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I assume all the woodies are like the Sonata, set at level/92 ?Wonder if the non user replaceable stylus has something to do with it.___________________
Mark Murphy is someone jazz lovers should know about:http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dpopular&field-keywords=mark+murphy"Stolen Moments" ought to get it.Ba, that's what I thought, too, but then I ventured. Thanks for the info.
If we have a lead-in angle on the cutting head, it is smearing time. If the cutting head was at a perfect 90°, this would not happen, but as with all lathes, the cutter needs to have an angle to it to keep it from "chattering".The throw-back to it all is the draft angle of the groove, in respect to time. And with respect to draft and product removal, or even product insertion (for that matter) into the mold, a lean in the cut, at any other angle other then zero, will mean bastardization of the signal, because between the mold and the LP being pressed, there is physical interference at separation or insertion. Houston, we have a problem. As an example, if we hold our finger straight up or down, or at an angle, and write our names in the sand, the sand did not care, the name is there. But when you cut material that has a resistance to cut, it impedes natural motion. That is why lathe operators use a "lead in angle" to make the cut. The surface ends up the same, to a lay person, but the technique to get it to look natural, took a bit of ingenuity.That is why my opinion is that the 92° SRA is more a result of better tracking (by natural causes), because the cartridge likes to have a slight lean-in angle, as opposed to the theory that that is how the master was made. This is also demagnified by the fact that the contact surface of any stylii is small, minimizing the effects of time smear.In conclusion, the set-up of a table can be very complex. It's a 3 dimensional machine with many force vectors in multiple directions. Try doing that with your CD player...........Wayner
I mastered Mark Murphy's last CD - "Never Let Me Go" ©2010. A very creative singer.http://www.cdbaby.com/cd/markmurphy2
Hi, Quiet. Well, that's a probabilty. What started me on the subject was what I began hearing when I dropped the tonearm sightly down in the rear, changing the SRA, and popping on my Manitas de Plata record. Then Mr. Murohy and so on. A closer perspective resulted with fleshed out vocals like I've never heard. My emotional connection to the music went thru the roof. There is less space and instrumental precision in space, but instruments sound sooo pure. This all started with my SRA at approx, I believe, 92 degrees. Going back and forth has confirmed what I was and am hearing. Were you listening in my seat, you'd be as hard pressed as I am at settling for 92 degrees. I'm not saying what I am hearing is more right, just more completely there in the flesh, bigger, purer and beautiful. I'll likely end up with two VTA settings but I will continue today to find a happy medium. I was very satisfied until I stumbled on this.
Russell, Hi. On THAT Mark Murphy, on the site, anyway, he sounds old as if he has lost some range and slow almost as if the speed is off. CD baby got Satisfaction Guaranteed? Stolen Moments is justified. Both made in the 70's. Best.
Not sure grado carts suffer much from suspension hardening over the years. My G1+ has about 150 hours on it now, but was manufactured in 1979. I'm still thinking you've managed to get the SRA to close to 92deg by bringing the back end down some. You may have taken it further (closer to 90deg)??? The Rega arm isn't easily adjusted for VTA/SRA. I still believe that in hearing the fullness to the note (it's complete attack, sustain, decay) tells me you're close. On another note, the difference between the Sonata and Sonata-1 is the ability to finely define the intrument while keeping the "flesh". It also has about 20% more soundstage width wise, and about 30% more in front to back depth.
The sound in between the notes, Wayner? Been there, done that. It's been the notes, those lovely notes, for me most recently. Emotion isn't in the space between the notes, that's the intellectual stuff.
It's the connective tissue between the meat.
My Sonata always seemed to sound better slightly tail down. here is a pic (sorry best I could do) but it seems that to get near 92 degrees, the tail would have to be slightly down because the pic seems to show the mounting for the diamond is not parallel to the bottom of the cartridge as in the drawing provided by Wayner.I don't know if this one was out of spec but it sure sounded good for a long time tail down.
