Vinyl foibles

@nickthepet 

You have the same turntable as I do. I used to have the VPI TNT 3. I love the sound of the VPI with their big motors and heavy platters, but shocks are a problem. When I had the TNT 3, I called VPI and talked to Harry, the founder. He said I should ground the turntable by putting a wire underneath that round metal thing under the turntable and ground it. I'm not sure it did any good.

The Fatboy arm has helped. I used to have the JMW Memorial arm and it was metal. More metal! But using the plastic screws, which came with my turntable, has really helped to tone down the shocks. I might get the slightest shock now, but nothing that would make me take my finger off the arm lift.

@mylogic 

The Degritter is a very good thing. It works well and does not damage the record. There are no harsh brushes, just air bubbles in water shot at high speed to degunk the grooves. It works very well at getting most of the clicks off. If you have a record that is absolutely trashed, or even a little trashed, it can't do anything about that. Most of the clicks I pick up are gunk in the grooves. As I have the Degritter longer, I would estimate that I need to clean records I play a lot once a year. 

@audio-b-dog 

Thanks for the Degritter info. I may go down the route one day.

With regard to the Pixall roller, the MKII must be used as the original dried out quickly, and those on sale today on eBay are useless. Because it is a dry roller some people may think it would impart static onto the record surface, but it doesn’t. The roll is slightly tacky and that’s what lifts off contaminates. You simply peel back the used section when a new surface is required. It’s hard to explain how useful a tool it is, and no one can be opinionated on its effectiveness unless they have used one.

Thanks @audio-b-dog  I bought the TT from TMR and no plastic screws with it.  I'll have to hunt some down.  Anything would help. 

I bought my TNT 3 used but VPI was always helpful. You might call them and say that you wanted to buy the plastic screws that go with the VPI Prime Signature. If they ask, say you lost them. I almost lost one of mine. My not very limber fingers dropped it on the carpet as I was trying to mount a cartridge. I was about to call them but I found it. They very likely will send them to you for free, but if not, how much can they possibly cost?

I purchased my Pass Labs XP-30 preamp and my Pass Labs XP-25 amp used, and I'm happy with both of them. The only way I can approach the high end is by buying used. My ear has exceeded my budget. Although, I inherited some money last year and was able to purchase two new Sonus Faber Olympica V speakers. I have a very revealing system now, so I can more than ever hear the difference between vinyl and digital. I can also hear when vinyl comes from a digital source. I have purchased a lot of reissues and almost all of them are from digital sources. So, even when a record has been reissued, if it's from a digital source, I will look for a used one in near mint condition. Ask Chatgbt about a reissue and it will tell you if it's from a digital source. 

Chatgbt makes me smile. I talk about audio issues all the time with it. I asked it if the 1996 issue of Everything But The Girl's "Walking Wounded" sounded better than later reissues. It had already told me that they both come from digital sources. Here is what it had to say:

1996 original vinyl pressing

Pros

• Cut very close to the original digital master

• More immediate, raw, club-era feel

• Slightly leaner but faster transients — drums snap, bass lines feel agile

• Has that mid-90s Virgin/Atlantic house sound: a bit cool, a bit stark, but honest

Cons

• Pressing quality can be inconsistent (some copies are noisy)

• Can sound a touch brittle on revealing systems

• Not especially forgiving on bright cartridges or tweeters

Overall character

Taut, modern, a little edgy — very “1996 London after midnight.”

Later reissues (2010s onward, esp. Virgin / Back to Black era)

Pros

• Quieter vinyl, better consistency

• Slightly warmer and fuller tonal balance

• Bass has more weight; vocals feel a bit rounder

• More forgiving on modern high-resolution systems

Cons

• Often more processed

• Transients are a bit softened

• Loses a little of the original’s nervous energy and bite

Overall character

Smoother, more “audiophile-polished,” but less urgent.

Bottom line (no fence-sitting)

• If you value authenticity, timing, and edge → 1996 original

• If you value quiet surfaces, warmth, and listenability → later reissue

Given your system history (Pass gear, Sonus Faber, sensitivity to treble glare), I’ll be blunt:
👉 The later reissue will probably sound better in your room
👉 The 1996 pressing is more historically correct but less forgiving