I agree Lewm, it's just that this tt seems particularly adept at picking out spatial cues that really add to the presentation of tonality and transparency between different recordings. Other tts have done this as well, but often at the expense of really making poorly recorded lps sound v. uninviting. This isn't the case with the Salvation/Terminator. I'm still amazed that the removal of bass colouration and arm tracking issues has revealed so much hidden info with no reduction in the sweet spot that vinyl hits. In all the best blend of vinyl tonality with cd like precision I've yet heard.
My only experiment with a clamp/outer ring with this tt was way inferior than the undamped Resomat, so this is a keeper. |
Doing my best to keep this thread moving. The only downside I'm experiencing is an ABSOLUTE need for the setup, more precisely the Terminator air bearing arm, to have unimpeded air supply (v. easy to achieve by careful placement of the pump hose), and for the Salvation to be perfectly level and isolated to the max against vibration. This latter function I'm finding harder to succeed with: level is not so problematic, but a flexing in my wooden floor which was never an issue with my Orbe/SME V is a devil to contend with in this setup, causing all manner of tricky skipping (but only when dropping the cart, not during the middle of playback).
I'm v. close to installing an isolated wall shelf which will take all floor borne vibrations out of the equation.
Notwithstanding this, the tt/arm combination continues to make my jaw drop. It's doing an amazing job of removing the coloured sonic signature of time smear that no belt drive I auditioned could totally eradicate, in effect marrying the absolute advantages of analog warmth and digital precision into an experience well beyond the best turntables or cd players that I've ever heard.
And I still contend that with this setup, if it gets even 10% of what uber DDs like the SP10 Mk 3 or NVS do, it must be the bargain of the century. My hunch is that it is well beyond 10%, quite poss 90%+. Any established company would charge 5-10x it's asking price, just to cover the thousands of hours of R&D that would go into a new direct rim drive motor and linear tracking arm. |
Spirit, being from England, I wonder if you have ever heard an SME 30/12 with V-12 arm in a well set up system? Or any of the other top belt drives like the Continuum, the Walker, TW Acustics Black Night, Brinkman Balance, DiVinci. Do you feel that your idler is clearly superior to all of the top belt drives when it comes to speed accuracy, drive, propulsion, "time-smear" etc? |
Peter, I understand the tenor of your post. No, I haven't heard all these tts so shouldn't make such sweeping statements. I have heard the SME 20 and 30, TW Acustic AC3, Brinkmann Bardo and La Grange, Clearaudio Innovation, Grand Prix Monaco, and of course my tricked out Michell Orbe.
As you know there is little to no chance in the UK to hear the Continuum, Walker, Da Vinci etc.
Ok, I'll refrain from labelling the Salvation above these, but I have to say the top end belt drives I have heard could not beat the combination of positives presented by the Salvation, and the two DDS I heard got closer, but still no cigar.
Have you heard them yourself?
Are you in/ever visiting London? Fancy a visit? |
No, I haven't heard the Continuum or Da Vinci or the Monaco, but that is exactly my point. I can't know that some other drive system is clearly better or worse in all cases as you suggest of your Direct Rim Drive over all belt and even DD types.
I have heard some horns and tubes and though I think they strayed a bit from reality for my taste, I don't feel I have nearly the experience to pass judgement on the entire class of product.
I think it has a lot to do with individual implementation and overall system context, not to mention the subjective notion of personal preference.
I don't get over to London, but thanks for the invitation. |
It's a strange irony that my push away from belt drive is the direct result of finally getting digital that I really liked to listen to. My current EMM CDSA SE cd was such a step beyond my previous Orbe tt, that analogue for the first time wasn't my first choice of listening. However I was still acutely aware of digital's shortcomings in the areas of tonal density and transparency of soundstage.
Imagine my delight in feeling I'm getting the best of both worlds now with current tt.
Peter, it sounds like you've achieved the same with your SME 30/V-12.
Totally agree with you, that this is all system synergy dependent: my system is really starting to sing with the introduction of 4kVa balanced power isolation and SpatialComputer Black Hole bass node correction in my room.
Great to be able to get off this particular tt upgrade path. |
We have been building rim drives for years now and have 120 plus customers
Cheers
Larry |
Did consider Ttweights, but with no distributor in UK, was reluctant to go ahead w/out audition.
From what I've read comparing Salvation to Gem Ultra, the Salvation motor and execution is at least on a par, the integral air bearing linear tracking Terminator T3Pro arm makes the Trans Fi choice possible the biggest bargain in high end tts, at third price of Ttweights.
