Why does your turntable sound the way it does.


Ok, we all seem to agree that turntables sound different, and there are any number of upgrades to a basic turntable that are offered, up to and over $100k. But what is it that causes a turntable to sound the way it does. After all, isnt the basic principal that the table causes the groove undulations to pass by the stylus at a certain speed, thereby creating the sound we hear. If that's true, then only something that affects that point of interaction should have an effect on sound. Forget of course, differences in cartridge, tonearm, wire or preamp. Just think of the turntable itself.
Now, we hear that idler drives are more impactful than belt drives, belt drives are quieter and release more inner detail, direct drives maintain speed and tempo better, aluminum platters sound different than acrylic or glass or MDF. Platter mats can change the sound considerably. different bearing materials and precision in manufacture can change the sound. but why?
Is there a basic sound to be acheived when everything is perfect, and what we are hearing is actually a distortion of that sound based on resonance or time or torque or vibration or whatever. Is there a means of measuring what a cartridge can do in a perfectly set up system where there is no influence on the stylus/vinyl interface and the cartridge is free to follow the groove undulations without exterior influence. Is this perfect environment found in the cutting head, or is it also subject to the same influences as the playback stylus. And if so, how can we ever account for that effect in our playback systems.

So, fellow Audiogoners, what do you think has the greatest effect on vinyl playback as far as only the turntable itself, and what do you think can be done to ammeliorate those effects.
manitunc
CTO517,
I would expect the 15ips tape to sound much better, but I dont have the ability or tape to compare. As for looking under the hood, I have about 10 turntable projects going right now, from idlers to direct to belt to magnetic platt
After all those years, I think, today I would buy a Turntable only from a Designer
who can dance his name ...
Here's my turntable journey.

Dual 1219, LP12 FR 12 arm,Oracle Delphi Fr 12 and EMT 2 arms,Sota Saphire SME V,VPI Scout,Rega P9,SME 10, V arm.

Ihave used the following cartidges, FR 1 Mk 3f,Dynavector Karat Ruby, and several Grado Platinum,Rega Exact2, and Clearaudio Talisman Gold V2.

I've also used several speaker, amp, phono stage electronics over the years, so how can I evaluate the sound of one turntable over the other?

Only if you have kept your original gear, could you ever know for sure what sonic differences one table has over the others.

And of course there's always that synergy thing.

The best I can add is that the tables that require the least amount of fussing, were the ones that I enjoyed the most.

Peace of mind when the table is properly set up once trumps futzing around after each listening session.

One thing I discovered is that my Grado Platinum never sounded as good on the P9 as it did on the SME.
And that an older Supex made my P9 sound better than it ever did when I used the Grado and Rega cartridges on it.

The delicacies of cartridge mounting, audtioning,is a hinderance to really discovering what works the best in what table/arm combo you have.

As such, unless you're lucky, or you have a friend who has done the experimentation for you and has a sound you like, it's hit and miss.

Reviews and forums are a good source of opinions, but nothing beats hands on experience,hearing it in the flesh.

As it turns out I am quite happy with the way my turntable sounds,perhaps the best sound I've had from vinyl in a while, the Steelhead doesn't hurt either.

The only comparison I can make where all the gear remained the same except the vinyl set up, is between my last two rigs, the Rega and SME.

I would say that the SME system has a clearer sound,more balanced at all frequencies than the Rega combo,perhaps it has less mechanical distortions or it's greater mass has something to do with it.

I have to admit that I never knew how much bottom end that Rega table could produce until I heard my old P9 on the system that the new owner played it on.
I never had the slam and dynamic bass he now has.
But he has a different cartridge and uses solid state and cone speakers, compared to my tubes and electrostatic speakers.

But what I may have lost in some areas, I feel the gains in other areas have more than made up for the losses.

And so it is with everything in this hobby, you win some and you lose some.

Trying to figure out the why and wherefore would take all the fun out of it.

It's mostly the journey and not the destination that keeps us in this hobby.

At least that's what I tell myself.
Dear Raui,
The aim of my post was to wonder out loud whether you have ever played with the vintage strain gauge cartridges, and if so, what you thought of them. I know already that you are not a fan of the SoundSmith one. By the way, I think it's the case that ALL strain gauges require some sort of "pre-preamplifier", not just the SoundSmith. I was talking to Dave Slagle about this at the recent Capital Audiofest. He is among said fans of the vintage strain gauges.
Dear Lewm: I heard the Sao Win and the Panasonic years ago and the latest SG I heard was precisely the SS.

I like the SG concept and I can't say why suddenly almost disappeared. Yes, the SG is an alternative alond the MM/MI and LOMC ones.

regards and enjoy the music,
R.