2. analog
  3. 1323360300

Optimizing TNT, Triplanar, Transfiguration Temper

I'm writing because of a combination of frustration and potential in my turntable set-up. I have never gotten the sound from the system that I expected, but feel that I am beginning to glimpse the potential of achieving it. I have made some changes recently that have led to more changes that have brought me closer to what I have heard from other systems with similar components. I am hoping someone can guide me toward finally obtaining the basic qualities that I'm looking for and I can fine-tune from there.
What I have heard before from lesser components and am not getting is the sound of the transients jumping off the record. I thought this problem was merely from the characteristics of the Transfiguration Temper Supreme, but with some modifications of the table I am beginning to hear it and wanted to see if I could bring it out further.
Let me back-track and tell you my components and what modifications I have made so far. I am running a VPI TNT upgraded to 4 (w/ the rectangle cutout for the motor), with the original motor and just added an SDS (which made the biggest improvement), a Wheaton Triplanar tonearm upgraded to VI, and a Transfiguration Temper Supreme cartridge.
When I upgraded to the SDS, the timing and solidity of the sound improved dramatically. I then found that using a single belt directly from the motor to the table actually outperformed the three-pully design originally designed for the table, perhaps with some trade-offs, i.e. voices sound clearer and better-defined, but piano may have a little less air and realism.
Finally, the table sits behind the speakers, particularly the left speaker. Moving the speaker forward a few inches seemed to significantly clean up the sound, so vibrations from the back of the (B & W 803) speaker may be muddying the water. My other components are Spectral DMC-20 and DMA-180 and MIT/Spectral reference cables.
Like I said, I am glimpsing the potential of this setup, and the music is starting to clean up and jump off the record, but it's just not quite there. I feel like I'm missing something simple and would like advice before making a lot of changes. I think I've set the cartridge up properly with regard to alignment, azimuth, VTA and no anti-skate. I have not removed the damping trough yet, and that is the next thing I was thinking to try. I am planning to try to further isolate the table from the speakers - the cable lengths prevent me from totally moving the preamp and turntable. I was also considering using different belts or string/dental floss etc. Another possibility is investing in a single-motor flywheel, which also would not use the three pulleys included with the TNT turntable. But, I feel that there is something simple and straightforward with the front-end that I am missing. Any advice?
128x128ctlphd
ctlphd's avatar
ctlphd OP
42 posts
 
I think I’ve worked out the main problems with the cartridge-arm-table. The rubber covering between the cable and the tonearm had come loose at the junction with the cable sleeve, and every time I pushed it in, the tension on the wires going into the tonearm became too much and it put tension on the arm itself. Once I was able to determine this and fix it, it became evident that the cartridge still wasn’t tracking. So, I bit the bullet and traded in my cartridge for the Transfiguration Phoenix. I just installed the cartridge, and the tracking problems are resolved. I still feel that I have some minor adjustments to make, but for the most part, things really cleaned up, focused, and I don’t hear any of the obvious tracking problems. Of note, the new cartridge output is 0.4 mV (vs. 0.2 mV of the TS).

I can’t say yet that I am totally thrilled with the cartridge yet, though. While the big problems essentially vanished, I feel that a slight amount of openness and detail that I previously appreciated in the Temper Supreme is missing. I suspect some of this is that the cartridge needs to be broken in. Also, as I said I probably need to fine-tune things. But, it may also not be quite up to par with the original Temper Supreme. Although the price point is similar to the TS, I think the more expensive Orpheus may have been more the replacement for the TS (I just can’t afford it right now). The problem I was having with the rapid transient attacks seems significantly improved with the new cartridge, but there just aren’t as many layers of detail as I might like. Does this sound like a break-in issue that will likely improve over time? Or, need for adjustments? Or, do you think the cartridge is just not going to give the ultimate performance? How long does it take to break in a cartridge?
ctlphd's avatar
ctlphd OP
42 posts
 
I just tried putting a slight amount of anti-skate on, and to my surprise this made a big difference. Some of the clarity, smoothness, and details that I felt I had lost in switching from the Transfiguration Temper Supreme to the Phoenix suddenly returned. Voice and instrument timbers became more realistic. Even more surprising to me, the soundstage expanded significantly. Even before this occurred, I felt the pace and rhythmicity was more accurate with the Phoenix than with the Temper Supreme, and the cartridge just seems more stable. It's still early to say, but I may end up liking this cartridge more than I initially thought.
ptmconsulting
1,000 posts
 
I am extremely interested in the comparison between the two, especially if you can actually trade between them for an accurate compare. The Temper is indeed getting a bit long in the tooth, being 10+ years old (but still sounding great). Not sure of the difference in design between the Phoenix and the Temper and what the "improvements" might be.
ctlphd's avatar
ctlphd OP
42 posts
 
At this point, I don't have an easy way to swap the cartridges back and forth, but I am extremely familiar with the Temper Supreme sound and am getting a feel for the Phoenix. If I get up enough interest/desire to switch back to the TS, I'll let you know, as this would certainly be a good comparison.
Just a couple of initial thoughts now that I’ve been listening to this cartridge for a while. On the positive, it’s a very listenable cartridge, very smooth and liquid with good attack on transients. On the negative side, it doesn't seem quite as detailed as the Temper Supreme. For example, with the Phoenix, it seems that the main line of the song or singer’s voice becomes a little bigger than life or at least bigger than the background. I don’t know what kind of music you listen to, but an album I’m very familiar with is REM ‘Out of Time’. For example, on ‘Shiny Happy People’, Kate Pierson’s harmony is kind of lost behind Michael Stipe’s lead with the Phoenix. With the TS, she was right there beside Michael. She’s more in the background with the Phoenix. On the other hand, in a way the Phoenix seems a little more integrated and rhythmic. Also, I'm sure the Phoenix isn't broken in yet, as it does seem to be improving as I continue to listen. I will let you know more as I learn more. My initial suspicion is that there are pros and cons/tradeoffs of both, and moreover that the Orpheus probably has the strengths of both and less of their weaknesses. I should say also that my Transfiguration Supreme is certainly 'long in the tooth', more like 15 years old, re-tipped once and re-built once, so the comparison isn't totally fair. I'm now certain that this is the reason for the problems I was having with the whole setup before.
ctlphd's avatar
ctlphd OP
42 posts
 
I just changed the cartridge loading from 100 to 300 ohms, and my previous complaints about the details lacking, over-emphasis of the primary vocals, etc. seem to have disappeared. I guess I was over-damping the Phoenix with the same load that worked fine for the Temper Supreme. This is only the first recording I've tested, 'Eric Clapton Unplugged', but if it's any indication, this is going to be a fine cartridge.
More to discover