So it's lowering the resonance to 1Hz? Something easily done with adding mass to an existing system?
Jan
Jan
Not just adding mass. The cartridge-arm has to behave effectively as one body and then you need the subsonic suspension. If you try to lower the cartridge-arm resonance by just adding mass it will not work because you will get into trouble with the way records are made (i.e. will get spurious signals...).
You are claiming that it eliminates resonance. It does not. Making the arm, cart, and shell one piece does not eliminate resonance. All you are doing is shifting the point of resonance. Everything has resonant frequency.
Not sure what you are stating by flaming. You wrote it, I am, as others are calling you on it.
Yes and no, in the sense there is a wire suspended arm and oil bath however the similarities end here as the layout and the overall working principles are different. The WT arm works as a conventional arm for the other things but could be subsonically suspended. This way you will eliminate some of the issues (vibrations coming from the bearing, motor and the external world in general..in the audio band). This is already a real step forward! The other arm of choice it the Rega, a 250 is enough, simply because it is more rigid than most being one piece arm tube made of aluminum.
I can assure that several people have tried this and they are super-happy! You can find many examples in the net.
This is one, for example:
Giradischi con braccio sospeso
This is a good start as you can easily modify the VTA and the height as you need. It is important that you also have a test record.
The HFRNN record is still available: British Audio Products Online - Hi Fi News Test LP
If then you apply it to the platter and the motor, decoupling them, it really gets interesting...😉
Why don't you just try to do it then? Try to just shift it with your conventional arm and then you tell me if works...I can say by now that it will not work!
Where I live, the winters are cold and dry and last forever. Houses are sealed for months and become dry and full of static, just removing a disc from it's sleeve causes cracks of static. A disc brush just makes things worse, compounded by forced air heating, blowing minute particles around that are drawn to the vinyl like iron fillings to a magnet.
In the damp old UK disc playing was a little easier, from what I can remember.
Figures, I personally hate the bass extention of the typical audiophile system even SY's was way too much for me. Nothing personal simply my own opinion of what I enjoy listening to. It really is a personal thing that I don't share with many, 40Hz brick wall just fine.
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I think Thorsten's posts about just how many LP's were recorded pre-distorted for playback with a spherical stylus were a revelation to me. The fact that most needles can't trace the grooves of an LP at the highest frequencies is pretty obvious from simple geometry. I'm not sure how to turn this into better sound.
I thought the loudness wars were won years back when I first heard this recording (a takeoff of a popular song). It's certainly one of the loudest things I've ever heard.
Warning, if Javescript is enabled this page Auto-Plays an mp3 - TURN DOWN your volume before clicking:
What If God Smoked Cannabis?
All the absolutist "true believer" chit chat in this thread.
Let's say that some number of vinyl recordings have yucky spherical needle pre-distortion. And let's say nobody honestly doubts it is a drawback or, at least, a trade-off.
It would be more productive for this thread to start with everybody agreeing that each element of a music system has trade-offs and each side addressing the specific elements in a CD or vinyl object analytically/individually they like or which they find hard to live with.
Ben
Oh, there a couple of people on your side, 🙂 ... . I can be happy with a system with zero happening below 100Hz - since, musically, 99% of what's occurring is above that frequency. Many systems get worse and worse, the higher the frequency, so one solution is to fade off all that 'less pleasant' sound, and emphasis the "quality" of the bass.
Main thing, many of these bass heavy systems are extremely unnatural, compared to live sound - they steadily become more and more irritating to listen to, I certainly overload on the bass 'bashing' they produce ...
In this example, what are test results for resonance and frequency response?
Rubber bands must have enough tension to support whole weight of tonearm system. Dynamic changes in drag force due to groove modulation with music and associated transients will stimulate resonances of stiff springs. Likely result is lots of intermodulation distortion. Wobbling tone arm system relative to platter isn't very appealing solution.
I don't know. It is not mine. If well implemented the resonance of the suspension can be around 3Hz. 5Hz in the worst case. Otherwise is not well implemented....
It is not rubber! It is good quality elastic for clothes. It is better than rubber because has lower damping. Those are not stiff springs at all otherwise you couldn't go so low in frequency it works like a low pass filter. In general, the best spring you can get is an thin membrane air spring which can be tuned down to 0.5 Hz. It is not wobbling at all in the sense you think. A stiff spring is one of those pointed cones or rigid feet people use to put underneath audio gear to get rid of vibrations....in their dreams!🙂
You've got inverted pendulum with short length. Three anchor points will make it some form of conical pendulum. Will most likely exhibit multiple modes due to distribution of mass along arm v perpendicular to it.
Possible to make heavy base for pivot system with elastomeric suspension, but this essentially takes you right back to tonearm mounted to very heavy bass with suspension.
Possible to make heavy base for pivot system with elastomeric suspension, but this essentially takes you right back to tonearm mounted to very heavy bass with suspension.
Call me daft, are you not skipping that the tonearm requires freedom of rotation in two planes ?
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