I built a new plinth for my Thorens and was getting rumble from where the upper chassis sat on inside of the plinth. I used Herbie's Audio isolation material (especially in the corners) and the rumble disappeared. Just sharing what happened to me.
Where do classical vinyl records get their rumble from?
Recently converted back to vinyl from silver disks, I am struck by how much rumble seems to be inherent in the new and used vinyl I am buying.
A case in point, is a recent Deutsche Grammophon (DG) recording (487 7484) of Mahler’s Second Symphony made at a live performance at the Sydney Opera House (I was there). The first set I bought was amongst the dirtiest pressings I have ever had, but the second set was much improved. However, there is a persistent rumble whether played on my Holbo Mk2 air bearing system or my venerable Garrard 301 (new bearing from Classic Turntable Company).
Mahler typically has huge dynamic range, from muted off-stage performers to hundreds of musicians going hell-for-leather.
The rumble could be partly caused by the venue’s air conditioning system, but I hear similar background on a Telarc recording (Stereo 10051) of Saint Saens Organ Symphony made in Philadelphia. Telarc even arranged to have local roads shut down for the recording sessions.
Similar efforts were made by DG when recording the organ at Notre Dame in Paris, where recording was done late at night to reduce traffic noise. My copy includes Dolby Atmos on Pure-Audio Bly-ray (DG 486 1466).
I was beginning to think the rumble was inherent in my tables, but then I played a German Direct Metal Mastered (DMM) set from In-Akustik for Clearaudio’s 40th anniversary (INAK 78051 2LP). It includes some Telarc tracks. This set has the quietest background I’ve never heard. There is virtually no rumble, exonerating my tables.
So apart from the recoding venue’s air conditioning and traffic noise, why do so many classical records seem to have built-in rumble? Could it be from the mastering lathe?
I am really only thinking about classical recordings where the dynamic range approximates the signal to noise ratio of vinyl, meaning that very low-level signals are musically important, while simultaneously bumping against the noise floor.
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Hard not to, when you keep contradicting yourself! Suggest you proof-read before actually posting. You can always delete later.
From the picture, you have partially decoupled something. I know using words accurately is not your thing. @audphile1 Do you think rubber should be used in every conceivable coupling? |
Appears you've spent the last eleven or so hour grabbing at straws to think of a comeback. Did you notice that I captured quotes from yours and @audphile1's posts before you deleted them and headed for the hills because they were nonsensical and would only subject both of you to more scrutiny for your adolescent assumptions that have been the trend in this thread? You've got nothing.
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following indicates that in some cases where it should have been used it either wasn’t or it broke
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In another thread, you posted:
I suspect your rack and isolation platforms alone cost rather more than an entire Holbo air bearing system! |
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