Record clamps: do they really make a difference.

Mosin, Can please explain the logic of your statement?

"It all depends on the table. The worse the turntable, the greater the need."

Redglobe,

My thoughts sort of go along with Bdgregory's view, except I maintain that it isn't the mat per se, but the entire turntable that matters with the mat, or mating surface, being the telltale area of concern because it is so near the beginning of the audio chain.

One oversimplified example would be that of tossing a coin onto a table. Would the resulting sound depend upon the surface of the table? Of course, it would. What if the table was unsteady? What if it had a loose board on top? Would that affect the sound of a coin striking it?

Now, put wheels on the table and roll it. Might you hear the coin rattling? Yes, you might. What if you taped the coin down? Would you hear it then? No, probably not. But, you might not hear it on a table that was designed and built better, even without the tape.

I submit that turntables are no different. A good one is solid enough to handle most resonances thrown at it. A bad one is not, except by luck. The record isn't perfectly interfaced, you say. Well, it takes two to tango, you know.

The platter and bearing assembly should be more than mere ways to look cool, and offer ad copy. Every minute aspect of them should be considered, including, among other things, the effects that a heavy ring clamp might add due to changes in inertia. If, however, the turntable isn't so great, go for it. Anything is an improvement, in that case.

Mosin, Let's assume we have a well engineered turntable as the starting point. (There is no point to a discussion with a poorly crafted TT.) The LP is placed on the platter and set in motion and the stylus is engaged with the disk.

When the stylus generates energy as it vibrates in the record grove, what/where is the best way to dissipate that energy away from the vinyl?

Bdgregory,
It's equally true that if you have the right clamp, a mat may not be beneficial. :-)

That's the case with my Teres, for instance. Which approach is best, and which particular device is best, depends on the rig, system characteristics as a whole and listener preference.


Elegal,

If you can't hear a difference than something seems amiss. I would expect to hear some alteration in the rig's sound floor and resonance behavior at certain frequencies, whether the record is warped or not.

OTOH, Elizabeth's approach contains much wisdom. Like her I adjust what I hear and ignore what I don't.

Redglobe said, "...When the stylus generates energy as it vibrates in the record grove, what/where is the best way to dissipate that energy away from the vinyl?"

I believe any extraneous energy should dissipate in the very least stressful way possible, if one assumes there is enough energy there to cause problems, and I don't assume that is necessarily the case. Quite often, in my opinion, clamps cause more problems than they solve by altering system inertia, changing the character of the musical presentation of the turntable, and opening the door for user accidents caused by carelessness.

If a record isn't flat, a puck in the center isn't a bad thing, but a flat record is better. In any event, a 100% vinyl interface to the top of the platter is rare, if it ever happens. Even with vacuum, new problems arise that may be worse than the cure, if you are talking about having a turntable that performs at the highest level possible.

In my mind, having a perfectly centered record is a far more productive pursuit. Unfortunately, no one has been able to do that without artifacts, either.