Vintage DD turntables. Are we living dangerously?


I have just acquired a 32 year old JVC/Victor TT-101 DD turntable after having its lesser brother, the TT-81 for the last year.
TT-101
This is one of the great DD designs made at a time when the giant Japanese electronics companies like Technics, Denon, JVC/Victor and Pioneer could pour millions of dollars into 'flagship' models to 'enhance' their lower range models which often sold in the millions.
Because of their complexity however.......if they malfunction.....parts are 'unobtanium'....and they often cannot be repaired.
halcro

Showing 50 responses by halcro

Thanks for that interesting excerpt Richardkrebs.
I wish he had included the graphs, charts and figures to properly support his claims....
We of course are now able to graphically demonstrate some actual performance charts and figures for various turntables under test.
Dover still resorts to imagined 'monsters' from his antipodal 'sleep of reason' as witnessed by
4.The timeline only measures the arrival of a single point on the platter at the same place at each time. It does not measure what happens in between.
He strangely ignores the Feikert Frequency Response Charts posted which demonstrate a 'real-time' ANALOGUE print-out over a 30 second time interval....an interval comprising 16 revolutions of the platter....which disproves his (and your) theory of malevolent speed behaviour BETWEEN the Timeline recording interval.
It is indeed revealing that Dover has never had the intestinal fortitude to post his Final Parthenon turntable performances under both the Timeline and the Feikert Speed App yet continues to boast of its abilities. I am dubious in the extreme.....😎

