I suspect a two record set with B&W cover is the best option.
My suggestion is to get a good track selection and then Scott shoulde be able to master it. This can also be paid for by one of the well known group funding methods or simply enough I can do it and sell the left overs on a commercial web site at a much higher price.
My suggestion is to get a good track selection and then Scott shoulde be able to master it. This can also be paid for by one of the well known group funding methods or simply enough I can do it and sell the left overs on a commercial web site at a much higher price.
We almost certainly need half speed mastering to get flattish response to 20 kHz, so this affects the equalisation required.
Some information about lathes available is needed too. Some are really bad eg A beginner's guide to lathe cutting your own records - The Vinyl Factory
which only manages 8 kHz
More info in this link
Vinyl frequencies: Just wondering.
A claim that quad was cut at 1/3 speed and 45s at 1/2 speed
Also another claim of a 15 kHz LPF
Vinyl frequencies: Just wondering.
A claim that quad was cut at 1/3 speed and 45s at 1/2 speed
Also another claim of a 15 kHz LPF
The W&F test should be longer, as should the reference level. Some THD meters are manual and require time to tune and null. Even the HP 339A takes time to lock up as you drop to lower levels. Then there should be time to remain at that level so you can do other things like extract transport noise in the residual outputs. An FFT can take some time to sweep (looking at the 1KHz signal).
I don't know if a locked track is necessary as it will thump every time the track feeds to the end of the track. I don't have a strong opinion on this either way.
The skating rink won't last very long before you begin following previous tracks. For someone who works with turntables, a glass disc might be the real solution.
-Chris
I don't know if a locked track is necessary as it will thump every time the track feeds to the end of the track. I don't have a strong opinion on this either way.
The skating rink won't last very long before you begin following previous tracks. For someone who works with turntables, a glass disc might be the real solution.
-Chris
I don't think a blank rink is necessary for anti skating, either. First, to use a blank surface to adjust anti skating is not a correct way to do it. On the Ultimate Test Record, it has a track of 315 Hz, amplitude sweep to +12 db, lateral for anti skating. I use PC scope to see the distortions. In my experience, +12 db is too much. I usually adjust the anti skating up to 8-10 db.
text on the back of sleeve of the Ultimate Test Record.
Side 1
General Reference Level
This 1 kHz reference tone will allow you to establish a “base level” for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Azimuth Adjustment
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe’s phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Side 2
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge “demagnetizing”
You can also use this track to loosen up the cantilever’s suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in ‘Mono’ it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
1. 1kHz Reference Tone (Mono)
2. 1kHz Reference Level (Left Only)
3. 1kHz Reference Level (Right Only)
4. 1kHz Reference Tone (-20dB)
5. 10kHz Reference Tone (-20dB)
6. 1kHz - 20kHz Sweep (-20dB)
7. 1kHz - 20kHz Sweep (0VU)
8. 100Hz Reference Tone (0VU)
9. VTA Adjust
10. Standard Wow & Flutter Test (3150Hz)
11. Anti-Skate Test (315Hz, Sweep 0dB - +12dB)
12. Pink Noise (Lateral)
13. Pink Noise (Vertical)
14. 1kHz Reference Level (Out-of-phase)
15. 1kHz - 10kHz Sweep (-20dB)
16. Silent Groove
text on the back of sleeve of the Ultimate Test Record.
Side 1
General Reference Level
This 1 kHz reference tone will allow you to establish a “base level” for all measurements.
Track 1 1Khz reference tone 7cm/s Mono, in phase (Lateral)
Basic reference for all measurements, adjust meter for maximum convenience (in the studio 0VU).
Adjust preamp channel balance for equal output.
Also used to check the offset angle of the photo cartridge; L&R signals should be exactly in phase as displayed on an oscilloscope.
Azimuth Adjustment
Track 2 1kHz reference level Left channel only
Measure Right channel output.
Track 3 1kHz reference level Right channel only
Measure Left channel output.
The object is to sit the stylus exactly perpendicular in the groove.
Twist cartridge about its radial axis until the measurements from Track 2 and Track 3 are equal or very close to equal for both channels.
High Frequency Adjustment
Tracks 4, 5 and 6 are used to calibrate the RIAA high frequency equalizer of a phono preamp. This will be used to calibrate a mastering lathe’s phono preamplifier or any phono preamplifier that has these adjustments.
Track 4 1 kHz tone at -20 below reference level, Lateral
Reference for High Frequency test.
