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Showing content with the highest reputation on 11/07/17 in all areas

  1. 3 points
    Received this today, just listened to, fan bloody tastic:
  2. 3 points
    a bit of pinkfloyd to start the night off with
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  5. 3 points
    Sunday lunch delicacy. Sheep's head and eyeballs in Langa township. Lunch is ready sir Something for the weekend sir? Kids after sweeties
  6. 2 points
    well to follow i realy like this on vinyl Pink Floyd Delicate Sound of Thunder and a large glass or red
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  8. 2 points
    After my banter with jkbmusic, I thought I would actually give it a play.
  9. 1 point
    A million years ago (well nine actually) I posted about setting up a cartridge. As it has now receded into the dark recesses of posts past, I thought it might be useful to repost it. These days my system is a lot more modest than it was back then, but that doesn't change the thrust of the post, but it's worth bearing in mind that the comments I make in the post relate to an Orbe with an SME V and a Clearaudio Accurate cartridge. I have had some further thoughts about setting the bias (anti-skate) since then, but I will make a separate post on those later. Here it is, and it's a bit long ------------------------------------------------------------------------------------------------------------------------------------------------ OK, here are my thoughts on cartridge alignment, and I'm sorry if this is a bit long. Everything written here assumes the cartridge's internals are all in alignment with each other and with the body. This is sometimes not the case, but as an extra complication, that can be dealt with another time. There are two parts to cartridge alignment, one is to get the diamond aligned in the groove, and the other is to get the generator centrally set (and that means horizontal and vertical). This second one is less frequently discussed, but in my opinion is fundamental to getting the best dynamics out of the cartridge. Cartridge alignment is about geometry. First up, overhang and offset angle: What we are trying to achieve is minimal tracing distortion across the record surface. This is not the same as minimal degrees deviation from tangential across the record surface, as more distortion will be created for a 1deg deviation at the centre of the record than at the outer edge. In other words we can afford to deviate from the tangential to a greater degree at the outer edge of the record than we can at the centre. Ok, I just made a statement that is at odds with the various protractor types. Looking for minimal distortion is only one way of approaching the problem, and would generally be represented by a Loefgrun protractor (null points 70.3mm and 116.6 mm). However, the Stevenson protractor (null points 60.33 mm and 117.42 mm) is looking from the viewpoint that as tracing distortion is worse at the end of a side, then that is where the null point should be. The Baerwald viewpoint is that the maximum distortion (start, middle, and centre of record) should be broadly equal. This gives null points of 66.0 mm and 120.9 mm. Max Townshend used to make a protractor that measured the distortion across the whole record side, the idea being that you would play with the parameters to get the minimum, even if your tone arm offset angle was incorrect. I have one of these, and I have to say it isn't the easiest thing to use. Having persevered though, I ended up with null points that appeared to match the Loefgrun ones almost exactly, but I did have to twist the cartridge a little in the mildly oversized holes in my SME V. Seems SME know their stuff when it comes to geometry, and no surprise there I guess. Deviation from tangency is not only affected by the offset angle, but also by the overhang. It is interesting to note that a slight inaccuracy in offset can be compensated for by changing the overhang. It's not quite as good as having both correct, but pretty close. Azimuth: The stylus must sit exactly perpendicular to the record surface for the best results. There are two reasons for this: firstly so that the stylus will sit correctly within the groove walls, and secondly so that the generator is correctly aligned with the modulations. On a stereo record, a sine wave that is in phase and equally recorded on both channels will create a horizontal movement of the stylus, and one that is out of phase will create a vertical movement (which is of course a bugger to track). You want the generator to move precisely vertically in the out of phase situation, otherwise you will get channel imbalance. For those that have an oscilloscope, the HFN test record can be used to check azimuth by using the lowest level out of phase cut and checking the output is identical in amplitude. (Please remember I said I was talking about correctly made carts.) Downward Force (playing weight): When all is said and done, the correct downward force is the one that centralises the position of the generator inside the cart. Problem is it is very difficult to determine this, and what's more it changes with the ambient temperature. If you live somewhere very hot, there might be a problem with the appropriate downward force being too little to give good tracking. Some manufacturers tailor their suspension for export to hotter climes, others are designed in such a way that good tracking can be reached across a wide range of temperatures with a standard suspension. Neither is right or wrong. These days I try and pretty much set the initial downward force