
Ed |
I'm not sure if this is a dumb question, but my mounting distance is between 221 mm and 222 mm. I have a VPI HW-19 with a RB300 arm, and Yip says that the mounting distance should be 222 mm. Do you think that my ruler is off and just go with the 222 mm? Does that .5 mm make a difference?
Thanks! |
