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MicroMara

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Posts posted by MicroMara

  1. Based on a discussion in another thread about how to place La Scala in your listening room I´ll copy a short instruction guideline here as well as the owners manual for Hertage Speakers as pdf file.

     

    PLACEMENT
    Your La Scala Loudspeakers will perform well in a variety of locations but best results will be achieved using the following general guidelines:
    Place on a common wall 6 to 15 feet apart.
    Position them equidistant from the wall behind the speakers. Equidistant height above the floor with the high frequency drivers at seated ear height if wall or cabinet mounted.
    Angle speakers toward the listener and even with or forward of any adjacent obstructions.
    Placing them near a corner or wall provides the greatest amount of bass while moving the speakers away from room boundaries reduces bass energy.
    Asymmetrical placement of a pair of speakers from adjacent side walls can smooth room-induced bass unevenness.
    Experiment with the above guidelines to suit your taste and to compensate for your room's acoustic characteristics.

     

     

    39687924_la-scala-ii.pdf

     

  2. Right this minute spin with the switzerland harpist Andreas Vollenweider " Behind the Gardens, behind the wall, under the tree " CBS Records, 1981 , Played with the SonusGold Blue, first time that it´s in use . It plays beguiling beautiful

     

    1532506079_SonusGoldBlue.thumb.jpg.5b5adfd6c9bb2890352329218be24450.jpg

     

    Vollenweider.jpg.8a7b60fde2280ecc14a18ee12b2181f0.jpg

     

    • Like 3
    • Thanks 1
  3. 15 hours ago, JohnJ said:

    Excellent Covers:

     

     

     I FOUND THE TOASTER!!!  apparently we're not evolved enough yet for it...

    ..."We're Not Worthy"

    their vinyl albums are so expensive in germany, not available below 50 € = 57 $  list price

    • Like 2
  4. 1 minute ago, svberger said:

    These rules would seem to indicate that the La Scala would work in this room.

    That would be fine . Unfortunately, I can´t open the embedded pic to have a further look into your listening space  🤔

  5. PLACEMENT
    Your La Scala Loudspeakers will perform well in a variety of locations but best results will be achieved using the following general guidelines:
    Place on a common wall 6 to 15 feet apart.
    Position them equidistant from the wall behind the speakers. Equidistant height above the floor with the high frequency drivers at seated ear height if wall or cabinet mounted.
    Angle speakers toward the listener and even with or forward of any adjacent obstructions.
    Placing them near a corner or wall provides the greatest amount of bass while moving the speakers away from room boundaries reduces bass energy.
    Asymmetrical placement of a pair of speakers from adjacent side walls can smooth room-induced bass unevenness.
    Experiment with the above guidelines to suit your taste and to compensate for your room's acoustic characteristics.

    • Like 4
  6. 1 hour ago, Dolph said:

     I would like to be able to adjust the VTA which you can't do on the 1800 unless you do the mat changing thing and all that.

    You are mistaking  VTA with SRA = Stylus Rack Angle

     

     

    The Tonearm Height (VTA = Vertical Tracking Angle) and the Stylus Rake Angle (SRA)

    The  "big" control variable and hopefully also -screw on the tonearm is the height adjustment, the adjustment of the so-called "Vertical Tracking Angle .

    What the height adjustment of the tonearm is actually about, is to trim the angle of the needle's insertion into the record to the angle specified during vinyl cutting. This way you can correct the SRA (the Stylus Rake Angle). The standard for this (exceptions confirm the rule) is around 92 degrees when the needle is dipped with the correct weight. Why not 90 degrees? Because the cutting graver scratches out material when cutting vinyl, and to prevent the material from accumulating in front of the graver, you admit a few degrees, i.e. you cut at a slight angle. 92 degrees.

     

    221260013_SRA.jpg.42a811914d576850d155dff20f440429.jpg

     

     

    At this point I would like to emphasize once again that the described settings can be made by ear and taste, as always. Those who have practiced ears can and should use them. The bottom line is the same as with frequency response perception: what you really hear can also be measured. What cannot be measured is often only anchored in the human psyche.

     

    Further some facts you should think about

     

    The issue here is the compliance of the needle carrier. The compliance indicates how hard or soft the suspension of the needle carrier is, which in turn carries the scanning diamond. The unit of measurement of compliance is µm/mN. It is measured at 10 Hz.Some of them measure at 100 Hz. There is also a distinction between dynamic and static compliance. The dynamic one counts; and it is obtained by dividing the static value by two.

     

    MM and MI cartridges have a higher needle compliance than MC cartridges, these have a more stiffer needle compliance

     

    Low compliance = hard suspended systems = values between 6 and 12 µm/mN
    Medium compliance = medium hard/medium soft suspended systems = values between 11 and 22 µm/mN

    High compliance = soft suspended systems = 22 to 30 µm/mN

    Very high compliance = very soft suspended systems = 30 to > 40 µm/mN

     

    Tonearms can be roughly classified according to the following scale

     

    Ultra light tonearm: 4 to 5 grams

    Lightweight tonearm: 6 to 9 grams
    Medium-weight tonearm: 9 to 15 grams (most of the arms used today)
    Heavy tonearm: 19 to 24 grams
    Very heavy tonearm: 25 grams and more

     

    For tonearms with exchangeable headshells this must always be included.

     

    Tonearm and cartridge as spring-mass system

    The mentioned values/classifications are important because the combination of tonearm and cartridge represents a spring-mass system. Like all classic spring pendulums, such a combination has a natural frequency that depends on the hardness of the spring and the mass of the whole system. This is the famous "moving mass", and only this is decisive: If the hardness of the spring increases (i.e. with lower compliance), the resonant frequency increases. If, in turn, more mass is added, the resonant frequency decreases.

