Questions Regarding Installing a Wheaton Triplanar On A SOTA Cosmos

Please translate the German. Is it attributable to some particular source? Also if you have data, as you imply, that would be refreshing. 

@lewm My follow up references made to my use of a Platter Mat and Genre, has not been prompted by yourself.

I sense you fully understood I was describing a perception of impact on sound from the material selected for use.

To elaborate, on my set up in my environment, I have discovered certain materials and supporting ancillaries, that are intended to be used at the interface of LP > Platter or LP > Cartridge, that are not able to enable the systems capabilities to deliver to the level of presentation that has been realised within my own system in most up to date guise.

There are materials and supporting ancillaries selected, that have to some degree and without doubt, Obscured, Masked, Concealed, Kept Hidden, Blocked Out, the systems capabilities of producing perceivable Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence.

I stand by my statement that many who are keen to use a Vinyl Medium as their Source Material are using set ups that have the impact where one of the following - Obscured, Masked, Concealed, Kept Hidden, Blocked Out - is occurring to some degree.

As stated, if one is heavily invested in their Vinyl Source to have this as the impact on the sound being produced, if present, this to myself, is seemingly a wasteful condition.

I have helped others discover this condition in their system and assisted with aiding them to move beyond this condition being noticeable in their system.

My Loans of items are instrumental to the condition being realised and through trials of differing configurations of materials at a interface, a version of a improved alternative has also been realised. The result, being that another has been enabled to create differing interfaces, along with TA geometry tweaks to capitalise on the interfaces being created.

To attempt to be clear, In my unique listening environment on my System.

I have been able to set aside materials due to their poor value as an addition and select others that add value, especially through enabling the systems capabilities for creating a perception that - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence are all present and are far removed from being perceived as - Obscured, Masked, Concealed, Kept Hidden, Blocked Out.

To have a system that has realised the above Capabilities and attractive traits. Which is the result of being enabled through design, component and material selection, with the fundamental intention to create the perception of such valuable traits being presented. Is to have a system that has an interaction with a listener that can/will become addictive.

I once demo’d at a public attended event, where approx’ 500 paying visitors were in attendance. A very conspicuous visitor to my space came back for numerous visits, as did quite a few other visitor. At the end of the day the conspicuous visitor came to my room with one other person, they made it known they are a Company producing TT’s with a starting price of £50K and have customers with systems costing £000 000’s. They wanted to tell me my system had them mesmerised and was a real credit to the show, especially in how I had shown that a system can be produced on a budget that impresses in a very similar way to one of their uber expensive clients system. I’ll take that as Win 😎

Such a system certainly hits home on the satisfying the individuals unique stimulus from the impact of the environment on the function of the Amygdala. As a result of sound encountered in an environment, there is a stimulus, it’s not a Nicotine or Caffeine hit, there is more gentle and longer lasting impression from the Chemical Reactions resulting from the Amygdala Stimulus, one that is the stimulus to keep the pursuit ongoing by the audio enthusiast.

One does not put their hands over their ears to close out a sound just because it hurts their ear drum, they also do it because the sound, as a non medical description, is freaking the Amygdala out. The Chemical Reactions being produced trigger the motor neurons and the protected ear is not a choice, it is a reaction.

As stated, the sound created by creating an audio system can be very good for - Mind - Body - Spirit, it don’t have to be limited to Whale Calls and Breaking Waves.

Where did the pursuit start, fortunately for myself, I have learnt of the value of having a High Quality Bearing Assembly, a long time before I had encountered many of the experiences being referred to in the above posts and other posts made on this forum.

The overhauled platter spindle bearing, where the design is limited to producing axis trueness, reduction in friction and metal on metal avoidance, have been known to myself for many years. These three items being addressed are of high importance to enable a proportion of a perception of - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence to be noticeably present when compared to a non overhauled bearing. What is usually noticeable with immediacy, is the quietness, the TT when rotating is just so not there, the benefits of this condition are more timely to learn, not all are aligned to the valuable traits and detecting them, even myself many years past.

Where does one go after being able to perceive such positives are to be had from a bearing overhaul.

