Cartridge break-in: with or without tears?


Or: how do you do it? I think I must have gone about it the wrong way. This weekend I changed my very old cartridge with its broken-down suspension for a new Benz Glider. With this new cartridge I listened to records in the normal fashion for a couple of days, happy enough with what I was hearing but calculating how many weeks it would be until I got to hear what the cartridge would sound like once it was broken in--and thus until I would be in a position to decide whether my turntable (a Rega P3) was something I could live with for a while longer or whether (as I suspect) it really needs to be replaced with something considerably better very soon.

Then I got impatient. I set the stylus down on the locked-out pink noise section of a Cardas frequency sweep burn-in record (well cleaned beforehand) and let it play for a few hours. Every once in a while it occurred to me to wonder whether this could possibly be a good idea, since normal vinyl doesn't like a stylus repeating the same track even twice over within a couple of hours, and here was this track being traced some hundreds of times all during the same afternoon. Meanwhile the pink noise was still pink (though what else would even *destroyed* pink noise sound like?), and nothing was smoking. After three or four uneasy hours I decided enough was enough and went to lift the arm. The stylus had accumulated gray junk all over it and up the cantilever. Since I'd brushed and Premiered and RRL'd and Loricrafted the record beforehand it seemed unlikely that the junk was record mould release or normal dirt, which left the unhappy possibility that it was instead chewed up vinyl, ploughed up by my brand new stylus. I cleaned everything up, and the cartridge sounds okay (or sufficiently okay: I am guessing that the tizzy treble I sometimes get is a matter either of bad lps or of the cartridge's newness). So I am hoping I did no real harm (except to the break-in record, which had other problems in any case). But I feel I may have narrowly averted real damage.

So what do you guys say? Have you ever done this, and have you ended up with pulverized vinyl and traumatized cartridge? Have you all known from the beginning not to try this?

I am coming to the unhappy conclusion that I don't deserve to upgrade my turntable this year or possibly ever.
sre
I suppose my need to shorten the break-in period must be some pathological variant on upgrade-itis: I can't afford the amp I'd like to have, or the turntable, but I *can* drive my cartridge through a wild and hasty youth. So, much chastened and carefully considering everyone's advice, I will be moderately immoderate and will try alternating briefish periods on the lateral and vertical modulation grooves, if the splattered label lets me, and then I will stop and listen to records and not criticize any more. By the way, has anyone had any experience using the break-in tracks on the Clearaudio stroboscopic record? Are all break-in tracks more or less the same?

With the Loricraft I was just lucky. The way I got it was by calling Smart Devices, the US importers, and asking if they had any refurbished ones to sell. I ended up with one (not refurbished) that had just been traded in for one of the even sturdier models. Most of the people at Smart Devices were not at all eager to do this, as I realized afterwards; but I was fortunate in the first person I happened to talk to about it, Lavinia Radulea, who found out a way to arrange it. With absurd generosity, they gave me the full warrantee. Buying it used saved me five hundred dollars. I don't think I would have been able to talk myself into doing it otherwise. As it was, I had to tell myself lies (about how I was going to keep the Loricraft just long enough to clean my collection once and then immediately sell it again) in order to get past the guilt at spending even as much money as I did.

Dougdeacon, yes, I do remember your suggestion a few weeks ago about leaving the air pump on all the time. I tried it when my machine was misbehaving so badly that no amount of ingenuity could save it; now that it is behaving somewhat better what you advise does help. But I think the problem with my machine (now not much of a problem at all) has to do either with the acceleration of the arm at the beginning of its movement from the label outwards. The faster it moves (and the speed is variable, unpredictable), the more likely there is to be a thread problem. Slowing it down and giving it a bit more fresh thread seems to work best.

Patrickamory, I believe you are right about the component and synergy deficiencies. I know what I'd like my system to be, but the interval (replacing one piece at a time) is likely to be long and awkward. Indeed, I am not sure what to do next.

The shocking thing is that this whole lunatic analog binge began as an economical way (I thought) to keep my ears happy while I decided whether I could scrape up the money for a used Wadia. In that distant, innocent time, the idea that I might have to spend four hundred dollars on a VPI RCM just clean staggered me.

Susan
Susan, the funnier thing is now that you've gotten a taste of doing vinyl well you'll really be depressed if you spend the money on the Wadia! Unless maybe you get it used.
Who has the money for a (used, bottom of the line) Wadia after all this? No, my disappointment is going to have to find itself a humbler cause than that.

Susan