But I'm sure Larry's tt sounds great, the rim drive concept imho really does have major advantages over belt drive. |
I had one of the original (#3) TTWeights Black Onyx turntables and it was IMO one of the worst pieces of analog gear owned in my 50+ years of audio.
Noisy, erratic speed, and poor isolation between the table/armboard.
Caveat emptor.
IMO/YMMV |
Bill, If you have been in the hobby that long AND you are a dealer, it is no wonder that you are crotchety.
Spirit, Readers should keep in mind that the benefits of the Terminator 3Pro are accessible to most without having to use the Salvation turntable in the bargain. It's the air-bearing tonearm I would buy, if I would buy one, but I shy away from pumps and moisture traps, etc. It's bad enough that I have a car battery in my living room to run my CDP. |
I own one of the TTWeights GEM Ultra with the Delrin ring on the platter. It is a superior performer at retrieving music from the groove when compared to my former Rega P3 and VPI TNT. My wife and I are pretty sensitive to pitch and changes in pitch (we listen to classical). It takes a deft hand to set the motor controller. However, the TTW produces the most musical of sound of the tables that I have owned. A fellow audio listener had the same impressions after listening to my TTW (he owns a Garrard 301).
Table isolation is only as good as the base on which the deck and arm pod rest. I use a 1 1/4" solid maple. |
SpiritofMusic, Can you provide the link to the article that compares the TTW and the Salvation? |
Audiofeil ~ I bought 2 TTWeights rim drive tables and my own and my customers tables while they sounded ok would not hold a correct speed this based on the Timeline. Dont know if this has been rectified in recent models but both of us were highly disappointed.
(Dealer disclaimer) |
Sksos1, The Timeline has humbled owners of DD, belt and rim drive tables. It can be quite cruel. I did try in on my old table and it clearly showed that it was fast. With no speed adjustability, it was quite an eye-opener. I'm waiting for someone to start a thread which lists results for the Timeline on various tables. |
Sksos1
I didn't need a timeline. A simple strobe showed wild variations in both 33 and 45 rpm. Additionally, the speed would vary without touching the motor controller.
The owner sent me about 10 different pulleys, an external armboard, and a series of "drive rings" none of which solved the problems.
Mine, and I won't purport to speak for others, was a poorly designed product.
IMO and YMMV |
Guys, this thread is off track. It is about the Transfi Salvation turntable and the sonic attributes of rim drive. I would like to hear others input on the Transfi and its comparison to other rim drives. |
Redglobe, The TT Weights turntables of which these guys are speaking ARE rim drive types, so their comments are not really OT. Plus, it ain't your thread. It might be interesting for someone in the know to dissect the differences between Salvation and TTW tts, because it seems there is a difference in the perception of their respective performance capabilities. Why would that be? Based only on photos it seems they are more alike than they are different. |
My view would be that the TT is not a bad buy, assuming it works as claimed, but I dont think the tonearm is a very good design at all, mainly because the air bearing is a floating style, prone to wobble. If you compare it to the Eminent Technology, the ET has a captured air bearing which will be far more rigid. Furthermore the ET will have less resistance in the vertical movement as it is an air bearing vs the double knife edge used in the Terminator. Finally the claim of a light moving arm mass of 80g compares unfavourably to the ET2 which totals 25g plus decoupled counterweight of 5-15g, so the ET has far less inertia in the horizontal plane.
|
Redglobe, I'm not sure there is an article that compares the Salvation to Ttweights. One thing I can say is that although the two designs are similar ie direct rim drive, Vic the designer of the Salvation assures me his motor is very different ( I assume superior?) to that of the Ttweights.
I do know Vic investigated the Teres Verus and in the end scrapped the idea of using it, preferring to build one up from scratch.
Vic's main advantage is being able to provide very stable, very high torque to the massive oversized platter (it is next to impossible to slow the platter manually without using lots of pressure, v. different from my low torque belt drive), at the same time effectively draining the vast majority of vibrations away from the platter hence minimising rumble.
The day to day result of this is only occasional need to tinker with speed settings, never mid lp, and a soundstage so open and transparent that no subjective evidence of rumble is present.
I still contend the tt/arm combination is the biggest bargain in the high end today. |
Dover, to suggest that the Trans-Fi arm "is not a very good design at all" due to possible bearing wobble ignores a complex of variables.
