Paul Ebert said:
A really tiny carburettor on an Alfa?
You used to be able to buy reels of clear 'leader' tape, that's basically unoxided backing. Not sure if it's still available but you might be able to find some surplus of on ebay. Then it would be hardly visible at all.
All my 499 and GP9 1" tape is black. Ditto for the EMTEC 468 1/4".
SOLEX.
Hi,
That's a Weber carb Brett.
Most Alfa Romeos I know of had Del'Orto carbs, but who cares?
LOL,😉
Hi,
That's a Weber carb Brett.
Most Alfa Romeos I know of had Del'Orto carbs, but who cares?
LOL,😉
I know Frank. Before I started building EFI systems, I regularly blew the seals out of a pair of 40mm Dell'ortos when running them in a blow through turbo system in a friends autocrosser (c 1985) so I got to rebuild some when Gordo wasn't around.
Looking at Paul's BEAUTIFUL arm and 'table bring up a question
that I've had for years:
Why is it that people are so worried about mechanical vibration
getting into the turntable but seem unconcerned about acoustic
"vibration" getting to the record and the arm/cartridge. In my
experience dust covers never provided a lot of acoustic isolation,
but would a beefier cover designed for acoustic isolation have
a major positive impact on sonics?
Any comments?
that I've had for years:
Why is it that people are so worried about mechanical vibration
getting into the turntable but seem unconcerned about acoustic
"vibration" getting to the record and the arm/cartridge. In my
experience dust covers never provided a lot of acoustic isolation,
but would a beefier cover designed for acoustic isolation have
a major positive impact on sonics?
Any comments?
Brett,
Good call on the tape leader. I'm supposed to clean some of the basement this weekend, I'll see if Ive got any red, white, or blue on a pancake of something that I used to think was important.
I just checked Braldleybroadcast.com to see if they had any listed, nope, but I'm sure if you called em. Problem there is having top by a 7" real of the stuff. They are running a special on 499.
Perhaps a posting in the trading post would yield some results without spending anything. I know for me its just an issue of finding the stuff. There has to be someone out there more organized than myself who'd be willing to stuff some in an envelope.
Good call on the tape leader. I'm supposed to clean some of the basement this weekend, I'll see if Ive got any red, white, or blue on a pancake of something that I used to think was important.
I just checked Braldleybroadcast.com to see if they had any listed, nope, but I'm sure if you called em. Problem there is having top by a 7" real of the stuff. They are running a special on 499.
Perhaps a posting in the trading post would yield some results without spending anything. I know for me its just an issue of finding the stuff. There has to be someone out there more organized than myself who'd be willing to stuff some in an envelope.
Noam said:
Thanks, Noam!
I do plan to add a better cartridge now that I'm past the debug stage. I'm considering a slightly used Benz Glider that an acquaitance has for sale. Or, I may go for a Dyna 10X4 as I did last time I needed a cartridge. The Dyna replaced a Grado Platinum, which had a yummy midrange, but was bloated in the midbass to my ears. Of course, that was with my LP-12/Akito. Perhaps it would be fine on my Teres which actually seems to go deeper in the bass, but with more control than the Linn setup.
I'm open to suggestions, but my budget is rather limited (less than $500 - actually, probably less than $400).
MAgnetic flux....
Magnetic flux....1Weber = 1V * s
Flux density: 1 Tesla = 1 Weber/m^2 = 10.000 Oersteds= 10.000 Gauss
Earths horisontal magnetic component ( H-component) appx 10-15 microTesla.....
depending whereupon earth you are...
Magnetic flux....1Weber = 1V * s
Flux density: 1 Tesla = 1 Weber/m^2 = 10.000 Oersteds= 10.000 Gauss
Earths horisontal magnetic component ( H-component) appx 10-15 microTesla.....
depending whereupon earth you are...
BrianL said:
I've thought about making an acrylic dust cover. My thought would be that it would be a simple 5 sided box that I would place over the thing when it was not in use. Just a way to keep dust out when I wasn't using it. It would be interesting to experiment with airborn acoustic isolation, but the sides would have to be very non-resonant, I would think, to do much good. Carbon fiber, perhaps? But, the expense 😱 !
Paul,
I would think that some reasonably thick plastic
(1/4" ?) in the sort of setup you describe would
do OK with some sort of rubbery foam strip
to sit the edges upon -- a little cushion
and isolation, as well as air seal. I'd
also add a small amount of acoustic foam on
the inside of the enclosure to damp any
cavity resonance. If you get real fancy
you could have a piece of Sorbothane sheet
(or similar) to damp the middle of the panels.
