We try to make the tt as perfect as posible, don't we?
That means we try to reproduce the same enviroment the lp had when cut, does anyone know how is cut an LP?
BTW, if we in our homes, with an infamous stylus and rumbling floor and resonances coming from hell, we get a fantastic sound, how could it be in a mechanical perfect world... sniff.
And they are only about a euro, at least I bought this weekend a pack of 26 lp for 20 EURO, some of them with the plastic film virgin. Are we crazy???
That means we try to reproduce the same enviroment the lp had when cut, does anyone know how is cut an LP?
BTW, if we in our homes, with an infamous stylus and rumbling floor and resonances coming from hell, we get a fantastic sound, how could it be in a mechanical perfect world... sniff.
And they are only about a euro, at least I bought this weekend a pack of 26 lp for 20 EURO, some of them with the plastic film virgin. Are we crazy???
CUTTING EDGE.
Hi,
For those of you wanting to take a look at the machinery involved to cut a record:
And some sites:
NEUMANN
http://www.stratozoo.ch/cut/lathe.html
Cherio,
Hi,
For those of you wanting to take a look at the machinery involved to cut a record:
An externally hosted image should be here but it was not working when we last tested it.
And some sites:
NEUMANN
http://www.stratozoo.ch/cut/lathe.html
Cherio,
How they face the problem?
Thanks for your response,
I've never seen a machine like those, it's very interesting. Thanks a lot Mr. fdegrove!!
Now the question is: How they face the problem? We are not trying to get a perfect and constant speed and so on, but actually try to reproduce the exact enviroment of the machine that cuts the LP, don't we? Do they use belt drive? pivot arm? What kind of platter?
We have to get the data from the source. If we change the original machine i.e. the lathe for a stylus and cartridge, we get a perfect tt, don't we??
Any technical data of these lathes would be greatly appreciate.
And boys, it's not only the historical value or the collectors value, it's not only the amazing sound, it's that you can get recordings that never will come out on CD. That is: where can you buy Tzigane of Ravel played by Szerying? Where can you get those brilliant performances of Oistrakh? I'm afraid that some artists are dead and won't go to a studio any more, and the companies won't re-publish those fantastic concertos. Yes, they are treasures. But we are going off-topic. We can start another one if you like. I'd love to.
Yes, a book only on the shelf isn't worth a penny, at least if you are not a window dresser
Thanks for your response,
I've never seen a machine like those, it's very interesting. Thanks a lot Mr. fdegrove!!
Now the question is: How they face the problem? We are not trying to get a perfect and constant speed and so on, but actually try to reproduce the exact enviroment of the machine that cuts the LP, don't we? Do they use belt drive? pivot arm? What kind of platter?
We have to get the data from the source. If we change the original machine i.e. the lathe for a stylus and cartridge, we get a perfect tt, don't we??
Any technical data of these lathes would be greatly appreciate.
And boys, it's not only the historical value or the collectors value, it's not only the amazing sound, it's that you can get recordings that never will come out on CD. That is: where can you buy Tzigane of Ravel played by Szerying? Where can you get those brilliant performances of Oistrakh? I'm afraid that some artists are dead and won't go to a studio any more, and the companies won't re-publish those fantastic concertos. Yes, they are treasures. But we are going off-topic. We can start another one if you like. I'd love to.
Yes, a book only on the shelf isn't worth a penny, at least if you are not a window dresser
CUTTING EDGE
Hi,
Following threads my be of interest to you:
DIY TT PROJECT
TT MOTOR SPEED TESTS
And there must be others of interest.
Thinking that turning a cutting lathe into a TT would give you the perfect TT for home use is a bit simplistic to say the least.
You also seem to suggest that speed accuracy is not al that important but again this is quite the contrary,the entire playback depends on it.
If you want read up on the topic of lathes I found you some more :
http://www.diyaudio.com/forums/showthread.php?s=&threadid=6501
http://www.kasumirecords.com/cutting/
There is more available on the internet if follow some links contained in these sites.
Ciao,
Hi,
Following threads my be of interest to you:
DIY TT PROJECT
TT MOTOR SPEED TESTS
And there must be others of interest.
Thinking that turning a cutting lathe into a TT would give you the perfect TT for home use is a bit simplistic to say the least.
You also seem to suggest that speed accuracy is not al that important but again this is quite the contrary,the entire playback depends on it.
If you want read up on the topic of lathes I found you some more :
http://www.diyaudio.com/forums/showthread.php?s=&threadid=6501
http://www.kasumirecords.com/cutting/
There is more available on the internet if follow some links contained in these sites.
