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MessagePosté le: Sam 10 Juil - 12:59 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Bonjour,

Ce matin, brocante pas loin de chez moi et je décide d'y aller, histoire de voir si je trouve quelques LPs en état; le plaisir du vinyle, quoi ! J'en trouve deux qui semblent impeccables.
Un peu plus loin, je tombe sur un vendeur qui vend du vieux matos audio (électrophones, platines, amplis...) et qui a aussi un stock de diamants et cellules .Je fouine un peu et je trouve un diamant Shure N 91 ED, d'origine "Hi TRACK" dans sa boîte "made in USA" avec sa notice : il me le cède pour 30 euros . Je vérifie que l'élastomère n'est pas durci et l'affaire est faite.

Installé dès le retour sur ma M 75 et roule ma poule : c'est du tout bon. j"attends quelques heures de service comme il convient pour apprécier cette acquisition ! Okay  J'ai mis une VTF de 1,5 gr qui semble convenir.

Pour info, ce vendeur est sur le bon coin et a encore une M 91 ED neuve avec son diamant pour 60 euros.

Bruno.

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MessagePosté le: Lun 12 Juil - 17:26 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Bonjour,
Mes impressions après une vingtaine d'heures d'écoùte :

Comme toujours avec un diamant neuf, je ne sais pas si c'est subjectif, le rendu s'améliore au boût de quelques heures. J'ai toujours l'impression que c'est un peu "raide" au début.

Les plus : Par rapport au diamant .4 x .7 µ (N 92 E)  il y a meilleure définition et une meilleure séparation des pupitres avec une image stéréo plus large. Le gain le plus important est la lisibilité sur les fins de faces de LPs : là il n'y a pas photo. Le final de la 9ème de Beethoven avec les choeurs et l'orchestre fortissimis est beaucoup plus net et aéré.

Les moins : une plus grande sensibilité aux rayures et défauts des disques avec même certains qui "sautent" alors qu'ils ne sautent pas avec un diamant plus basique. Le grave semble aussi plus "punchy" avec le .4 x .7, quoique moins profond. Je pense que çà vient de la compliance plus faible de ce dernier (?).

Au début je me demandais même si les moins ne l'emportaient sur les plus ! Sad  

Maintenant je pense plutôt le contraire   Smile   mais je continuerai à tourner avec les deux diamants : le .2 x .7 (N 91 E) et le .4 x .7 (N 92 E). Ce dernier n'est d'ailleurs pas mauvais et très économique !

Autre chose : je n'ai pas de microscope mais en regardant avec une bonne loupe j'ai l'impression que mon N 91 E est un diamant "nu"  (transparent sur toute sa longueur).  Question  

Bruno.
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MessagePosté le: Mer 14 Juil - 09:34 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Bonjour,

Je me réponds à moi-même mais je reviens sur ce problème de règlage d'antiskating que j'avais déjà évoqué ici :
 http://lenco.reference.xooit.fr/t694-Reglage-antiskating.htm

Si j'applique les recommandations du manuel Lenco :
avec un sphérique, aucun problème,
avec une elliptique .4 x .7, je dois légèrement réduire par rapport aux recommandation (1 encoche en dessous),
avec un elliptique . 2 x .7 je dois règler bien en dessous des prescriptions sinon ça saute souvent (reste sur place) : par exemple je dois mettre le poids de 1 gr à l'encoche n° 5 au lieu du 4 gr au n° 2 (pour 1,5 gr de VTF). Ce problème ne survient pas sur tous les disques, certes, mais certains passent bien avec un diamant plus "gros" et pas avec celui-ci.

Personne n'a rencontré ce problème ?

Bruno.  
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MessagePosté le: Mer 14 Juil - 17:07 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

nimbus a écrit:
Bonjour,
Je me réponds à moi-même mais je reviens sur ce problème de règlage d'antiskating que j'avais déjà évoqué ici :
 http://lenco.reference.xooit.fr/t694-Reglage-antiskating.htm

Si j'applique les recommandations du manuel Lenco :
avec un sphérique, aucun problème,
avec une elliptique .4 x .7, je dois légèrement réduire par rapport aux recommandation (1 encoche en dessous),
avec un elliptique . 2 x .7 je dois règler bien en dessous des prescriptions sinon ça saute souvent (reste sur place) : par exemple je dois mettre le poids de 1 gr à l'encoche n° 5 au lieu du 4 gr au n° 2 (pour 1,5 gr de VTF). Ce problème ne survient pas sur tous les disques, certes, mais certains passent bien avec un diamant plus "gros" et pas avec celui-ci.

