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Trans Fi Salvation direct rim drive turntable

Hi A'goners, I've just bought this turntable, confident it'll be my last upgrade. The rest of my system is a Tom Evans Groove Plus SRX phono stage, EMM Labs CDSA SE cd player, Hovland HP200 pre/Radia power amps, Zu Definitions Mk 4 loudspeakers, so a pretty good way to listen to vinyl.

Over the years, since 1995 I've progressed from a Roksan Xerxes/Artemiz/Shiraz, via a Michell Orbe/SME V/Transfiguration Orpheus, finally ending up last week with my new Trans Fi Salvation/Trans Fi T3Pro Terminator/Zu modded Denon 103.

This turntable (£2500 UK price, approx $4000-$5000 US) is the brainchild of Vic, a retired dentist, who, fed up with the shortcomings of belt drive and traditionally-pivoted tone arms, literally from the ground up devised first the Terminator air bearing linear tracking tone arm (now in T3Pro guise as on my system), and now the direct rim drive Salvation turntable, a technology in direct opposition to the hegemony of belt drive we've come to accept from the '70s.

In summary, he has developed a motor that directly rim drives an oversize platter. The magic is that vibrations are drained away from the platter and hence stylus. So minimal rumble is transmitted, the weakness of Garrards/Lencos in the past. This is mated to a substantial slate plinth which does a great job of isolating the whole rig from external vibrations.

Where this differs from direct drive is that the torque applied is high enough to counteract stylus drag, but it is strictly analogue controlled ie no digital feedback applying constant micro speed control. Speed is set correctly, torque is sufficient, and speed stability is like a rock.

This is combined with his air bearing linear tracking arm, discussed on other threads.

So technical description over, how about how it sounds? Well, years ago I always assumed the overhang in bass when playing lps on my previous belt drive/pivoted arm tts, apparent as a benign artifact, was all part of the 'romance' of vinyl, esp. when compared to the dry, clinical sound of early cd. But in 2007 I acquired the EMM cd, which had a natural analogue sound playing silver discs, but none of this bass colouration. On studying the growing reemergence of idler/direct drive, and their superiority in maintaining speed stability, I agreed that the belt speed instability might be introducing this.

Two years ago I came across Vic, and now I can report that eliminating the belt for high torque rim drive has taken this whole artifact out of the equation. Whole layers of previously masked information like rhythm guitars are now present, treble information has abundant naturalness and decay, and bass, which appears to be less in quantity compared to belt, is actually more accurate with a real start-stop quality, much more like digital, and the real thing. The other positives are more linked to the arm, including uncanny tracking across the whole record side; I'm really not exaggerating in saying that the last few grooves at the end of an lp side are as solidly reproduced as the first. Music with strong dynamic contrasts are really served well by the Salvation, and I am shocked at how good this all is after trepidation that the sound might be hyperdetailed but too assertive etc. In fact music is reproduced with a relaxed incision, and a welcoming detailed transparency.

The amazing thing is that all of this is not in anyway at the expense of the natural warmth and tonal dimensionality that still puts vinyl way ahead of any digital (imho).

The only thing, and Vic would like this to be known, is that his creation is a cottage industry, and he can only produce limited numbers to order.

I'm happy to answer qs on it, as I really want our community to know about a possible world beating product at real world prices. My tech knowledge will be limited, but no problem discussing sound quality issues.

I'm not affiliated in anyway to the product, just sold my Orbe on ebay and bought this. Regards to all
spiritofmusic
spiritofmusic OP
828 posts
 
Redglobe, I think you'll find first and foremost, it is the design of the motor that minimises transmission of rumble to the platter, draining it diametrically away via the feet and operating lever.
Then on top of this by raising the lp off the platter a few milimetres onto inert points, it minimises further vibrations reaching the stylus via the lp itself.
So maximum torque, speed stability, resistance to stylus-groove modulation is provided by the direct rim drive engineering; stable, neutral tracking across the WHOLE lp side is provided by the air bearing linear tracking arm; and potential downsides of transmission of rumble are minimised by deliberate motor design and interruption of continuous flow of energy by the resomat.
All that needs to top this off is something like the Vinyl Flat to tame overwarped lps which might not sit well with the resomat, moderately warped lps have been no problem so far.
My perception of pitch, I'm really not too sure how well developed it is. I have to say classical music esp. piano seems to be v. truthful. The tt seems to get the full percussive impact as the hammer strikes to create the leading edge of the note (direct result of v. high torque motor), and no wavering in decay as the note dies away (direct result of minimal time domain 'smear' caused by ultra accurate speed control). fade outs involving acoustic instruments are v. close to as waver free as digital.
One of the biggest improvements I wasn't even expecting to get is a massive improvement in vocals. Voices are much more solid and intelligible, more centre stage than ever.
peterayer
1,382 posts
 
Spirit, looking at the Reso Mat, it appears that the LP rests on a few points elevated above the platter. Without anyway to clamp the LP down and prevent it from moving, do you notice any slippage of the LP as the needle creates drag during large groove modulations?

I understand from your many descriptions of the high torque motor that it propels the LP forward at constant and accurate speed. That is a big advantage. I'm wondering though if the friction from the stylus might be enough to slow down the LP during big piano notes etc while the massive direct rim drive keeps the platter moving forward. How does the Reso Mat/Trans Fi Salvation deal with this potential problem?
spiritofmusic OP
828 posts
 
That's a REALLY good question. I'm not sure if I've got the correct answer, and I wouldn't want to give you any BS.
All I can say is that there appears to be minimal wavering on piano notes or loud passages/crescendos where undoubtedly groove stylus drag is likely to be at it's greatest.
I have checked strobe speed during such passages and there appears to be no slowing, visually or aurally. However a Sutherland Timeline may provide another story. Maybe one day.
What appears to be happening is that the resomat is one with the platter and there is enough solid contact between resomat and lp to resist slipping from groove friction/inertia. Vic has craftily made the spiked cones of the resomat of the same material as goes into lps so thre may be a natural adhesion between the two.
dgarretson
2,599 posts
 
I use a light clamping force, with rubber washers of correct thickness underneath and on top of the Reso-Mat as required to cup the LP onto to the vinyl acetate cones of Reso-Mat without excessive compression.
thekong
203 posts
 
I would like to offer another point of view on the Reso Mat. I and my friend tried out the Reso Mat on his highly modified slate plinthed Lenco, with a variety of arms including the Terminator. We felt that while the sound seemed to be cleaner, there was a loss of body / mid bass. Both of us felt that the compromise was just not for us. So, I suppose, as many other things in audio, this is system / TT dependent.

Then I have this question about “over-damping” with clamps / weights / vacuum on LPs. I always wonder how a LP can be over-damped, as it is supposed to be inert, and the cartridge is playing on the top side, in free air.

I can understand the clamping may causes stress on a warped LP. I can understand the interface between the LP and platter / mat may result in some vibrations reflect back to the stylus. There are certainly possibilities that they could affect the sound. However, I really don’t understand how a LP can be over-damped.

Yes, if “over-damp” actually just meant a deadening of the sound, I can see that happening, but that is not really over-damp is it, at least not in the technical sense, right?
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