2. analog
  3. 1069168134

Back into vinyl - part 1

About five years ago, while I was living nice, quiet, and boring vinyl-less life, I run across some very nice LPs while walking around my local flee market. I got rid of all my records years ago, almost immediately after Sony and Philips promised us all “Perfect Sound Forever”. My music life was easy and simple, few hundred of my CDs were complemented by couple hundred cassettes and only sometimes I was wondering how come some of my cassettes sounded very obviously better than CDs.
But I would not let these thoughts bother me – digital was better, period. Doesn’t every manufacturer of audio equipment say so for 20 years now?
Anyway, the albums I run across were so dear to me and so impossible to find on CDs that I bought them, without even thinking about the fact that I had absolutely no idea how to use them. Did they even sell turntables anymore?
Being a nerd I started searching the Net for information and to my surprise discovered that not only they still sell TTs, but there is a whole range of them, from 50 Presidents all the way to tens of thousands.
I was considering getting me some of those 78s, so three-speed machine was needed. I quickly found a site of KAB Electro-Acoustics, and called the guy.
Kevin was very helpful and knowledgeable. After hearing my pathetic story he very kindly described me current situation on the marked and few days later I was a proud owner of KAB Broadcast Standard, equipped with Shure V15VxMR.
The LPs that I bought sounded amazing. They were almost 40 years old, though in very good condition, but the sound was so real that no CD could even touch it.
Bare in mind, my system was nothing to write home about – middle-of-the-road ES Sony CD player, amplifier and cassette deck and Mission speakers.
And then I found audio forums.
OK, I have to admit – I am always questioning my knowledge. Even when I am 100% sure about something, there will always be a thought buried somewhere deep inside, saying “What If You Are Wrong?”
So I started asking questions and in return heard condolences about my TT and really stupid explanations about why direct drive is inferior to belt drive. Someone even quoted well-respected magazine reviewer stating that DD table is constantly changing speed at a rate of about 3500 times a second, which is quite audible.
I bought it.
I sold my KAB table (surprisingly very close to the original price), in my heart blaming Kevin for selling me this junk, and got myself a … well, I don’t think I should use any more names here – it is really irrelevant. Let’s just say that the table was listed at $750 and at that price point is considered to be a de facto standard in audiophile world.
Well, this is where my problems started. First, the damn thing was running fast. I was trying to get my dealer to fix it with no positive outcome. “The table is flawless” was the answer. Oh and did I mention “No Returns” policy?
Running fast, switching between speeds was a nightmare, and then in 2000 they released an updated motor in which was supposed to fix speed deviation problem (what problem?) which set me back another $150. With no positive outcome.
I had to let it go, losing a lot of money in the process.
What do you think I did next? Correct, I bought another belt-driven table from different manufacturer. It was about twice as expensive as my first one and was coming from the company that is even more respected in audiophile world.
The construction of the table was very unusual. Almost as unusual as one of the first models from this company, shown in one of Stanley Kubrick’s movies.
Built quality seemed to be better, but as I discovered, in order to achieve best results, I needed much better tonearm, special power supply etcetera, etcetera… Oh and did I mention that you can’t really clean the record on this table? Friction between the belt and the platter is too low for it…
I got back to the previous company and purchased their just-released top of the line model. Exotic materials used for platter, outboard power supply, fancy words used in its description… I was not as stupid as I used to be, so I purchased it from Canada, thus loosing my US warranty, but saving about 30%.
Well, what do you know? The table was running fast! The brilliantly engineered power supply did not allow for speed adjustments without knowing the schematics and friendly technical support staff of the manufacturer was too friendly to respond to my request.
Another bummer.
I was getting smarter. No more purchases, I said to myself, before I am sure I know what I am buying.
Very famous and very local manufacturer just released reasonably inexpensive model, which I borrowed from my local dealer. Build quality was so low that I still don’t understand how people can actually mention the word “quality” when talking about this table? Platter bearing was loose, table was running slow and besides the motor was running hot as hell. I called the company with my questions and they responded that bearing has to burn-in (oh really?) motor has high operating temperature and speed can be easily adjusted by using their power generator costing a mere $1000! Thanks!
I tried few more tables. The more expensive they were getting, the more I was shocked by their poor quality.
I got tired. My vinyl collection was several hundred LPs by now but I had no means of listening and enjoying.
Then I called Kevin.
I told him about my experience and my frustration and his simple and knowledgeable words got me back to real world.
I have a degree in electrical engineer for crying out loud, cant’ I do something?
And I did.
To be continued…
alex_yakovlev
zaikesman
3,017 posts
 
Thanks for clearing that up - now I can see what this product is, and presumably how it works. The pics imply it is designed with the 1200 in mind, so leveling has been taken care of with the appropriate threaded post.