     

    The excitation of the mass-spring-system and the consequences

    Now what happens if you excite this mass-spring-system with its natural frequency? Logically: it resonates, so that the oscillation becomes extremely upsetting. These oscillations in turn superimpose other frequencies. They lead to disturbances or booming and color the sound image or restrict the exact reproduction of the music. For example, if the resonance frequency was 40 Hz and you were playing a nice bass tune, the needle could perform a dance and jump out of the groove.

     

     

    Tonearm adjustment: many settings - lots of sound

     

    When you start with the vinyl hobby, you think in a naive way: screw on the pickups, swing them out, roughly adjust the counterweight, and off you go. Unfortunately a wrong way - at least if you want to listen to music with high standards. Which pickup is already perfectly produced? Which needle is mounted exactly straight? Which needle carrier is at the exact angle in the generator?

     

    Azimuth: mandatory setting of a good tonearm

     

    The most obvious production errors can usually be detected with a sharp look at the needle carrier and needle. A magnifying glass or USB microscope can help enormously. If the needle or the needle carrier is obviously mounted crooked, you should complain about the pickup at the dealer. Slight misalignments can be compensated by using the mounting bracket in the headshell.

     

    How to correct skewed needle carriers and diamonds

    What can only be compensated for by adjusting the azimuth on the tonearm is a diamond inserted at a slight lateral angle, as unfortunately occurs in 80% of all cases with MC pickups. If you want an exact position of the needle in the groove and thus a perfect result, you have to measure and correct the azimuth. Many do this by ear. Respect, who can do that! The goal of an azimuth measurement is always to create a channel separation that is as equal as possible by using different angular positions of the headshell. With well produced pickups, the corrections are +/- 0.5 degrees or less to achieve the desired position. This sounds like little at first, but at one degree you can see the "skew" more than clearly.

     

    Hope you can use these infos.

     

     

     

     

     

  7. 17 hours ago, Dolph said:

    Hi. I'm a new member but have been following the forum for a little while. I am thinking about upgrading my turntable. My current is a technics SL1800 MK1 that I purchased back in 78. Still running fine. Since I've upgraded the rest of my system I'm thinking it may benefit from a new tt. Started by looking at the technics SL 1200GR. Like the 1800 it appears to be be built like a tank, but I don't think I really need built like a tank. So I'm looking for something that is a sonic improvement ( I don't know if the SL1200GR is going to sound better or not, maybe one of you fine folks can enlighten me). I don't like the looks of the planars or uturns, too minimalist looking to me. I have an Ortofan 2m bronze that I can use on the new tt. I'd like to stay in the price range of the SL1200GR or maybe up to 2 grand. The rest of my kit is, a pair of Forte IVs, Yamaha AS 2200 amp, Yamaha CD S1000, HSU ULS15 MK2 sub and a blue node 2. I like to listen to Seeger, Steely Dan, Chicago, Supertramp, Paul Simon etc. Any sharing of insight or experiences is greatly appreciated.

    Welcome to the forum , I think that you do not have to change the TT , you have to upgrate the Pick-Up and the phono pre amplifier.

     

    If you want to get an overview about TT´s Pick-Ups and Phono Pres , have a look there , you´ll find a lot of information about the whole TT technology

     

     

    • Like 1
  8. The reason why I have now ordered the additional cartridges is very simple, they are all classics that I have wanted for years, but knew that they could not be installed on the MA 500 tonearm of my old TT, because it had a mass of 24 grams, that was just too heavy because of the needle compilance. With the SME 3009 and the MA505 MK II tonearms I can then use them. Then I also have enough pickups for the rest of my life . I did not want to let the snob hang out here, but I was so happy about it last night that I had to tell you.

     

    • Like 5
  9. 8 hours ago, JohnJ said:

    You going to put that snake skin looking green & gold combo sheathing on them? Whatever... mine are black to try and stay hidden in the shadows behind everything!

    No it´s a white cotton fabric jacket , wanna try a new technical way for phonocables , it´s an experiment ,  I used to built them with copper strands ( AWG 24 )  in the past.  Wanna know whether there will be a sound improvement , that´s why I´m doing it .

    • Like 3
  10.  At the moment I am busy building phono cables. It will be 3 new pairs with 0.7 mm ( AWG 19 ) solid core copper conductors. Over the Solid Core I pull shrink tubes so that they do not oxidize, they are then pulled into Teflon tubes over it comes a cotton fabric jacket, finally I solder them to the australien  Klei Harmony RCA plugs. Gonna show you when they´re ready early next week

    • Like 2
  11. I was shopping in japan one hour ago .

     

    I still had some pickups on the list that I wanted to have for a long time, are all sec.hand but in technically as well as visually perfect condition , next week I build the second tonearm on my Micro Seiki DQX 1000. They´re on their way to germany allready .

     

    My ADC XLM MK III Moving Iron Cartridge

     

    ADCXLMMKIII.jpg.ff540ca0cb7e59270bd6f70107c989c9.jpgADCXLMMKIII-2.jpg.a9a419cd1869a8e21ba24b317dd48494.jpg

     

     

     

    ADCXLMMKIII-3.jpg.d374a88b46528189ceae60a6146ee680.jpgADCXLMMKIII-1.jpg.87d2c3f89b9a1e8143a4162ff4a3c063.jpg

     

     

     

     

     

     

     

     

     

     

     

     

    • Like 2
    • Haha 1
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