by use of a big illuminated magnifying glass and a sheet of Perspex. By sitting the Perspex on the platter with a corner overhanging, I can then place the cart on the overhanging part and view the position of the cantilever right up to the suspension. Thus it is possible to see where it sits. Very minor tweaking by ear then ensues. I might add that by using this technique I realised that I had been using too little downward force, and there is a reason for this. In my arm/cart combination, there is a point where the downward force is too little BUT the bass thickens up considerable. I now put this down to resonance, but I previously erroneously laid it at the door of too much tracking force, and backed off. Now I am using a heavier force, I have pushed it through this point, and the bass is now forceful, fast and tuneful as it should be, but the dynamics have increased remarkably. VTA: There is no doubt in my mind that small adjustments to the VTA can make a large difference to the perceived sound. The problem is that I am no longer sure that the mechanisms involved are fully understood. Whilst most people have concentrated on the match between the cutter head angle and the stylus profile, cutting angles can vary from record to record by as much as 10 degrees (ok that's a maximum, but still 3-4 degrees would be a good median). To make a variation of that size would require a lot more VTA adjustment than is available. I used to perform record by record adjustment, using the Ringmat system, but I've stopped because it was getting in the way of the music. I've now decided to go for the best VTA for a middle thickness record and hang the consequences. Interestingly, now I have the downward force where I believe the generator is correctly centred, I have found the best position to be, ahem, when the arm tube is parallel to the record. Hmm wasn't expecting that, to be honest, or perhaps we should be trusting the guys who make this stuff a bit more!. If I had on the fly adjustment (because I've also stopped using the Ringmat), I think I would mark off a setting to make the arm parallel for each record weight, and leave it at that. Bias (anti skate): Because of the offset angle, the pull on the stylus is not passed through the bearings, but through a point to the right. This creates a moment, and so the arm is pulled toward the centre. As the stylus is locked into the groove, it does what Newton wanted, and resists equally and oppositely. This results in two things. Firstly there is greater stylus pressure on the inner groove wall, and secondly as the cantilever compliantly mounted, its position is deviated to the right. This force is also dynamic in nature, responding to the transients on the record. I imagine if you knew the lateral resonance of a tone arm / cart combination, you could create a disc that would excite that not by having a tone at that frequency, but by having spaced impulses that would add drag at the correct resonant frequency. My guess is the stylus would pretty quickly leap out of the groove!! This dynamic nature makes it difficult (impossible?) to set the value for the bias. However, we really want the cantilever to be tangential to the groove at the null points, because we just spent an age setting the cart that way to get the minimum distortion. Too little or too much bias will undo all that good work. Alright it might not mistrack, but we will still be getting a percentage of distortion that we don't want. In my case it's back to the big illuminated magnifying glass, and check to see if the cantilever is riding central. The longer the arm, the less the offset angle, and the less the pull toward the centre of the record. I strongly suspect that 12" arms are liked more for this reason than for the reduced tracing distortion. Lateral Damping: i.e. only in the horizontal plane. I have really changed my mind about this recently, having spent a lot of time recently researching the whole subject on the web and at home. I now believe the main advantage of lateral damping is not to cut down resonance, even though it does. I now think the main benefit is to cut down on the dynamic nature of the bias. The damping fluid will resist the fast acting inward pull created by a transient on the record. This will keep the bias required a lot more consistent, and allow the stylus to get on with the job at hand i.e. tracing the groove. I have gone for full damping on my SME since I reset all the other parameters described above, and I believe the sound is more dynamic and clean than it has ever been. I don't believe the sound sounds "damped" at all, which is the usual criticism of damping. I may be suffering from "expectation bias". Off-centre records may be adversely affected by lateral damping, as the fluid resists the arms ability to swing to and fro. Vertical Damping: Vertical Damping reduces resonances in the vertical plane, but it also acts to slow down the arms reaction to vertical movement, such as when the record is rippled or warped. This translates as continuous change in the downward force, and may be why damping is disliked by many. I have little experience of vertically damped arms. Many arms cannot be laterally damped without being vertically damped.
  10. 1 point
    I was prompted to buy some gel speaker isolation pads (Atacama, £15) to replace my current blobs of blu-tac on reading an associatedthread last week . I have to say for the outlay vs. improvement this has been a great move. Things just seem taughter, more focused, cleaner. Anyway, just wanted to throw this in the mix, if you currently use blu-tac and have £15 to spare, give it a whirl !
