First we're told, **All we have to do is place the turntable in a
room with speakers playing loudly and then measure the output of the
cartridge.**
Then, **As to sound pressure- we get about 90-95db of
noise going on when mastering. The vacuum system is enclosed in its own
chamber, but still makes noise when in operation.**
All of the above?
Yes.
So. Are you referring here to playing the cut disc back on the nearby
technics sl1200 in your work environment ? or did you actually mount the
tonearm that was on the pillar directly to the lathe plinth?
It seems most expedient to answer this question- the answers to both parts is 'yes'. The pillar got abandoned- currently we are designing a machined bit that matches the shape of the lathe's plinth so we can bolt the arm mount directly to the lathe. In this fashion it will be impossible for the base of the arm to have movement different from that of the platter bearings.
I don't see how attaching the tonearm to the plinth can affect the 'noise'?
Surely
the 'noise' is a function of the isolation, the tonearm pod mass,
fixity, density and material selection as well as the tonearm rigidity.
I've explained it twice in this thread already. What part of my prior explanations are unclear? The 'noise' is actually introduced when the arm and platter bearings are able to move in different planes and rates. This is what happens when a separate arm pillar is employed.
your target in that tests and your " intuitive " premises are way
diferent to our audiophile main targets and premises. So, your
conclusion is not conclusive about what we want to test UNDER DAY BY DAY
LISTENING ANALOG EXPERIENCES and that's why for you is so " easy to
measure ". Your methodology can't fulfill our audiophile targets and
premises and can't help us because the your " vision " of the whole
subject is overall limited.
Actually this is not true. First you have to consider that we have audiophile intent- which you have to have if you want to do a decent job mastering an LP! Second, I think you are confusing the cutterhead with the lathe itself. The lathe is a first-class turntable that outclasses most turntables ever built, and obeys all the same physical laws. This is why adding a tone arm for playback faces the same issues as any other turntable.
In my case I want to know where is the SPL ( if exist. ) umbral
where the theory start to reflect the " damage " creating ADDITIONAL
colorations/distortions because the non-integrated TT tonearm approach.
As previously mentioned, I have explained this twice already in this thread. I suggest you re-read my initial posts and then ask me questions that might clarify some of the points made.