Platter Mats are easy, a quick swap out if a certain range of thickness are used only. There are hundreds of options to be had. The Commercial Sector love the Vinyl Enthusiasts keenness to try out Mats, one can pay $500+ for the privilege. My suggestion start with Rubber - Cork - Rubber Cork. Each will have the potential to present with a different impact on the sound being produced, do not stop and rest on laurels, there are very valuable discoveries to be made.

There is another investigation very worthwhile, which is looking into a TT’s Speed. Controlling Speed in a improved and precision manner, can be quite affordable. One can even get a very accurate Speed Controlled TT for less money than the cost of an add on ancillary to control speed in a much more expensive TT.

One can also get quite affordable Speed Controllers as a DIY Build for differing Motor Drive TT’s. I have had these options built for myself on owned and used TT’s. As well as have a TT with a renowned built in Speed Control from the Manufacturer redesigned as a upgraded Speed Control design.

Speed Control when properly working will be very beneficial to increasing the proportion of perception of the Valuable Traits being present.

Speed Control when used in conjunction with a Bearing that has been Overhauled, is a combination that has a impact that has left myself, never wanting to return to what was before. The - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence - just pop out, this is a attraction to the presentation that is to be maintained. Anything from previous guise is no longer to be put to service, unless as used solely as a comparison demo’.

Interestingly, maybe anyways, is that those I know who got over their hostilities to a idea of a bearing overhaul and especially with a focus on the avoidance of metal on metal when reassembled, could not say enough publicly about the good impression made.    

The Support Structure is a activity of learning that for myself, is another endless journey. As Structure Design and Structure Materials are able to be worked with in differing configurations and exchanges. The perception of the - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence are being further defined in ones perception, by the careful selection of a range of materials and design for a supporting structure. I today can quite easily demonstrate, how the removal or exchange of a couple of choice items selected for the structure can with immediacy create the perception a colouration has been added, the tonal frequency has undoubtedly moved. By removal or swapping out certain items in the structure I can easily mask the attractive traits being referred to.

There is no shortage of very very positive reports on how a rethink about how a Support Structure is created, has produced a end result that is extremely impressive and is very much wanted to be kept in use.

Do I really want a Vinyl Source set up in a way its usage seems compromised, certainly not. Being investigative and adopting methods made known will certainly move a Vinyl Source set up more towards the description of becoming impressive.

Tonearms, "Regrets I’ve had a few," (good ole Frank), nearly all TA's in the past 30 years being a design based around a certain geometry, and are a design that are born from plagiarising another’s design.

My earlier choices for a TA enabled myself and others to experience my systems capabilities to present the eked out Valuable Traits.

It is knowing that quite a few use these TA’s with a design born from being plagiarised set around a particular geometry, that I feel is a fundamental to my making a statement such as:

"I do suspect that many users of Vinyl as the Source Medium, settle for an inferior set up, especially one not optimised."

My choice of TA in use today, is bespoke produced, and is the design that has enabled all the previous investigative work undertaken to be catapulted to a whole new level of quality and impression made.

The new TA is without doubt, very very responsible for the perceivable presence of the valuable traits - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence - are there in droves.

Demo’s of this latest guise to the set up, and the making it known the TA in use has without doubt, been the tool to bring years of toying with ideas and materials to a new level of performance, has resulted in individuals being at a demo’, having put an order in to have a same TA produced.

One individual who purchased as a result of a Demo’, is an Engineer and very adept EE. This new TA acquisition, has been so impressive, the individual become compelled to produce a from scratch built TA design, which now produced, os proving to be an excellent performer and is seemingly only differing in sound quality to the acquired TA, as a result of different materials used for the structure, mechanically they are seemingly a parity in how the perception of being unconstrained.

Cart’s and the Mechanical Interface externally and within a Cart’ are always a curiosity to myself, this is one area, where I have to be quite deliberate in how I constrain spending. Kindly offered demo’s are free and usually good friendships have evolved from such new encounters, if a fellow enthusiast is the host.

