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Everything posted by Shark

  1. Hi Telecine, nice find. Last time I looked for BSF Allthread in Oz it was "get it from the UK or get something else." Cheers,
  2. Hi Tax, this is a great thread with many interesting contributions. Sorry I took so long to get back to this thread to answer your query's. A good rule of thumb to determine whether you need coupling or de-coupling under the Plinth is to play some dynamic music with lots of bass energy, at a level you consider loud-ish, and put your fingers lightly on the position/rack where the Table is to reside. If you can feel anything thru your fingers, and I do mean anything because your cartridge is going to be a thousand times more sensitive than your fingers, then you probably should go with de-coupling and find feet that are compliant to prevent the vibration entering the Table Body and showing up at the Cartridge. You can build a Base Plate that the Table sits on and couple the Table to it via Spikes or similar, then experiment with various compliant feet under that. By coupling to the Base you get some extra inertia in the "Sprung Mass" to keep it a bit more stable. In this arrangement the Base material will change the sound as well as it becomes a part of the Resonant Mass. Experimenters seem to get good results with Bamboo in this location. Me, I'd leave the Base Plate till later and do a raft of testing with different feet on the Plinth itself, and get the best result you can before going to a Base Plate trial. Back to your finger test, if there is no vibration felt in your fingers then you may consider going the coupling route because you are now want to lock the Table to something that is stable and will help the Table resist moving with the music. Use the Spikes/Ceramic Balls or any number of types of rigid coupling Feet to achieve this. Regarding the original Studs that hold the Garrard to the Plinth, I simply use the originals, only one has to be machined shorter for clearance on my Tables. If you can find 1/4" BSF Threaded Steel Rod you can make your own extended mounting rods, rather than importing them, but this rod would be pretty rare here in Oz. The neatest job would be to settle on a Recess depth with your Plinth maker, set the length, then get them screw cut on a lathe. I'd use 1/4" BSF on the Garrard ends, and M6 Metric on the other end to allow a good choice of Flange Headed Whiz Nuts in the Recesses. These Nuts are freely available here. Cheers, Mark.
  3. Hi Tax, congrats on the Garrard 401 purchase, you won't regret it, so long as you attend some basic things in the build. I've built a good handful of Garrards now, and a bunch of other Tables, and hopefully my comments help you make some decisions without going "crazy" with your budget. 1) + 2) The Drive System is critical on any Deck and Garrards are no exception. One of their biggest advantages Garrards have over other decks is Dynamics. The life of the music stems from dynamics, and the Garrads being a pseudo-direct drive have dynamics to burn. Any micro slip in the drive will compromise dynamics and speed stability. The Idler in your photo looks pretty good, but the rubber at the end of the day, is 50+ years old and compromised at best. You can get it dressed (linished), and it may be ok for a while, but it's still 50 year old rubber and no where near as grippy as it was on day one. I won't build a Garrard now without the Audio Silent Idler. It comes with new bearing bushes and a drive pin which is usually what is required. If you can feel any movement in the Idler with respect to its bearings then it needs new Bushes. Movement here will result in noise and mistracking at the Rim. The Top Plate Bush is easy to replace, but the Lower Bush is a pig and needs the Thrust Plate de-riveted and tapped for re-attachment. Below is one such Assy I did recently. 3) I see you're using a Mass Loaded Plinth which without a suspension is going to be super sensitive to what it sits on. You can see 65eclipse has done just that above. I assume your going to put the Table on a Rack or similar so don't be tempted to "couple" the Table to it using Spiked Feet, or similar rigid coupling system. Use something compliant (decouple) like the Herbies units above or Vibrapods as I use, which are cheap and very effective. See photo below. 4) Still Points. hmm, very expensive items. They probably work really well in the correct context, but seem to be a coupler rather than a decoupler. Anybody pulled their Still Points apart? Do they use anything compliant inside or is it ceramic balls or other hard internal components? Your Bearing is also an area of potential issue. Virtually all Garrards I've looked at have a metal Thrust Bearing (copper sprayed steel) which has a flat worn on it and "grinds away" making lots of noise. See photo below. Wasn't really a big issue when the Radio Transmission Medium of the day was AM! You could have a rampant herd of teenagers doing burnouts in the Radio Station car park and you wouldn't hear it on AM Radio! On a high end system however,....everything gets noticed. Do yourself a favor and pull the Spindle Bearing apart. Check there is no discernible Radial Clearance on the Spindle with a bit of oil in place, and throw away the original Thrust Bearing and replace it with an Engineering Plastic unit like the one below. These are cheap, require no modification, and are very quiet. Think "Silky", not "Grindy"! Sorry if I'm rambling here a bit, but don't think of your Garrard as some old relic that's just a nice piece of nostalgia that looks nice near the rest of your gear. These units can really boogey and perform remarkably well, which is why Sugano San of Koetsu used Garrards as test Decks for his cartridges, so put a decent Tone Arm on it. A client of mine recently put a Jelco 12" on one of my Tables and it performs brilliantly and is considering something more exotic to unleash even more potential. Use something of this ilk or better to get the most out of your Garrard. There's lots of other things you can do to hot rod Garrards, but the above will give you a very good start so you can hear what all the fuss is about. Post some Photos of it when your done on the "Show us your Tables" thread I'd love to see how it turns out. Best of luck Tax. Cheers, Mark.