I'd think that this sort of setup should give
you 20-30 dB (or more) of isolation at anything
but the lowest frequencies.
I would think that some reasonably thick plastic
(1/4" ?) in the sort of setup you describe would
do OK with some sort of rubbery foam strip
to sit the edges upon -- a little cushion
and isolation, as well as air seal. I'd
also add a small amount of acoustic foam on
the inside of the enclosure to damp any
cavity resonance. If you get real fancy
you could have a piece of Sorbothane sheet
(or similar) to damp the middle of the panels.
I'd think that this sort of setup should give
you 20-30 dB (or more) of isolation at anything
but the lowest frequencies.
Paul,
Why Redpoint pulley? Do you have any negative experience with cotton/silk thread? I read Redpoint report about magnetic tape superiority (VCR wide tape even better, they say). On the other hand, the tape/wide pulley applies more load on the motor ruther subtle bearings, beacause of higher bending moment.
Seems like you right about high pressure bearing. Impressed by your post, I just bought one more aquarium pump and connected it in parallel with the first one. Definite improvement in bass foundation and soundstage. And the drawback is here: air hiss. Also slight distortions in the very highs became noticeable. Suspect the high lateral mass is the cause, I'll tell you why. I added two small lead peaces on the slider ends, trying to experiment with increased bearing ability. The distortions got worse. Notice, my cart is very compliant Shure V15, I just love it's natural mids.
Michael
Why Redpoint pulley? Do you have any negative experience with cotton/silk thread? I read Redpoint report about magnetic tape superiority (VCR wide tape even better, they say). On the other hand, the tape/wide pulley applies more load on the motor ruther subtle bearings, beacause of higher bending moment.
Seems like you right about high pressure bearing. Impressed by your post, I just bought one more aquarium pump and connected it in parallel with the first one. Definite improvement in bass foundation and soundstage. And the drawback is here: air hiss. Also slight distortions in the very highs became noticeable. Suspect the high lateral mass is the cause, I'll tell you why. I added two small lead peaces on the slider ends, trying to experiment with increased bearing ability. The distortions got worse. Notice, my cart is very compliant Shure V15, I just love it's natural mids.
Michael
livemusic said:
I went with the Redpoint pulley (they like to call it a sheave) based on reports from quite a few Teres (and Redpoint) owners as expressed on a Teres forum. Also, Michael Fremer (I believe) reviewed the Teres, Redpoint and another table (can't remember) and stated that the tape was better. I do suppose the load is higher as you state, since the tape 'connects' further away from the motor bearings. On the other hand, the tape possibly has more friction against the platter due to it's width, so it might require less tension. So far, no one has reported any problems with the tape. One problem that has been reported is that alignment becomes critical. If the motor shaft and turntable bearing aren't exactly parallel, the tape wants to wander off the pulley. The wider the tape, the more exact it must be. That's why I did not go with vcr tape. Lots of people have reported that the thread tends to wear out after a while and the knots tend to fail. It's too soon to tell if I will have similar problems with the tape.
Regarding air hiss, you might try experimenting with more holes. Increasing the number of air holes may reduce the velocity and, thereby, the hiss.
It may be that the V15 is too compliant in the horizontal plane to work well in a high horizontal mass linear tracker. Is it possible that the 'side guard stylus protection system' is having an effect? Personally, I would simply reduce the mass until the distortion went away.
Good luck with your experiments!
Paul
BrianL said:
You might well be right, Brian. If I were doing it, I think I'd use 1/2" for the top (largest piece) since that has the most resonant modes and isn't under compression like the sides. The cushion seems like a good idea.
Paul
High air pressure
I thought I should report back about something that I've learned about air bearings that relates to design of linear tone arms.
Apparently, it is very possible to have too high a pressure. I've been having trouble with the arm experiencing forces that want to center the shaft in the bearing. These forces cause the arm to want to move towards the spindle when at the beginning of the record and away from the spindle when at the end of the record. I've learned (Thanks, Steve Z!) that this is due to the Bernoulli effect of the pressure differential at the openings of the bearing. Running the bearing at 60 PSI made the problem quite bad. Running it at 30 PSI (the lowest recommended setting for my bearing), seems to have alleviated the problem.
Air bearings are not as simple as I would have thought.
Paul
I thought I should report back about something that I've learned about air bearings that relates to design of linear tone arms.
Apparently, it is very possible to have too high a pressure. I've been having trouble with the arm experiencing forces that want to center the shaft in the bearing. These forces cause the arm to want to move towards the spindle when at the beginning of the record and away from the spindle when at the end of the record. I've learned (Thanks, Steve Z!) that this is due to the Bernoulli effect of the pressure differential at the openings of the bearing. Running the bearing at 60 PSI made the problem quite bad. Running it at 30 PSI (the lowest recommended setting for my bearing), seems to have alleviated the problem.