As for your idea of testing the various arm/cartridge combinations on my TT-101...I don't believe the Feikert Speed App is accurate enough for this contest. In fact....if you conduct three 30 second test measurements with the identical table/arm/cartridge (without touching the set-up)...you will receive three sightly different results.
But as far as we can visually disprove Thigpen's theories, here are the Frequency Charts for my three arms and cartridges.
WE8000/ST
FR-64S
507/II
And just to show that not all DD turntables are the same here is the
Onkyo CP-1050
I have seen some good performance charts for some belt-drive decks....but just to show you what some are capable of....
Wilson Benesch
George Warren
Dover,
All you and Richardkrebs do is disparage every scientific test method we have available for turntables without ever offering an alternative.
If you have nothing to offer to help analyse a turntable's performance in an objective manner, perhaps you should both just ignore these discussions...
Sharp spikes on the raw trace...this is the servo in action.
Hmm....both belt-drive turntables must also have servos....if that's what sharp spikes indicate......πŸ™ˆ
the TT-101 has significant very short duration speed changes,
No.....the Wilson Benesch has "significant very short duration speed changes"and the George Warren has "significant very short duration speed changes" and the VPI Direct has "significant very short duration speed changes" and the Continuum Caliburn has "significant very short duration speed changes'.
The TT-101 has less speed change than any turntable so far shown.
If you can show results for any turntable with LESS speed changes than that of the TT-101.....please do so.
For those belt-drive turntable owners who are concerned at the 'servo-control' jagged spikes on their Feikert Frequency Chart, here is a what Marcus Ribi from Feikert Platterspeed has to say about the change in the software....
The approximate sine wave form of the chart is resulting from eccentricity of the record. A normal measurement of WOW and flutter with a perfectly centered record will NOT show such a wave form, but a more random spiky form instead. That's what the spikes are coming from: it's a superposition of eccentricity and "real" WOW and flutter. Measurement of WOW and flutter then tries to best filter away the regular changes comig from record eccentricity to provide best results.
Dover,
As you've already pointed out.......since the availability of the Feikert Speed App I have regularly stated that the Data downloaded on its 'Chart Info' was imprecise and non-scientific as it was not possible to duplicate the results from test to test.
On this point you and I are in agreement.
The Frequency Chart on the other hand, is a more reliable visual snapshot of the absolute speed and actual speed variations over a 30 second timespan if you observe the Low-Pass Filtered Frequency.
The Raw Frequency plot should be ignored as it is subject to the Feikert-designed software algorithms to enable the Low-Pass Filtered Frequency plot to be produced.
The jagged lines are part of their software programming to compensate for record eccentricity and do not indicate, as Richardkrebs erroneously proclaimed....."significant speed changes caused by the servo control".
IMO the low-pass filtered frequency plot is a viable tool for turntable performance comparisons as indicated by those I showed of the Wilson Benesch and George Warren.
The real shock was the realisation that both these turntables were able to be listened to without much concern....😱
Analogue is so forgiving...🎧
Chris,
There is this, how do I say it, intangible, hard to describe .........chemistry between them.
😎
Perhaps it's a Kiwi thing...❓
They may both settle down a bit next week when we beat them in the Rugby World Cup.....😜
Richardkrebs...
In other words, perfect speed would show just a sine wave symmetrically centred about the 3150hz line on the raw data graph.
Markus Ribi...
A normal measurement of WOW and flutter with a perfectly centered record will NOT show such a wave form, but a more random spiky form instead.
Richardkrebs...
Sharp spikes on the raw trace... this is a servo in action!
Dover has comprehension problems (as well as others) with both my statements and those of Markus who designed the Feickert software.
The spikes in the generated sinewave are NOT "speed corrections generated by turntable error correction".
They are simply part of the software program to compensate for non-centricity of the test record and the effect it has on the steady-state 3150Hz test tone.
The previous software plot ( which I included) does not include these spikes.
How anyone can interpret it otherwise is beyond belief. Markus is amused....
Why don't you contact him yourself Dover to explain your interpretations...?
A good point guys...
I recall on another Forum where someone used the Feikert Speed App to measure a CD player (a theoretically perfect 3150Hz sine wave) yet it produced a frequency response chart very much the same as the TT-101 albeit with slightly smaller ripples.
Whilst we are talking up the benefits of SOME vintage DD decks in relation to speed consistency and low wow and flutter.....it is not to say that surprisingly good results can't be obtained from certain belt-drive turntables.
Here is the Frequency Plot for my Raven AC-2 which is almost as good as that for the Victor and is better than that of even the VPI Direct...😱
Compared to other belt-drive models like the Wilson-Benesch and George Warren that I showed previously, it shows that 'smarts' and 'implementation' is everything in the world of analogue.
It also explains why I can happily listen to either of my turntables...😍
The main differences between a really good belt-drive and a really good direct drive is in the micro and macro handling-ability of 'stylus drag'.
With the Victors, the Frequency Charts (and Timeline tests) are the same whether an arm (or two or three) is tracking the record or not.
With the belt-drive however, the speed is different between tracking a record and not.
Now this may seem initially like no big deal...?
Just adjust the speed to be accurate when tracking a record....
But the 3150Hz test tone produces a steady state undemanding mid-frequency sine-wave.
The music embedded within vinyl grooves is an ever-changing torture test of low to high frequencies totally unlike the steady test tone.
If the belt-drive deck changes speed with the cartridge in the groove....it is also changing speed (at the micro level) with every change in frequency and amplitude within the groove.
The fact that most of us are not audibly aware (or bothered) by such an occurrence is highlighted by our abilities to be unperturbed by the Wilson Benesch.
But there is just something elusive to the experience of great speed-consistent analogue reproduction when you get used to it..πŸ˜‹
TT-101
Here is an image of the innards of a TT-101
INNARDS
and here is one of the TT-81
TT-81
As you can see.....the TT-101 is considerable more complex.
Imagine trying to work on that if something goes wrong? :-)
Here is a posting from a couple of years ago from AudioKarma I think which explains the problems we, who own such exotica face:-
"I had an interesting conversation today with Tommy Cheuk, the owner of "Top Class Audio" here in Hong Kong. Some of you may know of him and his shop via the website; Tommy has been enjoying and selling hi-fi gear for many years, and has some of the finest stuff (especially turntables), to be found anywhere, period. If you are into turntables (tonearms, carts, step-up transformers and phono pres, etc...) his shop is a must-see mini-museum where all the nice rarities are for sale, albeit at often painful prices.

Because he often gets very rare stuff from Japan that I don't see elsewhere, I went by his shop to ask about accessories for my GT-2000. He commented that ever since a "club" had formed in Japan centered around this model, the prices of the accessories had been climbing steeply, with some Japanese even buying back and re-importing the TTs and accessories that made it elsewhere (like Hong Kong)! He said this --and the escalating prices-- was why you almost never saw them any more locally. [His words re-confirmed my feeling that I really did get a lucky bargain with mine! ] He said it was even worse for Hong Kong (and American) buyers now, due to the currency valuations. So these days he doesn't have any stock of GT-2000 stuff. Not good news for me, but I can live with it. I know I'll still get the things I want, from Japan, although some won't exactly be cheap.