Track 5 10 kHz reference tone at -20dbu, Lateral
Adjust the high frequency until the output level equals that of Track 4.
Track 6 1 kHz to 20 kHz sweep at -20dbu, Mono (Lateral)
The AC millivoltmeter reading should stay constant across all frequencies. There are a number of factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the 10 kHz adjustment, a better overall frequency response can be achieved.
Low Frequency Adjustment
Tracks 7 & 8 are used to calibrate the RIAA low frequency equalizer of a phono preamp.
Track 7 1 kHz to 20 Hz sweep at 0 VU (Lateral)
Play Track 7 and measure the output with your AC millivolt meter.
Ideally, the output will be flat across all frequencies. When viewed on an oscilloscope, the amplitude would remain constant during the frequency downsweep.
Track 8 100 Hz reference tone at 0 vu (Lateral)
Adjust LF Eq to reference (which is your reading from Track 1).
Track 9 VTA adjust
This is an IEC intermodulation distortion (IMD) test signal; 60Hz & 4kHz 4:1 ratio.
Using an IMD tester, adjust VTA by raising or lowering the tonearm for minimum distortion.
Track 10 Standard Wow & Flutter test signal; 3150Hz
The Wow & Flutter meter will give dynamic speed variations as a percentage deviation from nominal.
Also, the frequency counter should read exactly 3150 Hz for nominal speed. You can use the Hz function on your multi-meter (if so equipped) to verify speed here as well. You can also use to find the measurements at 45RPM. The correct reading at 45RPM would be 4253 Hz (45/33.33) x 3150.
Side 2
Track 1 Anti-skating test; 315Hz amplitude sweep to +12dbu (Lateral)
Signal should remain clean in both channels up to the highest level, both audibly and as viewed on an oscilloscope. In case of distortion, increase anti-skating force or decrease anti-skate until breakup occurs equally in both channels. The left channel information is inscribed on the inner groove wall, the right channel information, on the outer groove wall. Because of the offset angle of a pivoted tonearm, a constantly varying vector force biases the arm towards the center of the record causing the stylus to lose contact with the outer (i.e. right channel) groove wall. Both linear and modulated groove velocity, tracking force, stylus profile, and vinyl composition are contributing factors. The anti skating force attempts to ameliorate this by applying an opposing similar force.
It is also accepted that the overall force vector increases as the tonearm approaches closer to the spindle or end of the record.
Track 2 Pink noise lateral
Track 3 Pink noise vertical
Used for cartridge “demagnetizing”
You can also use this track to loosen up the cantilever’s suspension to help break in a new cartridge. Play these tracks five to ten times after every 300 hours of normal LP playback.
Track 4 1kHz @ reference level, vertical
This out-of-phase signal should cancel to nothing when summed to mono.
Any signals still present are distortion artifacts, lack of channel balance, or timing (phase) anomalies. This test can be a second confirmation of anti-skate adjustment.
Track 5 1kHz to 10Hz sweep @ -20 below
reference level, vertical
Resonance anomalies in the tonearm / cartridge interface will show up as amplitude peaks and dips as the frequency sweeps down.
Once again, by listening in ‘Mono’ it is easier to hear the distortion artifacts.
Track 6 Silent groove for bearing rumble and table isolation
During playback of this track, nothing should be transmitted from the turntable to the speakers. Replay the track and gently tap on the rack or base that the turntable is resting on. There should be little or no thump transferred to the speakers. This track will help you experiment with turntable isolation methods and products to be able to get the most out of your playback system. You may want to use a closed or sealed headphone for best listening results, or a stethoscope on the plinth.
1. 1kHz Reference Tone (Mono)
2. 1kHz Reference Level (Left Only)
3. 1kHz Reference Level (Right Only)
4. 1kHz Reference Tone (-20dB)
5. 10kHz Reference Tone (-20dB)
6. 1kHz - 20kHz Sweep (-20dB)
7. 1kHz - 20kHz Sweep (0VU)
8. 100Hz Reference Tone (0VU)
9. VTA Adjust
10. Standard Wow & Flutter Test (3150Hz)
11. Anti-Skate Test (315Hz, Sweep 0dB - +12dB)
12. Pink Noise (Lateral)
13. Pink Noise (Vertical)
14. 1kHz Reference Level (Out-of-phase)
15. 1kHz - 10kHz Sweep (-20dB)
16. Silent Groove
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Reading that makes me wonder what mastering engineers would think of our project.
How long do you propose? With Luckythedog's software and Scott's python script, 4 seconds is more than enough. Would 1 minute be enough for analog analyzers?
