Duh! That's what I mean about changes in velocity, which are "accelerations" that generate a force in the horizontal plane. As the stylus bangs into the vinyl while traversing the modulations, the force due to acceleration ADDs to the "normal force" (Fn in the equation), pushing the stylus against the vinyl, thus momentarily increasing friction and therefore the skating force. Like I said, we are not really in disagreement; I am trying to use the correct language to describe what I think is happening. But it's got nothing to do with steady state velocity. Playing a 33 rpm LP generates no less of a steady state skating force than does playing a 45 rpm LP, even though the steady state velocity is greater in the latter case (groove modulation notwithstanding).
Does removing anti-skating really improve sound?
I know this topic has been discussed here before, but wanted to see if others have the same experience as me. After removing the fishing line dangling weight from my tonearm I’m convinced my bass and soundstage has opened up. I doing very careful listening with headphones and don’t hear any distortion or treble harshness. So why use anti-skating at all? Even during deep bass/ loud passages no skipping of tracks. Any thoughts from all the analog gurus out there?
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Records do not have a steady state velocity unless you are playing a sine wave at constant volume. The higher the velocity the louder the volume the lower the velocity the lower volume. Obviously The overall velocity increases with groove speed. All of this usually does not effect the sound of the system but rather how the cartridge is tracking and wear on the stylus and record especially when the stylus is miss tracking. Miss tracking will cause noticeable distortion which I suppose you could say effects sound quality. Miss tracking occurs at the highest groove velocities. |
The coefficient of friction between sliding surfaces is not determined by a simple Newtonian physics equation. At different velocities the value changes--it generally increases with increased velocity. The shape, elastic properties of the surfaces, "slip-stick" properties, and a host of variables affect how much the friction will change with velocity, but the overall result is an increase in friction with an increase of velocity. See for example: http://www.physics.usyd.edu.au/~cross/PUBLICATIONS/30.%20FrictionvsSpeed.pdf One can expect skating force to increase when playing a 45 rpm record vs. a 33.33 rpm record, even when both are playing an unmodulated groove. The only way it would not increase is if "slip-stick" decreases so substantially with increased velocity that it overcomes all other tendencies for drag to increase. |
@Slaw @ct0517 , Slaw When I owned the 12 inch VPI JMW tonearm I found the stock wiring of the arm with no turn to provide sufficient push back outward - This was due to the shape, firmness, pliability of the wire - as can be seen in this link, one of my setups from years gone by. https://photos.app.goo.gl/KU9PAai5CX8bnfJ87 I agree doing a complete turn of the wire is not useful, way to much force, but still I could not figure out why VPI added the complexity of the string/weight, in later years, other than for marketing and demands from audiophiles. Some, maybe, who just did not understand the anti skating nature of the wire itself. Maybe this is a developed bias from my boating/fishing hobby, but my personal opinion is that a "Weight On A String" is a designer - manufacturer "Cop Out" - on a multi buck tonearm. My Dyna has one *^( The slickest, best anti skate I experienced was on my Fidelity Research FR64s. Those that own that arm know what I am talking about. |
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