Apocalypse Now?—Technics sp10 problem s

And second, given the critical importance of proper alignment of the stylus tip relative to the record groove, I cannot understand why someone would mount their arm independently from their table, thus giving up the mechanical integrity that a coupled mounting provides.

On a plinthless sp10 what's the other option? My sp10 has a tonearm hole drilled right through the right hand corner of the steel frame, but that just doesn't work because then the tonearm is too high up. Plus when mounted independently, if the tonearm pod is heavy enough there shouldn't be a problem with alignment. See pics of Ct0517's set up: I conjecture that his tonearm is not moving anywhere.

I've read Lewm's argument (see above) defending coupling. I have no understanding of physics or turntable design, so can't really assess it. Can someone who can say some words about it to help out novices like myself?

Perhaps we should start another thread, since those who might be interested this question probably won't look on this one?

Dear Banquo, Bill will replace your caps as requested, but he will also assess the servo mechanism and hunt down and replace any transistors or other parts that are not performing up to snuff. He will also adjust the critical DC voltages and calibrate the speeds. I will predict that the cost can range from about $400 to $800, the latter near to what I paid for him to do my Mk3, (MK3 may require much more work and calibration than Mk2, so I expect closer to $400 for Mk2.)

Re the physics of the tonearm/cartridge. It's not so complicated. Ideally, you want the only motion in the system to be the motion of the stylus in the groove. Any other relative movement downstream from the stylus can either obscure detail or create spurious signals that the preamp will reproduce and amplify faithfully. Thus producing distortion. This is how I see it, anyway.

Bill's quote was on the higher end of your prediction range, Lewm. He'll need the entire turntable. I'm not saying it's not a fair price--I'm confident it is--but, yikes, this is as much as I paid for the TT, including tonearm. Gotta go sell something now.

Ideally, you want the only motion in the system to be the motion of the stylus in the groove. Any other relative movement downstream from the stylus can either obscure detail or create spurious signals that the preamp will reproduce and amplify faithfully.

I think I understand that, but I don't understand why a coupled unit gets one there but not an uncoupled one. If one can suitably isolate an independent tonearm pod, then what's the problem? And even stronger, wouldn't such a set up be better in that respect since it would more completely isolate the tonearm from any potential errant vibrations caused by the motor. I think Ct0517 made this point above.

Banquo, This is way out on the end of arguing the number of angels that can dance on the head of a pin, but suppose in your thought experiment that either the turntable or the tonearm pod is subjected to a vibration or resonance that is not simultaneously experienced by the other. There is NO such thing as perfect isolation. For example, the pod has to sit on some surface, probably the same surface that is also supporting the tt but in a geographically different place. The shelf itself is going to be subject to resonances that create standing waves with peaks and stationery nodes. Suppose the pod is sitting on a node and the chassis is sitting on a peak? Voila', the chassis moves, albeit at a micro level, while the arm pod does not. If the pod is coupled to the chassis, ideally not in contact with the surface of the shelf, then they both move identically in response to a standing wave of mechanical energy passing thru the shelf.

If you got an SP10 Mk2 and tonearm for less than $800, then you got a steal. I suppose the drill hole in the chassis played a role in that low price. But there is plenty of room there for you to spend some bucks on the electronics and still be within market value, not to mention you will know you are listening to the SP10 the way it ought to be heard.

Banquo, you must accept that every material is subject to vibration, it is just a question of the resonant frequency for each one. I'm not a physicist so admit I am not the best person to answer your question. But my understanding is the higher the density of a material (in general) the lower the resonance. This is why some favor high density in plinths -- to lower the resonance point below the critical 8-12 Hz range. (Which could explain why some prefer plinth less designs, if the lack of low frequency damping and a "brighter" sound better suits their systems.)

I believe this translates to tone arm mounting as well. With a secure mechanical coupling between arm and spindle/platter, material frequency differences (example aluminum and brass or acrylic) may be damped. If each stands alone, they do not damp one another, they can move independently. A further point; many do not realize the potential for urban living environmental activity. I live by a busy street. My turntable is mounted on a wall shelf for isolation. But I can put a stethoscope on the braced plywood shelf and hear traffic going by. If you have an amplifier on the same shelf as your turntable you could experience the same thing. In that environment I would not want my tonearm to be subject to micro-vibrations picked up and translated by a base that was not mechanically damped (attached) to the spindle/platter. Again, consider the extremely small movements of the stylus tip to generate signal.

I think your question on isolating the arm from table motor vibrations has two answers. A decent design will minimize motor vibrations to begin with. But if the motor is noisy, there could be an energy path from the motor, down through the shelf, then up through the freestanding arm. By the time the energy reaches the arm and then stylus, the various materials it traveled through will change its frequency, thus it will vibrate differently than the platter and record. When the arm/cartridge and spindle/platter are mechanically coupled, I believe they should at least vibrate in unison, thus minimizing the impact on the stylus in the groove.

I hope this makes some sense and perhaps another person with more technical knowledge can correct or fill in these points.