Air bearings are not as simple as I would have thought.
Paul
Decoupling counterweight
Browsing through the Teres owners forum, I came across an interesting OL Silver tonearm modification by decoupling the counterweight from tonearm. Pretty simple idea: to hang the counterweight on the string under it's usual place on the tonearm tube. Though it was claimed, the lateral effective mass is increased by this, to my opinion, quite the reverse: it is getting lower. The tonearm effective mass is actually its moment of inertia around the pivot axle, in the other words, the resistance of mass to externally applied force, causing the arm to rotate. So, if the lateral force is applied, the counterweight inertial reaction on the arm is close to zero, if hanged on the string, because the counterweight stays on place in the very first moment due to its inertia. The lateral effective mass may be about halved by this method; in my case the counterweight mass is roughly equal to the rest of the arm mass.
Anyway, I took the old arm lead counterweight, in form of short cylinder with center hole, made a loop on the each side of dental floss piece (non-stretchable) and hanged it about 3 cm under its place on the arm.
It works!
The overall tonal balance just became right, hights slight distortions are gone. Orchestral winds sound amazingly natural in the first time since I'm in vinyl. Each voice has its own charachter and every bow touch is palpable. The arm deals with heavily excentric records with ease.
I'm very pleased with the improvement (at no-cost). Highly recommended!
Browsing through the Teres owners forum, I came across an interesting OL Silver tonearm modification by decoupling the counterweight from tonearm. Pretty simple idea: to hang the counterweight on the string under it's usual place on the tonearm tube. Though it was claimed, the lateral effective mass is increased by this, to my opinion, quite the reverse: it is getting lower. The tonearm effective mass is actually its moment of inertia around the pivot axle, in the other words, the resistance of mass to externally applied force, causing the arm to rotate. So, if the lateral force is applied, the counterweight inertial reaction on the arm is close to zero, if hanged on the string, because the counterweight stays on place in the very first moment due to its inertia. The lateral effective mass may be about halved by this method; in my case the counterweight mass is roughly equal to the rest of the arm mass.
Anyway, I took the old arm lead counterweight, in form of short cylinder with center hole, made a loop on the each side of dental floss piece (non-stretchable) and hanged it about 3 cm under its place on the arm.
It works!
The overall tonal balance just became right, hights slight distortions are gone. Orchestral winds sound amazingly natural in the first time since I'm in vinyl. Each voice has its own charachter and every bow touch is palpable. The arm deals with heavily excentric records with ease.
I'm very pleased with the improvement (at no-cost). Highly recommended!
re Frank's cart quip
Slightly OTH to Frank re Denon DL103 , which MC do you rate as "good enough" Frank ?
Paul
I discussed the tape isue with Thom Makris
(Redpoint) and as a result I also use the VCR tape idea on my Micro TT with a noticeable improvement overhaul.
If my implementation of EC8010's "uni-pivot " does not work for me I will go the same route you have with an airbearing arm.
keith
Slightly OTH to Frank re Denon DL103 , which MC do you rate as "good enough" Frank ?
Paul
I discussed the tape isue with Thom Makris
(Redpoint) and as a result I also use the VCR tape idea on my Micro TT with a noticeable improvement overhaul.If my implementation of EC8010's "uni-pivot " does not work for me I will go the same route you have with an airbearing arm.
keith
Hi,
Don't get me wrong, I've nothing against the venerable old 103.
It can play music, no doubt about that and is good value for money.
I know of very few cartidges that are both neutral and can play a tune, the 103 may not be neutral ( in fact it's not neutral at all) but it's still a joy to have around.
It all depends on what you want from a cartridge, rarely do you ever come across a cart that combines it all...if at all it does exist.
In the context of a Teres and equivalent tonearm I'd start looking at carts in the 1K+ category.
The Shelters are very good and if you want one of the best or the best ever than the handmade Jan Allaerts come to mind.
Other very good ones are the even more pricey the Van den Hul, the Lyras and a bunch of others, depending on your taste in music and how close you want to get to the real thing.
Your taste and mileage may vary...if you trust the press, there are rankings on the net but I'd always listen before I buy something as expensive as this.
The most important thing when choosing anything high-end is to ask yourself what you expect from it...is it status? Is it musical fulfillment? Accuracy? Do you expect to move you regardless if it errs on tonal balance?
