Fine mijo. If you play records while hammering the side of your plinth, so be it.
Overkill earthquakes, overkill hammering, washing machines, jumping up and down. We are talking about small airborne soundwaves.
Every day I see another turntable recommendation...
After digging into this topic, I am convinced now I need to go a bit higher on this first vinyl set up. I think all in, I am prepared at this point to go up to $5k, for the table alone, not including arm or cartridge.
But frankly, being on this forum is like drinking from an information firehose. I have learned a bunch and yet somehow, I am less convicted than before.
With that in mind, to narrow down the decision, I am want to restrict myself to things I can buy, hear and, if necessary, service locally. My local dealers stock, AMG, AVM, Basis, Clearaudio, Michell, Musichall, Pro-ject, Rega, VPI, so I am likely restricted to those brands. I am certain my view will change by the end of this thread.
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The effects of other activities taking place within a local environment are able to create a transfer of energy that can be detected in a home. I live in a rural area with neighbours properties approx' 300' ft away from my house. Neighbours in their homes are not a concern and the activities they are involved with outside of their homes are not a concern, where creating energy transfer to my home is concerned. Others using HiFi set Ups can be effected by a neighbours activities. My Home is approx' 60' ft in from a Road, which for a large proportion of a day has substantial agricultural vehicles using it, these are very capable to transfer energies in to the home and are regularly felt passing by, and not only heard. In the Spring /Summer the vehicles operate for a long day, during the autumn/winter the road usage is much less. The Fighter Jet Base can make the property rattle when the after burners kick in and this is from a mile away. None of these environmental impacts, concern me during my listening periods, as I am aware of most of the times these will be present and choose not to use the main system, when the impact can occur. Background music replayed through a simplistic device, is used to supply musical encounters, when the conditions are not ideal, and the music being replayed is totally satisfying. Choosing a time to listen is what many who enjoy their HiFi systems do daily, if a environment is local that can effect the quality of the replay, choosing periods when quiet is present will be very beneficial, if sitting down when listening, footfall will not impact too much either. All said and done, a little thought applied to discovering methods that can be used to mount a TT, will also add to ones knowledge and methods learned of might be adopted. |
Setup is everything with turntables and the Linn is one of the trickiest to get right. In that sense, it’s a bit like the Oracle Delphi. The Linn isn’t my cup of tea, but to dismiss them as "the poorest suspended turntables made" is just silly.
An earthquake isn’t visible, although the result of an earthquake may be. Neither is an earthquake a "wave traveling through the ground" and it is certainly completely false that earthquakes are happening all the time. An earthquake is "is the sudden movement of Earth’s crust at a fault line" which itself is the result of shifting tectonic plates. That is the word from NASA. An earthquake is an event and they are monitored around the world. @mijostyn, your scientific theories are fanciful and imaginative, but they also reveal that much of science isn’t intuitive, at least for you.
I don’t need to hammer my turntable to know that it’s well isolated. |
To do vinyl playback right, you are going to spend some money. Turntable, arm, cartridge (yes, I know there are advocates of relatively inexpensive "giant killers"), phono stage (ditto) and potentially, a rack or other platform on which the table sits. I cannot pretend to have heard all tables, arms or cartridge combinations, but there is usually work involved in getting vinyl right (which also includes cleaning and routine maintenance, as well as optimizing set up, etc.). I don't necessarily want to get into the Linn thing, since in some ways I think it is dated. Maybe the current incarnation, with all the latest upgrades, is still competitive, but at what price? When the state of the art is into the 6 figures, you gotta get a little more critical unless you simply don't care about money. I have a fancy table and another one that was a big time table circa 1973. I currently use both. The hard part here is evaluating before you buy. Lots of variables. I kind of evolved into where I am, and have no great urgency to change. But for the person entering or reentering, it is daunting. There are (or were, subject to "supply chain"), more tables, arms and cartridges than ever. The how to assemble something that sounds good, is enduring and works with the system in its entirety still seems to be voodoo. Folks hint at it by talking "synergy." Or just spending money. It is very hard to sort out the wheat from the chaff. And, I'm not claiming guru status in the quest to do so. Part of it is the sound you like- idler, direct drive, belt drive all sound different. Then, go deeper-how much, from what era and what cartridge? So many variables. No single "right" answer. |
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