Turn table speed variation question

Just added the video of the Technics SP10 MK2a. The results are as impressive as with Halcro's Victor. Here is a link:

http://www.youtube.com/watch?v=haqhT6khqZY&feature=em-upload_owner#action=share

Thanks Peterayer....and thanks also for the Video of the SP10Mk2A.
It is indeed a fine result with the Timeline.
As steady as the TT-101.....
I couldn't connect with your Link to the Denon?
Any chance of posting it here?

Frogman, I'm not familiar, in a practical way, with the note bending potential of straight barreled woodwinds. I get your point about changing the sound of a clarinet and I assume, since you brought it up, that it could present a problem within a section using both traditional and corrected instruments. As to "fooling mother nature" I'm skeptical. Correcting the interval of one note does not change the basic sound of the instrument. This is an instrument that plays one note at a time and it's the job of the musician to play it in tune. Seems to me some clarinets are cars and you're telling those players using them, to get a horse.

On the other hand, perhaps a note bent by the musician has a slightly different and more desirable flavor than one produced on a corrected instrument? Maybe so.

I always thought perfect pitch was something one had to be born with, to possess, and ear training was limited to relative pitch. Turns out, perfect pitch can be learned. Check this out:
www.richardbosworth.org/perfect-pitch-ear-training-supercourse-review.htm

**The human ear can tell when the pitch is leaning one way or the other before our measuring equipment can.**

It's not only pitch it's also location. Phase has a lot to do with location and speed obviously effects phase. Turntable speed effects everything. There's no way around it. Wow and flutter results in harmonic distortion. Some of us are pretty good hearing relative pitch. That's how we tell if the piano is wavering or the chord is changing pitch or someone is out of tune.

Absolute speed error is something most of us can get used to and eventually becomes our reference standard. I had a pre-Valhalla LP-12. It ran something like 1% fast. It didn't take long for everything else to sound lifeless in comparison. I became aware of this and sold it. I got a Goldmund DD and eventually got used to "correct" speed. Just as KOB record was not objectionable in relative terms, the old LP12 (or some other popular belt drivers) succeed on their colorations.

Enough of this for now. Everybody have a happy new year.
Regards,

I plan to start a TimeLine database thread on Audiogon. Look in the Analog forum.

Fleib, we could go much much more in-depth with some of these topics and so far only the surface has been scratched here. But, you are correct in that it's probably "Enough of this for now". If there is further interest on your, or anyone else's, part I would be glad to delve deeper into this. I would simply say that if you are interested you research the prices that vintage flutes and saxophones fetch compared to new ones; there is a reason for this and it has nothing to do with collectors. Anyway, the main reason that I feel any of this is relevant to our audio hobby is as a reminder of just how deep some of this stuff runs, and that at the end of the day all our audiophillic endeavors relate back to the MUSIC, and what takes place in the the process of music making. There are many parallels between what an audiophile concerns himself with and what a musician does. There is a tendency to want the new and the more technologically advanced to be "better", and to rely on technology to exlain most of what we hear. I believe that there is an unavoidable (at least to a degree) conflict between what the essence of music is and some of what technology brings to the table. To recognize this is not being a Luddite or anything of the sort; it's simply respecting the fact that, ultimately, what separates music from simply sound, the emotion, can't be broken down to nor fully explained by numbers.

****I always thought perfect pitch was something one had to be born with, to possess, and ear training was limited to relative pitch. Turns out, perfect pitch can be learned.****

Precisely one of the reasons for my comment about it not being an indication of superior musicianship, since a lot of these things are often shrouded in mystery and many feel that perfect pitch is an indication of musical genius of some kind.

Happy New Year!