Ciao,
Keep the source
NOOO, I didn't mean that the speed accuracy is not of important!!! What I mean is that what we have to do is to copy the first step conditions. If the LP is cut with constant speed, then we should copy this method, making the speed constant, as in the copy stage. Going to absurd, if the copy is made with constant acceleration, then we shouldn't maintain our tt's speed constant, but in constant acceleration as in the first step.
Well, going to reallity, how is the design of the platter of the LP cutter machine? Do they use synch motors? Do they use suspended platter? Servo? How is isolated the lathe? What bearing?
What I'm trying to say is that the main design is already done, we could invent the most constant speed machine ever, but if the lp is cut without it, is of no use and sound no better!!
NOOO, I didn't mean that the speed accuracy is not of important!!! What I mean is that what we have to do is to copy the first step conditions. If the LP is cut with constant speed, then we should copy this method, making the speed constant, as in the copy stage. Going to absurd, if the copy is made with constant acceleration, then we shouldn't maintain our tt's speed constant, but in constant acceleration as in the first step.
Well, going to reallity, how is the design of the platter of the LP cutter machine? Do they use synch motors? Do they use suspended platter? Servo? How is isolated the lathe? What bearing?
What I'm trying to say is that the main design is already done, we could invent the most constant speed machine ever, but if the lp is cut without it, is of no use and sound no better!!
Re: How they face the problem?
Actually, I think that one of the biggest advantages of CD is that
the record companies have reissued so much old material that
had not been available on LP for many many years, and in some
cases it had never been issued at all. Of course, not everything
has been reissued, but there has probably never been so many
old recordings available before the CD. I think you should find
quite a lot of Szeryng and Oistrakh on CD too. Don't know about
the Szeryngs Tsigane. I have the 1949 recording with Ginette
Neveu on CD so I haven't bothered to look for other recordings.
Sorry for continuing the deviation from the thread topic, but
historical classical recordings are never off-topic to me.
Raka said:
Actually, I think that one of the biggest advantages of CD is that
the record companies have reissued so much old material that
had not been available on LP for many many years, and in some
cases it had never been issued at all. Of course, not everything
has been reissued, but there has probably never been so many
old recordings available before the CD. I think you should find
quite a lot of Szeryng and Oistrakh on CD too. Don't know about
the Szeryngs Tsigane. I have the 1949 recording with Ginette
Neveu on CD so I haven't bothered to look for other recordings.
Sorry for continuing the deviation from the thread topic, but
historical classical recordings are never off-topic to me.
I'm close to Nashville and have been lurking on craigslist looking for a Scully cutting lathe or something. No luck, must have gone to the scrap bins 2 decades ago.
On the LP (long player) front, some very careful people are dying and their collections are going to Goodwill, etc. Picked up 20 disks of the complete piano compositions of Beethoven for $.50 each a month ago. Alfred Brendel, I didn't know him so I bought $5 worth at first then rode the bus back the next week and bought the rest. Some of these probably had never been played. Serious storage room mud and insect **** on them, but that washes off. Did you know Beethoven did a theme and variations for piano on Rule Brittania? Bet you never hear that one on the radio! I never have.
I've actually picked up some legendary Mercury Living Presence LP's for $.50, hardly used. 1812 overture, Kaboom!!!! Duruflet @ ST Thomas church before they "upgraded" the organ. Genuine CR Fine engineering. I had a few I bought in 1965-68 but I had to pay for the bassoon reeds and lessons, too. And much more obscure stuff, @ $.50 each, I'm not too picky. Did you know Andre Kostelonitz, before he became a Living String clone (blah!) had some talent? The Lure of Spain, CL 943, now there is fiery mono recording.
On the LP (long player) front, some very careful people are dying and their collections are going to Goodwill, etc. Picked up 20 disks of the complete piano compositions of Beethoven for $.50 each a month ago. Alfred Brendel, I didn't know him so I bought $5 worth at first then rode the bus back the next week and bought the rest. Some of these probably had never been played. Serious storage room mud and insect **** on them, but that washes off. Did you know Beethoven did a theme and variations for piano on Rule Brittania? Bet you never hear that one on the radio! I never have.
I've actually picked up some legendary Mercury Living Presence LP's for $.50, hardly used. 1812 overture, Kaboom!!!! Duruflet @ ST Thomas church before they "upgraded" the organ. Genuine CR Fine engineering. I had a few I bought in 1965-68 but I had to pay for the bassoon reeds and lessons, too. And much more obscure stuff, @ $.50 each, I'm not too picky. Did you know Andre Kostelonitz, before he became a Living String clone (blah!) had some talent? The Lure of Spain, CL 943, now there is fiery mono recording.
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