Unlike any captured air bearing design, this is a mechanical pivot arm in the vertical plane and an air bearing in the horizontal plane. As all air bearings move freely in the horizontal, the possibility of wobble is relevant only in the vertical plane. The vertical needle pivot points hang in a cradle well below the air bearing. (The two needle pivots are also spaced apart by a generous 2.5" for stability.) It would be complex math to model this system precisely, however it is easy to see that the system is relatively stable, as by definition the mechanical pivot is absorbing most of the vertical dynamics of the arm. (Picture a see-saw that pivots on the seat of a swing. Will the action of the see saw move the swing?)
The stability of the air bearing itself is a function of a several factors: the surface area of the bearing(a generous 14 sq. in.), the length of the sled(a generous 7"x 2" "air foil" that rides like an airplane wing (an airplane wing of sufficient size for its fusilage and cargo becomes stable, No?)
There are also other variables operating on the comparison bewteen these arms: short arm vs. long arm resonance characteristics, lighter vs. heavier vertical inertial mass characteristics, low vs. high air pressure turbulence/pulsing characteristics transmitted to the stylus.
The complex of variables in each these arm should be considered in totality. As in all things audio, it's disingenuous to generalize.
Lewn, BTW there is not moisture issue with this arm since there is no compressor tank. The bearing operates at the same 1 psi output as produced by the aquarium pump. |
Dgarretson, I have to agree with you. I can't add to your technical analysis, but this arm is a MARVEL of tracking and neutrality.
Before buying it, I was really unsure about the maintenance issues of using an air bearing linear tracking arm. It's only downside is a real need for perfect level, freedom of air supply (reas. easy to achieve), and isolation from vibration (a little more tricky, I'm having to resort to a wall shelf to eliminate floor borne disturbances).
However it's upsides are really decisive. Dominant amongst these is unbelievable tracking esp. towards end of side/lead out grooves: I can honestly say that there is a real stability of sound reminiscent of the best of digital, that means cart tracking toward the end of lp play is as good as when the stylus hits the grooves as an lp side starts to play. |
I personally can't understand why anyone would get involved with this turntable. With the likes of VPI, Sota, SME, etc. who will solidly support the owner with a business that is a proven going concern and who will be there for their customers 3 years from now I can't see the benefit of this proposition. |
Stringreen, I understand your reservations re Trans Fi being a small name with no substantial reputation like the names you have mentioned. This is very true, although Vic has been making his arm for several years now, and this has proved to be reliable and extremely good VFM. The Salvation has been selling for over a year now and is developing a similarly positive reputation. Additionally, it is a cottage industry, Vic can only build to order, and indeed he wouldn't be able to cope with a mountain of orders.
One thing that VPI, Sota, SME etc. won't be able to provide is a paradigm busting approach to getting the best out of analogue, technology that emphasises all it's positive attributes with few of the negatives associated with more traditional technologies that these established companies are limited to offering.
But you pays your money and you takes your chances...I did, and haven't looked back. |
Spiriofmusic...I certainly don't wish you evil, but I have been stung too many times with wonderful products that have failed the marketplace...and too I have been greatly supported by Ayre, Vandersteen, VPI, Benz, Sennheiser,....and feel much more comfortable knowing that I am not out here alone. |
"One thing that VPI, Sota, SME etc. won't be able to provide is a paradigm busting approach to getting the best out of analogue, technology that emphasises all it's postitive attributes with few of the negatives associated with more traditional technologies that these established companies are limited to offering."
Spirit, what do you mean by this? Could you elaborate? |
I'm not here claiming the Salvation is going to sound better than any other tt out there. As I explained before I'm never going to hear even 10% of top end tts out there.
But I do feel that the direct rim drive/air bearing linear arm technology v. likely provides a presentation different to that from the usual belt drives, surely we can agree on this?
What I'm trying to promote is that maximising timing and torque by non-belt technology, together with minimising tracking errors via linear tracking technology, provides a sound so fundamentally different than any other belt drive/pivoted arm combination that I've auditioned, at a real world price, that I just want to spread the word.
Yes, combining tonal accuracy, transparency and precise speed control is paradigm busting - it's so surreal to hear the best attributes of analogue and digital sound presentation in the same package.
Stringreen, TOTALLY understand you not wanting to burn your fingers twice. |
Spirit, It is great to note your enthusiasm, and as Dave G knows, I share your admiration for the Terminator tonearm, but your technical explanations of why the Salvation is superior to other turntables, particularly belt driven ones, fall flat. I could cite in response a list of pseudo-technical reasons why, in principle, I don't care for the rim drive idea at all, but it would be unfair to do so, since I have never heard the Salvation or the TTW products. It's enough to say that we ought to be aware of the Salvation as an interesting alternative. I tend to respect the product despite my misgivings re rim drive, because the designer has already shown a lot of talent with respect to the Terminator.