While we were talking, another man came in looking for a Technics SP-10 or SP-12 Mk II or MK III (I forget which), and Tommy said that he no longer carried them! This surprised me, because I remember seeing several pass through his shop within the last year or two. To my surprise, he said he had stopped carrying them recently because the critical motor- and speed-control ICs were no longer available [i.e., they have become --HORRORS!-- "unobtanium"], so once these parts break down, the TTs cannot be repaired. He explained that this was increasingly true for several of the best models of direct drive TTs, so he been forced to stop dealing in, for example, the TOTL Victor (JVC) TT-801 and TT-101 models. He (Tommy) had personally had a 101 as his main player at home for over ten years, and then bought a beat-up "spare" for parts, but in the end had to throw both of them out, when the pitch/speed control ICs went bad. [He still has one in his shop, with three tonearms I drooled over, pictured here:http://www.topclassaudio.com/web/eng...ls.jsp?gid=907 ]

I asked if he could have found chips elsewhere, and he said no doubt there were still a few here and there around the world, but finding them was another story. Since these models were only sold domestically in Japan, there were never large stocks of parts overseas, and all the usual channels (authorized dealers and repair outlets) in Japan were 100% out-of-stock.

"Ditto" for several of the Denon direct-drive models.

What is worse, is that many of these chips are 96-prong (or something like that) devices with rows of connectors on all four sides, that require special "factory" desoldering tools to remove or install. In some cases, they were installed by these machines directly into surface-mount type boards, and the customary repair was to replace the entire board, because there is no way to safely remove the chip without damaging it. There are no more replacement boards for a good number of the models, and those that are left, are dwindling in number.

All the other components, such as resistors, capacitors, etc... are replaceable, and the TTs can be maintained for a long time, UNTIL either of those two critical IC chips go. When that happens, if there are still replacement chip stocks available, AND you can find someone (usually only the factory or their agents) who have the correct gear or replace it, OR if you can find a whole replacement circuit board (sometimes a necessity, sometimes just an option), then you can keep listening to your TT. But if the chips are gone, you have a beautiful doorstop...

He suggested that anyone owning any of the better 80s-era Japanese direct drives faces this problem sooner or later, and for some of the nicest models (those I mentioned above), the clock has essentially run out already, but on the good side, he said the best solution he knows of is to PLAY THEM OFTEN! Playing them frequently offers the best possibility to prolong their lives, especially in a humid climate like Hong Kong's.

Well, at least there was ONE good note (pun intended) in this rather depressing conversation!

We discussed the Rockport Sirius III that is sitting, unused and unplugged, in the corner of another showroom in the district. The people there say they know there is electronic circuitry inside which they don't want to "wear out", which is why they don't play it. I've suggested to them that playing it might be better than not playing it, but they seem not to believe it. Tommy chuckled and suggested that perhaps the thing had died BEFORE they unplugged it, and this is their face-saving excuse for not using it? I've heard that suggested by one other person before, so perhaps there is some truth to it(?).

I'm thinking now about strategies for trying to get and stockpile replacement parts/chips (if they are the replaceable kind)/boards for my DD TTs. For the GT-2000, I suppose buying a spare TT would be one approach, albeit an expensive one. I also have to find out what kind of chips are in the PL-L1, and if they can be found. Hopefully the same kind as in the later PL-L1000, as I'm sure if they were exclusive to the PL-L1, then they are basically unobtanium, by now. Even finding Pl-L1000 parts won't be too easy. And then there is the Sansui SR-929... And the Pioneer PL-C590. Hhhmmm, I suddenly feel a wee bit less confident in my collection of direct drive TTs!

Hope this didn't rain on the parades of any DD owners here. With careful maintenance (replace those aging caps and check the other stuff every decade or so, folks!), they may yet last for many more years, even decades. But once either of those critical two chips goes, cross your fingers that they are still available, or else you just became the owner of a very fancy doorstop!

Oh, and in case you think he had some commercial reason for saying all this, NO, he praises their absolute speed stability and great sound (as I said, he used them himself for years at home) and has sold the better Japanese DD tables alongside the better belt drives (incidentally, he had a couple of magnificent Micro Seiki thread drives there, one 1500 with gunmetal platter, another limited edition with gold-gilt platter) alongside other TOTL tables, including some DDs. No, I believe he was telling the sad truth. A truth I suppose we all know back in the deep recesses of the mind, but hate to have stated to our faces. The fact that he threw away two of Victor's all-time-best turntables because he was sure there was NO way to repair them any more... well, it just sickens me!

I think I'll start taking his advice, and playing MORE vinyl, to make sure all my DD TTs get enough of a workout to live longer! Maybe it will take my mind off of this train of thought.