  4. Hi SPRO8Y. Anodising is probably the easiest solution to your problem. If you choose "natural finish" the anodizer will not add a dye before the sealing process, but it will still be a different colour to the original Raw Aluminium, but will be much more tolerant of fingerprints. You can use various 2 pack finishes after your painter metal preps the Raw Aluminium and the completed platter will be true to original colour but more expensive. Anodising should be somewhere around $100. Cheers, Mark.
  5. Hi Avian, thanks for clearing up the origin of the Platter on this project. It was my assumption that it was a special by Teres, but looking at the Redpoint site the PVC/Alloy composite construction is clearly a construction method they use to this day. I must admit that the phrase "basket case" is probably a harsh one in this case. My first siting of this project was when the client pulled a dusty heavy box out of his car and handed it to me, and it was literally a box of parts. Even the Arm was partially disassembled , We could both see the great potential of the the parts therein, but there was some work to do to attain the standard he was looking for. I remember the price was quite fair for the box of parts, particularly the Arm, while damaged, was going to be perfect for the project. I was assured the hardwood Body had produced good sonic results, and being a core part of the resonant structure, I elected to reuse it. Be assured your beloved Table looks and sounds fantastic and is loved now as mush as ever. Cheers, Mark.
  6. Hi Grant, thanks for your kind comment. The client, as often happens, has become a good friend and I talk to him regularly. This build was some 4 1/2 years ago and he continues to rave about the sound as recently as last week! It gives me great joy to have brought him closer to the music he loves so much. A note to Andy, the Counterweight Shaft is "under slung" just as it was designed by TriPlanar. This is a great design feature, and std on all TriPlanars, and not something I've done during the build. I've added a couple of shots of the Drive End with and without Teres Drive for those interested. Cheers, Mark.
  7. Hi 2 Brix, to peak your interest, here's another Table I built for a client in Tazzy. It was a total basket case when it arrived, a real mess. The client asked me to "make it a bit special" as he has some serious equipment with great resolution. The laminated hardwood body needed a lot of work and in hindsight I should have started from scratch. I have a love for Art Deco so you will see subtle art deco features over the Deck. The TriPlanar was damaged and required me to make new parts, refinish and rewire it. Arm Support is my design and I got it CNC'd locally and hand finished in my shop. Teres Platter was re-machined & rebuilt, it has a lot of parts not visible. Feet are custom billet Items I make, and these house Vibrapod inserts. Photos show my Koetsu Rose Sig. for testing. Drive ended up being the brilliant Teres Pseudo Direct Drive Unit I had purchased earlier for my own T/Table project but it was tailor made for this project so it was an obvious choice. See what you make of it. Cheers, Mark.
  8. Hi Tommy(?), the link below leads to the website of Transcendent Sound (Bruce Rosenblit) and offers one of the best value for money Phono Stages available. If your handy with an iron, buy it in kit form, if not, buy it built! These kits are very easy to build however. I've had mine for 8 years or so, modified it slightly, and I imagine you'll need to spend upwards of $5K AUD to better it. And it's bullet proof. If your in the Geelong area some time I'd be happy to demonstrate. Price on Bruce's website is in USD of course. I've attached an old photo of the internals of mine for your reference. The coupling caps have since been swapped for Jupitor Coppers and made a substantial difference. They are also super quiet for a Tube Phono which is no small feat. Note : they are M Magnet gain only, and a Step Up is required for M Coils. Cheers Mark. https://www.transcendentsound.com/phono-preamp.html
  9. Hi Rank Stranger, the Fascias are Acrylic, and the Transformer Top Plate is Billet Alloy as are the rounded corners. Cheers, Mark.
  10. Hi Guys, thought you may find some shots of my Transcendent Sound OTL Monos interesting. The circuits are slightly modified from the standard, and casework is all mine. They were completed about 10 years ago and still amaze me every time I turn them on. Cheers, Mark.
