There is a pink noise L/R which is good for that mV steady output measurement, plus only left and only right. Maybe first side 4th and on if I remember correctly, me I have the Telarc Omni, but its not available, only as collector's in silly prices on epay. Look at the track list. There were 300Hz tones too I think, maybe 1k also, not sure.
Link:
HFN 002 | A Review of the HiFi News Test Record | Vinyl Engine
Side One
Band 1
Channel Identification Voice on left channel then voice on right channel
Always had an uncomfortable feeling that your channels where wired the wrong way around? This will let you know.
Band 2
Phasing (voice alternately in phase and out of phase)
This track is to help determine if the polarity of the wiring in your system is correct. This is very important for bass response and imaging and the effect can be clearly heard and adjustments made if necessary. You may be suprised just how much this effects the sense of spaciousness and depth in a recording.
Bands 3 + 4 + 5
Channel Balance (-20db pink noise L+R/ L only / R only)
Allows a 'subjective evaluation of your system' in which the sound should be smooth and seamless. Use for setting channel balance before getting to the Bias setting tracks.
Bands 6 + 7 + 8
Bias setting (300Hz tone L+R at +12dB / +14dB / +16dB)
These tracks are for setting anti-skate. If the 300Hz test tone is heard distorting or buzzing on either channel then your 'anti-skate' or 'bias compensation' should be adjusted to compensate. Most cartridges seem to sail through the first track regardless, but fine tuning will be needed to successfully complete the 14db and 16dB tracks. Increasing VTF towards the top end of the cartridge manufacturers scale can improve tracking here.
It's interesting to note that advanced stylus profiles like the Gyger S on the Goldring 1042 have a smaller 'sweet spot' during bias adjustment . A Goldring 1006 and Audio Technica AT110E where equally indifferent to bias setting over a larger range of the scale and where unable to track the final band as well the 1042.
Band 9
Bias setting (300Hz tone L+R at +18dB)
The famous torture track - just another 2dB rise over band 8 but this is very difficult for a cartridge to track cleanly. If you've got through this far with reasonable results then consider this a test of your cartridges suspension design and tonearm control.
Side Two
Bands 1 + 4 + 8
Tracking ability (300Hz L+R at +15dB)
Three identical tracks to test the consistency of arm performance across the record. Use these to check the final setting of your anti-skate and tracking force and then readjust if necessary so that all three track evenly with no distortion. Experience has shown that correct operation here assures good 'real world' results with 99% of recordings.
Band 2 + 3
Cartridge/Arm Lateral/Vertical resonance test (sweep)
These give a visual indication of the resonant frequency of your arm / cartridge combination. When the cartridge suspension becomes excited there is an obvious 'wobble' of the stylus and the pilot tone warbles. You are aiming for a reading of 8-15Hz and applying tonearm damping can help here if your cartridge is a mismatch for the arm.
Band 5
Cartridge alignment (azimuth) test (300Hz L+R +6dB)
This track is designed for cartridge Azimuth adjustment. To check the stylus is absolutely vertical, play the track in stereo and you should get identical output from each speaker, but when the amplifier is switched to mono you will hear nothing.
Band 6
Residual system noise (unmodulated grooves)
Unmodulated grooves which when played at normal listening levels will pick up any noise in your system such as rumbling bearings or poor plinth design. This was absolutely silent on both my sprung chassis Systemdek and Obsidian plinthed SP10 (bar the odd click and pop) so no problem there.
Band 7
Full range frequency system check (20Hz -20KHz L+R)
HFN 002 | A Review of the HiFi News Test Record | Vinyl Engine
Side One
Band 1
Channel Identification Voice on left channel then voice on right channel
Always had an uncomfortable feeling that your channels where wired the wrong way around? This will let you know.
Band 2
Phasing (voice alternately in phase and out of phase)
This track is to help determine if the polarity of the wiring in your system is correct. This is very important for bass response and imaging and the effect can be clearly heard and adjustments made if necessary. You may be suprised just how much this effects the sense of spaciousness and depth in a recording.
Bands 3 + 4 + 5
Channel Balance (-20db pink noise L+R/ L only / R only)
Allows a 'subjective evaluation of your system' in which the sound should be smooth and seamless. Use for setting channel balance before getting to the Bias setting tracks.
Bands 6 + 7 + 8
Bias setting (300Hz tone L+R at +12dB / +14dB / +16dB)
These tracks are for setting anti-skate. If the 300Hz test tone is heard distorting or buzzing on either channel then your 'anti-skate' or 'bias compensation' should be adjusted to compensate. Most cartridges seem to sail through the first track regardless, but fine tuning will be needed to successfully complete the 14db and 16dB tracks. Increasing VTF towards the top end of the cartridge manufacturers scale can improve tracking here.
