Trans Temp W, Magic Diamond cartridges - comments

Temper 'v' is in the house, arrived today! Took me about two hours to set-up and dial in. Already listened and the first thing that I noticed is LOW groove noise. This is one one quiet in the groove transducer. The next thing that is readily apparent is the lack of grain, grit, glare, gross colorations and frequency imbalance. I also hear precise db balance between channels. Given the vinyl is encoded, the bass goes deep with a high level of control and damping. That tiny stylus at the end of the cantilever will point straight down at the vinyl of your arm is tilted back at all. I heard some etch that way. Just kept lowering VTA until the stylus did indeed point backwards. To my eye this is when the flat undernearth of the cartridge body is level with the record surface. Even looks like it might be a fraction of a mm nose down. I would like to add that on paper the Temper is a perfect match for the RB1000. With my pair of ported speakers that are flat to 28hz, I have no woofer pumping problems that haunted me in the past. Also, I am noticing that this MC sounds good out of the box. A first in my experience. I just hope that the top end stays open(highs) and the Temper will not be subject to frequent need of de-magnetizing.

Reb, I want to respond to your post first, (because it's easy :~) First of all congratulations! I agree with all the wonderful things you discovered as you began using this little gem -- especially the lack of noise and grain.(What is your preamp load setting and anti skate setting?)

Second, please, PLEASE, don't even think about demagnetizing it! I don't know what son of Satan started that idea, but just think about it for a moment:

1.) Only ferrous (iron-bearing) materials can become magnetized.

2.) They haven't used ferrous formers on which to wind the coils in MC cartridges for years -- so that just leaves the pole pieces (in conventional designs like vdH), and you wouldn't want to demagnetize them or you'd ruin the cartridge!

3.) The coil former (the little square or cross-shaped thing the coils are wound on) in the Transfiguration is made of this snazzy new SS mu metal which is totally impervious to magnetism, so it can't get magnetized in the first place.

4.) The other parts: boron, diamond, and copper also cannot become magnetized. So what the hell are we talking about here?!

5.) On the other hand, the innovative Transfiguration design employs double "ring magnets" -- literally magnetic rings fore and aft of the coils which sit right inside of them. If you apply an AC demagnetizing current to the coils, you will weaken the ring magnets and reduce the sensitivity of your cartridge.

DON'T DO IT! You have absolutely nothing to gain and a whole lot to lose!

If you want to "tune-up" or "break-in" the coil wires, get the Cardas sweep record and leave the cartridge over night tracking the "locked" white noise groove. It won't hurt the cartridge, and the record is, as stated, made with a particularly hard vinyl for just that purpose. I did it for a couple nights and my Transfig was ready to go in no time.

I'm going to leave another post later for Speedy in which I'll attempt to explain this whole "stylus rake" thing and how to do a "reference setup" from which you can experiment, but always return to if desired.

Neil

Hi, the only type of demagnetizing I have ever done or plan to do, is with the Cardas sweep record. Not to worry, I don't own an electronic demag device. I am loading at the factory "fixed" setting of 22k. I used this setting as well with the recent Shelter 901 I had. To add resistance, I have to introduce resistors. Part of the reason the Lukaschek phono stage performs beyond it's price range is the lack of gain/resistor switches. I have experienced first hand how that type of set-up degrades transparency. When I had the Klyne, I ran that at 47k with the Benz Ruby and Shelter, so I am one of those that can tolerate the extra zip. And until breakin, I'll just leave the load as is because the sound will definitely change. If I hear a detached vocal and top end from the midrange, then I will go right to a 1k load. I run into a tube linestage, so benign loading has worked great for me in the past. VTF is about 1.85g and anti-skate is approx the same using the Rega magnetic force. Thanks for the good wishes. And I hope my rambling was clear.

Reb -- thank God! The Cardas record is all you need for "cooking" those little coils! And I'm not sure you even have to do that more than once, but it can't hurt them and it also conditions the rest of the system if you have it turned on. Think about trying a lower load impedance at some point if it's not too much trouble. Somewhere between 80 and 120 ohms. I think you'll be amazed at the air and ambience you'll find lurking in those grooves.

Speedy, if you are looking at the cartridge from the side, the top of the stylus (where it attaches to the cantilever) should be closer to the front of the cartridge, and the bottom of the stylus (where it fits in the groove) should be closer to the rear of the cartridge. So too with the cutter head, and so that's the same position the stylus must take also.

The exact wording of the instructions I received with my cartridge is: "When viewed from the side, a stylus does not sit vertically in the groove but 'points backward' slightly." Now, I admit that's somewhat ambiguous -- however, if one reflects on how a record is cut, there can be no question that what they mean is that the TIP of the stylus (the business end -- the BOTTOM end!) points backward.

