Audio Note have an article describing how they compare components. Have a look at this- Audio Note I think it's a useful tool, hearing if changes increase contrast, or if everything sounds similar. You have to get beyond the obvious colourations first, I believe, but then this method becomes very useful.Regrettably, I have nothing decent here to compare to and I am new to analog, so to speak...so I have refrained to comment about sound.
I will say though, that the last arrangement opened up the sound quite a bit and that increasing the equilibrist bar's weights seem, until now, to make images more dense and increase dynamics...I need further listening sessions because one can easily fool oneself.
When is a "man on a wire" not a man on a wire?
Hi folks,
maxlorenz's arm looks familiar
As projects go, this is a great learning experience. As far as unique or creative, it's been done before. Simple unipivot designs have been done (see Altmann's simple tonearm which is the basis for my "219" tonearm), as well as "outrigger " type weights to balance the zenith angle.
I bring this up because I've "been there, done that". In no way am I trying to take away from maxlorenz's efforts, which are worthy for self edification.
Considering the amount of lateral and vertical inertia, one can have too much of a good thing. Tonearms need to be able to allow the cartridge to track the groove. If too much vertical inertia in the arm, as the cartridge traces the groove the cantilever can flex towards the inside of the record groove. This was a consideration when I was reminded by a reader about the Audio by Van Alstine's "Longhorn" modification. That's why I consider the Longhorn approach to work well (at least for me and my tonearm).
I encourage anyone interested in improving the fidelity available to them via the LP playback system to try either maxlorenz's approach or the Longhorn. I'll keep my observations to myself so as to not influence others via the power of suggestion.
Hi folks,
maxlorenz's arm looks familiar
As projects go, this is a great learning experience. As far as unique or creative, it's been done before. Simple unipivot designs have been done (see Altmann's simple tonearm which is the basis for my "219" tonearm), as well as "outrigger " type weights to balance the zenith angle.
I bring this up because I've "been there, done that". In no way am I trying to take away from maxlorenz's efforts, which are worthy for self edification.
Considering the amount of lateral and vertical inertia, one can have too much of a good thing. Tonearms need to be able to allow the cartridge to track the groove. If too much vertical inertia in the arm, as the cartridge traces the groove the cantilever can flex towards the inside of the record groove. This was a consideration when I was reminded by a reader about the Audio by Van Alstine's "Longhorn" modification. That's why I consider the Longhorn approach to work well (at least for me and my tonearm).
I encourage anyone interested in improving the fidelity available to them via the LP playback system to try either maxlorenz's approach or the Longhorn. I'll keep my observations to myself so as to not influence others via the power of suggestion.
Thank you, awkward and nanook.
I am not claming "uniqueness". I went tired after visiting a few threads here to see if this kind or arm was published before, as the forum rules recommend, so I don't know if the aproach is known or not. I can asure you that it came to my mind with no external influence. As if this is panacea or not, I'm inclined to think that it is not, but since I won't pay hundreds nor thousands for a hifi arm, I will probably never know...unless some more experienced guys make something similar.
What I will advice is that everyone considering a wooden arm, please take a look at pernambuco (before its extinction). It has a pattern of vibration/harmonics that was/is considered the best by Master Bow Makers, for centuries.
After considering the arm reasonably tweaked, I will try the moving coil path.
Cheers,
M.
I am not claming "uniqueness". I went tired after visiting a few threads here to see if this kind or arm was published before, as the forum rules recommend, so I don't know if the aproach is known or not. I can asure you that it came to my mind with no external influence. As if this is panacea or not, I'm inclined to think that it is not, but since I won't pay hundreds nor thousands for a hifi arm, I will probably never know...unless some more experienced guys make something similar.
What I will advice is that everyone considering a wooden arm, please take a look at pernambuco (before its extinction). It has a pattern of vibration/harmonics that was/is considered the best by Master Bow Makers, for centuries.
After considering the arm reasonably tweaked, I will try the moving coil path.
Cheers,
M.
where's the pix sled? no claims...
..from maxlorenz
maxlorenz: I guess I was just clarifying that similar designs have been done. I never claimed my "219" was anything more than a refinement (perhaps) of Altmann's design. On his site there is a link to a tonearm made with a violin bow.
sled:do you have a link to the attachment? I can't see the image at all.
all: I will say that making a diy version of the Longhorn is a worthy experiment . It would be interesting for maxlorenz to compare the longbow mod to his outrigger weights.
..from maxlorenz
maxlorenz: I guess I was just clarifying that similar designs have been done. I never claimed my "219" was anything more than a refinement (perhaps) of Altmann's design. On his site there is a link to a tonearm made with a violin bow.
sled:do you have a link to the attachment? I can't see the image at all.
all: I will say that making a diy version of the Longhorn is a worthy experiment . It would be interesting for maxlorenz to compare the longbow mod to his outrigger weights.