  11. 1 point
    I am on a roll, Houses Of The Holy, Led Zeppelin:
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  13. 1 point
    [1978] Mike Oldfield - Incantations [2000 HDCD 24bit flac remaster]
  14. 1 point
    [2017] Anathema - The Optimist [flac]
  15. 1 point
    Yes I've got it but haven't seen it yet .
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    Any more space left? I'd like to do one also, please. Got an artist in mind but can't decide on the album. Surprisingly it's someone who's alive and well.
  18. 1 point
    You have identified the problem very clearly. Every single one of your examples of trouble relates to a CEO. I can remember a time before there were CEOs. The idea of CEOs comes from the private sector. Look what happens when you introduce private sector ideas into a public health service. All the trouble that you have so clearly described begins. How can you be certain of this ? Perhaps we should try putting as much money in as all the other countries do, then we would find out. All we know is that a health service doesn't cope so well when there is far too little money. How is that different from taxation ? It is just the same as taxation. This why the tax raised to pay for the health service (and pensions) was originally called National Insurance. The difference with private insurance is that that also has to pay for the insurance company CEO to have a fat salary and the shareholders to have fat dividends. If you want to spend your money on these people then you're very welcome to. I want to spend mine on doctors and nurses. VB
  19. 1 point
    [2001] Stereophonics - Just Enough Education to Perform [flac]
  20. 1 point
    Built on the site of an old dairy that I used to use for emergency milk (before garage shops and convenience shops) from a vending machine, way back in the day!
  21. 1 point
    And just to prove you were wrong, he let me snap him at work.
  22. 1 point
  23. 1 point
    Charity shield tickets bought
  24. 1 point
    Skunk Anansie - Paranoid & Sunburnt. CD
  25. 1 point
    I was thinking along the same lines this morning
  26. 1 point
  27. 1 point
    [1978] Steely Dan - Greatest Hits [24/192 vinyl flac]
  28. 1 point
    Caught this lovely creature on my school fence. Taken with my phone. Sent from my SM-G920F using Tapatalk
  29. 1 point
    Two Chimneys by Les, on Flickr Fuji X-T2 with XF 18-135mm processed with Silver Efex Pro 2
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  31. 1 point
    The sheer chutzpah in his idea his view is shared by any majority (bigots only of course & "trillions" >>> WTF!) is incredulous. He's already on record here for posterity at his discomfort on the portrayal of any gay sexuality on various TV dramas. His seemingly jolly well wishing addendum is anything but!
  32. 1 point
    Believe it or not this my first ever listen.
  33. 1 point
  34. 1 point
    some thing to wake me up jagged little Pill on vinyl ,should wake the neighbours up as well
  35. 1 point
  36. 1 point
    Dinorwic slate quarry. Louvre Decay by Tillman Kleinhans ARPS EFIAP/b DPAGB BPE2*, on Flickr Canon 5D4 + 24-105L, 1/320s @ f6.3, ISO400 raw.
  37. 1 point
    [1987] Eric B & Rakim - Paid in Full [flac]
  38. 1 point
    Fuji XPro1 + XF 35mm f/1.4
  39. 1 point
    Thin Lizzy 'Johnny The Fox' (1976- LP)
  40. 1 point
    I'm not sure if anyone mentioned in this long thread the La Pavoni Europiccola which looks lovely and sounds great. For domestic use, 1-2 espressos per day. I'd appreciate any views of people who tried it and moved on...
  41. 1 point
    There is a techie reason exemplified by the Fletcher-Munson curves which show that as volume levels get lower our ears sensitivity to low and high frequencies reduces, hence the birth of the dreaded loudness control. Some of these were so 'pumped' up they impacted the audio at higher volume levels as well. Some amplifiers also have different frequency responses at different volume control settings and the manufacturer then decides where the flattest response occurs. Also some loudspeakers have different frequency responses depending on the volume setting. And then there are other effects as well but they move into the subjective realm.
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    My wife said I should follow my dreams, so I went back to bed
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  46. 1 point
    Beach by Ben Bolton, on Flickr
  47. 1 point
    My findings also, moving from bluetack to big brass spikes, now to gel pads, gel pads win hands down. For those of us on a budget, I bought Boots brand sandal gel pads for a couple of quid, cut them up, sticky side down. Nice.