Yes. Turntables matter enormously as does the arm and cartridge. I am very aware of that as are most of responders. I have heard many turntables from $1K to at least $75K.
What is turntable “liveliness”.
I have listened to turntables for sixty years. I bought my first high end TT about thirty years… it was revelatory. I do not swap tables often. I do a huge amount of research and then stay with one for fifteen years or so. My most recent upgrade was from a VPI Aries (heavy mass) to a Linn LP12 (light weight, sprung)…very nearly the very top level. Could we please not turn this into a religious thing about Linn… mine is an outstanding TT which compares favorably with any other $45K analog leg (TT, cartridge, and Phonostage)
The term lively comes up in descriptions. One of the differences in character I noticed between the VPI and Linn… which I thought might be considered liveliness was to me a bit of what I perceived as the images very slightly jumping around… the kind of thing you would think of when you see films of “The Flash” maybe vibrating in place. While I found this gave me the feeling of the notes wanting to jump out at me, I found it a bit disconcerting. I attributed it to a relatively light weight rig, that is really good at rejecting low frequency vibrations (it is a sprung table… known to be lively sounding) up to a relatively high frequency… but beyond that not. Something a really heavy rig would not be effected by.
To test my theory, I had a Silent Running Ohio Class vibration platform constructed for my turntable. The image smear, as I called it disappeared. There is no smear and it has great solidity.
Is this attribute “liveliness”?
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@ghdprentice If you are able to detect a reduction in smearing, which I usually refer to as being able to detect Micro Detail, Micro Dynamics and a Envelope of a Note or Vocal. This is a valuable place to be when wanting to know how resolving the Vinyl Source is. This detail production is extremely valuable and when perceived as being present, is a justification for the monies outlaid on various upgrades over time, or the extensive investigations and trials undertaken to create the perception. During the development of a TA, I was party to, there was always a earlier guise at hand to compare the progressive works with. It was quite amazing at times, how a older guise, that had already seriously impressed and been instrumental in creating a change to ones own equipment in use, could be perceived as being quite wanting, as it was noticeably smearing details and the envelope, when compared to the latest design under trial. Note: The experience of producing impressive resolution is commonly found by working out the best mechanical interfaces and when something new and quite attractive is found, for most much of the investigation for betterment stops. The Signal Path is a fragile necessity, and when the mechanical interfaces are close to optimisation, the Signal Path will be the failing for the realizing the full potential of what is already achieved for the resolving qualities of the source. I have encouraged other to and have myself worked with the Signal Path, from Wand Wire, through to Pre-Amp' and can assure anybody, that as a simple effort, exchanging the RCA Connection to Low Eddy Types on both Cables and Amp' Chassis, will allow much more to be perceived as a imagery, in relation the sonic produced, a veil 'will' be lifted, if the mechanical interface on the source is optimised, a treatment of the Signal Path will produce a Night and Day difference and the discovery will not be wanted to be changed. Extend this experience to trialling different Wire Types and the personalisation to attain a sonic that really meets ones unique preferences begins. My suggestion for a Wire Type and being a vociferous advocate for these wire types are well known within this forum.
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That is for you to find out after you have compared a variety of TTs in your home system. Speaking for myself, if you don't already "believe", it would be a waste of time to convince you, but I do think that your own experience will eventually teach you. The trick is that you need to compare two like turntables (drive system, speed constancy, etc), perhaps two identical turntables, mounted differently from each other, in order to get the point. So, a Linn LP12 is not a good starting point, because it is quirky in so many possible ways other than what we want to focus on. |
FWIW, to appreciate most of the nuances of a TT system one must develop some serious listening skills, especially if you are dealing with high quality TT's and arms. Cartridges and phono stages are quite a bit easier to differentiate. IME audiophiles with those skills are few and far between, many are just plug and play types buying endless tweeks endorsed by merchants or reviewers! Or so it seems. :-) |
- 54 posts total