Contrary to when I was running my audio busines and demands were different ( I wanted as much possible to recreate the actual recording event), I now tend to care a lot less about accuracy for as long as it moves me, rocks me, touches me.
Some cartridges, the Deccas for instance, are absolute PITAs to handle...they're not accurate in any respect and you'd better have a very good tonearm to tame the energy these throw out...but boy, do these rock.
I'm afraid I've confused you more than helped you...time will tell.
Cheers,😉
Don't get me wrong, I've nothing against the venerable old 103.
It can play music, no doubt about that and is good value for money.
I know of very few cartidges that are both neutral and can play a tune, the 103 may not be neutral ( in fact it's not neutral at all) but it's still a joy to have around.
It all depends on what you want from a cartridge, rarely do you ever come across a cart that combines it all...if at all it does exist.
In the context of a Teres and equivalent tonearm I'd start looking at carts in the 1K+ category.
The Shelters are very good and if you want one of the best or the best ever than the handmade Jan Allaerts come to mind.
Other very good ones are the even more pricey the Van den Hul, the Lyras and a bunch of others, depending on your taste in music and how close you want to get to the real thing.
Your taste and mileage may vary...if you trust the press, there are rankings on the net but I'd always listen before I buy something as expensive as this.
The most important thing when choosing anything high-end is to ask yourself what you expect from it...is it status? Is it musical fulfillment? Accuracy? Do you expect to move you regardless if it errs on tonal balance?
Contrary to when I was running my audio busines and demands were different ( I wanted as much possible to recreate the actual recording event), I now tend to care a lot less about accuracy for as long as it moves me, rocks me, touches me.
Some cartridges, the Deccas for instance, are absolute PITAs to handle...they're not accurate in any respect and you'd better have a very good tonearm to tame the energy these throw out...but boy, do these rock.
I'm afraid I've confused you more than helped you...time will tell.
Cheers,😉
Hi Frank
No problemo , to each his own and I have not had that many MC carts to be an expert either. ( I've had enough MM's to hate them until them till I die ,Grado's, Shure's, AT's ,Empire's, ADC's ,Signet's Ortofon's)
How ever I must admit that the DL 103 is not the easiest cart to match an arm to and that is more likely the reason many are not empressed with it.
I just have a "pet-hate" for the Review crowd who refuse to review/test the same old venerable DL 103 in an arm that is worthy of it , the usual comment being that it wouldn't/shouldn't be on an arm of mega bucks simply because of its price.
Rumour has it that there are more 103 s'out there than all the other MC's put together and considering that they are all hand made , one has to ask one -self just how much more meticously can it be assembled to cost up to a 100 times more and as for materials , R&D etc etc jut what are we paying for ?
(alt a wheel is a wheel .. is a wheel after all )the only reason rediculously priced carts sell is that there are suckers out there willing to pay the price ( we already have an example of the Shelter 501/Crown Jewel ripp off) and I am sure there are many more similar examples.
😉 just my 2 cents worth
regards
keith
No problemo , to each his own and I have not had that many MC carts to be an expert either. ( I've had enough MM's to hate them until them till I die ,Grado's, Shure's, AT's ,Empire's, ADC's ,Signet's Ortofon's)
How ever I must admit that the DL 103 is not the easiest cart to match an arm to and that is more likely the reason many are not empressed with it.
I just have a "pet-hate" for the Review crowd who refuse to review/test the same old venerable DL 103 in an arm that is worthy of it , the usual comment being that it wouldn't/shouldn't be on an arm of mega bucks simply because of its price.
Rumour has it that there are more 103 s'out there than all the other MC's put together and considering that they are all hand made , one has to ask one -self just how much more meticously can it be assembled to cost up to a 100 times more and as for materials , R&D etc etc jut what are we paying for ?
(alt a wheel is a wheel .. is a wheel after all )the only reason rediculously priced carts sell is that there are suckers out there willing to pay the price ( we already have an example of the Shelter 501/Crown Jewel ripp off) and I am sure there are many more similar examples.
😉 just my 2 cents worth
regards
keith
Hi Keith
I have been able to compare a DL103 to a Jan Allaerts (can't remember the model) and the gap in sound is frightful - very similar to the gap in price. Having a 103 on anything better than a SME3012 or a RB300 is a waste IMO. Then again i am no huge fan of the Ortofon SPU either.
cheers
peter
I have been able to compare a DL103 to a Jan Allaerts (can't remember the model) and the gap in sound is frightful - very similar to the gap in price. Having a 103 on anything better than a SME3012 or a RB300 is a waste IMO. Then again i am no huge fan of the Ortofon SPU either.
cheers
peter
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