I have a home made SUT that I wish to mod to add earth lift, but am unsure of how this is implemented.
Does the earth lift disconnect the outer of the output RCAs from the earth terminal? This makes most sense to me.
This would leave the chassis earthed at all times and the choice of floating or earthed RCA connectors.
Any help would be appreciated.
Steve.
*Title should read lift not life*
Does the earth lift disconnect the outer of the output RCAs from the earth terminal? This makes most sense to me.
This would leave the chassis earthed at all times and the choice of floating or earthed RCA connectors.
Any help would be appreciated.
Steve.
*Title should read lift not life*
Step up transformer AKA "SUT" for a moving coil cartridge.
Not sure why you want the ground lift, but if you do this it might make sense to isolate the rca jack grounds from each other so that you get a differential input.
(dpst switch)
My experience with such attempts has been massively worse hum, but that may be system dependent.
If this is not what you are thinking and you indeed have RCA jacks grounded to the chassis, isolating the input and output RCA jacks from the chassis and grounding it separately is a good move. Also I generally find that keeping the left and right channel grounds separate from each other is a win as well. (Left channel RCA jack in and out grounds connected together, right channel RCA jack in and out grounds connected together. Not connected to each other, and chassis grounded separately.. Very quiet IME)
Not sure why you want the ground lift, but if you do this it might make sense to isolate the rca jack grounds from each other so that you get a differential input.
(dpst switch)
My experience with such attempts has been massively worse hum, but that may be system dependent.
If this is not what you are thinking and you indeed have RCA jacks grounded to the chassis, isolating the input and output RCA jacks from the chassis and grounding it separately is a good move. Also I generally find that keeping the left and right channel grounds separate from each other is a win as well. (Left channel RCA jack in and out grounds connected together, right channel RCA jack in and out grounds connected together. Not connected to each other, and chassis grounded separately.. Very quiet IME)
For Rega stock wired tonearm, I wired it this way for an excellent result.
SUT faraday (if any) and body ground wires, outer shield in & output tied to chassis ground terminal.
Outer shield in & output should be lifted if used with other tonearms with separate ground wire.
Lastly, attempt positioning the SUT for least hum as it could pick up stray noise from transformers or other stuff.
I've read about a little tweak using a pair of 10ohm resistors in series to ground which puts the earth on another plane.
I did try this but yet measure if there's any real benefit to this. Grounding can be system dependent and ideal recommendations may not work well in some cases.
Relocation of SUT and phono stage maybe another course of action along with suggested SUT grounding techniques.
This is after my nightmare after numerous attempts to ground or reroute the SUT wires and TT grounding from numerous suggestions in various forums and discussions, only to realise the location of the phono and SUT is smack middle of lots of stray electrical noises where the SUT picks them up easily, worse if its nearer to my tube amplifier.
SUT faraday (if any) and body ground wires, outer shield in & output tied to chassis ground terminal.
Outer shield in & output should be lifted if used with other tonearms with separate ground wire.
Lastly, attempt positioning the SUT for least hum as it could pick up stray noise from transformers or other stuff.
I've read about a little tweak using a pair of 10ohm resistors in series to ground which puts the earth on another plane.
I did try this but yet measure if there's any real benefit to this. Grounding can be system dependent and ideal recommendations may not work well in some cases.
Relocation of SUT and phono stage maybe another course of action along with suggested SUT grounding techniques.
This is after my nightmare after numerous attempts to ground or reroute the SUT wires and TT grounding from numerous suggestions in various forums and discussions, only to realise the location of the phono and SUT is smack middle of lots of stray electrical noises where the SUT picks them up easily, worse if its nearer to my tube amplifier.
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RB250
I have tried this and liked it . Some good ideas . Used with Denon 103 R . Is used with a RB 300 which was to be binned as the wiring had been wrenched out . Came free on a Dias turntable . Would say better than SME 5 to my ears .
Galen Carol Audio: Accessories, Upgrades & Tools
I have tried this and liked it . Some good ideas . Used with Denon 103 R . Is used with a RB 300 which was to be binned as the wiring had been wrenched out . Came free on a Dias turntable . Would say better than SME 5 to my ears .
Galen Carol Audio: Accessories, Upgrades & Tools
I'm a complete convert to SUT with a Denon or other MC cartridge after years with nothing but electronic stages.
If matched properly, the resultant sonics is awesome. I just don't see any electronic MC head amp having the SUT resolve. Its just the grounding can be an irritating issue to solve but if its gotten right, you're in for an enjoyable listen anytime.
I would also highly recommend the Rega tonearm to be rewired with better internal wires, separate ground wire, shielded twisted wire cable (lowest impedance mic cable?) all the way to the SUT, output interconnects also with the same cable type with the shield grounded on one end. It took me years to realise the phono department is best cabled this way. This applies to phono only, not line outputs. YMMG.
SUT rulez!
If matched properly, the resultant sonics is awesome. I just don't see any electronic MC head amp having the SUT resolve. Its just the grounding can be an irritating issue to solve but if its gotten right, you're in for an enjoyable listen anytime.