It's interesting to note that advanced stylus profiles like the Gyger S on the Goldring 1042 have a smaller 'sweet spot' during bias adjustment . A Goldring 1006 and Audio Technica AT110E where equally indifferent to bias setting over a larger range of the scale and where unable to track the final band as well the 1042.
Band 9
Bias setting (300Hz tone L+R at +18dB)
The famous torture track - just another 2dB rise over band 8 but this is very difficult for a cartridge to track cleanly. If you've got through this far with reasonable results then consider this a test of your cartridges suspension design and tonearm control.
Side Two
Bands 1 + 4 + 8
Tracking ability (300Hz L+R at +15dB)
Three identical tracks to test the consistency of arm performance across the record. Use these to check the final setting of your anti-skate and tracking force and then readjust if necessary so that all three track evenly with no distortion. Experience has shown that correct operation here assures good 'real world' results with 99% of recordings.
Band 2 + 3
Cartridge/Arm Lateral/Vertical resonance test (sweep)
These give a visual indication of the resonant frequency of your arm / cartridge combination. When the cartridge suspension becomes excited there is an obvious 'wobble' of the stylus and the pilot tone warbles. You are aiming for a reading of 8-15Hz and applying tonearm damping can help here if your cartridge is a mismatch for the arm.
Band 5
Cartridge alignment (azimuth) test (300Hz L+R +6dB)
This track is designed for cartridge Azimuth adjustment. To check the stylus is absolutely vertical, play the track in stereo and you should get identical output from each speaker, but when the amplifier is switched to mono you will hear nothing.
Band 6
Residual system noise (unmodulated grooves)
Unmodulated grooves which when played at normal listening levels will pick up any noise in your system such as rumbling bearings or poor plinth design. This was absolutely silent on both my sprung chassis Systemdek and Obsidian plinthed SP10 (bar the odd click and pop) so no problem there.
Band 7
Full range frequency system check (20Hz -20KHz L+R)
Sorry for newbie question: have I to read with the DVM ACmV between signal & ground in each channel to check if there is differences right?
As I am almost finished collecting parts for my second Riaa buit, got a little confused regarding R3 value. I am going to built the 56db version for my Sheleter 901 and R3 is stated as 43K, however doing my calculations here, http://www.kabusa.com/riaa.htm I think I should have a 47k R3 for the following values:
R3 = 43,06 and 42,95 takman carbon
R4 = 6,829k and 6,835k shinkoh
c2 = 47,05n and 47,01n Obligato // silver mica
c3 = 16,009 and 16,013 Russian silver mica // silver mica
(C2 and C3 can be adjusted to lower values)
Also thinking to try for C4 a Hovland instead of the usual FT-3(I have both, what do you think?
R3 = 43,06 and 42,95 takman carbon
R4 = 6,829k and 6,835k shinkoh
c2 = 47,05n and 47,01n Obligato // silver mica
c3 = 16,009 and 16,013 Russian silver mica // silver mica
(C2 and C3 can be adjusted to lower values)
Also thinking to try for C4 a Hovland instead of the usual FT-3(I have both, what do you think?
Hovland is this one: Hovland Company: Products: MusiCap Capacitors
They have good reviews usually.
R1 = 6,175k and 6,180k shinkoh
R5 = 1,009M and 1,010M Takman carbon
Thanks.
They have good reviews usually.
R1 = 6,175k and 6,180k shinkoh
R5 = 1,009M and 1,010M Takman carbon
Thanks.
Some general rules IMHO about caps:
Best dielectic: 1st air, 2nd teflon & after the rest of materials.
Best kind: 1st foil, 2nd metallized.
Best conductors: 1st silver, 2nd copper.
Better take always the cap higher VDC rated, thicker dielectric & thicker conductors so less resistance & better spread.
I owned some Hovlands, are very good caps polypropylene film & aluminum foil, so very similar to Obbigatos that are also polypropylene film & aluminum foil, if same kind of materials choose if possible the higher VDC rated.
For C2 better use silver mica as suggested Salas
Best dielectic: 1st air, 2nd teflon & after the rest of materials.
Best kind: 1st foil, 2nd metallized.
Best conductors: 1st silver, 2nd copper.
Better take always the cap higher VDC rated, thicker dielectric & thicker conductors so less resistance & better spread.
I owned some Hovlands, are very good caps polypropylene film & aluminum foil, so very similar to Obbigatos that are also polypropylene film & aluminum foil, if same kind of materials choose if possible the higher VDC rated.
For C2 better use silver mica as suggested Salas
Last edited: