2008 RMAF – – – all things analog.

Good analysis Doug, and I know you are aware that quite a few temporal disturbances can come from electronics - different sorts of disturbances than can (in general) be attributed from mechanical sources (tape drives and turntables). I'm emphasizing this point mainly for those who might be glossing over your prose.

There is a type of timing disturbance that many do not perceive as speed stability, but rather as IM distortion. I'm sure you and Paul have heard this as you worked up the belt stiffness hierarchy. I once posted a link to a review of the Rockport Sirius turntable by the ever verbose Peter Moncrieff on the topic of IM distortion. Here's the link along with some introductory comments by me: http://www.galibierdesign.com/rants_06.html.

IM distortion can occur in a circuit as well. It's the usual place we think of it (as opposed to a drive system). These distortions can mask themselves as mechanical timing errors as well.

I'm coming over to yours and Raul's side of the fence with respect to iron. The Atma-Sphere OTL gear I had the privilege to live with at the show was a second such exposure that demonstrated how difficult it is to work a musical signal through some wire wrapped around a hunk iron. It can be done artfully (and you have every right to like it), but the effect is still there.

Phase (timing) relationships are very difficult to maintain throughout an audio system and power supply tuning is another area that can really destroy these subtle timing cues if the designer is not skilled. I've yet to be able to fully get a handle on distinguishing this causality reliably, but rather by comparison, component swapping, and extrapolation.

One of the more brilliant power supply designers is Dennis Fraker of Serious Stereo. Say what you will about the source components they have to lug to the show from the "wilds" of Livingston, MT, but his power supply design is nothing short of revelatory.

I've heard Dennis' 2A3 amp (sub 1 watt output) in the room of a customer, and have never heard such dynamic breadth and shadings in an amp with less than ca. 20W output when driving Azzolina bass cabinets (he uses the extraordinary Ales compression drivers up top). Of course, the overall efficiency is set by the bass modules, and I'm well familiar with these bass modules.

When a power supply starts to peter out, you experience a vague motion sickness type of effect as the presentation begins to congeal and waver in both time and space.

Don't underestimate cartridge matching (I know you don't) when you're talking about phase relationships and tempo. It's about a whole lot more than determining the resonant frequency. With each passing year, I'm coming to understand the relative strengths of the Triplanar and the Schroeder. I don't mean to leave out other fine arms in this discussion, but it is these two with which I have had the most experience.

Like Ralph, the evolution of my taste has taken my preference to the Triplanar (and by inference the great Micro Seiki and other arms of the past). I'm coming to see a philosophical junction between OTL's and what the Triplanar does so well, equally as I see an affinity between the best transformers and Schroeders. No one can tell you what to like ;-)

Still, it starts with the drive system, and I wish I had the opportunity to hear the Oswald Mill room. The nature of these shows is such that we are tightly bound to our rooms as exhibitors and must use our friends' ears as proxies. For this, I am most appreciative of your comments, and we seem to be hearing the same things.

This Summer, we began a drive system project as well, and we have been working with the same circuit designer with whom the boys from the Mill have been working. This controller has made it to our short list of candidates. I see real promise in these drive systems, but there's quite a bit of evaluation to be done and I'm not ready to toss out the legacy controller for perhaps 18-24 months ... if at all. Time will tell.

There's quite a bit of work to be done here, but I digress. These are great times for analog.

Cheers,
Thom @ Galibier

Dougdeacon et al...Another point I'd like to raise..Unless a record is flat, one hears pitch wavering coming from the tonearm traversing the undulations of the warp. Many tonearms' effective length is varied at the rise and fall of the cartridge. My experience is that the flattest records are warped to some degree, and therefore, the choice of a ring clamp, or vacuum table would be on my short list.

Doug, can you give a quick detailed description of the types of music where you hear speed inaccuracies on rubber belt tables? And do you not notice this on some kinds of music e.g. rock.

Thanks Terry

Wow, lots of stuff here. Thanks all for your ideas.

Ralph,
I'm 100% in agreement that a well matched and set up TriPlanar will outperform a well matched and set up Schroeder, including the Reference and certainly a Model Two. A TP on Win's table would provide arm stability and adjustability to match the table's speed stability and apparently silent noise floor. That'd be quite a treat, and was the whole point of my comment that his table deserved a top flight arm (and cartridge). I didn't name names to avoid diverting the discussion into a tonearm war, let's hope we don't go there.

Stringreen,
No argument about warps and their sonic effects, depending on the arm, but the speed variations I'm talking about are in time with the music (stylus drag induced), not in time with platter rotation (warp induced, possibly). No reason one couldn't use a ring clamp on a Saskia. I had one on my Teres and it was a big benefit.

Terry,

Rock (or any artificially amplified and mixed music) is much less transparent than top quality recordings of acoustic instruments. The kinds of time errors I'm referring to would be inaudible on most rock recordings, in even the best systems. (They're much too fine to be measured by any strobe either, so don't ask me to measure them.)

The most revealing LP's of all (to our ears) are original/authentic instrument recordings, such as those recorded by Christopher Hogwood and his Academy of Ancient Music for L'oiseau Lyre (Decca recordings, pressed by Philips in the Netherlands).

It takes a system with exceptional clarity, low distortion and low time domain errors to play these LP's without making them sound like fingernails on blackboards. Many people hear that and assume the fault lies with the instruments or the records. They're wrong. The fault invariably lies with the reproducing system. In a really good system, this kind of music is simply amazing to hear, but it's not easy. It took us 3-4 years to work our setup to the point where such LP's were even listenable.

Most people don't listen to this I know. But there's no tougher test for a system that I'm aware of.

Ralph

You have repeated the Furphy about belt drive motors being "weaker" than idler motors. To use examples from this thread, each of the motors from the HRX has about 3 times the output power of the motor in the Saskia.

Doug

interesting how an interest in early music and an interest in speed stability appear to coincide. I (used to) sing as a countertenor and became fascinated by the music of the period of the great castrati.

Unfortunately the only L'Oiseau Lyre recordings I have are unlistenably noisy. They're as rare as hen's teeth over here, despite the label having been established by an Australian.

Trivia: the name means Lyre Bird in reference to the local bird (Menura Novaehollandiae). There are several musical references wrapped in that name - the lyre the British thought the birds tail formed, its famous ability to mimic any sound it has heard and the fact that one habitat near Melbourne is bisected by the Melba highway, named after the soprano.