MRA : Myth or Menace?


New Vinyl : MRA : Myth or Menace?

This is an exercise to see how far I could get playing brand new LPs, UNCLEANED, before MRA toxicity became a problem.
I must forewarn you that for digital audio enthusiasts, the following notes will seem as productive as watching paint dry… ;^)

In an earlier A’Gon thread which lamented the number of warped examples of new vinyl on release I posted the beginnings of the experiment. Quote :

“Here's a heartening story for the OP : I often accumulate new LPs but don't play them with the intention of getting them cleaned first. Yesterday I took a chance and played one that had been stored, uncleaned from new since 2013. Opening it for the first time, it was "ruler flat", no discernible warps. Hole and label registration were very good. The LP played as if it had just been scrupulously cleaned. Noise floor was inky black. Transient peaks tracked perfectly and cleanly throughout the entire record. This 180g was a triumph of LP manufacture that harked back to the halcyon days of the 70s & 80s when no one had even heard of MRA and uncleaned LPs bought new still sound perfect today."

“Emboldened by my own experience (above) I've started playing new LPs without cleaning them. After warming up the stylus on a 2nd-hand LP, the next two that I tried were "For Your Pleasure" (Roxy Music), 1x180g LP, and "The Raven That Refused To Sing" (Steve Wilson), 2x180g LPs.
To my pleasant surprise all three of them gave the same result as above. Each had a nice glossy black patina with no staining or “marbling”.
(It’s possible that coffee coloured staining/marbling may be an indication that someone needs a new chemistry set and that the formula may be compromised in some way but I can’t be sure about this…) :^D

I paid particular attention to the quiet/silent passages on the Steve Wilson because it had a bit more dynamic contrast than the other album.
Even though I listen at levels of 85db or so - measured at a distance of 5-6m there were no clicks or pops just inky blackness. As a double-check I stepped into the near field during quiet sections and got the same result.
The run-ins and run-outs were also smooth and untroubled.”

After those listening experiences I sensed the beginning of a grand experiment to see how many new, uncleaned, LPs I could play while still obtaining such gratifying results before I crashed-and-burned on a severely MRA-riven one… ;^)

So, the experiment continued….
In addition to the ones previously posted (above), and as before, this is a description of their physical and behavioural properties for the purposes of checking where we are in terms of meeting acceptable standards of LP manufacture :

Norah Jones, “The Fall” (single album).
Anti-static poly lined sleeve supplied with enough room to slide the LP out unlike those that are paper only and so tight you end up destroying the sleeve to get the LP out!
Very slight spindle hole mis-registration. Again, not as bad as the HFN/RR test disc.
Disc was as flat and unwarped as you would have liked it to be.
In terms of surface noise this was silent throughout.
Run-in and track transitions were silent also.
The runout on Side A was silent despite having a piece of fluff caked on the end of the stylus!!
(I noticed this LP was one of those rare ones more inclined to become statically charged, despite the diligent application of a Zerostat)
Doesn’t get any better than that if you are looking for a result. SQ was excellent.
Another winner?!?!???

(Please note : for the next set of reviews none of them were static “chargers” i.e. the stylus was perfectly clean at the end of each side (not, perhaps, under a microscope but visibly clean when viewed with the naked eye – the stylus was cleaned, once per LP, btw..). There were also no signs of discolouration or blotchiness on any of the discs mentioned.)

Edwin Astley, “Randall & Hopkirk Deceased” (single album) sourced by Network-on-Air.
Quote : “Featuring new transfers from original analogue tape elements, mastering/vinyl cutting by Ray Staff (one of the best audio engineers in the world) and high quality pressing by the renowned Pallas pressing plant in Germany, this range of audiophile-level albums is presented on 180g virgin vinyl…”
Like the NJ, provided with an anti-static poly lined sleeve with plenty of room to reach in and grab the LP.
The manufacturers do seem to be getting their act together. Even the few that only have paper sleeves at least enjoy a decent sized one.
This was an album released to celebrate RSD but whenever I tried to get a copy in the shops I struck out.
I ended up ordering it on-line from the creators…
This was a terrific test of surface noise in fact it was a bit of a revelation. There were plenty of long silences on this collection of incidental orchestral music. (Rather like listening to a work such as Mussorgsky’s “Pictures at an Exhibition” only twice as long!)
Inky blackness prevailed during those silences. Track transitions and run-ins/runouts also silent. SQ superb. Slight 1960’s “colouration” to the recording – more so than you’d experience on e.g. John Barry Collections, but still the best rendition of this music I’ve ever heard (and I’ve got some BD recordings featuring it).
Again this disc sounded so good you’d think it had been cleaned. Excellent dynamics and recording depth.
If only BDs sounded like this, audience involvement would be off the scale!
So, a triumph! There are others available from Network. Given the quality of this offering I’m going to have to collect them all now… 
(Update : I’ve made a start and ordered a few already….)

Hawkwind, “Electric Tepee” (double album, red vinyl Limited Edition)
These played perfectly with a perfect noise floor (or at least as far as I could tell given that it was a hard-Rock album). Track transitions were silent and run-ins/outs also silent until the very end.
Nicely finished product. No rough edges or rags.
Textbook stuff! 
My only objection was that it, disappointingly, had been supplied with paper sleeves with circular cutouts and no poly liner 
They were loose enough to get the discs out easily so no problems.