Of course, I would probably last longer, too, with a little more exercise... "

Now if you own a vintage belt-drive or idler.......you face no such problems.
They are both readily fixed with parts available and no such reliance on electronics.
But great Direct Drives offer a speed accuracy and coherence which other drives can only dream of......so I guess we just live for the moment.....enjoy them whilst we can.......and hope for the best?
After all.......those that still work have lasted over 30 years now. What's another 30 for Japanese technology? :-)
stethoscope. I use my to listen to my neighbours. She is
unbelievable beautiful and I am waiting to 'hear' any mistake he may make.
Ahh Nicola......what would we do without you? :^)
Yes Lew.....stethoscope is good for finding 'nodes' on a shelf however we have to be careful how we interpret these as.....on a wall-hung shelf....the only way to find these are by dynamic loading.......ie tapping.
There is....as far as I know.....no direct correlation between this and air-borne sound transmission?
The TT-101 (like all Japanese-only products) is designed to run on 100 volts.....not 110v as you have in USA. Could that be the cause of Gary's hum?
I have a 240v to 100v step-down transformer between the GPO and the TT-101.
To avoid hijacking Peterayer's Timeline Thread any longer.......I thought that we could post our recent travails with our vintage DD turntables in this more appropriate Thread......

Lewm has had a litany of problems with his TT-101, but has recently had it running more or less correctly at his home.

My Victor TT-101 began misbehaving about a month ago and whilst it was at the Technician's for a complete rebuild......I had my back-up TT-81 to play with.
Here are the innards of the TT-81 which is quite a bit different to that of the TT-101.
Another view of the TT-81 showing the single-sided PCB compared to the stack double-sided PCBs of the TT-101.

Today I picked up my TT-101 after the replacement of every single capacitor and the removal and replacement of all solder points and joints (thanks Banquo).
In other words....it has been completely rebuilt!
The most difficult problem apparently....was diagnosing and repairing the intermittently malfunctioning Power switch.
The switch works by way of a circular 'gear drive' which moves one position at each click which in turn activates the actual switch??
Why they design it this way is a mystery to me.....but after lubricating the gear drive and still finding the fault via a 'spark' from the switch......the Tech replaced the switch.
I have had one listening session today...and so far so good......:-)
Thanks Banquo,
I think my whole TT-101 is in amazing condition.
I counted up in the manual.....and there are 90 capacitors and my Tech replaced them all.......
He said that when he removed all the old solder joints.....there was so much black smoke in his workshop...that his wife thought the place was on fire :^)
He seems to have done a great job of re-building the deck...and he is young, talented and thorough....so it bodes well for the future?
Perhaps we aren't living dangerously...as long as there are good Techs around?

I didn't have the bearing re-lubed as the manual says it is sealed and never needs it. The platter turns so freely and is totally noiseless.....so if it ain't broke....?

Antonis' sprung bases appear to be 1" thick granite slabs with stainless steel and/or aluminium sheets laminated top and bottom in an attempt at creating Constrained Layer Damping.....however, I think he may have erred in his understanding of the principles?
Had he placed the aluminium sheet between two slabs of 1/2" granite with joint adhesive of viscoelastic consistency.....it may perform better.
Alternatively a material like plywood between the granite sheets seems a better choice as metal sheeting shares many of the same acoustic properties of stone?
The supports for his TT-81 and for the tonearm pods are solid stainless steel rods but the interesting choice appears to be that of the turntable supporting ring which I simply can't make out?
I'll have to ask him.....
I'm sure it sounds fabulous and he seems to confirm that at the first few listens....
Wonderful information, photos and Links from HiHo as usual.........
I really think from the descriptions of the TT-81 and TT-101 motors in their respective Service Manuals....that HiHo and Caligari are correct about the TT-81 NOT being a 'coreless' motor?
As for me taking apart my TT-81.......HaHa HiHo.....and you too Banquo....:-)

But for your collection of images HiHo......here are all the ones I have of my TT-81:-
TT-81
TT-81
TT-81
TT-81

If the TT-71 and TT-81 motors are the same......why have the two models?
The TT-71 motor is described as "12-pole, 24-slot, DC type FG servomotor with Starting Torque of more than 1Kg-Cm and Drift per hour of 0.0001%"....whilst the TT-81 motor is described as "DC Servomotor with Starting Torque of 1.3Kg-Cm and Drift per hour of 0.0004%".
These are different specifications with the added benefit of the TT-81 having quartz-locked positive and negative servo control as does the TT-101.
Perhaps the most defining clue to the differing motors is in their Power consumption...13 watts for the TT-81 and 15 watts for the TT-71.
Kind of gutsy for HW to point out the problems inherent in belt drive, elsewhere in this blurb, since he has made a living from belt drive heretofore.
Yes.....seems kind of strange...?
Almost like Linn coming out and saying they've finally seen the light......and it ain't belt-drive?!

What is equally amusing to me is the fact that the motor Harry uses in his DD....is the same as that used by Continuum in their Caliburn and Criterium turntables designed over 10 years earlier whilst his 3D printed arm follows the Continuum Cobra and Copperhead initiative again produce 10 years earlier?
Methinks Harry has had meaningful conversations with Mark Doehmann...the original design chief at Continuum?

