Would the static be electric or groove wear? Probably both and dust but can static cause pops on a record?
Since making these recordings I have gotten my soundcard to work so I can record in 32-bit 192KHz quality.
I disabled the automatic function on my turntable so I could replace the rubber mat with the carbon fiber mat.
I then glued the Pavanne record. This seems to make the biggest change to treble and cymbals, for the better, and mistracking noise is reduced significantly. Loud passages are less distorted. The needle itself doesn't screech so much, and when it does it is not so much a screech anymore but something closely resembling music.
Using the carbon fiber mat changed the VTA, so I had to redo the VTF. Because VTA and brush weight decreased, the adjustment was the decrease the counterweight. I imagine this may help by reducing vibration through the tonearm bearings.
Problem is, VTF is so sensitive that it seems there is a different correct setting on each record. The notch is so sharp, part of it is just luck. However midrange is a bit sour compared to the last VTF setting. VTF too high, and and you get irritable treble with cold (or even sour), precise separation of instruments, but the loud treble passages intermodulate. Too low and midrange will be warm, but instruments will intermodulate and the treble will be pleasant but the soundstage and treble reverberations will fade. If you are precise enough to get in between, you get a mix of them that is at first worse than both, but steadily grows on you. I had to use a screwdriver bit and a very gentle touch. Different records may sound more musical with a more partial VTF setting.
I think whenever you adjust VTF you indirectly adjust VTA as well with needle pressure. Changing VTA might change the contact area of the stylus with the groove, for better or worse, and if your record is damaged I suspect you may be adjusting not for optimal reproduction, but for the undamaged portion of the groove. All my records seem to be worn; I just realized what looked like child's pencil markings on the labels was probably actually a record changer, and that would explain why they all seem to have mistracking noise; someone couldn't be bothered to change the needle.
If you guys want to listen to the end result, I can post a high-def file, but the current recording at 32-bit 192KHz is around 200-300MB. So I would prefer to convert it to a smaller format. Unfortunately not all the clicks were removed, but I got rid of the noise at the start (I believe it was the needle riding on the edge of the groove before falling in, the solution was to drop the needle earlier). Actually I'm quite proud of the result, scratches and all. I wonder if someone here has some declicking tools that won't lower the resolution. It was a great learning experience WRT tonal balance. I just wish the VTF wasn't so sensitive...
Since making these recordings I have gotten my soundcard to work so I can record in 32-bit 192KHz quality.
I disabled the automatic function on my turntable so I could replace the rubber mat with the carbon fiber mat.
I then glued the Pavanne record. This seems to make the biggest change to treble and cymbals, for the better, and mistracking noise is reduced significantly. Loud passages are less distorted. The needle itself doesn't screech so much, and when it does it is not so much a screech anymore but something closely resembling music.
Using the carbon fiber mat changed the VTA, so I had to redo the VTF. Because VTA and brush weight decreased, the adjustment was the decrease the counterweight. I imagine this may help by reducing vibration through the tonearm bearings.
Problem is, VTF is so sensitive that it seems there is a different correct setting on each record. The notch is so sharp, part of it is just luck. However midrange is a bit sour compared to the last VTF setting. VTF too high, and and you get irritable treble with cold (or even sour), precise separation of instruments, but the loud treble passages intermodulate. Too low and midrange will be warm, but instruments will intermodulate and the treble will be pleasant but the soundstage and treble reverberations will fade. If you are precise enough to get in between, you get a mix of them that is at first worse than both, but steadily grows on you. I had to use a screwdriver bit and a very gentle touch. Different records may sound more musical with a more partial VTF setting.
I think whenever you adjust VTF you indirectly adjust VTA as well with needle pressure. Changing VTA might change the contact area of the stylus with the groove, for better or worse, and if your record is damaged I suspect you may be adjusting not for optimal reproduction, but for the undamaged portion of the groove. All my records seem to be worn; I just realized what looked like child's pencil markings on the labels was probably actually a record changer, and that would explain why they all seem to have mistracking noise; someone couldn't be bothered to change the needle.
If you guys want to listen to the end result, I can post a high-def file, but the current recording at 32-bit 192KHz is around 200-300MB. So I would prefer to convert it to a smaller format. Unfortunately not all the clicks were removed, but I got rid of the noise at the start (I believe it was the needle riding on the edge of the groove before falling in, the solution was to drop the needle earlier). Actually I'm quite proud of the result, scratches and all. I wonder if someone here has some declicking tools that won't lower the resolution. It was a great learning experience WRT tonal balance. I just wish the VTF wasn't so sensitive...
A visit
I visited Vgeorge's house on Poros island given an opportunity he was in Athens and returning, so to listen to his DIY system and to contribute a bit of opinion and tune up. He uses the Simplistic Riaa fed from a Shelter 901 on a VPI, then a #26 with double SSHV2, autoformer pot, transformer XLR outputs, or DCB1 alternatively, to a 4 way dual amplified 100dB sens speaker system. A Baby Huey EL84 push pull drives 2 in series 12'' midbasses, Altec (Great Plains) driver on Le Cleac'h wide band horn (Azurahorn) and a Fostex bullet TW, all those with passive cross and no low cut, when an active analogue crossover handles the 280lt Lambda 15'' subs powered by a McCormack DNA amp.