The Enid, “Invicta” (double album)
The first LP needed the spindle hole to be reamed slightly (loose core) nothing too involved. Second one fitted ok.
The first LP was clearly “dished” even though it wasn’t easily visible. (The reason I know this is because I have a spirit level bolted to the bearing housing on my tonearm ;^)
It started off with a strongly “negative” VTA i.e. “tail down” then the arm progressed “downhill” towards the inner grooves where VTA levelled out.
The reverse situation applied to Side B. (I didn’t bother adjusting VTA to average it)
Apart from slight “dishing” there was a single pinch-warp on the first disc but not severe.
Basically it looked good – even to a perfectionist.
Grooves were not very deeply cut and the runouts were excessively long (1.5” typically). They could have used the available space better.
Perhaps attributable to the dishing, noise performance slightly less than perfect on occasions with both discs but commendable as it was low-level and wasn’t intrusive.
SQ was faultless otherwise.
Verdict : less than perfect (physically) but still excellent.

The Beach Boys “Pet Sounds” 180g single album.
No defects in drilling or labelling. Not warped in any way.
Poly lined sleeve plus detailed inner sleeve.
Very low-level noise only during the occasional track transition, no audible noise during the music itself.
SQ was first class. Very lifelike and alive. Sounded like it was recorded yesterday.
Excellent pressing.

Led Zeppelin “Led Zeppelin” 180g single album.
Needed the spindle hole to be reamed out. Again, not warped in any way.
Poly lined inner sleeve similar to the Goldring type.
Back to 100% inky black background silences with this one. Run ins completely silent as were the track transitions.
SQ beyond reproach. This album will leave you dazed & confused…

Based on these most recent experiences I’m inclined to buy MORE new vinyl rather than less.
I’d had one bad experience with MRA and this had put me off playing new vinyl – tending to save them until an opportunity to get them cleaned arose – but as you can see, some of these new albums have been different class while all have been eminently playable.

With no problematic issues after about 16 LPs (4 of them not yet described here) you can see the percentage failure rate is still zero. This gives a good percentage indication of success and I have to say the signs are good but the most important observation is that cleaning was not essential to get good results (especially in terms of surface noise & tracking on peaks)and that is what the experiment was really about. ;^)
This may not be "your" experience but if not we’re still interested in your comments if you've tried the experiment already ;^)

I still have large amounts of new vinyl still sealed in its packaging so I’ll keep going… but effectively the notes end here as I feel the exercise has been worthwhile ;^)
moonglum
Post removed 
MRA = Mold Release Agent. Though in observing the vinyl stamping process, there appears to be nothing used as a mold release agent to help the record easily separate from the stamper, some feel that there are some additives present in the raw vinyl mix used in the stamping process that might act as a MRA.

The question is whether that must be removed, if it's even present, during the record cleaning process. Also, whether it changes the sound or creates a build-up on the cartridge stylus.
Dear Doug,
Many thanks for responding.
I found your reply equally interesting. It got me thinking after your reference to the nature of the film on the stylus, that rather than (my) assumption that it was simply molten vinyl (i.e. prompted by folks commenting that their Zerodusts, Magic Erasers etc, by no mean coincidence, remove "black" stuff from the stylus) perhaps the stylus is, additionally, mimicking the conditions under which "MRA" type contaminants are released...?
If such were indeed the case then cleaning "MRA" could become an exercise in futility(!) ;^)
Not that I necessarily believe this to be the case ;^)

As to the other content, yes, I appreciate your feelings on the nature of noise. My comment was merely to point out that the trend of increased cleaning efficiency points towards progressive noise reduction?
For many others adopting or living with the vinyl medium, noise could be something of a deal-breaker? If noise were above a certain threshold and occurred at inopportune times e.g. peak noise was greater than a low level signal during a classical piece, then I could understand some listeners getting "itchy feet" and resenting the format. So for me, it's a blessing if noise is well suppressed and it is something I would expect/demand from a turntable design.

Getting close to the degree of fine detail that you describe requires the ultimate attention to detail in terms of setup & cleaning even on a per disc instance basis (VTA/Azimuth etc). Not many will do this (I know that you are meticulous to that degree and have reaped the rewards)
Best regards,
My comment was merely to point out that the trend of increased cleaning efficiency points towards progressive noise reduction?
As it should. Progressive noise reduction is the appropriate goal for and effect of ~95% of all record cleaning efforts, including mine. As MF (for example) is writing for a broad audience, including many newbies and wannabees, it makes sense for him to focus on this aspect. This audience lacks sufficient experience to assess anything more.

It's only the last ~5% of cleaning (particularly rinsing and pinpoint vacuuming) that brings a small increase in noise along with noticeable improvements in low level detail and micro-dynamics. It's for a certain lunatic fringe. ;-)

Getting close to the degree of fine detail that you describe requires the ultimate attention to detail in terms of setup & cleaning even on a per disc instance basis (VTA/Azimuth etc).
Very true, except that, when going from LP to LP:
  • Azimuth doesn't (or shouldn't) change
  • SRA typically does
  • VTF sometimes does, though it changes more often due to weather and how warmed up the cartridge is
Putting it the other way around, the ability to make these adjustments depends to a considerable degree on absolutely clean vinyl. Any layer of muck on the groovewall, however thin, masks the sonic cues that I (at least) use to fine tune these parameters.
 

Dear Doug,

I think I've stepped into a parallel universe.

I'm responding to a comment that was never published ;^)

 

We are currently looking at v1 (version1) of post no 48 rather than v2. V2 existed for at least 24, possibly 48 hrs before disappearing completely. It did not include the final paragraph about Azimuth as I realised immediately that this was open to misinterpretation! In fact I was one step ahead of you so V1 existed for only a couple of minutes!!!

 V2 was published before 5 or 6am (US time) so, realistically, no one ever saw V1…

 

Somehow the Administrator revamped the system and managed to pull back a legacy or archived copy of the post i.e. v1, instead of the “final draft”. For V2  I may have added other comments but I can't recall what I said so unless Admin can restore it we're stuck with the poorly written v1 :(

In the short term just take the last para as a compliment and everything will be fine.  ;^)