I have the classic 3 smooth side. I didn't even know there was a groove sided platter until I read this thread and looked on the VPI Facebook pics. I also didn't know about the ceramic platter. Which product is the ceramic platter going on? Is it an aluminum platter with ceramic coating? Very interesting, since there have been many positive reviews of the classic aluminum platter with stainless steel weight underneath.
VPI Ceramic Platter
I just got VPI's new ceramic platter after living with the Superplatter, and then the Classic. I've read reports on these forums that there isn't much of a difference...WRONG. When replacing the Superplatter with the Classic, the sound difference is extremely dramatic with the Classic doing away with the stodginess of the Superplatter. The highs are much more extended without a kind of a wholly character. The sound difference just slaps you in the face. The difference with the ceramic platter is much more subtle....then you realize what it is and revel in it. The increased depth, focus and air is its major accomplishments, but there is a sweetness (not saccharine) of live music that you just don't hear with the classic. Crappy LP's are still crappy, but you can still make out the music rather than feeling like you just want to run away from it. The very worst and most disappointing record I have is Norah John's "Little Broken Hearts". I used to enjoy her efforts, but this one is produced sooooo badly by Danger Mouse, I will not get another Norah Johns album until I see this guy's name gone from the cover. I wonder why Norah sings words... The sound is an absolute blur, and yet with the ceramic platter, there are blurs of different depths, and if you listen closely you can actually hear what's going on. Next, I played a Ltd. Kiji by Leinsdorf on Serephin records from years ago. The speakers disappeared, as did the walls. The violins that are so difficult to reproduce, were clearly and sweetly singing. Percussion was never spread, but instantly and clearly struck. I suppose the best of these upgraded abilities will be lost unless excellent equipment is used. On another thought, you just can't change the spindle, install the platter and go. To find the best this platter can offer, you must tweak the tonearm. The platter is slightly different than with the Classic. Remember every single thing you adjust on the VPI arm affects every other adjustment. Take your time and do it all and enjoy.
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Captain_winters is onto it. What is the substrate of the platter underneath the coating? This would be the material that determines whether there is additional damping going on. The ceramic coating will no doubt add great resistance to corrosion, scratching, etc. I don't see any dampening possibilities there, however. Still, materials, especially combined materials, are complex when it comes to aural nuances. What ceramic coating is being used here? I suppose I could call the spindle I use ceramic because it has a PVD nitride coating. It is only there for added resistance to wear, though. |
I currently have both the smooth and the grooved platter for the Classic and also the Classic 1 and Classic 3 tonearms. I have a Shure V15V/Jico SAS on the Classic 3 tonearm and a MX97XE/Jico SAS on Classic 1 tonearm. Now for the between the two platters, none that I can hear. I can say that the either of them (tonearm/platter) produces wonderful sounding music from my Aries 3. Video here VPI Aries 3 meets the Shure V15V M~ |
I am surprised that no one took up String's casual comment that his "superplatter" (Have I got that right?) was not perfectly round. Of course, replacing such a defective platter with almost any platter that is closer to tolerance should result in an improvement, most notable in terms of pitch stability. Also, if I learned my Mark Kelly turntable physics correctly, use of a smooth vs a grooved platter addresses belt "slip", not belt "creep". Mark was always careful to distinguish between those two phenomena. Further, the fact that the cross-section of a belt is not "100% round" is indeed another source of speed error in belt-drives, but it is not the central issue in belt creep, I don't think. Belt creep derives from the fact that the tension on an elastic belt is not a constant for every part of the belt. Belt creep can be reduced (but not completely eliminated) by using a non-stretchy belt and by configuring the drive so that as much as possible of the platter circumference is in contact with the belt. Finally, wouldn't it be true that Stringreen's listening experience can only be relevant to those who use the VPI rim-drive? The drive system is SO different from belt drive that very different factors are at play in determining the end result. Finally finally, according to theory, introducing a new material between the vinyl and the platter (assuming the VPI platter is aluminum coated with ceramic) would result in a change in the efficiency of transfer of energy from the vinyl to the platter. (Whether it gets more or less efficient would depend upon certain physical constants which I am too lazy to look up.) Energy has to go past the vinyl/ceramic interface, through the ceramic layer, and then past the ceramic/aluminum interface, in order to be dissipated. At each interface, if energy transfer is not perfect (never is), some energy can be reflected back to the vinyl. This is not to say that bleeding energy from the vinyl is critical; lots of people seem to like to use mats and such that practically prevent it. I use a Kenwood L07D. Kenwood made an optional ceramic mat for it, back in the day. Those who own(ed) it tell me it sounded bad. I think SAEC also made a ceramic mat that can be used on a variety of turntables. I don't know whether either or both of those were solid ceramic or ceramic-coated, but I think the Kenwood one was solid ceramic. |
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