Sorry to hear of your continuing hassles with the TT-101.....
One suggestion I have (as this intermittent fault will never seem to replicate itself in front of witnesses.....is for you to take the TT-101 downstairs to you listening room and remove the metal protective shroud, plug it in and play it.
If it works like it does in the kitchen.......continue on till it misbehaves at which point touch and move all the connecting wiring and see if that affects it?
I'm not convinced by your 'movement' theory.....but as the turntable CAN perform properly at various locations for long periods of time......there should be no reason why it can't be made to do so down in your listening room?

Alternatively....when the problem presents itself.....follow the 'Troubleshooting' procedures outlined on p.25 of the Service Manual. They are very detailed and clear.
From a brief scan of this page related to your problems.....I would bet on one cracked or broken wire or a malfunctioning transistor/s....
Both relatively easy fixes?
Thanks for the Link Hiho...😍
Very interesting.....and nice music as well...🎢
I have seen that done before...as well as two Micro Seiki turntables running in line....using the one motor and a flywheel arrangement..πŸ‘€
I studied this arrangement shown in the video for a long time.....whilst being somewhat troubled 😧 without knowing exactly why......⁉️
(Answer to the puzzle at the bottom of the page...😊)

This video demonstrates clearly how much 'thinking' some Japanese (and European) audiophiles put into the theory and philosophy of the turntable question...πŸ”ŽπŸŽΌπŸ”πŸ’‘πŸ˜
I love his obvious 'Copernican' view of the turntable surrounded by massive armpods 😘....and the 20" straight tonearm is fabulous...πŸ˜œπŸ‘
He obviously prefers the ability to eliminate skating forces (no off-set angle on the headshell)....for the slightly increased distortion of 'tracking error'...⁉️
I wish I could see how he runs the thread from the heavy stainless steel platter mat on the Victor DD turntable πŸ‘€β“That is one massive 'pulley motor' 😎
Notice also his full horn speaker system....πŸ”πŸ”š....obviously being powered by SET valve amps (although we don't see them 😰).

Answer to puzzle
The advantage of the very best DD turntables over belt-drives IMO....is their ability to cope with 'stylus drag' due to their torque and correction circuitries.
With the quartz-controlled motor attached to the platter and in close proximity to the stylus....any slowing of the speed due to 'stylus drag' is instantaneously corrected AT THE SOURCE..πŸ‘
When the stylus is separated from the correction circuitry by a thread a metre or more away.......the 'stylus drag' has a 'delayed' input which simply puts the quartz control 'out of sync'....😰
We all know that the majority of 70s and 80s Japanese DD turntables came supplied with the ubiquitous thick moulded rubber platter mats.....yet a company like Victor, discovered that these mats....whilst damping the aluminium platter....suppressed the high frequency harmonics and caused a kind of bottom-end bloat to the sound.
35 years ago Victor produced a thin (0.5mm) pigskin mat with a fine cut suede finish one side and a lightly tanned finish on the other for their high-end Laboratory models like the TT-101.
I have been using this mat for the last 5 years and have tested many other leather/suede mats which have suddenly become the fashion over the last few years....yet none has quite equalled the transparency and liquid purity of the Victor...πŸ‘€

Jico has just released a 2 mat set of suede leather mats....and the Victor mat has now been surpassed in my system by the thinner Jico model.
I can imagine many systems where the thicker Jico mat may sound better and at the price that Jico are selling this set for....it's simply a no-brainer for anyone not to try....😎
Fleib
.......or have their ear bitten off. Bon appetit.
I hope you didn't think it was I with the hunger pangs...β“πŸ‘€
I was trying to convey the thought that no-one has yet proposed a scientifically provable theory as to what, how or why the turntable mat plays such an important role in the 'sound' that the stylus extracts from the record groove❓
In exactly the same way that no-one has proven HOW the material of the headshell does (for arms with removable ones)....😏
It is of course tempting to formulate theories in our minds to try to explain these phenomena....but the only conclusive evidence we have for them...is the listening experience (as far as I am aware)❓

