Post your turntable setup...can't get enough of those spinners!

Discussion in 'Vinyl Nutjob World: Turntable and Related Gear' started by shaizada, Sep 28, 2015.

  1. Thad E Ginathom

    Thad E Ginathom Friend

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    Oh Sheesh... I wasn't thinking of that possibility! One definitely needs brick at the minimum.
     
  2. toddrhodes

    toddrhodes Friend

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    Yea - I thought I could get away with it since it was attached to studs on a foundation wall but no... Lesson learned. I found that if I could fit the table on a rack full of vinyl - that basically killed every bit of feedback I could try and conjure. But today, I don't have that luxury so I worked the problem a little differently but there's still room for improvement, I think.
     
  3. Thad E Ginathom

    Thad E Ginathom Friend

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    Houses here in [my part of] India are built with "lofts," which are storage shelves fixed high up on the walls. Not so much fixed, as built-in: a couple of inches of reinforced concrete, built in to the steel/concrete framework of the house. That would make a fine audio/turntable shelving system!

    (well, it would unless one starts listening to all that stuff about planetary vibrations! Let's not go there!)

    Or even our brickwork with slate-like stone shelves, which is the basis of many of our kitchens. That would be good too, and more easy to add to an existing building.

    Building this stuff into the house might seem extreme, but would make perfect sense if building from scratch, and would not add much cost. But it would preclude one from spending a not-small fortune on some of Real-Audiophool stuff out there with built-in mechanical vibration suppression. Which would be a big problem to a very small number of people :)
     
  4. lehmanhill

    lehmanhill Almost "Made"

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    AR ES-1 with Merrill mods, acrylic armboard, and an SME-3009 Mk2 Improved tonearm. The cartridge is a Music Maker III. You may note that my phono-pre looks unfinished and you would be right. It's a Equal Opportunity MM design using tubes and designed by Stuart Yaniger. For now, its sitting on a piece of plywood.

    https://photos.app.goo.gl/uxzJskNUt7znt4bE8

    https://photos.app.goo.gl/AAAHTBZ1XPwXLawcA

    Sorry guys. I've been trying to get these photos to display correctly, but I'm failing.
     
    Last edited: Mar 14, 2020
  5. Puma Cat

    Puma Cat Friend

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    Michell Gyro SE, SME V tonearm, Koetsu Urushi Vermilion MC cartridge, Bob's Devices CineMag SUT, EAR 324 phono stage.

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    The system at present (Hartbeths)

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  6. wbass

    wbass Friend

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    Wow, great choices all around.
     
  7. wbass

    wbass Friend

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    Say a bit more about the rest of the system @Puma Cat !!
     
  8. Puma Cat

    Puma Cat Friend

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    Thank you. A lot of "design consideration" went into the choices. For example, the arm that John Michell used as a reference when designing the Gyro SE was the SME V. The Koetsu Urushi Vermilion is a low-output MC of only 0.2mV, so the Bob's Devices step-up was key for good gain match with the phono stage. The E.A.R 324 phono stage is solid-state but Tim de Paravicini says he can design a SS device that is indistinguishable from tubes. So, its very quiet but has very nice tube-like qualities. Tim's a genius on the order of a Nelson Pass, IMHO.
     
    Last edited: Mar 6, 2020
  9. Puma Cat

    Puma Cat Friend

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    Sure.

    The amplification components are tube-based. The Conrad-Johnson LP70S power amplifier at bottom center is C-J's class A/B linear pentode design topology that represented their TOTL in amplifier design prior to the debut of their current ART range of amplifier designs. It outputs a very conservative 70 Wpc; which is plenty for the small space I live in. I use it with Tung-Sol KT120s, that sound better than the original spec 6550s. The input stage tubes are Ediswan 6922s which are a very good match for this particular circuit topology.
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    The preamp is a First Sound Paramount Deluxe Super Special Edition on an evaluation loan from a friend. It utilizes separate dual-mono amplification stages within the single chassis. Additionally, internal to the external chassis "shell" that you see is an full copper Faraday cage that completely encloses and shields the amplification circuitry from external RFI and EMI. Hence, there are a duplicate set of controls, for volume, source, etc. Each volume control uses separate, very high quality metal-film resistors for each gain step.
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    Each mono preamplifier circuit also has separate and sophisticated signal grounding. The power supplies for each channel are external with 2 custom transformers per box (i.e. channel). These are the two large black boxes in the lower shelf to the left and right of the power amplifier, respectively (with the die cast car models sitting on top of them)
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    They are connected to the "main" center console control chassis with bespoke power umbilicals from Shunyata Research. Additionally, the preamp utilizes a multi-phase differential array from Shunyata Research to filter incoming AC line noise for each channel. This dual-mono design with external dual mono power supplies results in an EXCEPTIONALLY quiet and transparent preamplifier that is neutral but not cold in overall character. With its massive dual power supplies its also incredibly dynamic and fast.

