lewm, posted yhe best answer to your stupid post.
" not so much whether it can be bent by a human exerting strength to bend it. I doubt many arm wands of any kind except maybe steel ones could resist such an effort. "
R.
TONEARM DAMPING : DAMPED OR NOT ? ? USELESS ? ? WELCOMED ? ?
Dear friends: This tonearm critical subject sometimes can be controversial for say the least. Some audiophiles swear for non damped tonearms as the FR designs or SAEC or even the SME 3012 that is not very well damped in stock original status.
Some other audiophiles likes good damped tonearms.
In other thread a gentleman posted:
" If a cartridge is properly matched to the tonearm damping is not required. " and even explained all what we know about the ideal resonance frequency range between tonearm and cartridge ( 8hz to 12hz. ). He refered to this when said: " properly matched to the tonearm ".
In that same thread that a Triplanar tonearm owner posted:
" This is the one thing about the Triplanar that I don't like. I never use the damping trough...... I imagine someone might have a use for it; I removed the troughs on my Triplanars; its nice to imagine that it sounds better for doing so. "
At the other side here it's a very well damped tonearm:
https://audiotraveler.wordpress.com/tag/townshend/
Now, after the LP is in the spining TT platter ( everything the same, including well matched cartridge/tonearm. ) the must critical issue is what happens once the cartridge stylus tip hits/track the LP grooves modulations.
The ideal is that those groove modulations can pass to the cartridge motor with out any additional kind of developed resonances/vibrations and that the transducer makes its job mantaining the delicated and sensible signal integrity that comes in those recorded groove modulations.
That is the ideal and could be utopic because all over the process/trip of the cartridge signal between the stylus tip ride and the output at the tonearm cable the signal suffers degradation ( resonances/vibrations/feedback ) mainly developed through all that " long trip " .
So, DAMPING IS NEED IT AT THE TONEARM/HEADSHELL SIDE OR NOT?
I'm trying to find out the " true " about and not looking if what we like it or not like it is rigth or not but what should be about and why of that " should be ".
I invite all of you analog lovers audiophiles to share your points of view in this critical analog audio subject. WHAT DO YOU THINK ABOUT?
Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
Some other audiophiles likes good damped tonearms.
In other thread a gentleman posted:
" If a cartridge is properly matched to the tonearm damping is not required. " and even explained all what we know about the ideal resonance frequency range between tonearm and cartridge ( 8hz to 12hz. ). He refered to this when said: " properly matched to the tonearm ".
In that same thread that a Triplanar tonearm owner posted:
" This is the one thing about the Triplanar that I don't like. I never use the damping trough...... I imagine someone might have a use for it; I removed the troughs on my Triplanars; its nice to imagine that it sounds better for doing so. "
At the other side here it's a very well damped tonearm:
https://audiotraveler.wordpress.com/tag/townshend/
Now, after the LP is in the spining TT platter ( everything the same, including well matched cartridge/tonearm. ) the must critical issue is what happens once the cartridge stylus tip hits/track the LP grooves modulations.
The ideal is that those groove modulations can pass to the cartridge motor with out any additional kind of developed resonances/vibrations and that the transducer makes its job mantaining the delicated and sensible signal integrity that comes in those recorded groove modulations.
That is the ideal and could be utopic because all over the process/trip of the cartridge signal between the stylus tip ride and the output at the tonearm cable the signal suffers degradation ( resonances/vibrations/feedback ) mainly developed through all that " long trip " .
So, DAMPING IS NEED IT AT THE TONEARM/HEADSHELL SIDE OR NOT?
I'm trying to find out the " true " about and not looking if what we like it or not like it is rigth or not but what should be about and why of that " should be ".
I invite all of you analog lovers audiophiles to share your points of view in this critical analog audio subject. WHAT DO YOU THINK ABOUT?
Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
- ...
- 318 posts total
Dear @lohanimal : I did it in massive way to the point where the cartridge tonearm can't goes on after the last recorded groove, stop there and can't pass through the end of the non-recorded LP surface before the center label.
I can say that I tested everything you can imagine and in my " natural " well damped tonearm the best trough is not trough at all. That's what my very high resolution system tells me and to my friends too. Diffreneces for the better are just obvious but as almost always depends on the whole room/system resolution and the kind of test proccess each one of us have for comparisons.
R. |
you said you tried all permutations - therefore did you re-create the Townshend Trough? I have a Moerch DP6 which allows damping - and frankly i prefer it without damping - however - mounted using a Towsnhend front trough is an altogether different animal. There's damping and there is damping and there is damping.
|
Dear @mijostyn : Phonograph needle slow-motion microscopy (youtube.com) Even inside the ideal cartridge/tonearm resonance frequency how can help the cartridge stylus jitter? We can see several things, first of them is the way very hard task the stylus tip has to ride those tortuose groove modulations, cartridge/tonearm job should be really fenomenal for been faithful to the groove modulations information recorded there the other thing we can see is that the stylus tip ridding is almost " out of its control " almost at " random " as the self cartridge tracking habilities permits it.
Could you share what to do about? because jitter means higher added distorion levels. Due that you posted:
" With proper tonearm matching damping is not needed and indeed is a negative. It is like adding friction to your bearing and forces the cartridge to work harder " R. |
Zombie threadpocalypse! I used damping on an SME V because I read it would help the mistracking (which I had not experienced) of the London Decca Reference and these days the same cartridge sits on an SME IV without damping and still exhibits no mistracking. Does it sound more dynamic without the damping trough? I can’t say I can tell the difference. The Series V holds a Benz LP-S now, and the damping trough has had all the silicon removed. |
- 318 posts total