I had designed the passive crossover originally with measurements he had sent, and I had promised I would witness the system and help fine tune some day. It became a late day, but better late than never they say.
We fixed his mic and mic pre for better SNR and re-calibrated the wave launch centres between horn and bullet, tuned the sub cut off also.
Listening to vinyl and the phono in such a system was tour de force I tell ya. Grand scale golden tone with presence and power to die for. Well done George. Kean, we used Tijuana Brass also from Casino Royal. Herb Alpert's blasts and female vocals later (Dusty Springfield) on a serious horn system are greatly benefited when the dynamics press. Not losing steam, never harsh. Just there in the room persuasive.
I visited Vgeorge's house on Poros island given an opportunity he was in Athens and returning, so to listen to his DIY system and to contribute a bit of opinion and tune up. He uses the Simplistic Riaa fed from a Shelter 901 on a VPI, then a #26 with double SSHV2, autoformer pot, transformer XLR outputs, or DCB1 alternatively, to a 4 way dual amplified 100dB sens speaker system. A Baby Huey EL84 push pull drives 2 in series 12'' midbasses, Altec (Great Plains) driver on Le Cleac'h wide band horn (Azurahorn) and a Fostex bullet TW, all those with passive cross and no low cut, when an active analogue crossover handles the 280lt Lambda 15'' subs powered by a McCormack DNA amp.
I had designed the passive crossover originally with measurements he had sent, and I had promised I would witness the system and help fine tune some day. It became a late day, but better late than never they say.
We fixed his mic and mic pre for better SNR and re-calibrated the wave launch centres between horn and bullet, tuned the sub cut off also.
Listening to vinyl and the phono in such a system was tour de force I tell ya. Grand scale golden tone with presence and power to die for. Well done George. Kean, we used Tijuana Brass also from Casino Royal. Herb Alpert's blasts and female vocals later (Dusty Springfield) on a serious horn system are greatly benefited when the dynamics press. Not losing steam, never harsh. Just there in the room persuasive.
Attachments
Thanks for the nice comments Salas.
It was a pleasure to share your company for a couple of days.
Your help has been invaluable the last few years, to reach to this result. Also, as I do not live in a big city anymore, it is not so often that I get a second opinion and help to finetune my system.
Thanks again.
It was a pleasure to share your company for a couple of days.
Your help has been invaluable the last few years, to reach to this result. Also, as I do not live in a big city anymore, it is not so often that I get a second opinion and help to finetune my system.
Thanks again.
I use Rod Coleman regulators for dc and they are completely silent.
Care should be taken as to their mounting on the chassis (use some form of damping), in order to avoid feedback from the music, especially with globe tubes.
Static is charge. Old records bought from bargain bins could have been ''plowed'' with distorted diamond tips on VTF in the excess of 5g even, and/or accumulating any form of dust and organic particles for 40 years+.
Here some tortured or dirty grooves examined.
Thanks for sharing the visit. Nice pics, terrific looking setup, I bet it sounds even better.
I just have so say thanks again Salas. Set up has improved and oh boy this deck and amp sound absolutely superb. Wow!
George had shown it before so I did not open it up to photo again. Maybe he has a couple saved to remind by posting again if he will may.
That's what I expected and I'd use as well.
Another question regarding flicker noise. Any problems here? I had my problems with this issue using some WE 205D (Shugang clones) as preamplifier tubes...
No, I do not have any problems. Salas also listened to my system, and did not hear anything unusual.
Keep in mind I use a LL1660 4.5:1 at the output, which I think is essential to keep output impedance low enough.
I had some noisy tubes, but that is to be expected as most of them are used.
Keep in mind I use a LL1660 4.5:1 at the output, which I think is essential to keep output impedance low enough.
I had some noisy tubes, but that is to be expected as most of them are used.
George congrats nice system, if you want send me a pm with your address so I will send you a couple of FT-3 0,1uF for your interestage coupling capacitors, I see you have mixed Kiwame with Shinkoh & Takman is for the sound in the position used? what mains filter cap are you using? in the separate psu box are you using also 10.000uF, wich value are you using for L?
Thank you for your offer Felipe, I already have some FT-3 capacitors.
Here I use K72P-6 0.047uF for interstage, which replaced the FT-3 I had before. They are covered with a grounded cooper foil.
Regarding resistros, I use kiwame in the power supply and shinkoh in the signal route. Takman 1M resistors.
Last filter caps are 2 x 22000uf mundorf.
In the PS box I use 2 x 4700uf and 2 x 10h choke.
Coupling cap is 3,3uf silver foil mundorf.
Here I use K72P-6 0.047uF for interstage, which replaced the FT-3 I had before. They are covered with a grounded cooper foil.
Regarding resistros, I use kiwame in the power supply and shinkoh in the signal route. Takman 1M resistors.
Last filter caps are 2 x 22000uf mundorf.
In the PS box I use 2 x 4700uf and 2 x 10h choke.
Coupling cap is 3,3uf silver foil mundorf.