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Optimizing TNT, Triplanar, Transfiguration Temper

I'm writing because of a combination of frustration and potential in my turntable set-up. I have never gotten the sound from the system that I expected, but feel that I am beginning to glimpse the potential of achieving it. I have made some changes recently that have led to more changes that have brought me closer to what I have heard from other systems with similar components. I am hoping someone can guide me toward finally obtaining the basic qualities that I'm looking for and I can fine-tune from there.
What I have heard before from lesser components and am not getting is the sound of the transients jumping off the record. I thought this problem was merely from the characteristics of the Transfiguration Temper Supreme, but with some modifications of the table I am beginning to hear it and wanted to see if I could bring it out further.
Let me back-track and tell you my components and what modifications I have made so far. I am running a VPI TNT upgraded to 4 (w/ the rectangle cutout for the motor), with the original motor and just added an SDS (which made the biggest improvement), a Wheaton Triplanar tonearm upgraded to VI, and a Transfiguration Temper Supreme cartridge.
When I upgraded to the SDS, the timing and solidity of the sound improved dramatically. I then found that using a single belt directly from the motor to the table actually outperformed the three-pully design originally designed for the table, perhaps with some trade-offs, i.e. voices sound clearer and better-defined, but piano may have a little less air and realism.
Finally, the table sits behind the speakers, particularly the left speaker. Moving the speaker forward a few inches seemed to significantly clean up the sound, so vibrations from the back of the (B & W 803) speaker may be muddying the water. My other components are Spectral DMC-20 and DMA-180 and MIT/Spectral reference cables.
Like I said, I am glimpsing the potential of this setup, and the music is starting to clean up and jump off the record, but it's just not quite there. I feel like I'm missing something simple and would like advice before making a lot of changes. I think I've set the cartridge up properly with regard to alignment, azimuth, VTA and no anti-skate. I have not removed the damping trough yet, and that is the next thing I was thinking to try. I am planning to try to further isolate the table from the speakers - the cable lengths prevent me from totally moving the preamp and turntable. I was also considering using different belts or string/dental floss etc. Another possibility is investing in a single-motor flywheel, which also would not use the three pulleys included with the TNT turntable. But, I feel that there is something simple and straightforward with the front-end that I am missing. Any advice?
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tobes's avatar
tobes
436 posts
 
IMO transients can be seriously impaired by vibrational feedback (and noisy turntable mechanics and speed stability).

I'm not clear exactly which TNT model yours started at, but I achieved quieter backgrounds and better transient reproduction by firstly putting my TNT-1 on a sandbox platform and (later) changing out the the original sprung feet for the 'ball' suspension pods.
Both these changes moved the TNT towards a more neutral sound.
I've read that removing the TNT suspension altogether - using Symposium 'rollerblock' isolators in conjuction with the Symposium isolation platform is a big step in neutrality and transient performance (according to the author of the article). But I haven't heard/compared these to my (cheaper) setup.

Moving from the (somewhat noisy) original motor to the single motor/flywheel also made gains in quieter backgrounds and more explicit transients.
I suspect that the rim-drive option could take could take transient performance even further.

Having said all that, if transient performance is one of your highest priorities, perhaps you should also investigate different turntable options for your Triplanar/Transfiguration.
manitunc
795 posts
 
Try making a simple isolation stand and see if it helps. Just take a piece of plywood or other, thick sheet material big enough to support your table, and put it on a bicycle innertube. Inflate just enough to raise the plywood and turntable up off your shelf. See how it sounds, add air, keep doing until you are satisfied and record the pressure. then make a little box to hold the tube and you have built your own, Townshend Seismic Sink. Multiple layers add to the isolation.
ptmconsulting
1,000 posts
 
I also have a Temper, on a Moerch DP6 arm and a VPI based table. Here's what I can suggest.

1) Table isolation is paramount. I made a DIY Ginko by placing the table on a 1" maple butcher block and putting 8-10 squash balls between it and the shelf.

2) This cartridge is finicky to setup, so double and triple check everything, especially VTA. When setting this realize it is a Shibata stylus which means the high frequency waves in the groove need to be perfectly aligned with the angle of that stylus edge. So listen for the leading edge transients being clean and sharply defined. If you do this the bass will fall into place too.

3) Replace the VPI rubber belt with silk thread. You have an SDS so you can adjust the speed to compensate for the smaller diameter of the thread. This change was huge for PRAT and detail retrieval IMO. Here's a source for thread (in any color you choose - try #2, 3 and 4 sizes:

http://www.artbeads.com/stringing-materials-griffin-silk-bead-cord.html

4) Damping - I found that minimal damping is warranted. Too much and things get flat and squishy sounding with reduced dynamics.

5) Cartridge loading. I load mine at 220 or 470, depending ... higher values produce a more open tonality but sometimes this can be a bit too sharp with some recordings so I tone down to 220 for those.

6) Anti skate - it is important to set this properly. No anti skate means you are missing something that should be there IMO. Here's an explaination of how I set it.

Anti skate can be set by ear. Find a recore with some vocals and some decent dynamics. Then set the force to zero. This works best with someone helping you, but you can do it yourself if you're patient.

Listen to the right channel and you should hear it almost lower in dynamic volume than the left (a bit recessed). Slowly turn the tracking force up, I mean very slowly a wee bit at a time. Eventually you should start to hear the right channel coming up and getting closer to what the left channel is producing dynamically. Then as you get higher you should hear both channels sounding more dynamic and just better and better. Move the anti-skate up very slowly now.

At last you will hear a fairly dramatic drop off in the quality of both channels. You have now gone a wee bit too far. Back it off a notch and you have optomized your anti-skate.
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