    My own preamplifier is a Conrad-Johnson CT-5 composite triode design that is based on the formerly C-J SOTA Act II Series 2 design. it is very similar in overall character to the First Sound as both pres use a single tube per channel and very simple circuit topologies. It just doesn't have the trick dual-mono design and massive external power supplies. It pairs very well with the LP70S power amp, as one might expect as they were designed in the same exact time-frame.
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    The DAC is basic Schiit Gungnir Multibit with Gen 5 USB. You guys know all about this. It's great-sounding DAC.
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    Power distribution is also posted here as there is no dedicated forum for power distribution (apologies).

    Power distribution is provided by a Shunyata Research Denali 6000/S V2. Power cords for components are Shunyata Research Sigma NR, Alpha NR, Delta NR and Venom NR (noise-reducing).
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    Of all the improvements I’ve made in my system in the last 10 years, the improvement in the quality of power and use of power cables is the most significant. Key attributes for a power distributor and power cables is the ability to dynamically deliver current during musical transients, while simultaneously reducing noise. The Shunayta Research power distribution and power cables products are the best I’ve heard and used, by far. The Shunyata Denali 6000/S V2 provides > 68 dB of noise reduction with virtually no impact on dynamic current transient delivery (DTCD). The Shunyata Sigma, Alpha, and Delta NR (noise reducing) power cables prevent noise from coming back out of the components internal power supplies to contaminate the rest of the power system while not impacting dynamic current delivery.

    All the digital devices e.g. the EtherREGEN, SMS-200s Network Bride and Mac Mini are powered by Shunyata Venom V14D digital power cords.
    The Venom V14D Digital power cables came out of Shunyata’s sister company, Clear Image Scientific, for reducing noise in medical imaging applications, e.g. digital heart monitors, and are specifically designed to reduce noise in digital devices, e.g. routers, Ethernet switches, fiber media convertors, and their respective power supplies (see link to YT videos for demo).
    YouTube videos I made demonstrating the performance of Shunyata NR power cords with data are here:



    The power distribution system provides an extremely low and quiet noise floor that lets me hear deeply into the presentation and is responsible for a much more involving and engaging experience.
     
    Last edited: Mar 6, 2020
  10. Puma Cat

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    Last edited: Mar 6, 2020
  11. wbass

    wbass Friend

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    Great stuff. And very thorough. Thanks for sharing.
     
  12. JohnCarter17

    JohnCarter17 Facebook Friend

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    [​IMG]

    Rega RP-6
    Exact(2) Cart
    deerskin mat
    Groove Tracer subplatter
    Rega white belt
    MNPCTech adjustable feet
    NEO PSU
    IKEA butcher block with Herbies big fat dots (changing that soon)

    RP6 -> Tavish Adagio (partially visible) -> Pioneer 1050-SX -> Ascend Acoustics Sierra Tower w/ RAAL
     
    Last edited: Jun 3, 2020
  13. Puma Cat

    Puma Cat Friend

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    Yep, those IKEA boards work well. Something to consider when changing out the Herbie's Big Fat Dots are the EVPs from Norm Varney at A/V Roomservice. These are the best isolation footers I've used to date.
     
  14. ogodei

    ogodei MOT: Austin AudioWorks

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    My audio wall build is finally done ! My audio room, which has been dust, wood, and tools for three months finally has audio gear again & the turntable I bought last year is finally up and running.

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    Im gonna sit back and relax a few minutes before starting into phase 2, acoustic treatments for the rest of the room.
     
    Last edited: Jun 12, 2020
  15. fraggler

    fraggler A Happy & Busy Life

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    Gorgeous, Steve! Did you do all of this yourself?
     
  16. ogodei

    ogodei MOT: Austin AudioWorks

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    I forced the wife to help with some of the staining but otherwise, yes. When they announced the lock down I ran out and bought the remainder of the stuff I needed and this has pretty much been my life since then.

    Only thing left is building\installing absorption panels behind the maple diffusor doors and installing additional framing around the Genelec monitors. They're made for in-wall and they sound like crap just sitting on shelves right now.

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  17. Tobes

    Tobes Acquaintance

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    Have my old VPI TNT up and running with a Grace G-1040 arm I bought in 1982 - sounds great!
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  18. Thundervikings

    Thundervikings New

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    Trying out a new cart (VM540ML) on my Denon DP-45f (Schiit Mani on the right). I want to try playing around with azimuth next week, and I'm already thinking about restoring some of the internal electronics on the table (new caps, inspecting everything, etc). I forgot how much fun it is to run through a stack of records.
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  19. sphinxvc

    sphinxvc Gear Master (retired)

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    [​IMG]

    My analog rig has finally come back together and has stabilized, so it's time for a photo op.