I would also highly recommend the Rega tonearm to be rewired with better internal wires, separate ground wire, shielded twisted wire cable (lowest impedance mic cable?) all the way to the SUT, output interconnects also with the same cable type with the shield grounded on one end. It took me years to realise the phono department is best cabled this way. This applies to phono only, not line outputs. YMMG.
SUT rulez!
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Denon 103
I like the 103 also . I find it a bit more difficult to set up . 2 .5 g . As it is spherical it is OK at that . Expert Stylus Ashted Surrry will transform an old 103 if you have one . Set RB 250 Bias by ear . If in doubt use the end groove and let the stylus gently drift to the inside . If the other way dynamics get lost
I have got a SME I can use if wondering so no hype . Lyra Argo suits that .
SME M series is very good if SME are reading this .
I like the 103 also . I find it a bit more difficult to set up . 2 .5 g . As it is spherical it is OK at that . Expert Stylus Ashted Surrry will transform an old 103 if you have one . Set RB 250 Bias by ear . If in doubt use the end groove and let the stylus gently drift to the inside . If the other way dynamics get lost
I have got a SME I can use if wondering so no hype . Lyra Argo suits that .
SME M series is very good if SME are reading this .
I always feel the Rega tonearm (especially stock) isn't a great match with a Denon 103 or R model. After past experiences doing numerous swaps, my findings found the music slow and fatty compared to another good cartridge weighing in around 5-7grams (likely what Rega designer could have intended) which will certainly sound more upbeat and lively by comparison. The Denon is just too heavy for the Rega tonearm. The tonearm have to be modded for better compatibility as far as I'm thinking. The Denon weighs in at 8-9 gram+ with screws.
This is purely my view and not intended as offence to others who may find the combination healthy.
This is purely my view and not intended as offence to others who may find the combination healthy.
I often have to use what's around . I put some Bluetak on and a coin to weight it down ( then reset tracking weight ) . 8Hz resonance I was told by Rega is about right . They said the 12 Hz people state is not the best . The arm I speak of has a weight he bought from a guy who was in another chat room ( no idea who ) . It has the 1'2 inch fixings like the cartridge .
For MM Goldring 1042 is good . Goldring used to say have the arm slightly down at the back .
I like the Grado's also .
The old Rega R100 with pull out stylus was good .
Ortofon M20FL also ( VMS 20 ) .
For MM Goldring 1042 is good . Goldring used to say have the arm slightly down at the back .
I like the Grado's also .
The old Rega R100 with pull out stylus was good .
Ortofon M20FL also ( VMS 20 ) .
My RB250 is far from stock, it has had J7 at AO work his magic, earth mod, rewire with cardas foam fill and rewiwe externally too. At the moment I have a Goldring 1042 MM but my DL-103 is with soundsmith in the states getting the $250 mid range treatment ruby cantilever, it also has an aluminium body swap.
I have a Townshend rock and the extra mass afforded by the outrigger and paddle help with matching the cart and arm. I have had to get an extra heavy counter weight made up too.
I have a Townshend rock and the extra mass afforded by the outrigger and paddle help with matching the cart and arm. I have had to get an extra heavy counter weight made up too.
Mine's a RB300, which I did quite a lot of tuning mods, from arm re-wiring, VTF spring removal, permanent earth mod (spring clip no more), stuffing a piece of short hollow brass tubing into a certain section of the tonearm tube to increase the mass, adding weights to the lateral plane, foam in tube, Michell c/w, locknut and all have evolved to be a very very musical, vast improvement from stock and very pleasing to my ears comparing direct to a complete stock and unmodded RB300 (21st century production model mounted on a Rega P3-2000 TT) which I use as a direct comparison.
Spring
The spring is a good idea . If people want to try it without pulling their arm apart put the RB300 weight dial to maximum then balance the arm with a stylus balance repositioning the counter weight . I think that's right the Rega spring lifts the arm up rather than pushing it it down ? It's a few years since I tried that . I think that is 90% as effective from memory .
The spring is a good idea . If people want to try it without pulling their arm apart put the RB300 weight dial to maximum then balance the arm with a stylus balance repositioning the counter weight . I think that's right the Rega spring lifts the arm up rather than pushing it it down ? It's a few years since I tried that . I think that is 90% as effective from memory .
I read somewhere or someone claimed the spring is of some benefit, contrary to some thinking its a setback and makes things worse than the RB250. The reasoning was it acts like a car suspension and maintain consistent tracking force on the record.
Come to think of it, he does make sense, along with better and more solid components fitted to the RB300.
Anyhow, my spring is permanently removed and discarded entirely, Thats that, river of no return.
Modding my Rega tonearm was purely a learning curve in attempting and to achieve coming as close to the Linn Ittok and I think I did achieve it to a high degree, both with a the same Denon 103R. All the stuffs and mods I've done to the Rega tonearm should also sum up and weigh as much as a Linn Ittok (about 480grams). The stock Rega is very much lighter less 100+grams than the latter. I've actually got some ideas to implement but should I find its silly economics to fork out more money and machine lathe custom parts, I might as well be patient and buy a Linn Ittok in good nick, then sit back without worries.