Personne n'a rencontré ce problème ?

Bruno.  

La mise au point de l'AS avec ce manuel ancien est approximative je pense. Le mieux c'est de tester l'AS avec un disque de test comme p.ex. le HFN qui permet d'ajuster l'AS. Et encore!!! J'ai eu parfois des résultats aberrants avec certaines cellules dont la Denon DL160. C'est évident qu'avec les élliptiques les réglages sont beaucoup plus ardus qu'avec une sphérique. Plus la taille du diamant est petite, plus il faut de précision au réglage. Avec une .2x.7 pas toujours évident. Mais elle devrait pas sauter aussi facilement. Vérifie encore la force d'appui, utilise la valeur maximale admise ensuite vérifie encore une fois l'alignement de la cellule. Seulement après tu règles l'AS. Perso j'utilise mes oreilles pour cela :
je mets l'AS à une valeur assez basse, p.ex. la moitié de la force d'appui. Si le haut-parleur de droite ne sonne pas assez fort, j'augmente l'AS petit à petit jusqu'à ce que le HP de droite soit au même niveau que le gauche, enfin tu entendras quand tout se met en place ...

A+ hats off
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MessagePosté le: Mer 14 Juil - 23:25 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Merci, ça me rassure de voir que je ne suis pas le seul à batailler avec l'AS et qu'il ne faut pas trop se fier aux indications.

Je me demande si le meilleur règlage n'est pas à l'oeil (avec une bonne loupe quand même) ?

En fait j'ai règlé l'AS quasiment un bon tiers en dessous de la valeur du manuel et ça a l'air de bien fonctionner sans sauter avec des niveaux D-G assez équilibrés. La VTF est au maximum (1,5 gr) et l'alignement est bon (autant que possible !).
Et je suis enchanté de mon acquisition : au bout d'une trentaine d'heures de service la restitution est d'une grande finesse avec beaucoup de naturel et les bruits de surface sont bien moins présents qu'au début. j'adore
Y a pas à dire, les diamants d'origine, c'est autre chose !

Bruno.

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MessagePosté le: Jeu 15 Juil - 17:25 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Hello, Bruno and Nimbus.

I used to use this cartridge: Shure M91ED Type II (Type II is the second version of the stylus). Permit me to make a few points:

- The measurement unit for the tips is American, and unfortunately, not in your sensible metric system.

- The cartridge is a good one. However, I have doubts about the quality of Shure's original styli for it after Shure moved all their needle manufacturing to Mexico. With elliptical and more advanced tips, the aligment of the diamond on the cantilever is critical. As far as I know, Shure never manufactured their own needle assemblies. When we evaluate a cartridge, there is much about it that we have to take on faith.

- I found that this cartridge/stylus is very sensitive to its vertical tracking angle (actually, the tip rake angle). In particular, it's important to ensure thaat the cartridge isn't mounted with a forward slant. Of course, the exact perfect angle is best determined by ear. The rake angle will change when your VTF is changed.

- You can use needles for the M75 with this cartridge. Aside from the obstructive plastic shrouding, the two cartridges are identical. This will give you more choices of styli, assuming that you can find them! Shure's practice of intentionally preventing stylus interchange this way was one reason why I came to dislike the company.

- My experience with the two tip sizes, .2 x .7 vs .4 x .7 is the same as yours. I recently revisited the .3 x .7 size and I found it to be excellent for classcial music. As you can imagine from what you have heard, the .3 mil tracing radius is in between the two that you have tried. The problem is that Shure avoided this size.

- I was happier with the Stanton brand, and so, I gave up using my Shure cartridges. My reason for going with Stanton was because I felt that Stanton was both much more practical as well as being straightforward about the technical details: you could figure out what you were buying, and all the parts fit together when you wanted to make stylus changes. Stanton offered the .3 x .7 tip size in the Pickering line (the XV15 range).

