For $400 I'll pass. If I do not want to pay attention to my wonderful turntables I'll play a digital format. mindpoprevolution, you can take your flying saucer thing-a-ma-jiggie and.........I'll think of something less poetic than what I had in mind. I hate it when people try to sell me shit. Never buy anything from a human that is trying to sell you something. Humans are way to dangerous. Good stuff does not need to be sold.
The Presslift
As a new invention comes along for a device capable of associating distinct functions previously accomplished by separate devices, it is often difficult to describe such device in one succinct word. In the world of Hi-Fi analog audio equipment we find many separate devices specifically designed to improve the quality of the audio signal extracted from the groove. When it comes to vinyl, dedicated purists, aka audiophiles, appear to agree unanimously that highest purity in sound comes from turntables and tonearm combinations which employ the least complex electromechanical configurations, especially those doing away with intricate electronics or internal automations that may affect the mechanical isolation of the conversion system. Many of such devices were refined over decades of development leading to state-of-the-art machines, some of which could set the enthusiast back by multiple thousands and even tens of thousands in hard currency. However, with purity we lose the convenience and the comfort otherwise available with automatic turntables, some of which were marvels of technology in their own right at the time when the race for automation and complications was at its highest: some decades ago, too many decades ago that went by too fast... So, you chose to go down the path of high-end, that quest for purity that never ends and every measure of satisfaction received along the way has a bittersweet taste... you worry who handles your gear, you tinker with the arm set-up and you are often wondering whether or not you could do with a better cartridge. Then you worry about the cartridge and every play becomes a ritual and you are now the guardian of the system... you cannot walk away for too long because the record will end, you cannot fall asleep because the record will end, you cannot forget it on because the record will end... and if that happens, your cartridge and stylus will suffer and therefore you suffer... The Mind-Pop Revolution name was given to a new product which combines record stabilization with the ability to lift the tonearm at the end of the play. We didn't know exactly what to call it... is it a bird, is it a plane?...And then we realized, we brought to the industry a new term: the presslift! The Mind-Pop Revolution presslift is the newest improvement instrument for manual turntables! The "press" is for the record, the "lift" is for your peace of mind.
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If anyone is interested to review our feedback from High End 2019 in Munich, please see the post right on our homepage here: www.mindpoprevolution.com |
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When I become too maladroit to manage manipulating my VPI’s record clamp(without wrecking my recordings) and/or can’t reliably remember to reset my Raiser, it’ll be time to train someone else to spin vinyl for me. In my particular case, acoustic feedback was a major issue. I took great pains, tuning/redesigning my TT’s suspension, base, plinth and feet(successful in eliminating every vestige). Adding over a pound and a half to the platter, could very well require starting over. There’s little doubt, you’re product will find a home in the systems of many, with a need for it’s benefits. Best of luck, with your endeavor(s). |
rodman99999 My answer is going to be long, I never expected to write up so much on the subject… especially in a forum.
In addition to the intended function, they all have one other thing in common: any guess? The reset. You cannot forget to reset... so the whole user experience becomes part of the ritual I was talking about in my original post. Not that it is a big deal to reset, that's not the point, but the point is safety. If for any reason the reset was not done, then, next time around, the arm shaft hits the raiser and will bounce outward and inward repetitively until the problem is dealt with. Sure the stylus won't be too happy. With all shaft raisers, the user must not forget to reset the lifter each time. The presslift eliminates the
need to reset. The lifter looks heavier than it is but the underside is hollow to allow placement over mounting screw-heads (in some cases they stick out from the surface of the head-shell) without having to disturb any existing set-up. It literally takes 10 seconds to strap it on with an invisible elastic band. We supply 2 clear bands and one black. It can be installed over any head-shell, I even tested it with a Concorde just for argument's sake. If
this project generates some revenue, we will develop a lighter lifter first and
eventually a head-shell with an integrated lifter. This is definitely work
in progress but the current version works flawlessly. In the presslift the total weight is distributed. About 40% of the unit couples with the platter (spins all the time) whereas the rest is suspended on a bearing which is housed inside the presslift. The bearing is designed with a tiny amount of play between the steel rings and the ceramic balls which allow the top of the presslift to counter any change of direction (caused by external vibration or shock) and therefore this mechanism permits a measure of dampening to occur. If you want to visualize a simplified profile of this system, imagine a bell attached to the center of the platter by the tip of its clapper.