Dave, I never realized that moisture is not a problem for the Terminator. This tempers my aversion to trying one. |
Spirit, I have been following Vic's site for a number of years and it is good to hear such a favorable review. It seems like a well crafted TT with a simple engineering design.
The Resomat seems to be a key component for minimizing the transmission of noise to the stylus. How much rumble does the stylus pick up without the Resomat? Do you know the runout of the bearing? It looks to be the same bearing that DIY HIFI Supply sells. Is it the same or is it coincidental?
What kind of music do you listen to? Can you detect when instruments are off pitch? |
Lewm, I think you would very much "get" the Salvation if you heard it, since you're coming from a change to idler/dd away from belt drive (Lenco L75/SP10 owner if I'm not mistaken?).
All I can say is that no matter which high end belt drive I tried and liked (SME 20, 30, TW Acustic AC3, Brinkmann LaGrange, Clearaudio Innovation etc) the mid/upper bass colouration was present, reduced compared to my tricked out Michell Orbe, but nevertheless a constant.
On listening to the Salvation, this colouration GONE, with a consequent improvement in sound produced across the board.
I know that Vic has spent hour upon hour devising a way to drain rumble away from the platter, and if the wide open transparant soundstage is anything to go by, he has succeeded admirably.
Two caveats: one, I can't divorce the effects of the arm from the tt since it came as a package; and two, this extra cleanliness to the sound eliminating euphonic timing colourations may not appeal to the majority. Indeed I was wary I would grow to be unsure about the sound, but the combination of the best of digital and analogue attributes is really beguiling.
Redglobe, you have to really alter the VTA of the arm to eliminate use of Resomat, but on correct a-b, use of the mat is a winner by miles - much greater focus and smoothness to the sound. |
Dear Redglobe, I ask this question in all sincerity, not to be facetious. How could we imagine that the Resomat can "minimize transmission of noise to the stylus"? I guess it could do so by failing to transmit bearing and motor noise. On the other hand, energy put into the LP by the cartridge bumping around in the groove would tend to stay "in" the LP and could end up affecting the cartridge. It might be a trade-off. Most of the time, we are forced to choose among such trade-offs, so in the end it depends on the listener's preference. That is, pick your poison.
I was watching a snippet from Clockwork Orange the other night, as part of a biography of Stanley Kubrick. I had forgotten that there is a Transcriptors turntable prominently shown in the movie, actually seems to have been a prop for Kubrick to reveal character. That platter did not catch on for some reason. Definitely not ideal for even slightly warped LPs. |
Regarding the Reso Mat, yes it does seem counter intuitive that something which allows freedom of the lp to not be flush flat when being played can only add to soundstaging and dynamics issues.
But maybe this needs to be looked at in reverse. Maybe use of clamp and outer ring does indeed maximise flattness, but if it introduces strain and overdamping maybe this negates this advantage. Whenever I used clamps/mats/rings on my Orbe, somewhat better soundstaging resulted, but with a pinching of dynamics and musical energy.
All I can say there is no hint of overdamping just a surplus of musical energy coming thru on the Salvation. |
As I mentioned previously, I tend not to like clamps and rings. Like anything else, damping can be overdone at the expense of lifelike qualities. |
Absolutely my point Lewm, my Orbe was improved in some ways with clamping/periphery rings/mats, but in other ways, life, energy and dynamics were stifled.
Another example of Vic thinking "outside the box" and going down a route not followed by any other tt designers.
It amuses me that near state of the art sound can be had with such simple engineering approaches compared to the seriously OTT vacuum hold down/clamping/fixing of lps with pumps/suction/heavy rings offered by top end tt manufacturers like Continuum, Walker, Clearaudio etc.
An amazing result of eliminating fixings is quite the liveliest, most naturally exhuberant sound I've ever heard from my lps.
However I have a couple of devilishly warped lps to play soon, will report my thoughts then (thinking of investing in a Vinyl Flat). |
Redglobe, I think you'll find first and foremost, it is the design of the motor that minimises transmission of rumble to the platter, draining it diametrically away via the feet and operating lever.
Then on top of this by raising the lp off the platter a few milimetres onto inert points, it minimises further vibrations reaching the stylus via the lp itself.