- Stanton still offers the .3 x .7 tip in their two remaining cartridges that are suitable for good home listening. The company is totally different than it was when Walter Stanton was alive, and I'm well equipped with styli from the 1980s, so I have no idea what their present quality is like.

- I believe that the .3 x .7 mil stylus has become the "universal elliptical" of today. Thus, I think that you can find this tip in other brands. I don't have the metric size handy. But with this tip as today's standard, we may be in luck.
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MessagePosté le: Jeu 15 Juil - 20:07 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

G. day Richard.

The metric conversion is (approximately) 8 / 18 µm for .3 x .7 and  5 / 18 µm for .2 x .7.

The stylus i ave buy is an old stock original Made in Usa and he feel very good ! 
Effectively, i have adjusted the VTA with a slight tilt backwards and it sounds better (with the maximum VTF at 1,5 gr). The main difficulty is the trimming of antiskating I put a value lower 1/3 to the recommendations Lenco for good tracking !? But I think that antiskating exactly which increases proportionally with the VTF is a misconception.

Maybe later I'll try a SAS stylus, or I go to another brand in .3 x .7 (probably Ortofon, it is good distribution in Europe). Stanton or Pickering products are not very well distributed in France.

This time I enjoyed a good deal and I'm happy. Smile


Best regards.

Bruno.

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MessagePosté le: Dim 18 Juil - 23:25 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Hi, Btuno. You wrote,

Citation:
The stylus i ave buy is an old stock original Made in Usa and he feel very good !


I suspect, then, that your stylus is very old, from Shure's American supplier. Between the M91 and the M75 range, I believe that the M91 was more popular. Despite this, Shure improved the M75 later when they introduced a parabolic replacement stylus for it, but not for the M91. And Shure also dropped needes for the M91 much earlier than for the M75. Readers should understand that when I write " M91" without the stylus designation "ED" or "ED type II," I'm referring to the cartridge body for a series of needles.

Code:
Effectively, i have adjusted the VTA with a slight tilt backwards and it sounds better (with the maximum VTF at 1,5 gr).

Exactly. This has been my experience with a few different cartridges. I believe that the record companies increased their cutting angles repeatedly during the stereo age, so the cartridge makers followed. But, the cartridge people did this to excess, and this caused mis-tracking with the older stereo records (in general). Just a theory. Also, as we increase tracking force, the cantilever flattens out, reducing the tracking angle.

Code:
The main difficulty is the trimming of antiskating I put a value lower 1/3 to the recommendations Lenco for good tracking !? But I think that antiskating exactly which increases proportionally with the VTF is a misconception.


This is a matter that's very difficult to master. I once discussed this with a cartridge engineer when I visited Stanton's headquarters. He did not have a firm formula for it. A former scientist-member of François' old Lenco board, Lenco Lovers, made a crude test device which disproved a theory of mine about the change in skating force depending upon the actual diameter of the groove being traced. He found it to be consistent. This surprised me, but I must accept it.

The Stanton engineer offered a crude formula to me: an estimated 10% of the vertical tracking force. However, he pointed out that records are made of different materials, and that we are dealing with friction. And I'll add to this something that Lencophiles (and probably other phono students) have discussed only in recent years: that modulation intensity and complexity cause belt drive turntables to slow down during "difficult" passages. Or, perhaps, for the belt to stretcch inconsistently, therby causing meandering speed. I want to add, too, that our American LPs were often pressed in inferior quality vinyl relative to your records in Europe. Thus, to provide an acceptable signal-to-noise ratio, our cutting engineers used stronger modulation (and our records would wear poorly: we need better-tracking needles over here!).

So, since we must live in a world of records that "won't obey the rules." we must come up with a way to live with them without going crazy having to re-set our tone arms for each recording. Setting the vertical pressure too light wears records more severely than setting the pressure too heavy. Therefore, I suggest that the solution is to set the anti-skating at some figure (let's say, 10% of VTF) and the pressure a bit heavier than our ideal.

One accepted rule is to set the VTF at the manufacturer's maxiumu, minus 10%. Another accepted rule is to simply use the manufacturer's maximum force. I'm interested in knowing what force you find the best for your Shure M91ED (type 2, yes?).

Citation:
Maybe later I'll try a SAS stylus, or I go to another brand in .3 x .7 (probably Ortofon, it is good distribution in Europe). Stanton or Pickering products are not very well distributed in France.