Nowhere is this more visible than in the topic at hand.....leather/suede turntable mats.
Five years ago when I happened to acquire an original Victor Pigskin mat with my TT-101....I don't believe that there were after-market leather mats available from many sources at all...❓Certainly 30 years ago I had never even heard of them...
These days on EBay.....if you type in "Leather turntable mats".....you can find dozens of independent suppliers who all have their own takes on composition, thicknesses and finishes....as Banquo has discovered..😜
So a market has arisen (and it must be a considerable one)...driven by an obvious demand...to enable financial profit for multiple suppliers...
And now Jico has entered it 😏
This 'market' could only have grown due to first-hand listening experiences as I have not noticed any great press coverage of this 'discovery' in the printed or on-line journals..β“πŸ‘€
Fleib,
Speaking of assumptions.....I'm assuming that you don't actually own a periphery clamp as I do...❓
You are probably correct in that the use of one together with a centre clamp/weight applies pressure more evenly across the record/platter interface.
However I have found that the sound quality is deleteriously affected if the clamp is used with any pliable platter mat.
When used with a solid mat (metal, glass, plastic) or no mat at all....the peripheral ring does iron out the three seriously warped records I own whilst appearing to have little to no affect on the sound quality.
When used with a compressible mat however, like rubber, felt or leather...the peripheral clamp on my turntables, manages to suck the 'very life' and essence out of the reproduced sound...😱

I am not saying that thin suede mats (because I have found it critical to always have the 'cut' suede side rather than the tanned leather side facing upwards) are the answer to every platter on every turntable...πŸ‘€
It didn't improve my Raven AC-2 when placed on the copper-faced platter nor did it improve the sound when placed on top of the Micro Seiki Cu-180 platter mat.
I think all these things are system-dependent but as I started this discussion topic within a Thread by saying.....the cost of trying these suede/leather platter mats is small enough (for the possible gains) to warrant experimentation....😎
I wonder where is Halcro to argue the other side?
I think Fleib is doing quite a competent job....
It is clear from previous discussions that opponents of the free-standing armpod will never change their firmly held beliefs....so I felt no need to futilely inflame the situation...😑
I have never argued against the need for maintaining a perfectly regulated dimension from spindle to tonearm pivot....after all, it is the basis of all pivoted arm geometry.
The opponents of separate armpods appear to maintain that only a rigid horizontal member (the stronger and more rigid the better) is capable of achieving this requirement...?
This is a rather limiting view as gravity is a more powerful force than anything invented by man.
With a suitably massive armpod on spikes or appropriate footers, gravity and friction will ensure the necessary and stable relationship between spindle and tonearm pivot is maintained.
In the case of the Kenwood L-07D with its extended ribbed metal casting, it is easy to appreciate (and calculate) the dimensional expansion and contraction which inevitably extends and contracts the tonearm pivot point from the spindle centre with every one centigrade degree of temperature change.
This is NOT a recipe for dimensional stability...😱

The famed Continuum turntables have their tonearm mounting pads totally disassociated from the spindle and platter bearing, being suspended by wires from the top plate and held from the bottom with magnetism.

As Fleib has rightly repeated....it is execution rather than dogma which ultimately determines the value of the methodology.
So what are we left with,the stylus moving a 4 or 5lb pod?
Ooh no Totem...
The stylus actually moves a 25lb pod...πŸ˜πŸ’©
And Lewm apparently agrees with this 'theory'....
But here's the really puzzling thing....we have many tools available to actually prove whether or not the pod is actually moving under stylus drag.
Accelerometers, lasers, high-speed cameras etc which any competent scientist would utilise before making a fool of himself.
I have video evidence of the Timeline in action with 3 pods and 3 styli in contact with zero movement displayed yet Richard Krebs prefers to proffer theoretical calculations masquerading as quasi scientific proof intended to add verisimilitude to an otherwise bald and unconvincing narrative.
Give us one shred of practical evidence Mr Krebs....
Just one shred of verifiable evidence instead of your constant and unprovable speculation....
I saw your Posting of this news Fleib.
Sad indeed.
Will wait and see what they come out with as a replacement..πŸ€“

Regards

Hi Peter,
Victor made a special pigskin mat for their Laboritory Series DD decks like the TT-101Β 
Β http://imgur.com/UnMbyr3Β 
I was lucky to find one 3 or 4 years ago but they are really scarce.
The closest sounding alternative I have found is the thin Jico suede mat which was launched about 6 months ago.
Regards

Totem,
AFAIK....Victor made black and brown pigskin mats.
Mine is jet black...πŸ€“

Fleib,
Congrats on your TT-81. Any ideas on how you're going to mount it?

