Always used a Discwasher brush with the Discwasher fluid. Always put the records back in their dust jacket and album jacket. Always tried to keep the stylus in ok shape by changing it regularly. These are the main reasons why I always assumed that my records were as clean as could be and, hence, as silent as could be. I knew one of the suggestions I would get would be to purchase a record cleaning machine. Right now, I went out last week and bought a carbon brush. The only one I could find locally is a Clearaudio. No complaints, except for the price; nearly $43.00 with taxes; this might give you some indication that how we choose to spend our hard earned cash up here requires a significant amount of deliberation. The new brush works fine. My fear was that it would simply push the dust along and leave it in a straight line across the record. I guess I was really influenced by Discwasher advertising way back when! One good thing about the Rega is the felt mat. Why you may ask. Simply because unlike the foam one of my previous tt it doesn't add a charge of static every time you move the record in it's vicinity. David, strangely enough, I have two Japanese pressings of Beatle's albums: Sgt Pepper's and Rubber Soul. Listened to Rubber Soul late last night and the pressing is remarkably quiet, not SACD or CD quiet, but quiet. Strange that Rega in its efforts to simplify vinyl playback seems to downplay the need for cleaning records by saying that the stylus will merely push the junk aside. Right now I will use what I have on hand to clean records, but I will probably be ordering Gruv'Glide. My one concern over this product is whether it is short term gain for long term pain: does it harm the vinyl? My main reason for not using the cleaning and treatment products way back when was that it was said that once you started using these products or playing them wet you had to keep to the same practice or the records would be even noisier. At any rate, I will find a noisy album to treat first and see what the results are. Good day.
OK, I said it...
Just got the new turntable running this morning. Installed the Kontrapunkt B on the Rega P9; a most nerve wracking job. Well I can't find a crow and I am not yet ready to eat some, but here are my very preliminary findings based on listening to one side of two albums (one brand new, Art Blakey's "Indestructible"), one that's been on hand for a while, (Dire Straits "Communiqué"):
my greatest peeve, surface noise: way less, but still a bother on softer cuts or portions of pieces where the volume is low;
soundstage: quite incredible;
layering of instruments: quite incredible;
natural tone of the instruments: stunning;
treble: well the cymbals are back the way I like them; sharp attack and decay when hit near the centre, sharp attack and shimmering decay when hit nearer the edge;
bass: not the subwoofer-type of bass, but the overtones are more present, that is an acoustic bass has that plummy quality.
Well I am not a "convert", in the sense at looking at the experience as crossing a threshold from where you never go back. I still think that digital is better at doing silence, which is so necessary in music, and, in letting the sound of soft music come out without the anxiety of tick and pops.
So far, I have not listened to enough music to have a real hard opinion about the merits of better analog equipment. Suffice it to say that in answer to the post wondering if any progress has been made in the last twenty years, I would have to say quite a lot. This is based on a very quick, very subjective appreciation at the moment. What is the table's, what is the arm's, what is the cartridge's contribution in all this: very hard to say, and will never be known since I have no intention of playing mix and match.
Am still using the Sumiko Phono Box for the time being. The next move is a new phono section. Is there another level yet to be achieved with that upgrade? I while back I would have been extremely sceptical, now I hope there is. What bugs me, is to have to make another leap of faith.
Well, I will keep you posted. Good day.
my greatest peeve, surface noise: way less, but still a bother on softer cuts or portions of pieces where the volume is low;
soundstage: quite incredible;
layering of instruments: quite incredible;
natural tone of the instruments: stunning;
treble: well the cymbals are back the way I like them; sharp attack and decay when hit near the centre, sharp attack and shimmering decay when hit nearer the edge;
bass: not the subwoofer-type of bass, but the overtones are more present, that is an acoustic bass has that plummy quality.
Well I am not a "convert", in the sense at looking at the experience as crossing a threshold from where you never go back. I still think that digital is better at doing silence, which is so necessary in music, and, in letting the sound of soft music come out without the anxiety of tick and pops.
So far, I have not listened to enough music to have a real hard opinion about the merits of better analog equipment. Suffice it to say that in answer to the post wondering if any progress has been made in the last twenty years, I would have to say quite a lot. This is based on a very quick, very subjective appreciation at the moment. What is the table's, what is the arm's, what is the cartridge's contribution in all this: very hard to say, and will never be known since I have no intention of playing mix and match.
Am still using the Sumiko Phono Box for the time being. The next move is a new phono section. Is there another level yet to be achieved with that upgrade? I while back I would have been extremely sceptical, now I hope there is. What bugs me, is to have to make another leap of faith.
Well, I will keep you posted. Good day.
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- 48 posts total
- 48 posts total