    It's a Zephyr MIMC ✰ ES -> stock Technics 1210GR -> DIY Pearl II

    It took a while to liquidate past mistakes, cleanse my palate for about a year or so, and then come back into analog. This is definitely my goldilocks zone, a level of price and performance I can live with (some items bought used), and it sounds f'ing good.

    The Pearl II isn't situated properly yet. It's a very quiet preamp, but it needs distance from nearby transformers, including its own power supply, to reach its blackness potential.

    I'm also posting this because I have a couple of interrelated analog updates for the forum, but they don't fit into any one thread, so it's easier to post in this general thread.

    We did a masked shootout recently and the results should be helpful to many of you.

    Phono shootout - iFi iPhono 3, Soundsmith MCP2 MKII, Pearl II
    The guys I mention below and myself have been on the hunt for extremely high performance-to-price ratio pres to go along with our performance-to-price focused 1210GRs for most of this year. We've been chatting often, and in the end, everybody went in a different direction. We were able to get together last week to compare on the same rig. The rest of the system was reliable, being one we've done many shootouts on in the past: a Zephyr MIMC ✰ -> VPI Classic Signature with 3D arm -> (phono) -> Phil 3-based system.

    The short version of this is that the iFi iPhono 3, while good and flexible, was a bit overshadowed by the other two. The MCP2 MKII is the most clear, detail retrieving, deep digging, malparido, hijo de puta pre I've ever heard. Most of my records need therapy after the MCP2 had its way with them. The Pearl II was capable of the same levels of digging, but its presentation differs considerably. It provides a sense of 3D space on almost all records. Where the MCP2 will serve you all images, clearly dilineated on a massive wall-like wavefront, the Pearl II will put those images in a foreground, middleground, background type arrangement. So far I've preferred the Pearl II on most records, where the sense of space enhances my immersion. But on some tracks, where lets say there's an outstanding musician in the background, and some comparatively less interesting vocalist yelping for attention in the foreground, I would much rather be listening on the MCP2, where everyone is equal and I can just mentally focus on what I want, instead of having the Pearl II "decide for me" (so to speak), and having to try to "hear past" to the drummer or whoever's killing it in the back.

    Engagement is about the same on both as well. I was a little disappointed in the iFi iPhono 3 on the engagement front, but apart from that it didn't strike me as a pre that did anything wrong. Its reputation for quietness is well deserved, but it was matched on that front by the other two so in this case that wasn't really a plus. I've had all three running this week at home and I can't say I've heard any meaningful or consistent tonal differences between the three.

    VPI Classic Signature and 3D arm vs. Technics 1210GR and stock arm
    This is the 2nd reason we got together. @Dr. Higgs and I now both own the Zephyr MIMC ✰, but I have the ES version (basically just a newer body). And having the same cart meant we could do back-to-back turntable comparisons on the same phono too. The short version of this is that the VPI Classic Signature is better, but not by much. To me, the difference came down to the heft of details presented. The Classic Signature's images seemed hewn from stock, like a deep relief, or the carved image on a block used for Japanese prints. The Technics images seemed liked the print itself. The same image, but on paper. This difference made the VPI more engaging for me. I couldn't hear much else that was meaningfully different. The resolution seemed about the same, tonality about the same.

    Quick comparison of a stock DL103R vs. Zephyr MIMC ✰ on the Technics using detachable headshells
    I think this wasn't as close for me as it was for the others. The stock DL103R was good, but the MIMC ✰ was better all around, more extended, smoother, and just generally made its presence less obvious to me. Retip and repotting/body makes it much more competitive probably.

    Note on the ease of use and cases of the iPhono 3 and MCP-2 MKII
    Both are small footprint, which I appreciate. The weight of the MCP-2 MKII is better, it's heavy metal. The ground lug on the iPhono 3 is a special bitch to use. The unit is so light you can't unscrew it with one hand and insert the ground spade with the other, you need a third hand to hold the unit down. The lug is also too close to the bottom of the unit and too close to the RCAs. I call these features GroundFail™. On the MCP-2 side, I don't like the variable wiper pot for loading. It's good for demonstrative purposes. You can hear the effect of loading while music is playing, but for a company whose LOMC carts all recommend >470R, a few discrete options like 470R, 1K, etc. would be better. I guess this is just a preference thing on my part so I wouldn't really call it a fail.

    Kudos to @Gaspasser for sending up the iPhono 3, @Hooncake for bringing and then letting me borrow MCP2 MKII, and @Dr. Higgs for hosting.
     
  20. sphinxvc

    sphinxvc Gear Master (retired)

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    I forgot to mention one thing about the VPI vs. Technics comparison: pitch was noticeably different. The VPI almost sounded too slow on some tracks. Classic belt vs. DD differences we've all read about. A few years ago I had the chance to hear the same record on an idler vs. belt back-to-back at @shaizada's house. With these experiences imprinted on me, I think DD is the sweet spot. Idler kind of sounds like it's on adderall. Belt has a tendency to sound like it's smoked a blunt. DD's sober.
     

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