Can only speculate on the reasons, supported only by my empirical observations.
I now know that the motor unit and electronics of the Victors put out RFI/EMI as the metal cage definitely acts as a Faraday Cage in neutralising and dissipating these when in a restricted enclosure.
I can only surmise that when mounted fully 'nude'.
http://i.imgur.com/jJoTuv4.jpg
The electrical waves dissipate quickly into free air.
The differences at any rate were quite subtle and are easily supplanted by the improvements made with the 'mass loading' onto the granite plinth.
At any rate the question for me is now 'mute' due to the necessity for the grounded Faraday Cage in my new arrangement.
http://i.imgur.com/msMbfXy.jpg

http://i.imgur.com/UAEMFj7.jpg
We may not have to rely on vintage DD turntables anymore.
There appears to be a distinct revival....
http://www.monoandstereo.com/2016/01/technics-grand-class-sl-1200-turntables.html#more

http://www.monoandstereo.com/2016/01/grand-prix-audio-10th-anniversary.html#more

Could it possibly be that the Linn counter-revolution against the Japanese DD decks in the 70s was motivated by production costs alone.....β“πŸ‘…


The interesting thing about this new technics turntable is that Jonathan Carr appears to be involved or in some way supporting it.....
http://www.analogplanet.com/content/new-technics-sl-1200gae-not-your-fathers-old-technics-sl-1200mk2...
I can't recall him ever expressing a liking for DD technology on these Forums?
Fleib,
I'd recommend that you at least try the 'Halcro' method...😎
But please don't underestimate the importance of a REALLY heavy armpod...that's the real message of the Copernican Thread.
Most armpods I see folks using are made of aluminium or hollow type construction which IMHO will not create the conditions I talk about.

Lew prefers to talk 'theory' without having the practical experience.
I have actually heard in my listening room all the comparable 'theories' of platter/motor/arm variations and Lew has not.
That never stops him...
I long ago learnt in this hobby......experience trumps theory almost every time πŸ‘


Fleib,
I still just rest the TT-101 on three butyl rubber pads stuck to the granite cradle...
http://i.imgur.com/h673918.jpg
They are the same as the ones I had on the stainless steel cradle...
http://i.imgur.com/UuEyECm.jpg
http://i.imgur.com/qEWvSHn.jpg
I figure that the 10Kg weight of the motor unit resting on the hard rubber pads creates enough friction not to move and also allows me to remove the TT-101 from the cradle very easily.

Your thought of bolting and sorbothane washers is probably better although the more compressed the sorbothane becomes.....the more 'coupled' to the substrate the turntable becomes, which could possibly colour the sound?
Good luck and please keep us informed of your progress...
a piece of aluminium 255mm will only expand by 0.0587mm for a 10 centigrade temperature change according to my calculations.
You're correct Dover. Quite small but as record grooves are in the order of microns...I wouldn't be boasting about this concept as you and Lewm do.
The tonearm vibration is a more serious issue however.

BTW...it's not often an architect gets to design a bridge.
Ahh Lewm......the Master of illogical analogies.
Firstly we have the "rowboat in the floating sea" analogy whereby the stable platform of your shelf or rack is likened to the unruly fluid of the sea and the vibrations which uniformly affect the rigid shelf are compared to the multifarious currents and winds acting on a thermal fluid in constant motion.
In this ludicrous juxtaposition.....he then places two separate boats instead of one contiguous raft...
But now Lewm surpasses himself....the results of a person jumping off a roof are well known to be less than happy whereas the results of a person using outboard armpods are so far universally 'happy'. So how goes the analogy....❓

But I also can be somewhat amused with "thought experiments"
The Kenwood L-07D
http://i.imgur.com/VvgdWQi.jpg
which directly connects its platter bearing to its tonearm support via a cast aluminium structure, condemns the fixed mounting dimension of the tonearm to expand and contract with changes in temperature. Over a 10 centigrade degree range, this dimension could possibly change by a few millimetres rendering your carefully executed arm geometry useless.
Furthermore....connecting the arm support directly to the supporting spindle of the platter, inevitably transfers all the vibrations of the revolving platter into the arm base, a design failure of mammoth proportion.
The belief that all turntable designers (and designs) of the past were competent is a demonstrable unfortunate absurdity.
Dover,
When I graduated in 1970, a University Architecture degree in Sydney was 5 or 6 years of full-time study with Structural Engineering being a compulsory subject for each and every year.
But it was really 40 years of professional practice consulting and co-ordinating with all the relevant engineers (Geo-Tech, Structural, Civil, Hydraulics, Mechanical, Electrical, Acoustical) that taught me more than a mere 6 years of university study ever could...😎
I'd appreciate it if you could send me the Post where I said I had designed a bridge....as I haven't and I don't believe I wrote it? As I said.....very few bridges are designed with the input of an Architect.

