VPI HW-19 Upgrade question SAMA or SDS?

The SDS was, by a large margin, the most significant upgrade that I have made to my HW19 MK IV; including the upgrade to the MK IV "TNT" platter. By providing a much more consistent, and stable platter rotation, the SDS improves the areas of sound reproduction having to do with rhythm and pacing. As a result of this, image stability, soundstaging, and overall clarity are also improved.

As far as the importance of correct speed is concerned, I have to respectfully disagree with those that claim that it is not important. Additionally, correct tempo and correct pitch are two mutually exclusive issues; they should be, anyway. Yes, it is true that slowing or speeding up the playback speed also changes the pitch of the music. But that is an unfortunate byproduct of the mechanics of vinyl playback. In live performance, musicians and counductors treat them as two very seperate issues. A very small increase, or decrease, in the tempo of a piece of music can make all the difference between a very exciting performance, and a boring one. The players, or conductor, choose a particular tempo for any given piece of music because they feel that the chosen tempo will best convey the desired emotional effect. The pitch choice, higher or lower, can also be used to accentuate a desired emotional effect; although this can be much more subtle.

I also have to respectfully, and strongly, disagree with Stringreen's comment about orchestras tuning for the sake of tradition. I have been a professional orchestral musician for many years, and I assure you that professional orchestras take tuning very seriously, usually taking two "A's"; one for the winds, and one for the strings. It is true that orchestras, generally speaking, have been tuning to a higher A than in the past. The unfortunate effect of this is that the music tends to sound less full, brighter, and sometimes unnecessarily strident. The parallels to music played back mechanically are obvious.

I would not bother with the older motor control units. I used the original with a HW19 for a while, and thought that it caused more problems than it solved. The current SDS is the way to go.

Stringreen, I always welcome spirited discourse about the finer points of music making and playback. My comments are not intended to offend in any way. Having said that, I think I can prove my point to you:

It is true that if a turntable's speed accuracy is off by a very small amount, one may not necessarily be aware of a problem during playback, unless one has perfect pitch. My contention is that the performance may simply not be experienced as originally intended by the performers, because the music may now be just a bit under or over the intended tempo. Additionally, the pitch distortion (and it is just that) will void the emotional effect of the chosen pitch center. This, I hope we can agree, is a problem.
We agree that orchestras and/or their conductors choose the "A" that they tune to, and that this choice has an emotional effect. Here are some numbers that I think prove my point, as it relates to vinyl playback:

-A 3.3% deviation in rotational speed of a turntable's platter results in a change of one half step in pitch.

-The difference between "A" 440 and "A" 441 represents a mere .23% change in pitch.

-If you do the math you will see that a mere .13% deviation from perfect rotational speed results in the aforementioned .23% change in pitch. A not unlikely scenario with many turntables. Amazing, when you consider that the "broadcast standard" has been .3% speed accuracy.

We agree that the difference between "A" 440 and "A" 441 is significant. When you consider that the error is oftentimes much greater, you can see the importance of it all. I am sure that as a performer yourself, you have oftentimes experienced playing situations where the pitch center is off by an even smaller amount than the statistical difference between "A" 440 and "A" 441; where the difference is simply an almost subliminal feeling that the pitch center is just "leaning" one way or the other. In analog playback, a change in pitch also means a change in tempo (unlike with digital). However subtle that change may be, it will most certainly create a different emtional effect from what the performers intended. Again, as a performer, I am sure you and your colleagues have often remarked during a rehearsal or performance that the chosen tempo is the perfect tempo (or the wrong tempo) for a particular piece. That chosen tempo may be, in actuality, only a fraction of the difference between two adjacent markings on a metronome.

Clearly, vinyl playback can be enjoyed, and be quite good, in spite of small deviations from perfect platter speed. But is it more accurate, more enjoyable, and potentially more exciting when the speed is right? Without question. When you consider how much effort we put into getting other aspects of playback right, or as right as possible, why not do what we can to get the speed accuracy correct?

Siramazing, I recently bought a TNT MK5 (23 lb, acrylic, steel, lead) platter and bearing, and compared the platter only, to the original TNT platter (also known as the HW19 MK4). I say platter only because the wider diameter bearing is not usable on a HW19, and it is really intended for the TNT turntable that I am in the process of "assembling" from parts of various vintages that I have been buying from owners who have upgraded. Anyway, the MK5 platter is a definite improvemnet over the original 15lb all acrylic and lead platter, with better bass extension, and better overall clarity, if perhaps a little bit less warm. I can only surmise that using it with the correct bearing makes it even better. I mention this because in a conversation with Mike at VPI, he remarked that this platter is "as good as anything we make today". These platters show up for sale occasionally for a lot less money than the superplatter.

As far as the sorbothane goes: Listen first! Don't assume that the sorbothane is going to be better. I have switched back and forth between springs, tiptoes, and sorbothane suspension, over the many years that I have owned my HW19. All depending on which tonearm I had on the table, and wether the table was on the rack, or the wall shelf. Overall, I would say my favorite has been sorbothane pucks with short tiptoes on top. Cut the sorbothane as thick as will allow the top plate/armboard to be just below the top edge of the plinth.

Ferrari, if you have never tried going the no-spring, low-compliance suspension route, you really owe it to yourself to try it. Results will vary depending on where the table is situated and the tonearm used. Try tall tiptoes facing up, with a thin rubber disc, like the rubber disc that goes over the spindle, and under the record clamp, underneath the cones. Having said that, I have a set of unused springs that I bought from VPI years ago, when I first bought the MK IV upgrade platter. These are the stiffer springs needed for the heavier plattrer. I tried a variety of different suspensions and found that I liked the aforementioned short tiptoes facing up, on top of sorbothane pucks. I use a ET2 air-bearing arm that likes a more rigid less compliant suspension. If you are interested in the springs, how about a trade for that Brubeck/Desmond Stardust LP that you have on sale?

Best regards.