Great idea! I have so many test and setup LPs because everything required cannot be found on one. For longevity I would suggest duplicating any of the high level tracks where mistracking might take place. This way if you end up chewing up a high level track over time, there will be another that can still be used. Or I suppose you could just buy two copies!
Reminds me, there are folks that do set up for very hi-end systems that claim they get very little use from a test LP before they bin it. Anyone know one of these people? The price drops dramatically with units, but I would assume someone that fussy would want the stamper use limited.
Hi Pano,
One minute is enough for a quick reading of performance, but if you have problems you might need a longer track. We could always put another track like it nearer the centre of the record (near lead-out) so you could also check the speed near the beginning and end under modulation. That might be a valuable test to see if the speed servo is doing it's thing properly.
-Chris
One minute is enough for a quick reading of performance, but if you have problems you might need a longer track. We could always put another track like it nearer the centre of the record (near lead-out) so you could also check the speed near the beginning and end under modulation. That might be a valuable test to see if the speed servo is doing it's thing properly.
-Chris
I don't know any of these people but know that radio stations had a limit of how many times a record would be played before getting retired and some of the BBC test records I have have the dates they were used written on the label.
It is true that you can set a table without using a test lp. It is just personal preference. For me, I use test lp as much as I can. Especially, for diyers, a test lp is a must.
Good initiative 
My thoughts:
Make the disk easy to use and analyse:
Test track duration is a matter of detection instrument to be used for analysis.
If the playback is to be digitaly recorded and file analysis is to be performed later on, tracks can be short (15s or 30s).
Consider a longer track (30s or 60s) test track duration if voltmeter or oscilloscope are to be used while disk is spinning.
For resonance test using eyesight and/or acoustic wobble detection, frequency escalation should be very slow.
For precise measurement of frequency response I think a step change of frequency with some 30 steps, 30s each would be required .
Amplitude increase of test tone if employed for distortion measurements, should be done in steps too.
Test tracks should be clearly separated.
Locked grooves between tracks is a pain. One locked groove is enough and this is at the disk run-out on each side.
One test disk can't handle all. A set of two is more realistic (would it be three?)
Reliable data:
Stable test track signal both in frequency and in amplitude (computer generated test tones and cutting lathe mechanical and electrical parts in pristine condition)
Documentation is everything.
Especially test track signal level should be clearly referenced, no ambiguity.
X cm/s (specify peak or rms) lateral=0dB
The optimum (at least for the reference tone track) would be to specify the modulation velocity in cm/s peak (lateral) based on optical measurement with a microscope on the master cut and using the equation :
Peak Velocity for sinusoidal modulation = (peak to peak amplitude or displacement of modulation/2)*2pi*frequency.
Pay a visit to this good reference to technical test disks of the past. Take ideas and notice some technical issues, especially when using more than one rpm selection for the cut.
http://www7a.biglobe.ne.jp/~yosh/recspecs.htm
George
My thoughts:
Make the disk easy to use and analyse:
Test track duration is a matter of detection instrument to be used for analysis.
If the playback is to be digitaly recorded and file analysis is to be performed later on, tracks can be short (15s or 30s).
Consider a longer track (30s or 60s) test track duration if voltmeter or oscilloscope are to be used while disk is spinning.
For resonance test using eyesight and/or acoustic wobble detection, frequency escalation should be very slow.
For precise measurement of frequency response I think a step change of frequency with some 30 steps, 30s each would be required .
Amplitude increase of test tone if employed for distortion measurements, should be done in steps too.
Test tracks should be clearly separated.
Locked grooves between tracks is a pain. One locked groove is enough and this is at the disk run-out on each side.
One test disk can't handle all. A set of two is more realistic (would it be three?
)Reliable data:
Stable test track signal both in frequency and in amplitude (computer generated test tones and cutting lathe mechanical and electrical parts in pristine condition)
Documentation is everything.
Especially test track signal level should be clearly referenced, no ambiguity.
X cm/s (specify peak or rms) lateral=0dB
The optimum (at least for the reference tone track) would be to specify the modulation velocity in cm/s peak (lateral) based on optical measurement with a microscope on the master cut and using the equation :
Peak Velocity for sinusoidal modulation = (peak to peak amplitude or displacement of modulation/2)*2pi*frequency.
Pay a visit to this good reference to technical test disks of the past. Take ideas and notice some technical issues, especially when using more than one rpm selection for the cut.
http://www7a.biglobe.ne.jp/~yosh/recspecs.htm
George