When you say you studied engineering at university....did you graduate?Β 

Thanks for those articles rwwear....especially the one by Dave Crawley on Quartz lock where he debunks the myth of 'speed hunting' that has regularly been levelled at DD decks by its antagonists.
The TT-801 seems to be a stripped down TT-101 (without the 1 Hz step pitch control circuitry) with an added vacuum hold-down.
I have no problem with vacuum hold-down per se.....but here's where 'vintage' and 'dangerously' very much apply, as a special rubber perimeter seal is required for the platter and if this is damaged or perished....where does one obtain a new one?
Banquo has recently scored a TT-801 to partner his trusty TT-101 and hopefully he can contribute here β“πŸ‘€

So that's the Bayonne Bridge...?
When I first visited NY in 1984, I was shocked to see what I thought was a copy of our famous Sydney Harbour Bridge which opened in 1932
http://2.bp.blogspot.com/-xM4JuGOb_fc/T2VA_JxTW7I/AAAAAAAADm8/4gtCt_JPpWc/s1600/SydneyHarbourToday.j...
I must say....it doesn't look as attractive with the raised roadway..🀐
And speaking about expansion of metals.....at the two bases of the arch of the SHB, there are giant steel rollers so that the arch can 'spread' due to load and expansion. Those stone pylons are purely decorative...
That TT-801 on Yahoo Japan looks in fine nick Banquo....although it doesn't have the original pressure-seal mat.
That Victor TS-1 air supply also on Yahoo Japan would be a risk Dover as the Seller hasn't tested its operation and is advertising it 'as junk'...😒

Interesting points about the differences between the 101 and 801 Banquo...and as Lew says.....the differing platter weights and chassis weights are intriguing.
Is this even BETTER than the TT-101?

I sent a TT101-specific Integrated Circuit chip to a fellow enthusiast in Germany for repair of his own TT101, and he informed me that my chip worked to salvage his unit.
Thankfully I remembered that Lew had 'cornered the market' for the only unobtanium chips used in the TT-101....so after 6 months of stalled frustration......Thuchan's 'junk' TT-101 which I had found for him, is now operational.
And after the complete re-build which his Bavarian craftsman has performed.....it may well be the best TT-101 in existence.
I've offered to buy it from him should he not like it...πŸ‘…πŸŽΌ


Maybe this is the one for you Halcro?
Haha....I guess it IS close....πŸ‘€
From the looks of it though, it appears that someone has messed around with it quite a bit....
The story of Thuchan's 'chip' is quite complex.....
After about 6 weeks of his Bavarian Tech taking apart the Victor, Thuchan Emailed me that it needed a 'chip' which his Tech had ordered from China but which didn't arrive.
He gave me the chip No. which I promptly Googled
http://www.ic2ic.com/search.jsp?sSearchWord=SC3042&prefix=S
to discover that this seemed to be available everywhere.....even in Germany. So I sent this information....
6 weeks later Thuchan says his Tech can't get the 'chip' and again I do another Google search with different results for this 'chip' available all over the world.
6 weeks later....can't get 'chip'.....can I help..πŸ™πŸ½
At this stage I had no idea what No. 'chip' Lew had stashed 2 years ago....but as I could do no more, I told Thuchan to contact Lew on the off-chance...πŸ‘€β“
And as fate would have it......Lew's 'chip' was the 'magic' one...
A story with a happy ending...πŸŽΌπŸŽ‰
Wow rwwear......sounds like an amazing Victor..😍
Can't wait to hear what you think when you have it?

Regards

Lew would know know more about the chip than I do.
I haven't even seen the damn thing...πŸ™ˆ

As Lew said... Thuchan has just completed his preliminary set-up and listening sessions with his re-built TT-101
https://audio16.wordpress.com/2016/01/21/victor-international/
Audio16 is his own Weblog where you can see his current amazing system components.
His initial set-up is similar to my initial beginnings
http://i.imgur.com/Xp97BF8.jpg
but he is having a slate cradle made to match my granite one
http://i.imgur.com/S97uGns.jpg
I look forward to him also writing a few words here about his vintage DD experiences....because he has had quite a few πŸ‘

PS Lew, note the Copernican isolated armpod setup that doesn't seem to trouble Thuchan πŸ‘€β“
Thanks for the update Peter.
I didn't know that you were actually getting a TT-101...
Will be following your comments as you delve into the morass...πŸ€•

A Victor TT-81 available for a song
http://www.hifido.co.jp/KW/G0301/P0/A10/E/0-50/S0/C15-01917-33022-00/
HiFiDo is an excellent Japanese Seller who tests each and every component before offering it for sale.
You can trust that this deck will work perfectly...and it has a one year warranty.

Thanks Hiho,

I meant to ask...and you may have already written it somewhere....what cartridge are you currently listening to?

Regards