New Mag-Lev Turntable

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Things that on the surface appear to be problems are actually advantages, that’s all.

I prefer the design that recognizes that this is about resonances and vibrations to make music. There are different ways to go about it. I have a 100 lb Jean Nantais Lenco that does a good job of damping them (resonances) with its design. But... when you dampen you can also lose extension.

I have not contributed to this kickstarter project, and am not in Audiophile mode, but if I was....

I’d be, as has been stated, changing out the feet for better isolation to the tonearm, and also changing the tonearm out for one that provides isolation as part of its design. In others words, I would follow with the designers original intentions and try to better them.

There are audiophiles that drop 5 figures on a totally mechanically coupled turntable setup, and many of these are going into from what I have seen from friends, the main floor of the house - a suspended wood floor. So the fellow has just put out a princely sum on the table setup, and soon will discover that he needs more $$$$, some type of isolation platform, on top of his original investment.  The dealer is very happy to sell him one. This also means the dealer needs to do his/her homework on what the person’s room needs are.

But... when you dampen you can also lose extension.

If you are really experiencing this then the damping is not working as you surmise. Its impossible to overdamp for vibration if the damping is indeed working correctly!

If you are really experiencing this then the damping is not working as you surmise. Its impossible to overdamp for vibration if the damping is indeed working correctly!

My comments were based on my personal experiences, and relative to the other designs in the room. Every design has its limits. In this case, imo, it’s a case of having to do unique damping for a design that from the start - employs a mechanical wheel - a high noise design. The Swiss motor is a thing of beauty, but the way it puts the pedal to the metal is not. It’s a really nice, musical table and is praised by many. At the time, raised the bar in a couple areas. Challenged me with the other two design tables in the room when I first brought it in. Some can’t get over how big it is, when they see it in person; especially when you realize there are huge full voids, by design, under the two armboards and platter/motor. And it’s still 100 lbs !

So a wonderful turntable but, when compared with others .....in the same room......, same 2 tonearms........same 2 cartridges......same people..........same time, differences revealed. That’s why I say my comments are relative based on the other designs. If you are interested in the details of the above go to my virtual system and do a search on Goldilocks and the Three Turntables.

@Atmasphere - so what table set up have you heard, whether at a customer’s house, show, wherever; that based on familiar equipment being used, performed above your Empire turntable setup. I would be interested to know.

Cheers.

It seems that the vertical tracking angle would be difficult to maintain  between lp's of dirrerent mass.

akadurf
It seems that the vertical tracking angle would be difficult to maintain between lp’s of dirrerent mass.

akadurf - thought about this over coffee.

I make physics assumptions here, not knowing the designer or the product, and whether the Electro Magnetic EM force "system" used is fixed or variable. I am assuming fixed.

If the EM force is affected by changes in lp weight, then the heaver/thicker/taller lp will play on a a little lower plane due to the weight going against the electromagnetic force. This will even out things, and the heavier lp will actually be at the same plane as with the lighter thinner lp. Make sense ?

If this is indeed how it works, the tonearm on this table does not even need VTA adjustment, a clear advantage over a fixed platter. As far as center weights go; most I know use a center weight to tune resonances. That would appear to become a moot point as well with the levitation.

The whole VTA topic is a fascinating physics discussion. We know that with all tonearms, except one..... due to a patented design, the VTF - (force) changes when you make VTA - (angle) changes. When audiophile friends actually analyze what is really happening for the first time, they are usually surprised. In my experience how often one needs to change VTA depends on two things. The stylus and listener (individual) type. Two records same thickness can have different cut angles. The cutting stylus lasts only hours and setting it up the same way each time is very difficult. I think Atmasphere can give us more details :^)

Cheers