  11. Hi Aussievintage, yes, I too have wondered why so many great tweaks aren't just included with new product,..if they work so well. This question applies to all tweaks. The answer is probably the manufacturer does not own the Intellectual Property, and would need to pay the IP owner a royalty. Anther reason is price increases. We all know the feet from Stillpoints work a treat, but nobody supplies them as original product,..they just supply plain rubber feet, like on Audio Research amps,.....and assume the new owner will put on what they will post purchase. And using someone else's expensive feet will make money for someone else and not for the manufacturer whilst pushing their sale price up. The notion of solid mounting is as old as Tone Arms, and by saying "that's the way we've always done it" in my industry is one of the most dangerous statements you can make. Solid mounting most certainly has it's merits, I've been doing it for decades, but don't limit your options by excluding new ideas. You may be surprised. Regarding resonance, the Cart Body is going to resonate, it has to. It's a matter then of if you want to hold the resonance there at the Cart. and deal with it, or let it travel along the Arm Wand and create some havoc. The Isolators have caused no limitation in the frequency response of my setup I can tell you. Cheers, Mark.
  12. Ok, so Physics dictates that every action must have an equal and opposite reaction. No argument there. But the amount that the isolator is moving in response to wiggles from the Cantilever would be so small as to be irrelevant. Do either of my cartridges sound "soft" or undynamic as a result of a compliant mount, not by any aural measurement, and my system is very fast and any compromise in dynamics would be bluntly apparent. So to my ear, there is no audible loss of energy in the Generator System to the Isolator. Remember the Cartridge itself has an inertia of it's own therefore a tendency to maintain it's current motion status and will resist the Cantilever trying to wiggle it into submission. In this system the Cartridge/Cantilever needs to be viewed as co-dependant bodies "floating" independently. Balance this inaudible loss, against a "hard mount" (no pun intended) where the Cartridge Resonance will absolutely conduct along the Arm Wand then bounce back again, perhaps with some bearing chatter added, to arrive at the Cartridge Body and excite it, potentially blurring the new signal being retrieved. All this is nice theory,...but in the end, the proof is in the listening, and these Isolators really do deliver. The investment is nothing compared to an arm upgrade which might be ~ $2K (or more)! I'm not asking anyone to buy one,....just don't write them off just because tradition dictates otherwise. Cheers, Mark.
  13. An interesting topic, and one with some interesting ideas about pros and cons with Cartridge mounting systems, but there seems to be no actual experience on offer. So I'll add my two bits since I'm using a Cartridge Mounting System. Without my experience. I'd probably agree with "aussievintage" and "zippi" above and conclude "if the Arm is designed well, tracks true, has a good resonant nature, and good competent bearing system, then why decouple from it and introduce a possible "flexure point" (non rigid mount) which could cause misalignment. Perfectly reasonable rational. I'm not going to express an opinion on the "Cartridge Enabler" Material because I have no contact with it, but I will tell you about the system I am using. I got talking to Leonard Gregory ( Cartridge Man) via email regarding getting my tired Koetsu Rosewood Sig rebuilt. He convinced me to try his Music Maker Classic, his best Cartridge at the time. This unit had his Isolator riveted to the Cartridge so had to be used with it,...like it or not. Leonard's Cartridges have been hit seriously hard with the "ugly stick", but this Cartridge floored me sonically. I won't bore you with the details, suffice it to say I later went on to buy his Music Master, same Isolator System, (diff material) also riveted to the Cartridge Body. It tracks beautifully, does not sound the least bit over damped, and is one of the most balanced and dynamic Cartridges I've ever heard, and I've heard quite an few. This thing is everything I want in a Cartridge,...except for looks. The isolator Leonard uses decouples the Cartridge from the body "breaking" the feed back loop of the vibration from the Stylus, running down the Arm causing bearing chatter, and bouncing happily back to the Head Shell making a micro mess of the information the Stylus is trying to retrieve. The extent of this form of distortion is not apparent until it is removed, not unlike lowering an Amplifiers Noise Floor. This ideology works really well in application, and reduces a lot of the problems tone arms face while trying to control a madly vibrating Stylus/Cantilever at the other end of a stick. So a pretty good arm can perform really well because many of it's problems (bearing chatter, natural resonance and vibration conduction) have been reduced or eliminated. My own Kiseki Gold Arm is just a good arm, but performs exceptionally well partly due to this decoupling. Can't afford a Triplanar or a Graham,.....you may well consider a simple Isolator like Leonard's. I've included photos of my two cartridges and a link to Leonard's website. See what you make of it. Cheers Mark. The Cartridge Man Isolator WWW.THECARTRIDGEMAN.COM the cartridge man, music maker cartridge, stylus re-tipping, cartridge repair, stylus guage and turntable leveling guage...
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