So maximum torque, speed stability, resistance to stylus-groove modulation is provided by the direct rim drive engineering; stable, neutral tracking across the WHOLE lp side is provided by the air bearing linear tracking arm; and potential downsides of transmission of rumble are minimised by deliberate motor design and interruption of continuous flow of energy by the resomat.
All that needs to top this off is something like the Vinyl Flat to tame overwarped lps which might not sit well with the resomat, moderately warped lps have been no problem so far.
My perception of pitch, I'm really not too sure how well developed it is. I have to say classical music esp. piano seems to be v. truthful. The tt seems to get the full percussive impact as the hammer strikes to create the leading edge of the note (direct result of v. high torque motor), and no wavering in decay as the note dies away (direct result of minimal time domain 'smear' caused by ultra accurate speed control). fade outs involving acoustic instruments are v. close to as waver free as digital.
One of the biggest improvements I wasn't even expecting to get is a massive improvement in vocals. Voices are much more solid and intelligible, more centre stage than ever. |
Spirit, looking at the Reso Mat, it appears that the LP rests on a few points elevated above the platter. Without anyway to clamp the LP down and prevent it from moving, do you notice any slippage of the LP as the needle creates drag during large groove modulations?
I understand from your many descriptions of the high torque motor that it propels the LP forward at constant and accurate speed. That is a big advantage. I'm wondering though if the friction from the stylus might be enough to slow down the LP during big piano notes etc while the massive direct rim drive keeps the platter moving forward. How does the Reso Mat/Trans Fi Salvation deal with this potential problem? |
That's a REALLY good question. I'm not sure if I've got the correct answer, and I wouldn't want to give you any BS.
All I can say is that there appears to be minimal wavering on piano notes or loud passages/crescendos where undoubtedly groove stylus drag is likely to be at it's greatest.
I have checked strobe speed during such passages and there appears to be no slowing, visually or aurally. However a Sutherland Timeline may provide another story. Maybe one day.
What appears to be happening is that the resomat is one with the platter and there is enough solid contact between resomat and lp to resist slipping from groove friction/inertia. Vic has craftily made the spiked cones of the resomat of the same material as goes into lps so thre may be a natural adhesion between the two. |
I use a light clamping force, with rubber washers of correct thickness underneath and on top of the Reso-Mat as required to cup the LP onto to the vinyl acetate cones of Reso-Mat without excessive compression. |
I would like to offer another point of view on the Reso Mat. I and my friend tried out the Reso Mat on his highly modified slate plinthed Lenco, with a variety of arms including the Terminator. We felt that while the sound seemed to be cleaner, there was a loss of body / mid bass. Both of us felt that the compromise was just not for us. So, I suppose, as many other things in audio, this is system / TT dependent.
Then I have this question about over-damping with clamps / weights / vacuum on LPs. I always wonder how a LP can be over-damped, as it is supposed to be inert, and the cartridge is playing on the top side, in free air.
I can understand the clamping may causes stress on a warped LP. I can understand the interface between the LP and platter / mat may result in some vibrations reflect back to the stylus. There are certainly possibilities that they could affect the sound. However, I really dont understand how a LP can be over-damped.
Yes, if over-damp actually just meant a deadening of the sound, I can see that happening, but that is not really over-damp is it, at least not in the technical sense, right? |
Vic is definitely of the opinion that no matter how much you try to fix a warped lp to the platter via clamps/rings/vacuum hold down etc, the v. nature of the warp, being fixed and unforgiving will mean that the warp will 'fight' the flattening and push against the fixing somewhere in the grooves. At some point obv. the stylus will hit an undulation and leave you with the same problem of tracking, perhaps exacerbated by the fact the lp is now overly fixed due to being held artificially static. Vic's o'all conclusion is that less artificial fixing of the lp to the platter will prevent such non-flat 'hotspots' being an issue ie if you cannot have a totally flat lp, accept the fact and make do with less restriction. Who knows how much groove stress/distortion is introduced by over fixing a bendy lp to the platter, against it's 'will' (lol!)
Please note, I am only surmising what is poss. going on here, this tweak like all others must be reas. system dependent. |
There are (many?) records which are concave on one side
(convex on the other) and need a clamp to be 'flattened'.
For my SP 10 I use the Orsonic 'disc stabilizer' which is
only 200 gr. It is not the weight but 'suction' working method.