I'm sorry to say that I don't think that Stanton has good distribution anywhere, not that I have much use for almost all of their current products: I'm not a disco junkie. But there are two cartridges of interest in their current production. Pickering is a dead brand, although I believe that Stanton has recently made one cartridge/stylus under the brand for an English retailer. This is a traditional Pickering standard-mount version of a current Stanton P-mount model. It may be worth owning. However, I'd be more interested in the model that is currently named either "680 Hi-Fi" or "681EEE Mk. III." I'm pretty sure that all of these cartridges have a .3 x .7 mil stylus. I like the sound of this tip size for classical music.

And, finally, remember that you can have a stylus re-tipped by Expert Stylus, in London. This is a very good alternative to the risk involved with buying an unknown aftermarket needle. Expert Stylus can put any tip that you want onto your present cantilever. They have professional customers all around the world.

After all, despite what some audiohiles have been posting, there are the two bad aftermarket styli that I referred to earlier: the ones that François sent me. Therefore, at this point, aside from one American who has only a small few styli custom-made for his own sale, there are no aftermarket sources of high-quality needles whom I feel that I can trust.
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MessagePosté le: Lun 19 Juil - 11:22 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Hi Richard,

Richard a écrit:
One accepted rule is to set the VTF at the manufacturer's maxiumu, minus 10%. Another accepted rule is to simply use the manufacturer's maximum force. I'm interested in knowing what force you find the best for your Shure M91ED (type 2, yes?).



I have the best results at the VTF max (1.4 grams - 1.5 grams) but I should try with less and more inclined towards the rear.
We must also consider that the arm of the L 75 is heavy.

The sound with this diamond (M91ED) is very hot with a beautiful midrange and treble without harshness.
But I wonder if with this cartridge I do not lose a bit of dynamic, is the high quality of the L75 and I had more with my stylus .4 x .7 (compliance with 15)?
I would be interested later by a low compliance cartridge with fine size stylus (and not MC cartridge !).

You knows that ?

Bruno.

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MessagePosté le: Lun 19 Juil - 23:57 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Bruno wrote:
Code:

I have the best results at the VTF max (1.4 grams - 1.5 grams) but I should try with less and more inclined towards the rear.
We must also consider that the arm of the L 75 is heavy.


My L75 arm is slightly modified. I have had excellent results with a stylus that I estimate as having a compliance of 17, maybe 20. In my mind, the L75 arm is "medium mass."

Citation:
The sound with this diamond (M91ED) is very hot with a beautiful midrange and treble without harshness.


Please make sure to always give the complete name of the cartridge or stylus. Are you talking about the "M91ED" or the "M91ED Type II?" Thank you. My hunch is that the Type II may have a higher stylus rake angle than the original version. When I used the M91ED Type II, it was in arms that were not parallel to the records, but had a downward slant. There was mis-tracking distortion and record wear with new styli was unacceptable. But since then, I have learned the importance of adjusing the VTA.

Citation:

But I wonder if with this cartridge I do not lose a bit of dynamic, is the high quality of the L75 and I had more with my stylus .4 x .7 (compliance with 15)?


Again, I am not certain which stylus you're talking about. Which is it? Shure did not make .4 x .7 styli that tracked in the lowest pressure range. Shure grouped their needles with a certain logic. .4 x .7s usually were intended to track at a minimum force of 1.5 grams. The "ED" designation meant "Elliptical Diamond" that tracked at a top force of 1.5 grams. I believe that these were usually named "EJ."

Audio Technica made a number of .4 x .7 styli designed to track at low force. Stanton only offered this stylus size at low force in one obscure Pickering cartridge. But they made low-force ellipticals in both .2 x .7 and .3 x .7.

Citation:
I would be interested later by a low compliance cartridge with fine size stylus (and not MC cartridge !).
You knows that ?


I'm not sure that I understand your question. I apologize for not knowing your language, Bruno (nobody has offered to help me learn French yet).

