Great pix!
If we imagine a line contact stylus trying to trace those modulations, if SRA is off then one end of the contact line will encounter each modulation before the other end. The stylus will shave across the modulation instead of tracing it precisely.
Mechanically (sonically) this will:
1) reduce stylus deflections (reduced micro-dynamics),
2) lengthen the time the contact line sees each modulation (temporal bloat),
3) alter the timing of when the stylus encounters multiple frequencies (loss of temporal focus and timbre) and,
4) alter the frequencies the stylus actually plays (FM distortion).
I hear #s 2 and 3 most easily. Paul is very sensitive to #1. He was able to adjust SRA on Cello's rig just by feeling the pressure waves coming off the woofers, without actually listening at all. Raul says he adjusts by listening to bass, so his sensitivity may be similar to Paul's.
P.S. Those records could use a good cleaning!
If we imagine a line contact stylus trying to trace those modulations, if SRA is off then one end of the contact line will encounter each modulation before the other end. The stylus will shave across the modulation instead of tracing it precisely.
Mechanically (sonically) this will:
1) reduce stylus deflections (reduced micro-dynamics),
2) lengthen the time the contact line sees each modulation (temporal bloat),
3) alter the timing of when the stylus encounters multiple frequencies (loss of temporal focus and timbre) and,
4) alter the frequencies the stylus actually plays (FM distortion).
I hear #s 2 and 3 most easily. Paul is very sensitive to #1. He was able to adjust SRA on Cello's rig just by feeling the pressure waves coming off the woofers, without actually listening at all. Raul says he adjusts by listening to bass, so his sensitivity may be similar to Paul's.
P.S. Those records could use a good cleaning!