For my Kuzma I use the provided weight of 330 gr.'obligtory'
because of the TT's suspension . |
So, can we all agree that the Resomat will be system specific? With the Salvation in my set up it appears to work better with than without. In others the opposite will often be true. At c.$50 a shot, surely it can't harm to try? |
Along the lines of Kong and Nandric, these are other considerations of playing warped records and concept of clamping/bonding the LP to the platter (assuming a sonically inert platter).
The original lacquer is flat, making it perpendicular to the cutting knife: front to back, and left to right.
However, a floating and warped LP is no longer flat. Most LPs are not flat.
This changes the azimuth, the VTA of the stylus, and the vertical tracking force, dynamically. This should result in lost music retrieval.
With the short cantilever of the T3 pro and a warped record that undulates, there are changes in the perpendicular angle, front to back, of the stylus in the groove. So, when dealing with millionths of an inch of cut music, this would result in lost music retrieval. It also induces an artificial frequency, albeit, low level, that is not part of the recorded music.
My experience with various clamps and mats is that the seeming reduction in sound dynamics is truly the elimination of resonant feedback. The longer I listen to a well bonded LP to the platter, the more obvious becomes the music reproduction.
The hard surfaces give a solid platform, and various material densities of the platter and mats cancel out resonant frequencies. I contrast the importance of the hard, stable, platform of the turntable platter with trying to walk while the ground is shaking. |
Thekong has a good point. Here is where art and science intersect. Ideally, you want the LP to be completely inert and for all mechanical energy put into it by stylus motion to be drained away so as not to come back to the stylus tip after resonating around the LP. (I guess this is the case; one could argue the point.) But I think the art of music reproduction involves a dirty little secret: to some degree the distortions created by various components in the chain can serendipitously add to the sense of reality, of being in the presence of the musicians. Those distortions should be controlled but not entirely eliminated, if verisimilitude is the goal. The Resomat could in some cases enhance the sense of reality by the very fact that it impedes loss of mechanical energy from the LP into the platter.
Thekong, I am using a Boston Audio Mat1 on my slate Lenco. I am thinking about giving the Resomat a try. Thanks for your report. I would think that the Resomat might be especially effective on an idler, but maybe not. |
The coupling points used on Resomat complicate the discussion. There are six vinyl acetate points at the lead-in grooves and three in the run-out section. Points are generally accepted as viable in other contexts of audio, so why not for an LP?
Wherever I have used points I find that mass loading improves things. My experience of Reso-Mat without clamping was similar to TheKong's. I heard an improvement in clarity at the cost of paleness or a slight loss of embodiment. In addition, while Vic believes that the unweighted record doesn't slip against the points, I'm not so sure. The points have a light grip on the LP relative to a flat mat or platter surface. Unfortunately I have no fancy tools like Timeline to quantify any effect on transient speed stablity.
Adding a light clamping force improves embodiment, levels the LP, and adds a reassuring bit of grip. Excessive clamping sucks the life out of it. |
For my favourite records I precision ground one side of each record flat, acccurate to 3 micron, and then cold welded these to lexan blanks, 4.5mm thick. I purchased 2 of every record to ensure I could listen to both sides. The net result is far better coupling and energy flow to the platter, the improvement to sound is absolutely amazing, no clamps required, no warps. |
Dover, taken with a small dose of Lithium, that should get you through the night. |
Dgarretson, thank you for the suggestion. I have a Dwight Yoakam record that gets me through the night quite nicely thanks. |
I tend to agree with Lewms point regarding the slightly added distortion may sometimes be preferred by the audience.
I can share my experience on that. When I was using a relatively smaller speaker, I got pretty good bass with all the excitement coming with it. When I upgraded to a larger speaker, it was obvious that the bass went lower, more powerful, and with more ease, all very positive improvements. However, the excitement just seemed to diminish a bit. I suspected that the bass was actually stressing the smaller speaker a bit, and with the speaker being on the edge, it actually added to the excitement level! |
Dear Dover, where can I buy a precision grinder for vinyl? I think your idea is great, only I would have used the other copy of each record. You could grind down each of the two LPs on opposite sides, then glue the one with the un-ground side A to the one with the unground side B so as to create a ~360-gm LP, in the case where you start with two 180-gm copies. Saves storage space, too. |
This thread is taking a, shall I say, overly fastidious direction. I'm a little suprised the Resomat is taking up so much discussion, it's a $50 add on. The Salvation can run without it, so those unsure, for good reason about the Resomat's pracicality, could always use the Salvation with traditional clamping methods. Vic's Salvation design predates the Resomat by a year, he only added it later. |