As you probably expect, a fine stylus size (by which I assume that you mean .2 x .7) presents us with a bad problem. With lower compliance, more downward force will be required. This tip is so "sharp" that at more force, the stylus will eat the record grooves. This is one reason why the .2 x .7 is not my favorite elliptical size. I suspect that I will come to prefer the .3 x .7. I may or may not have a few of these. Unfortunately, Pickering changed from .3 to .2 mil tracing radius without changing the needle designation. Thus, I have to figure out what I have. Regardless, these needles sound wonderful on some difficult classical music. I just don't know exactly what they are!

If you examine cartridge specifications, you can see whether other cartridge makers offered medium-force .2 x .7 tips. I have not gone further than what I wrote above.
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MessagePosté le: Mar 20 Juil - 18:33 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Good day Richard, After reading your post, some details:


My cartridge is an M75 type II (the same body as the M91ED type II, I think) slightly modified (cut plastic) for receiving the stylus N91ED and other Shure stylus, according to the method that you can see here:
http://www.vinylengine.com/phpBB2/viewtopic.php?p=110605#110605

I installed the stylus N91 ED type II (yellow) on the M75 type II cartridge and it works very fine with 1.4 gr VTF and 1 or 2 degrees of backward tilt.

The other stylus i use is the N92E (.4 x .7, current version) equivalent to EJ type but which has a compliance of about 15 and seems more dynamic (but less good on details and distressed on the inner groove).


My other question was: What manufacturer offers correct MM cartridge (and not too expensive) with low or average compliance with a fine tip (.2 x .7 or .3 x .7 or .5 sphérical) and light cantilever?

In my mind the low compliance cartridge can be more dynamic with an arm medium-heavy. Question


Hi
Bruno.

PS: the stylus Zafira were good until the early 90's but then the production has changed and today are absolutely avoid !
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MessagePosté le: Jeu 22 Juil - 05:06 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Bruno asked,

Code:
My other question was: What manufacturer offers correct MM cartridge (and not too expensive) with low or average compliance with a fine tip (.2 x .7 or .3 x .7 or .5 sphérical) and light cantilever?


My head has been buried in Stanton, and I have just about finished my "handbook" to the Stanton/Pickering cartridges from their "golden" period 1979-1990. It's 38 pages (in English). Stanton was a brand that was easy for me to understand because it was possible to figure out what they sold. They never hid the customer's ability to interchange styli, nor made it difficult. This was directly opposed to Shure's practice.

The link that you provided to Vinyl Engine is interesting to read. It is sensible. I recall that on the old Lenco Lovers board, at least one person had good results with his Shure cartridges when he removed all the plastic shrouding and just used the body. Shure made good cartridges. I just preferred Stanton's, which were always more practical.

I do not think that it is good to use a .2 x .7 mil tip on a low-compliance cantilever. I also don't think that a .5 mil conical tip is a good stylus for all-around use. It should be used at fairly light force, probably not more than 2 grams.

Citation:
In my mind the low compliance cartridge can be more dynamic with an arm medium-heavy.

I think that this depends on a few different factors.


Citation:
PS: the stylus Zafira were good until the early 90's but then the production has changed and today are absolutely avoid !


Zafira came into the United States during the mid 1980s; I think that they bought another aftermarket needle company in Florida. I still have their catalog and other literature. I dislike their catalog. One electronics store not far from me decided to replace their former dependable replacement stylus brand with Zafira. I bought one of the styli for a customer. It was so badly made that I had to rebuild it with some of the parts from the needle that I was replacing. After that, I would never consider Zafira again.

I think that the best option for the type of stylus that you are interested in is to have a worn-out one with the characteristics that you want, and send it off to Expert Stylus to have it re-tipped with the exact size that you want.
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MessagePosté le: Jeu 22 Juil - 11:08 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Richard, i agree with that :

Richard a écrit:

So, since we must live in a world of records that "won't obey the rules." we must come up with a way to live with them without going crazy having to re-set our tone arms for each recording.


We do need to accept imperfection and imprecision that accompanies the reading of vinyl records !
The same problems arise for the unknowns VTA!
This is also why it does not seem unreasonable to buy very expansive components "hight end".

I use the N91ED with a VTF of 1.4 gr "a precaution" (It's psychological !) but I believe it is best read with VTF 1.5g max.

Hi, Bruno.
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MessagePosté le: Ven 23 Juil - 22:04 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Nimbus wrote:

Citation:
We do need to accept imperfection and imprecision that accompanies the reading of vinyl records !


