While I‘d agree that digital eualizing isn‘t perfect at least theoretically I get excellent results sonically espacialley in the lower freq. region.
And I don‘t think doing it digitally is devils deed per se, because apart from being puritan one might seek the best quality for a case, for instance when a master tape is lost or destroyed, and your best reference is an early vinyl copy which betters later editions made from obscure sources.
An electrical filter will do nothing to reduce the modulation of the signal by subsonics. You need mechanical damping.
All cartridge/tonearm setups form a resonant system. Frequency affects audibility and damping affects level. Resonances between 4 and 10Hz are most audible, so 12Hz fundamental resonance (in theory) is a good place to be then you can add damping.
technically digital could be a better RIAA eq as a brick wall filter at 19hz cuts all subsonic frequencies. it would have to be at least 24 bit 96 khz to silence the crowd that claim to hear quantization artifacts on CD.
s /n should be better as well. sound quality as percieved may sound "dead" as it produces a perfect RIAA eq based on a perfect cartridge input.
s /n should be better as well. sound quality as percieved may sound "dead" as it produces a perfect RIAA eq based on a perfect cartridge input.
I understand the concept, but how do I reduce the subsonic produced by the ripple of the vinyl. Even if it's imperceptible, it wobbles on the woofer.
Firstly you carefully select arm and cartridge resonance, then you make sure records are centred properly, then you damp the resonance, like the townsend rock, SME arms, well tempered, ET-2 etc with their damping troughs. Classic Duals had a damped counterweight. There were also electrically damped arms. Not seen measurements as to how effective they were.
overload on a phono preamp is a non issue. Mine is set to put out 8v p-p of a possible 40 volts p-p. Scoping the output , loud pops clicks and scratches are seen at less then 5v p-p max.
I did install a 40khz hi pass filter but that should not reduce noise pops by much.
tube preamps have 100+ volts of p-p capability.
I did install a 40khz hi pass filter but that should not reduce noise pops by much.
tube preamps have 100+ volts of p-p capability.
If it moves the woofer visibly on ALL your vinyl there is a big issue with the tonearm/cartridge
Some of the wrapped vinyl should produce that woofer sub-sonic which is ok and can be alleviated with an outer ring weight + center clamp.
I would say here about 10% of the vinyl I have has this issue of sub-sonics, which is annoying, better turn off the sub-woofer. But it doesn't sound bad for this reason because the system has plenty of power as well as the speakers.
To ALPUY’s OP: it’s important to recognize that there is dynamics in electrical sense (which is well defined and measurable) and perceived dynamics which is subject of psychoacoustic. While there is no significant difference in measurable dynamic (in electrical sense) among the modern preamps, as a result of certain psychoacoustic phenomena, some minor imperfection (e.g. small deviation in the frequency response, certain forms of harmonic distortions, etc.) could result in perceived reduction of dynamic (which is purely subjective). This relation isn’t well explored AFAIK. So there is no clear answer which micro-imperfections have most impact to perceived dynamics (otherwise, all reasonable manufacturers will follow the right recipe and there will be no discrepancy in perceived dynamics among preamps on the market). The only way is to eliminate potential culprits one by one until desired quality is achieved. That’s experience.
You could still cause overload in the input section, or slew rate limiting.
Don't give up getting good 'dynamic' sound from vinyl. I just plug back the 100 Watt amplifier on my system and it shows dramatic difference between vinyl and cd/flac streams from 'hifi' dacs.
It might sound disconcerting to you but the phono stages are weak points and have problems but the little details like the tone arm and platter makes an incredibly big difference in sound and the tt makes knows it.
They charge ridiculous premiums to customers to attain a sound which should not cost so much. the difference with a 200$ tt and a 5000 one is not so much in material but the research and exclusivity. Tight manufacturing specifications and new materials such as carbon fiber makes the good sound of the turn table possible and the greatest advance in technology of audio imo.
It might sound disconcerting to you but the phono stages are weak points and have problems but the little details like the tone arm and platter makes an incredibly big difference in sound and the tt makes knows it.
They charge ridiculous premiums to customers to attain a sound which should not cost so much. the difference with a 200$ tt and a 5000 one is not so much in material but the research and exclusivity. Tight manufacturing specifications and new materials such as carbon fiber makes the good sound of the turn table possible and the greatest advance in technology of audio imo.
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