10 Levels of Turntable Mastery

Thanks, Bob! I think this will help foster the discussion.

Thanks to all who have added to this disucssion (and, I guess, thanks to those who typed enough to see their name posted within this thread). Here’s some of my thoughts - they are a bit loose, but hopefully it will add to the discussion.

TML 0: Digital Only. Refuses to acknowledge the potential of the classic medium.

TML 1: I think the lowest TML level is about 1) willingness to embrace the medium and 2) sees the turntable as an appliance. It either works or it doesn’t. My father would be a TML 1. He has over 3000 records, but gets his tables at garage sales, figures if they spin and sounds comes out, they’re good-to-go.

TML 2: The next TML will experiment with cleaning records. Wet cleaning seems radical, but after they try it, the see the light. These users see that clean records (without defects) can play without clicks and pops, and start to see the potential in vinyl LPs. This epiphany is what it takes to move up to a TML 3.

TML 3 starts to experiment with VTF (as this is one of the few parameters that can be easily tweaked on their set-it-and-forget-it tables. You break your first cantilever as a TML 3, which forces you to buy either a replaceable stylus or a new cartridge. You attempt to set up your new cartridge, think you’ve done it right, but not sure. A TML 3 starts to seek out information on the geometry of tonearm / cartridge setup. This thirst for knowledge moves you up to a TML 4.

A TML 4 is very proficient at using readily available protractors. You’ll start with simple paper protractors. Then try some lower priced, commercially available protractors. Then you’ll wonder if you should purchase a high-priced commercially available protractor. Then you think about it more. And you decide to do something about it. You’ve graduated to TML 5.

TML 5: Perhaps you take the time to understand the underlying geometry (but not the mathematics) of setup and you create your own protractors. Perhaps you purchase a higly precise commercially available protractor. Either way, you are very competent in setting Pivot to Spindle distance, effective length / overhang, offset angle. You can also verify / set the rotational velocity of the platter. You feel fairly confident about the azimuth. If you haven’t sold your set-it-and-forget-it tables yet, you’re about to do so. Your friends think you know your stuff to help them set up their set-it-and-forget-it tables (as they don’t see the value in spending good money on setup). Congrats…you’re ready to start to work on TML 6.

A TML 6 starts to focus on more esoteric tweaks, such as fine VTA / VTF adjustments (but maybe not for every record). A TML 6 considers stylus geometry and cantilever materials as much as a TML 3 thinks about MM vs. MC.

A TML 7 can prove setup accuracy using a voltmeter and / or oscilloscope. Probably thinks they can build a table better that what is commercially available at a given price point. However, if you cannot teach someone to become a TML 7 (you need to have 3 references), you do not progress to TML 8.

Now I hand it back over to Atmasphere…

TML 8: this is the level most aspiring audiophiles will rise to- able to create the best performance from any turntable placed in front of him, has a good idea of what machines produce state of the art performance, can set up proper cartridge loading, complete arm setup regardless of model- proper attention to VTA, nuance in tracking weight, effective mass, etc.

TML 9: In business as an acknowledged leader in the field, one whose product is beyond reproach.

TML 10: Master: built their own turntable and arm and it kicks ass on everything commercially available. This is not by the individual's claim; the knowledge of this is gained only by word of mouth. Anyone who says he is, isn't; turn around and run as hard as you can.

I think I'm a solid 5 on my scale, just starting to explore TML 6.

Here's another thought. I think that as you progress up the levels of Turntable Mastery, you learn that the biggest gains in performance are from knowledge and less from money spent on hardware.

Case in point: I just had a *huge* increase in analog performance by building my own Loricraft / VPI hybrid record cleaning machine out of an old Pioneer PL-A25. I thought my records were immaculate because of my DD process. But after re-cleaning them with MFSL Plus and my new DIY cleaning machine...wow. I probably spent $35 on my new fluid, and $50 in parts to create my RCM.

It's hard for someone new to analog to accept that much of your initial budget *should* go to things other than the table, the arm, and the cartridge. Proper alignment, clean vinyl, and careful setup will (IMHO) yield far more satisfying results than that money spent on the Analog Trinity. However, even it I *was* told those things when I bought my first table (a Music Hall MMF-5), I would have thought you were trying to scam me. I guess this is part of the journey.