Teres, Galibier and Redpoint

Hi Doug,
Oil is cheap for me, I took an old Vyger turntable in trade and modified the rig a little bit.... 6 feet into the ground and I hit the neighbor's tank..... :-)

Cheerio,

Frank

Hi Doug,
Yes, Dan heard only one of my two best available working combinations - the Triplanar / XV-1s.

In terms of the initial agenda, the Triplanar / Universe was scheduled for Sunday morning - planning on doing 2 combinations on Saturday and 2 on Sunday. Unfortunately for him, Dan had booked an early morning Sunday flight.

Because the Schröder / Universe combo was so sluggish sounding (for reasons we now know), I felt it necessary to give the arm another chance to strut its stuff - I mounted the XV-1s on it. Dan had after all signed up to the job of reporting back to Aoliverio.

By the time we made it to the Triplanar / XV-1s combo and listened for a couple of hours, time drew too short to mount the Universe. Knowing that it is the most documented of these arm cartridge combinations, (thanks to Doug), I left this pairing for last.

I'm hopeful, that I will soon see a Schröder arm wand which is compatible with both of my cartridges.

Heck, I'll even take one coat less than Chris' 15 coats Frank, but don't keep my anxious customers waiting on my behalf. After all, I do have a Triplanar that sings with the angels with both XV1s and Universe (hint ... hint ...).

Cheers,
Thom @ Galibier

Hi Dan, Frank ...

Frank's comments on drive systems and torque are spot on. He and I had a good discussion about this at CES - a conversation that verified everything I've learned in the past 6 years.

Any turntable drive system is a resonant system in engineering terms, with all of the associated components fitting into the equation:

- platter / bearing / oil viscosity
- drive interface (pulley/belt, idler wheel, direct drive) and their materials
- motor torque constant and motor bearing

If you change any single element (yes, even the oil), you've changed the system's Q - it's resonant behavior, for better or worse.

A few years ago, we experimented with some motors that had about 4 times the torque constant of our current motors. You couldn't put your finger on it, but they failed to satisfy.

In many ways, this higer torque motor sounded like good digital. Something was missing (listener involvement) , but it was not readily identifiable in traditional audiophile terms of frequency response, speed stability, etc.

Many people involved in the auditions actually liked the "sound", but I've learned to factor in what I refer to as the "demo room effect" - a component which initially grabs your attention because it is new and different.

While on the subject of auditioning and the demo room effect, I had an interesting conversation with Charlie (Azzolina Audio) about this. We've come to recognize two broad categories of customers.

1. The sort of fellow who powers up his system for an hour or two at most - the busy sort of individual who wants to have it "all" in a short period of time. My experience has been that this type of user profile gravitates towards a system tonality that tends toward the fatiguing side of the spectrum.

2. The other broad category is the fellow who lives with his music for hours on end. Charlie and I fit into this category. While I would never consider any of our designs to be lacking in inner detail, their virtues tend to be a bit more subtle - not calling attention to themselves.

Interestingly, the higher torque motor appealed more to user profile #1, but I dismissed it as musically unacceptable.

This is not a dismissal of high torque designs, but rather a comment on the many ways in which you can alter a design such that the parameters are mismatched. Ya pays yer money and ya makes yer choices.

Cheers,
Thom @ Galibier

Thom, that sounds very much like what we heard when Chris purposely cranked up the torque. The leading edges became hard sounding. You're description of this as being more of a digital sound is very good. It was a great demo of the effect of too much torque.

Frank,

Are you sure that wasn't Tri Mai you were "modifying"?
Nobody's heard from him in days. ;-)

***
Thom's mention of the demo room effect and two listener types reminded me of a recent experience. Our new SPM speaker cables have less zing and obvious pizzaz than our old Blue Heavens. In the first few minutes (ie, in the demo room) we both wondered if something was missing, if HF's weren't a bit suppressed.

After a bit more thought and listening, it became clear that what was missing was bloat on the HF's. We discuss LF bloat all the time, but it occurs at all frequencies. Maybe we call that "smearing".

At any rate, once we stopped missing the excess "detail" from the Blue Heavens it became clear that the SPM's are superior from top to bottom. Violins sound more like violins and less like VIOLINS. Triangles and tambourines are the size they should be, etc.

Sorry for the digression. I just appreciated Thom's point and wanted to emphasize the risk in making quick judgements based on what sounds exciting.