What has to happen, if one is going to be scientific about cartridge setup, is to establish the known Stylus Rake Angle at a specific tonearm/cartridge position. The easiest position for me to establish (over and over again if necessary) is setting the top of the cartridge body parallel to the record (or platter) surface. There are probably a lot of ways to do this, but here's how I do it:

1.) Tape the platter down in at least two places using masking tape, or something easily removable, but so it won't rotate.
2.) Make sure the platter is level. Place the level next to the spindle, first parallel to the tonearm, and then perpendicular to the tonearm. I use an 8"plastic torpedo level. It doesn't weigh much, but if you have a sprung TT, you might need to use a very short bubble level so its weight won't affect your measurements. They're about the size of a pencil with flat sides like a pencil so they won't roll and about 1.5 to 2 inches long. When using any kind of spirit level, always switch the ends around to make sure the bubble reads the same both ways -- nothing worse than a faulty level!
3.) With the platter levelled, and the tonarm in its rest, place the little spirit level across the top of the headshell parallel to the front face of the cartridge. (I'm assuming here that the top your tonearm's headshell is flat and even with the bottom surface where the cartridge joins it.) Adjust the headshell, or the tonearm base/pillar or the cartridge itself until it is level to match the platter.
4.) Now comes the fun part: Remove any anti-skating force. Make sure the stylus guard is on the cartridge -- better safe than sorry! With the tonearm still in its rest, place the little spirit level on top of the headshell pointing front to back along the centerline of the cartridge (in other words 90 degrees to how it was before) Make sure it lays flat and parallel to the top surface of the cartridge. You can use a little piece of double sided foam tape to stick it in place and dodge any irregularities on the top of the headshell if you have to -- otherwise just let it sit there.
5.) Lift the tonearm and set the cartridge (with the stylus guard in place) on the platter. Read the level. Start adjusting the tonearm pillar up or down until the level reads true. Your cartridge will now be (for all practical purposes) parallel (front to back and sideways) with the surface of a record.

The big question now is, with the cartridge body set up this way, what is the stylus doing relative to the groove? With vdH, no problem. It's vertical. That's the way they're made. You want the bottom of the stylus to point backward one degree? That's easy. With a typical 23 cm tonearm (from pivot point to stylus tip) the geometry works out that you raise the pillar 4mm (from the level setting) for each degree of stylus rake angle you want. With a vdH on an SME V, I started with 5mm and teased it up till the image snapped in, right around 7mm, equal to about 1.5 degrees of SRA.

So what about the Transfiguration? Well they designed it with a stylus that is already raked when the cartridge is level and parallel to the record surface. I wanted to know just how much they'd raked it however (although I had a pretty good idea!) So, I levelled mine as described above, and with my pocket microscope, I could see it was clearly raked (with the bottom of the stylus pointing backward.) So I started dropping the tonearm pillar (keeping careful track of how far) until the stylus was vertical (I do this by checking the stylus with a 50x scope while it's sitting on a front surface mirror on the platter, until it lines up with its mirror image -- you might not want to try this, but I've had a lot of experience!) Anyway, I had to drop the pillar about 6mm to get the stylus vertical, which means it had a preset rake of a bit under 1.5 degrees when level and parallel to the record, and at a tracking force of 1.8g.

Now that's really good information to know, don't you think? You now know, for instance, that if you do want to lower the back of the tonearm, you don't want to go further than 2 or 3 mm down from level, or you can be sure the edges of that micro-ridge stylus are going to clip the tops of those groove undulations -- and ditto in the other direction. So what I'm saying, is that somewhere in that 6mm range, 3mm up or down from level, you should be able to find that magic spot. Having done so, you can then fine tune it even further if you want, with minor adjustments in VTF, which will micro-adjust the SRA as well as VTA.

I'm leaving mine as is for now (meaning level, at the factory preset SRA) and 100 ohms loading. It's apparently breaking in quickly, as Reb observed. It seems to get better with every record (or am I just over-enthusiastic?) Anyway, I'll need time to really get used to it with many records I know well, before I would be able to judge if additional adjustments produce better results. When it stops blowing my mind the way it is, I'll consider it!

Nsgarch,just had a really great breakfast,with the EGG THAT I PEELED OFF MY FACE.You are correct in your description/advice,and(well the instructions were a bit ambiguous to me)the tip now rests as you describe it,with better sound,obviously.Too bad I already named my kids,or I'd be obligated to name one after you!Thanks!!