There is so much to learn, experiment and consider...I am now in the study phase, which as I explained, comes after the building, in my method of work For example, I am reading Gpapag's thread about gluing the cartridge (mine was rapidly glued while reading) and he has some views that are coincident with mine about the cartridge being "fixed in space" during the reading of the grooves (or at least that is what I understood) for which I will continue to add mass to the lateral weigths until I found detriment to the sound.
Apart, I rotated further 90º the TT with respect to the tonearm and got almost totally rid of the hum! The cartridge and magnet wire were picking probably the motor and power lead's magnetic fields.
Thank for your interest and observations.
M.
For example, I am reading Gpapag's thread about gluing the cartridge (mine was rapidly glued while reading) and he has some views that are coincident with mine about the cartridge being "fixed in space" during the reading of the grooves (or at least that is what I understood) for which I will continue to add mass to the lateral weigths until I found detriment to the sound.Apart, I rotated further 90º the TT with respect to the tonearm and got almost totally rid of the hum! The cartridge and magnet wire were picking probably the motor and power lead's magnetic fields.
Thank for your interest and observations.
M.
max: it certainly appears that you are moving along in the right direction
On 90º turntable rotation: Yes! Of course this depends on the cartridge and turntable, but generally if a motor can be placed furthest away from the cartridge noise (induced hum from the motor , etc) the better. This is why I think re-clocking the LP-12 has many fans.
No doubt the magnet wire is picking up hum, and the cartridge could be as well. Certainly turning the tt in relation to the tonearm is a smart thing to do. When this is not practical (for whatever reasons) magnetic shielding can be accomplished using "Mμ-metal" foil. It is quite expensive, but is a good solution. Make a cover for your motor (without touching any wires ) out of some sort of non-conductive material and apply the shield to the cover. Remember any moving current can induce a magnetic field.
On 90º turntable rotation: Yes! Of course this depends on the cartridge and turntable, but generally if a motor can be placed furthest away from the cartridge noise (induced hum from the motor , etc) the better. This is why I think re-clocking the LP-12 has many fans.
No doubt the magnet wire is picking up hum, and the cartridge could be as well. Certainly turning the tt in relation to the tonearm is a smart thing to do. When this is not practical (for whatever reasons) magnetic shielding can be accomplished using "Mμ-metal" foil. It is quite expensive, but is a good solution. Make a cover for your motor (without touching any wires
) out of some sort of non-conductive material and apply the shield to the cover. Remember any moving current can induce a magnetic field.Attachments
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Good tips. Thanks Nanook.
Now I need a good record cleaning machine.
edit: I forgot to mention why this arm is called "Man on Wire" and not "man on a wire" as correctly nanook described it. This site shall explain it:
http://www.manonwire.com/
Now I need a good record cleaning machine.
edit: I forgot to mention why this arm is called "Man on Wire" and not "man on a wire" as correctly nanook described it. This site shall explain it:
http://www.manonwire.com/
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Hey, Nanook...This has been my Daily Player since you Posted It...It Sounds Great with a Cedar Arrow Shaft Arm...And now, with the Low Slung Weight, I don't think that it needs the Outriggers...
your picture won't open for me. Best regards Moray James.
record cleaning machine...
max:
I got the reasons for man on a wire as soon as you described it..
A record cleaning machine is (perhaps) more difficult to construct. I like the idea of a record player style, but the simple methods work. I still haven't gotten around to making one. If using one that spins a record such as the nitty gritty types, remember they spin the record at about 1/2 speed (I think something like 17 or 18 RPM).If you can locate the crystal inside a DD, replace it with one that is 1/2 the frequency or use a divide by 2 circuit (flip-flop, etc)
You might look here to see a current thread.
max:
I got the reasons for man on a wire as soon as you described it
.. A record cleaning machine is (perhaps) more difficult to construct. I like the idea of a record player style, but the simple methods work. I still haven't gotten around to making one. If using one that spins a record such as the nitty gritty types, remember they spin the record at about 1/2 speed (I think something like 17 or 18 RPM).If you can locate the crystal inside a DD, replace it with one that is 1/2 the frequency or use a divide by 2 circuit (flip-flop, etc)
You might look here to see a current thread.
I had the chance to acquire recently decent used LPs.
I posted a video on Youtube which shows my "man on wire" arm in action, with my latest experiments with high weight added to the equilibrium arms. I added two big nuts per side and the tracking weight increased only 0.4g afterwards. I set the weight to 2gm.
"Man on Wire" DIY unipivot arm test. - YouTube
As expected, the added weight made the arm more stable in all planes and the bass improved a lot.
I hope you'll like it.
M.
I posted a video on Youtube which shows my "man on wire" arm in action, with my latest experiments with high weight added to the equilibrium arms. I added two big nuts per side and the tracking weight increased only 0.4g afterwards. I set the weight to 2gm.
"Man on Wire" DIY unipivot arm test. - YouTube
As expected, the added weight made the arm more stable in all planes and the bass improved a lot.
I hope you'll like it.
M.
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