All the hoo-ha on the website about CAD modeling and simulation, CNC machining to 1 micron, special grade of alloy to "maximize the ratio of stiffness", etc. etc., is I'm guessing a prelude to a hit in the wallet. While all the claims may be true, what it looks like we have here is a pretty elementary device designed to 'hang' the load from compliant bands under tension rather than compression. If the bands are sufficiently self-damping and the set of 4 is properly tuned for the 1200's mass - and it sure should be judging from the come-on - then these ought to be quite effective. I believe the same principle is used in the suspensions of certain SME turntables, although more bands look to be employed.

I can't dispute that these feet cut quite the sharp profile under the table. Care to clue us in on the damages?
qualitymanfc28
17 posts
 
For what they are they were pricey. With shipping in UK £90 which I think is about $150 US. A lot of people would baulk at that amount just for feet but they do seem to do more than just isolate. There is a definite improvement. Kevin is interested in them but is unlikely to import them to US as he could not sell them for less than $140 or so. He did say he would consider designing his own if there is enough interest. He also told me that his first project needs to be the arm rewiring as his own listening tests have indicated that the Mk 5 is slightly superior to the Mk 2/3 and the only difference he can see is the arm wiring on the Mk5 which carries a logo of "Technics Hi Fi" or something similar.
qualitymanfc28
17 posts
 
I want to ask a question but have no technical knowledge so forgive me if it appears stupid.

It seems to me that the finest sounding products are DC powered. Kevins PS1200 for the SL 1200, external phono stages, headphone amps etc. Why could not all audio products be supplied as DC with a wall wart supply? This removes the noisy transformer away from delicate electronic circuits. An obvious upgrade would then be a large transformer, mains powered with several DC outputs that could be used to replace the cheap wall warts. The outputs could be at different voltages to suit various bits of kit. It could apply to CD players, recorders, minidiscs, turntables, turners, cassettes, DVD etc. etc. The only problem would be the high power amplifier that would require a huge outboard transformer. Even that could be tackled by a dedicated engineer.

Any thoughts?
jphii
485 posts
 
Very good question. First off, take a look at this system. As you will see, even tube amps can be driven by battery. I'm hoping the system owner will chime in here, because this is one of his specialties.
zaikesman
3,017 posts
 
"I want to ask a question but have no technical knowledge so forgive me if it appears stupid."

I have to stipulate to the same ignorance but will not be able to beg forgiveness after what follows :-)

"It seems to me that the finest sounding products are DC powered. Kevin's PS1200 for the SL 1200..."

The PS1200 is what any normal audio power supply is: the part of the circuit that takes 60Hz, 120v alternating current from the wall and converts it to direct current that the component can use (simplified account). That description applies whether the power supply is located inside the component chassis or is housed separately, a not-uncommon configuration though still in the minority overall (excepting high end turntables). So it doesn't mean much to decribe the PS1200 - or the SL1200, with or without the PS1200 - as being "DC powered", because in that sense all gear is DC powered.

"Why couldn't all audio products be supplied...with a wall wart...? This removes the noisy transformer away from delicate electronic circuits."

It's true a wall wart removes the transformer from the chassis (as well as potentially limiting its size), but not the remainder of the power supply. Anyway, for most components not as sensitive to vibration as a turntable (and in truth that's all other components, despite audiophile obsession over the idea), with a little care taken in design and implementation the complete power supply is built into the single chassis with near-zero negative effects (and even some positive ones) - just witness the vast majority of high end gear.

But striving for the last squillionth of refinement, some all-out component designs do segregate the entire power supply (and frequently the non-audio control circuitry as well) in a second box. This may or may not be as effective as claimed compared to a single box, and may or may not be duplicable in a single box in terms of sound quality - after all, there's usually no real way of the consumer knowing for sure.

(The situation of the SL1200 which Kevin exploited in introducing his PS1200 is unusual in regard to high end turntables generally, which would never have this sort of stuff onboard to begin with, and now we SL1200 owners can appreciate why.)

"An obvious upgrade would then be a large transformer, mains powered with several DC outputs that could be used to replace the cheap wall warts."

Upgrade from wall warts, potentially yes. Musical Fidelity markets its X-PSU under this theory, but notice that their real high end gear contains either onboard power supplies or complete dedicated power supplies housed in second chasses. The power supply is one of the most important sections of any good piece of audio gear, and a designer needs to have a free hand to approach all aspects of a component wholistically, so one-size-fits-all is not a practical approach for more ambitious products.

Battery power is of course different (though not necessarily always, or in all ways, better), in that it requires no transformation from AC to DC or the attendant needs for isolation and smoothing the ripple. And you sever the connection to the powerline grid and therefore the noise and distortion that contaminates it, even though batteries can have their own practical difficulties and limitations. My own phonostage happens to be battery-powered, the application that's always seemed to me to be the easiest, and likely the most sonically productive, for which to implement the technique.
More to discover