A clamp works differently. The clamp pulls the shaft upwards and pushes the record against the platter, downwards. If the platter and the shaft are coupled rigidly okay but if the platter sits on a conical mount, then the platter is further pressed into the shaft by the additional force created. It takes more time to set-up a clamp and also if a felt washer is used, your records will develop eventually a conical profile in the label zone, generally more prominent on the sides you prefer to listen to more often. With some clamps you need to press the record down by hand so then you try to avoid fingerprints on the record… and when the hand presses the record down, the force is not applied uniformly in a concentric pattern with the plate and therefore during this action the bearing sees unbalanced loads with each application. Both
methods, by weight or clamping, will result in coupling the record with the
platter. There is a diminishing return though, it doesn’t mean that higher
forces produce better results. We believe we hit the sweet spot with the weight
of the presslift. I hope all my time to write these details will help offer better insight into what the presslift is all about. We launched this product in December 2018, the design, prototyping and validation took a long time and the consumer acceptance is going to take time. We created this product because we are passionate about this craft. Time will tell if it was a good idea or not. If you made it all the way here, thank you for taking the time out of your day to read about the presslift. |
it began lifting too quicklyIf you still have it, you can ’slow it down’ by renewing the silicon gel. Easy job, as the raiser-piston pulls out, just be removing the little screw behind it. The silicon is sold for fixing cueing-devices, and fairly easy to find. I agree the lockdown wire is unnecessary. As for the price, used ones sell for that, or more, and now that the patent has expired, some knock-offs are double the price. Great little device; some complain it doesn’t work, but they just don’t know how. As for OP’s invention, it’s brilliant... in some ways, e.g. the ascending spiral. The ’bar’ across the headshell needn’t be so massive; to me the weight is ugly (as is the bar — both are design overkill); it doesn't address edge-warp; and I’d prefer a clamp — it’s a firmer grip, pressure is adjustable, and why add mass to the bearing? Sorry for the diss, OP. Honest feedback. If you think I’m wrong, by all means defend your creation. I wish you success, I love the idea, and if it were available in the simpler form described, I’d grab it. |
I’m guessing, all those keystrokes were about lifting an arm, when a record ends. My first Safety Raiser(AT6006) lasted 30+ years, before it began lifting too quickly. That’s a lot of years, in which I enjoyed end-of-record-peace-of-mind, via it’s very gentle lifting habits. Not bad for the $19.95 that I paid, back in 1980. I quickly found a couple NOS/NIB Raisers, for which I(gladly) paid $120 each. Now, Audio-Technica has re-released the piece(AT6006R), sans the lock-down wire of the old(no big loss) and a higher price(of course). https://www.audio-technica.com/cms/accessories/398e4995e9bfe926/index.html I’m not really crazy about changing the effective mass and/or resonance of my tonearm, by adding a chunk of alloy to it’s headshell, either. |
mindpoprevolution- Your suggestion is appreciated. Gathered from FAQ on ART9- "Thank you for your inquiry. There is no rebuild of the cartridge. Answered on 2/21/2018 by AudioSolutionsManager from Audio-Technica U.S., Inc." The ART 1000 is the only model AT supports for factory rebuild. For $5K, I would expect a company to do so. I have used Soundsmith before, so I will eventually send it back to them. The repair however, is not the same as a factory rebuild. A replacement cantilever is glued to the original break on the original cantilever. The cart now, isn't the same. I'm guessing it will still be a great performer, but different. For less than half the cost of a new one, It's a reasonable solution. Thanks for reminding me. I forgot about the ART9 boxed up, and waiting for repair. |
tablejockey You are right, it is a long article and it is hard to read especially without spaces between paragraphs. I tried to edit it but once responses are made it can no longer be edited. I will keep your point in mind for the future! PS: imo, your AT-art9 is worth rebuilding for the right price. FYI, AT has a rebuild program. |