There were two times in my life when I gave up on hi-fi in disgust. The stories about these events are good, but I don't want to take the time (or space) for them now.

I have come to believe that there are two, maybe more, types of people who like good sound reproduction. I don't have quite the right words for them, but I will begin.

Audiophiles: these are people who do not listen into music very deeply, but are addicted to the qualities and minutae of sound.
Musicophiles: these people are involved with music, subtleties of musical performance, musical lines, counterpoint, musical expressiveness, emotional content, etc.

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This is also why it does not seem unreasonable to buy very expansive components "hight end".


And in this, we have the substance of an entirely new topic. To me, it is a very important one. (I think that you meant reasonable. But I admit that my French is a lot worse than your English!)

If the recorded world consisted of marvelous performances of marvelous music reproduced in our living rooms with exquisite perfection, this world would be wonderful. But it does not. Most of the reorded music world consists of perfect recordings of mediocre musicians. Or terrible recordings of wonderful musicians. And wonderful recordings of wonderful musicians that are chewed up by having been played, dirty, with worn-out needles. And there are times when we are rewarded with great musicians performing great music, impeccably recorded. The Nimbus record company (of your name) produced some of the best of these. The vast majority of LPs were not of audiophile quality.

These realities are a reason why I have been so interested in stylus designs for so many years. How can we obtain musically satisfying sonnd reproduction from the real records that we have?

It is not much of a problem to buy a sound system that plays perfect records. All it takes is a lot of money. Being able to extract the music from bad records is more of an art. This is a real challenge. And one cannot always do it.

Glenn Gould was a pianist who could be pretty awful on a bad day. But on a good day, he sat at the right hand of God. In 1959, Columbia recorded his performance of Bach's 4th Harpsichord Concerto in A Major, BWV 1055, conducted by Vladimir Golshmann. All the analog releases of this suffer from excessive production work, too many intermediate mastering stages. The sound covered in a patina of distortion and dynamic flatness. This was true of the LPs and also the cassette tape reissues. It has been only by digitally re-mastering from the analog mastertapes that we can finally get decent sound from this recording on CDs. The CD is "opened up" for the first time. Ironically, the sound of this same recording was improved when it was used for the film Slaughterhouse Five. But without this CD, I'd be stuck with the mdeiocre LP forever.

For many other great recordings, however, I am stuck with mediocre LPs because that's all that there is.

I have a few pairs of loudspeakers. One set are studio monitors, made for that purpose. They're wonderful speakers. I can hear every bit of bad microphone technique in the original recording. I can hear the effects of a microphone that's too close to the trumpet because it sounds like the trumpet is being blown directly into my head. Therefore, I have a second pair of decent, but duller, speakers. They're wonderful for dark, moody music, such as the opening of Bartok's Concerto for Orchestra. These speakers have tweeters that are protected with automotive dome light bulbs, and this is the source of the dullness. So, which of these speaker pairs are the most musically satisfying? This depends upon the music and other factors.

On the subject of needles it's much more complicated.
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MessagePosté le: Sam 24 Juil - 21:47 (2010)    Sujet du message: Aujourd'hui est un grand jour Répondre en citant

Richard a écrit:
Citation:
This is also why it does not seem unreasonable to buy very expansive components "hight end".


And in this, we have the substance of an entirely new topic. To me, it is a very important one. (I think that you meant reasonable. But I admit that my French is a lot worse than your English!)


Yes, exact, should read not reasonable !

I think only about 20% of my discs have a good quality recording and pressing. For the remaining 80%, my system is playing much better than they deserve.

We must therefore find a compromise that does not spoil the pleasure of listening to the music we love, and no more.
 
A French proverb says that "the best is the enemy of good", this is particularly true in the field of music playback where you can quickly get into a vicious circle full of disappointments!

I had a few years ago my quest for perfection "audiophile" but I have since healed and I am all the better.
Today I just ask my system to be forgotten in everyday life.
In the reading of the LPs I can pass over the crackle, the signal / noise, and other flaws inherent in this practice, without waiting more than she can give.

The only thing that really bothers me is the "inner groove blues" but I'm not sure we can do something for it, because I think is very concerned with the quality of the recording and pressing.

Bruno.    hats off


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