IanAS, I hear you. I would expect that kind of mark-up.
"Though some fine multibit CD-players exists, unfortunately most CD-players today utilise one-bit converters. It is probably a price question. A so-called 24 bit one-bit converter (working with one bit technology inside but accept 24 bit input) costs about 2-4 dollars including 2 channels and digital filter.
A real 24 bit converter with 96 kHz sampling frequency and 8 times oversampling costs about 10-15 dollars per channel – without the digital filter. For two channels and digital filter it ends up to approximately 40 dollars.
So multi bit technology is ten times more expensive as one-bit technology. Most manufacturers find it easy to choose ... Especially since HiFi-magazines and HiFi-stores never take a stand and point out the difference."
And that $10-15 converter is what they call "high-end."
But as critical I am of the "high-end" industry, I don't put much emphasis on cost and overhead and whatnot. Many people say that 47 Laboratory gear is overpriced. And that would be valid if you bought audio equipment by the pound. But Junji Kimura doesn't just sell you a box of electronics. He sells competence.
"Though some fine multibit CD-players exists, unfortunately most CD-players today utilise one-bit converters. It is probably a price question. A so-called 24 bit one-bit converter (working with one bit technology inside but accept 24 bit input) costs about 2-4 dollars including 2 channels and digital filter.
A real 24 bit converter with 96 kHz sampling frequency and 8 times oversampling costs about 10-15 dollars per channel – without the digital filter. For two channels and digital filter it ends up to approximately 40 dollars.
So multi bit technology is ten times more expensive as one-bit technology. Most manufacturers find it easy to choose ... Especially since HiFi-magazines and HiFi-stores never take a stand and point out the difference."
And that $10-15 converter is what they call "high-end."
But as critical I am of the "high-end" industry, I don't put much emphasis on cost and overhead and whatnot. Many people say that 47 Laboratory gear is overpriced. And that would be valid if you bought audio equipment by the pound. But Junji Kimura doesn't just sell you a box of electronics. He sells competence.
Dont get me wrong about your CD mats. I was just pointing out some of the real world engineering issues sorrounding it. CD dont weigh much. The Herbie mat probably weighs about the same, if not then a substancial percentage of the weight of a cd.
However I dont actually know what the tolorance is for balancing a cd. If the Herbie matt + cd composite is unbalanced but within the tolorance required for a cd then it probably has a benificial effect.
I would hazard another guess that this is because the vibration is transmitted down the CD motor spindle into the mechanism rather than to the cd. As the mechanism has more mass it can handle the vibrations without them causing a major problem, like CD player whirring and throbbing sounds like you get with cheap CD & DVD players.
The problem with the lead ring, I think was that the mass was not evenly distributed across the platter. maybe if it ws a lead matt things would have been better.
I'm interested in more info about there being no sound from the cartrige/tonearm on a TT. At the moment I can see that the engineering solutions to solve this so called problem would cause more problems that the so called problem it's self. But I am open to conversion.
As for the cable sleeve on teh tonearm. After experiment I used a 1" length very close to the bearing and a 1/4" length near the headshell. The sleeving weighs so little no downforce adjustments were required.
Apologies for spelling mistake and any ramblings. Im on my 5th glass of wine, hey I've got 2 keyboards.
However I dont actually know what the tolorance is for balancing a cd. If the Herbie matt + cd composite is unbalanced but within the tolorance required for a cd then it probably has a benificial effect.
I would hazard another guess that this is because the vibration is transmitted down the CD motor spindle into the mechanism rather than to the cd. As the mechanism has more mass it can handle the vibrations without them causing a major problem, like CD player whirring and throbbing sounds like you get with cheap CD & DVD players.
The problem with the lead ring, I think was that the mass was not evenly distributed across the platter. maybe if it ws a lead matt things would have been better.
I'm interested in more info about there being no sound from the cartrige/tonearm on a TT. At the moment I can see that the engineering solutions to solve this so called problem would cause more problems that the so called problem it's self. But I am open to conversion.
As for the cable sleeve on teh tonearm. After experiment I used a 1" length very close to the bearing and a 1/4" length near the headshell. The sleeving weighs so little no downforce adjustments were required.
Apologies for spelling mistake and any ramblings. Im on my 5th glass of wine, hey I've got 2 keyboards.