Allow me to share a recent mod for you guys to experiment. My ears are open to feedback good or bad.
Its a very cheap mod.
1. Acquire a pair of M10 Allen key machine bolts. Cut/grind off and discard the threaded stud, wanting only the bolt head. You can paint any color you like or leave it as it is.
2. Blue tak (to easily remove them in case its worse sounding and didn't work out) each securely or glue them on(if you think it made an improvement) on each side of the lateral bearing nuts. It'll nicely cup onto the 8mm hex capped nuts on the bearing side.
3 Voila! done! and then sit back and see if you sense anything have improved.
So sorry to all if I've veered off topic from SUT to tonearm.
Cheers.
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Dual had a spring that did indeed set the weight and kept it constant . I think I am right in saying a Dual will play upside down if the record is glued down and the nasty noises the platter makes tolerated . The down force by gravity on a Dual is 0 g . The spring sets the force . Dual insisted to use mN which is 9.81 times larger . Thus a Denon 103 would track at 24.5 mN . It was said because it would be the same if working on the Moon where gravity is lower because the spring sets the tracking . Not so other turntables . .
I think Rega uses the spring the other way to allow the counter weight to sit nearer the pivot for inertia reasons .
I suspect the slackening I recommended might have a bit of damping which is useful .
Wooden pick up arms are the hi end option . I always fancied sawing a Rega about half way and fitting a wooden section . I have used a Schroeder wooden arm and can confirm it is wonderful .
I have heard the Mitchell Rega with holes drilled in it . Not certain I thought it was better .
I think Rega uses the spring the other way to allow the counter weight to sit nearer the pivot for inertia reasons .
I suspect the slackening I recommended might have a bit of damping which is useful .
Wooden pick up arms are the hi end option . I always fancied sawing a Rega about half way and fitting a wooden section . I have used a Schroeder wooden arm and can confirm it is wonderful .
I have heard the Mitchell Rega with holes drilled in it . Not certain I thought it was better .
Rega arm (OT)
Lightening the arm mass would have better compatibility and tuned for MM cartridges, perhaps that was the intention. MC cartridges need a heavier arm, so I've learnt along the way.
Lightening the arm mass would have better compatibility and tuned for MM cartridges, perhaps that was the intention. MC cartridges need a heavier arm, so I've learnt along the way.
Holes
I was told it was to brake up resonance the drilling of the holes in the Mitchell Rega ( no idea if true ) . I hadn't considered the mass and that's very true also . Mass can always be added , removing it is fraught with problems . It certainly sounds very good that arm , however I wonder if it is the cable mostly . Both the SME and Rega to my ears have a slightly relentless quality which can be tuned out . I suspect like some motorcars they are a bit too ridged and this bounces energy off of the bearings back to the pick up . I have dampened the tube . I wasn't convinced it was that . Funny thing is the Denon 103 R seems fine in the arm yet is considered difficult to set up by some . It sounds like $1000 plus pick up to me when right .
The designer of the arm told me years ago that a piece of very bad logic had got wedged into peoples minds . 12 Hz was selected as an ideal pick up resonance point . The formula is very easy to calculate . The calculated answer was never much like the real one I found . The Ortofon test record was a great way to do it . 8 Hz is very good sonically if the phono stage is strict RIAA and not IEC ( 7980 uS ) . 12 Hz is too close to real music and 6Hz too close to warps .
The other thing I have found to matter is alinement . Alas my eyes are not good so I get a friend who knows what she is doing to make the adjustments .
If anyone wants an approximate method to tackle this please ask . The 78 record had the same maths so the solution was attempted by the two zero's method and won a competition that far back . That man became technical editor of Gramophone magazine after that .
Arc Angles: Optimizing Tonearm Geometry | Stereophile.com
I was told it was to brake up resonance the drilling of the holes in the Mitchell Rega ( no idea if true ) . I hadn't considered the mass and that's very true also . Mass can always be added , removing it is fraught with problems . It certainly sounds very good that arm , however I wonder if it is the cable mostly . Both the SME and Rega to my ears have a slightly relentless quality which can be tuned out . I suspect like some motorcars they are a bit too ridged and this bounces energy off of the bearings back to the pick up . I have dampened the tube . I wasn't convinced it was that . Funny thing is the Denon 103 R seems fine in the arm yet is considered difficult to set up by some . It sounds like $1000 plus pick up to me when right .
The designer of the arm told me years ago that a piece of very bad logic had got wedged into peoples minds . 12 Hz was selected as an ideal pick up resonance point . The formula is very easy to calculate . The calculated answer was never much like the real one I found . The Ortofon test record was a great way to do it . 8 Hz is very good sonically if the phono stage is strict RIAA and not IEC ( 7980 uS ) . 12 Hz is too close to real music and 6Hz too close to warps .
The other thing I have found to matter is alinement . Alas my eyes are not good so I get a friend who knows what she is doing to make the adjustments .
If anyone wants an approximate method to tackle this please ask . The 78 record had the same maths so the solution was attempted by the two zero's method and won a competition that far back . That man became technical editor of Gramophone magazine after that .
Arc Angles: Optimizing Tonearm Geometry | Stereophile.com
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