And yes to Raul,
+++I repeat again again and again ( many times everywhere ) that the mat/platter build material where the record/LP seats directly is almost the more important subject/factor to achieve the highest quality performance+++
I have to fully agree to this basic tenant. As Yoda would say most important is the platter to the record interface.
I would be more on firm ground in this thread to think of the differences in terms of _difference of coloration_.
Pure lead or a high lead mix: sound has a dead "it-ends-here" coloration. very accurate reproduction of the space between the images and notes.
Hard rubber like formulas: detail and depth to the coloration, a color not unlike putty or clay, very nice space between the notes but flavored with something extra.
Clear Acrylic: more of an endless feeling to the coloration, almost a reverb of select frequencies are accentuated. Have to get used to.
Special formulas (Goldmund, Lurne' and other Alchemist designers): a small shadow coloration that follows the music, like SETs somewhat. Very addictive to my ears at this time in my career. Huge space and you can minimize a touch of gold glow if you roll up your sleeves and try creative belts, AC/DC drives, and outboard motors.
Peter
+++I repeat again again and again ( many times everywhere ) that the mat/platter build material where the record/LP seats directly is almost the more important subject/factor to achieve the highest quality performance+++
I have to fully agree to this basic tenant. As Yoda would say most important is the platter to the record interface.
I would be more on firm ground in this thread to think of the differences in terms of _difference of coloration_.
Pure lead or a high lead mix: sound has a dead "it-ends-here" coloration. very accurate reproduction of the space between the images and notes.
Hard rubber like formulas: detail and depth to the coloration, a color not unlike putty or clay, very nice space between the notes but flavored with something extra.
Clear Acrylic: more of an endless feeling to the coloration, almost a reverb of select frequencies are accentuated. Have to get used to.
Special formulas (Goldmund, Lurne' and other Alchemist designers): a small shadow coloration that follows the music, like SETs somewhat. Very addictive to my ears at this time in my career. Huge space and you can minimize a touch of gold glow if you roll up your sleeves and try creative belts, AC/DC drives, and outboard motors.
Peter