Speed Stability

Hello Doug,

Interesting feedback. Was the misbehaving cartridge in the Highwater/TW setup or the thrid room you eluded to. Any comments on the gear in room-3?

Also, can you expand on the differences between Saskia and TW AC on this record from a speed stabiity standpoint. while there are many diffeences between the tables, it would be interesting to get your perspective between these implementations of idler and belt drive from a speed styability standpoint.

Cheers

Andrew

Hi Andrew,

That cartridge was in the unnamed third room, which I won't identify here. We learned that lesson! (It wasn't a Tranny of course. Your Orpheus would shame it, though the other cart costs far more.)

I can't compare the Saskia and TW AC directly, since nothing about the two systems was very similar. All I can tell you is what the better one *didn't* do.

The Saskia maintained an unflappable rhythmic rightness and drive. It refused to distort any kind of time domain information, whether macro-dynamic big bass and drums or held notes over the fastest mandolin plucks or even the nano-dynamic textures from bow, resin and string (all from that Vivaldi LP). I expected it to handle the big stuff well. I was happily surprised that it seemed to handle the fine stuff just as well. I'd have to hear it with a faster, more resolving arm, cartridge and tweeter to be certain, but its speed errors might fall below my own threshold of detectability. (I don't think anything falls below Paul's, when he's on he's scary.)

The sound in the TW AC room was a tiny bit softer, but never "wrong". Paul gave it his overall best room in show. We didn't necessarily attribute that hint of softness to the table. There were too many variables. We were frankly surprised that a table with an elastic looking belt performed so well. I believe TW's belt material is proprietary, as it should be based on what we heard.

So, all I can say is that there was probably LESS artificial softening of rise times and transients from the Saskia than from any table I've heard.

Our own table (now more carefully tweaked and notably better what you heard during your visit) does pretty well. It has to, since when it's wrong it drives us batty. I'd have to hear two tables in the same system to make actual comparisons though. Tough to do with these 80+ lb. beasts.

Thanks Doug.

Your report and descriptions are clear, concise and invaluable for those of us who aren't fortunate enough to have attended.

Regards
Henry

Macd, the SDS was a great upgrade when I had the VPI table. It truly allows you to lock in the speed and forget it. Getting the speed right gets the pitch and pace of the music correct. Having said that, I did check the speed every month or so because belts do stretch and change a little but I never had to adjust too much. The SDS also is an AC filter so it probably helped to lower the noise floor. I recently purchased the Continuum Criterion and I can honestly say I have never heard better speed stability and rock solid soundstaging from any other turntable I've listened to except the Caliburn, Continuum's top model. It must be heard; built like a tank and the sound amazing.

Thanks Doug,

Yes I remember that lesson! We won't go there :)

I think you bring some valuable information based on your observations since your listening was primarily focused on trying to assess the capability in "timing" of the music which is mainly driven by the speed stability of a TT. Often times people are eluding to this. But it is good to see you focused on this.

I'm a Vivaldi fan and have quite a few records. I wonder if I have the one you're referring to. Can you provide info?

FYI, my latest projects are: waiting for the Mint LP, designing and building a very inexpensive spring-on-mass isolation platform using compression springs and granite, trying the Ortofon MC A90, then going back and comparing the Triplanar and Graham with both cartridges after the set up is at it's optimum. Will keep you informed.

Andrew