intactaudio
Responses from intactaudio
| Mono Reissues and the Conical Stylus I have heard a low hour zero compared to one that had been retipped with a Boron / microridge combo in a direct comparison and I felt that while the retipped cartridge was no longer a Miyajima, the sound was superior. The most surprising thing I ... | |
| Mono Reissues and the Conical Stylus I don' think anyone would disagree that the 1 mil. conical stylus, while optimal for early mono records, wasn't ideal for later stereo records. I agree that the 1 mil conical is not a goof choice for micro-groove but I also do not believe it is th... | |
| Mono Reissues and the Conical Stylus Just measured a bit closer and the groove with is closer to 3 mil. I should also clarify that the 2.2 and 3.2 mil numbers I gave are the "average" from the link below and not a hard spec.https://dgmono.com/2018/04/06/deep-groove-mono-and-the-grea... | |
| Mono Reissues and the Conical Stylus Goofyfoot,the groove width of the London ffrr is about 2.5 mil which is above the max spec for microgroove. Since the groove is v shaped the width has little to do with whether a conical will properly trace it. the only issue that can arise is a... | |
| Mono Reissues and the Conical Stylus That is my understanding. I just looked at a 1955 London ffrr (Ted Heath ant the London Palladium) and the groove is a V. The bottom does have a slight radius. A stereo cutting stylus specified by Ortophon has a 3-4µm radius which would explai... | |
| Mono Reissues and the Conical Stylus I think there is some general confusion about the bridging concept used to sum the stereo signal to add the lateral movement and null the vertical and a cartridge that only picks up information in the lateral plane. My take is that if the coils... | |
| Mono Reissues and the Conical Stylus Can anyone provide a reference to the "U" shaped groove and how it is cut?dave | |
| Mono Reissues and the Conical Stylus How exactly are mono records cut with a stereo cutterhead any different from those cut with a mono cutterhead? The only difference I am aware of is the groove width / depth but the cutting stylus and groove profile is a "V" for both.dave | |
| What about diamond cantilever/stylus combo I to have heard rumors of the one piece sony diamond stylus / cantilever combo but have never seen a picture. Namiki currently makes a diamond assembly but it is two piece where the diamond is set in a laser drilled hole.www.intactaudio.com/forum/... | |
| Any Members Tried the Audio Interface CST-80 SUT? When it comes to transformers the two main factors to be designed around are the source and load impedances. In the case of a SUT the source is a cartridge and the load is the phono stage. This means that the cartridge impedance is the main fact... | |
| Mono recordings - two questions... The modifications can be as simple as internal summing of connections, or as complex as reorienting the pair of existing stereo coils. With either (or both) the cartridge still responds to and generates a signal from vertical content which can p... | |
| autoformer attenuator and step up transformers -5dB | |
| autoformer attenuator and step up transformers the perfect position for the autoformers is full volume then they are simply a shunt element. The worst performing taps are in the 0 to -6dB range but they still have 100Khz+ bandwidth and what ringing there is is also above 100khz which is far e... | |
| autoformer attenuator and step up transformers Placing the 1:4 in front of the autoformer would increase the source impedance to 6.2K which would then be reduced by whatever attenuation is needed. This added 12dB of gain would be offset by anything over 12dB of attenuation adding lots of comp... | |
| autoformer attenuator and step up transformers If I were to use a step up and autoformer combo I would place the 1:4 after the autoformer and arrange it so it is only used when it is absolutely needed. dave |