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In Reply to: "VTA adjustment is actually a neurosis NOT a technical adjustment." posted by xyyyy on September 11, 2006 at 16:56:48:
the stylus will just push the dirt out of the way.He also says azimuth adjustment is not needed.
He put rubber bands as the support for the motor.
I would say that he is a relaible source of technical opinion... not.
He remings me of a bookseller aorund these parts who actaully doesn't read books. All these considerations must seem fussy and trivial to him.
Follow Ups:
he was wrong also.
These statements regarding record cleaning were made by both Gandy and Tiefenbrun in the context of the "typical" UK customer in the early 80's when affordable wet vacuum machines were not yet available and the poor quality of manual cleaning methods being employed at the time would more often than not result in nastier sounding records( damaged in some cases) than had they been left alone.
Both companies built their reputations by demonstrating to the average guy that a higher quality record player would bring greater enjoyment and appreciation of one's favorite music.Audiophilia, then as now, represented only a very small subset of the music buying public.
IMO,the advice then given to avoid * record cleaning* was absolutely correct for the vast majority of the music loving public of the time.
Ivor T. also used a matchbook 's striking surface to clean the phono stylus. I remember a Linn "True Believer" friend who actually followed this practice. In hindsight, this "cleaning" method was a bit of a stunt to offhandedly generate more publicity for Linn.
In conjunction with my trusty antique VPI HW16 machine, I've been using the jeweler's emery (*Linn green sandpaper*)"stunt" for better than 20 years.
I rather like Mr Clean's magic pad as I don't smoke!If Ivor T was into manicured nails, he would've recommended a fingernail file to clean the stylus.
Another Linn "stunt" was the advice to remove all other speakers out of the listening area other than your system speakers. That would include the telephone (we now have cellphones, so remove the one you have in your pocket), ghetto blaster, and so on. I was actually at a Linn demo some 20 years ago, where the factory rep apparently altered the sound of the Linn system by taking a ghetto blaster out of the room.
Your personal "issues" with Linn notwithstanding, the single speaker demonstration method is absolutely the best way to assess the actual performance and characteristics of a loudspeaker short of an in-home trail.Removing unused loudspeakers from the demo room ensures that there will be no opportunity for additive sympathetic output or subtractive acoustic nulls produced by non-driven speakers to muddy or influence the audition.
Wow. Actually, it's quite impersonal - I've never met Mr T.It's just more elegant to use something other than a matchbook cover to clean a stylus. How clumsy. And Diamond may be hard but how about the cantilever? It sure stuck in my mind as being outrageous at the time. But isn't that what effective advertising is supposed to do - stick in your mind?
However, I did "personally" hear the ghetto blaster seemingly affect
the sound of the Linn system when it was removed from the room.So there.
Make sure you don't have your cellphone with you, the next time you engage in some serious listening :)!
not to mention no VTA.
Actually,I wish Rega had stayed with the suspended motor decoupling scheme by adding a second o-ring mount at the bottom of the motor housing to improve its stability.
I'm not entirely satisfied that the current adhesive motor compliance didn't involve some musical trade-offs in the process of gaining the improved pitch stability that came with the new mounting method.
The old o-ring mount, whether by accident or design, acted as a torque equalising mechanism and to my ears had slightly better flow and ease.
In fact, it's my belief that the bulk of the overall improvements gained in the latest Rega P-series players over the Planars is due primarily to the lower mass plinths and quieter motor.
As far as azimuth correction , Rega feel that precise, rigid coupling of the arm-to-cartridge is most important.
Either use a cartridge that has its stylii properly installed and/or use one that isn't azimuth hyper-sensitive.
Alternately, you can always do the age-old trick of placing a section of string longitudinally along the length of the cartridge body, sandwiched between cart & headshell and get all the adjustment you should require.
Rega's own cartridges have a moulded raised ridge to accomplish exactly that.
Playing devil's advocate, why should azimuth correction be the exclusive responsibility of the tonearm manufacturer, anyway?
After all, the most common reasons for the need is a wonky-arse stylus/cantilever, overloaded/failing cartridge suspension or way-out-of-spec antiskate settings.
; )
"...why should azimuth correction be the exclusive responsibility of the tonearm manufacturer, anyway?"
When it's only needed to compensate for a"...wonky-arse stylus/cantilever, overloaded/failing cartridge suspension or way-out-of-spec antiskate settings."
Good point.
Tom
when the manufacturer makes a bent tonearm ...
anyone without a RCM can't call themselves an analog lover ... OMG, I'm starting to sound like Theresa!
Garth, now hand me that torch.
shall I help you up old boy?Now move over. ;-)
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