Here's a non anti-skating tonearm for you:
http://stereophile.com/analogsourcereviews/776/index1.html
"Ready for a bit of controversy? Like VPI's other tonearms, the JMW-9 has no antiskating mechanism in the accepted sense." The author goes on to say that tracking is maintained by "goosing up the tracking force a little bit" and if you're still concerned about skating, they say you can adjust the tonearm to junction box lead wire so the arm gets a gentle push.
Craig
http://stereophile.com/analogsourcereviews/776/index1.html
"Ready for a bit of controversy? Like VPI's other tonearms, the JMW-9 has no antiskating mechanism in the accepted sense." The author goes on to say that tracking is maintained by "goosing up the tracking force a little bit" and if you're still concerned about skating, they say you can adjust the tonearm to junction box lead wire so the arm gets a gentle push.
Craig
Thanks, Craig. There's also the 47 Laboratory arm, and for 47 Labs very reasonably priced. And perhaps there are others if you look outside the conventional arms. But I just ordered an arm with anti-skating mechanism, an EMT 929.
I'm not a purist. I just think there are things a lot more important than some silly anti-skating mechanism. For example, I think an oversampling DAC makes the CD sound softer, less digital and, if you like, more like vinyl. That's all fine. But I much rather take the harder, more digital sound of a non-oversampling DAC. Not because I like those particular things, but because I like things like detail and attack. I honestly don't think there's an oversampling CD or transport/DAC combo out there that beats the first version Sony PlayStation. Of course, the PlayStation is clearly superior to any SACD player. And if we believe the reviewers, the lo-tech 47 Labs arm beats the hi-tech and much more expensive SME V. So I would much rather have the SME 3009 Mk I than the SME V. Unfortunately, the first series SME 3009 and 3012 are very scarce today.
I'm not a purist. I just think there are things a lot more important than some silly anti-skating mechanism. For example, I think an oversampling DAC makes the CD sound softer, less digital and, if you like, more like vinyl. That's all fine. But I much rather take the harder, more digital sound of a non-oversampling DAC. Not because I like those particular things, but because I like things like detail and attack. I honestly don't think there's an oversampling CD or transport/DAC combo out there that beats the first version Sony PlayStation. Of course, the PlayStation is clearly superior to any SACD player. And if we believe the reviewers, the lo-tech 47 Labs arm beats the hi-tech and much more expensive SME V. So I would much rather have the SME 3009 Mk I than the SME V. Unfortunately, the first series SME 3009 and 3012 are very scarce today.
Question to primalsea
Hi there
For my 40th birthday I was really happy to receiva a Pro-Ject Debut III from my children.
The pickup seams to transfere some anoying noice from the motor. I read from primalsea's posting that he/she "made a metal plate that shields the motor from the cartridge. This really does reduce the pick up of the motor EMF by the cartridge to almost nothing."
Could you elaborate on this for me. I would really like to solve this problem.
The noise is not as apparent in the shop as in my home. Does this have an explaination?
All the Best
Odinnas
Hi there
For my 40th birthday I was really happy to receiva a Pro-Ject Debut III from my children.
The pickup seams to transfere some anoying noice from the motor. I read from primalsea's posting that he/she "made a metal plate that shields the motor from the cartridge. This really does reduce the pick up of the motor EMF by the cartridge to almost nothing."
Could you elaborate on this for me. I would really like to solve this problem.
The noise is not as apparent in the shop as in my home. Does this have an explaination?
All the Best
Odinnas
Perhaps a stupid idea:
I used water bubble level when setting up my turntable. If the front and left side was a bit down, the arm tended to pull outwards, in the direction of the beginning of the disc. Hence came the idea: could the anti-skating be based on this effect? If the weigth of the cartridge could provide the tracking force (instead of e.g. a spring or magnet pulling down), why couldn't be the anti-skating force? The downside is that the platter bearing would be loaded at one side.
I used water bubble level when setting up my turntable. If the front and left side was a bit down, the arm tended to pull outwards, in the direction of the beginning of the disc. Hence came the idea: could the anti-skating be based on this effect? If the weigth of the cartridge could provide the tracking force (instead of e.g. a spring or magnet pulling down), why couldn't be the anti-skating force? The downside is that the platter bearing would be loaded at one side.
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