Where next, with all this history of creating different mechanical interfaces and structures to impact on energy transferral to a mechanical interface.

More Interface investigation I’m afraid to say ?

The use of Vinyl as a source for some, has a parallel energy usage running along side. Where the mechanical requirements are as enjoyed as a subject, as much as the listening to the recorded music. My own personal hierarchy, always has the set aside time to be entertained through listening as the ultimate to be achieved. I know a few who I very much respect, who will spend hours at the Lathe-CNC-Soldering Station and after 30 minutes of listening to very impressive creation, get back to the workbench as their real audio interest. .

Panzerholz, Permali is hot as a material, as a material it has revealed itself as being impressive, and one to supersede other selected materials. Especially as a Plinth Material.

In use, it has tidied all the Valuable Traits, to the point there is now a detectable precision in how the - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence - are being delivered. To my preferences this material has is the ultimate as an attraction. It is strange that the impact is not overly present, but is when experienced in my system and a few others only describable as a night/day difference.

Also the Kaneta design for the presently in use TT, both P’holz and P’mali are key to this, where the TT’s metal chassis will be substituted by having a Plinth/Chassis from the above stated materials, nothing new here, just getting on board where those with better knowledge and understanding than my own have gone before.

Also Platter design, there is a host of Materials and configurations for this to be put in place as a trial experience.

I have a system that is very responsive to changes to a Tonal Frequency and the impact on such a change on how Timbre is perceived.

I have a variety of Platter Mats that enable a tuning of the Tonal Frequency, I reduce or introduce Colour as I decide.

I also have with this simplistic approach, a means to produce a Timbre that has an honesty as a adjustment that takes seconds, what not to like about that .

Further can be done with perception of Tone/Timbre with a umbilical swap at a key interface, if the mood demands it.

My extended investigative measures are maybe for some unusual, certainly not oddball, I have not been eccentric or invented anything, or am I using anything not typically selected, even in relation to the likes of densified wood, it is already a product found in commercial ventures for audio equipment. Mycelium as a material is weeks, or Months away to be found in use.

I have only experienced many more types of a typically selected material than is usually seen reported on, and can only vouch for my experience had and very little else.

As stated, when it comes to sound produced from audio equipment:

"I’m not in the support a Vinyl LP Replay Business, there are many with substantial investments getting a satisfying replay. Myself has moved forward of this method. I’m in the whatever it takes to preserve the - Dynamics - Micro Details - Attack - Tone - Timbre - Envelope and Coherence - embedded into a Vinyl LP Recording Business."

When such valuable Traits are perceived, other perceptions follow, the Psychoacoustic is able to conjure up fantasy.

The Soundstage becomes quite real, the Volume of the Soundstage enlarges, the boundaries of the soundstage seem very distant.

The Imagery within the Soundstage seemingly takes on a form that is not only locatable but also can be perceived as being in transit and seems able to be encountered.

The Visual and Audible share a similar space, then take a stereo recording made with a QSound Code embedded, the Visual becomes disconcertingly real to the point of creating a reaction from the listener.

None of the above very attractive traits will be realised from using a non-optimised set up for a Vinyl Source.

@tomic601 It is great to know that others like yourself, both experimental and curious are able to be discovered in audio forums.

Such good to know types are becoming rare, some might say hounded out.

Have a look at the Link, this is the future, not all will call it Mycelium, it will get an internal fancy name to make it seem incredibly expensive, as Linn has recently done in their £50K TT, where P'holz is used. Linn are using Product X to add to the Ker Ching.

 

  

Dear Pindac, do you really feel like you or anyone else is “hounded” on this forum?

@lewm I am not a member of the 'fix it with $1000's gang', I'm on the, 'be investigative' and look at what you are doing with the set up, for some that is a harder method than parting with money without much knowledge of what is being bought into  .

I will usually be on the outside of many a discussion, as the fix is commonly how much monies are to be spent on a unknown product with the chances it has never been an 'in front of experience' by the OP, as well as very likely the recommender as well.

In my Country, that as a practice, has a special idiom reserved for such a practice, and it is not, 'waste not want not' that I encourage.