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01-30-2006 Post mapped to one branch of Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 1
Post ID: 2002
Reply to: 2002
The Foolishness of Analog People

Epigraph

"…just buy a used Micro Seiki and don’t worry about turntables anymore; built like a tank and sounds better than TTs costing over 30K USD.”
Mr. Ikeda, of Ikeda / Fidelity Research

The Main bitching
 
It amasses me how the preoccupation of the analogs people with their turntables has practically no relation to the actual sonic result that those turntables are capable off and practically entirely depends from the blown up intellectual things that have no or littlie  relation to actual sound of those turntables
 
The reason I write this article is become a see a huge lack of any common scene in turntable universe. Some folks do analog. They buy, turntables, tonearms, cartridges, phonocorrectors, washer machines, records, many other tools, they go over a huge amount of time and effort to get bet sound out of all this ridicules analog gear. Their efforts are perfectly reputed thing to do. Still, an audio a typical Moron can not escape from himself and while perusing better analog Sound the audio Morons submerge myself into the swamp of completely irrational addiction to the sings, that has no relation to better sound and   “better audio”.
 
Any audio person know that a Turntable maters. Different turntables produce different sonic masking inflictions and different performances equalizing colorations. The best of them do not impact (or even highlight) the interpretations of performed peaces and do not inflict sonic limitation to “the sound” that was taken out of LP. Sound simple, doesn’t it? Well, unfortunately the audio industry and the audio cretins who sponsor it (means you, the analog people) do not get it. The market flooded with dozen and dozen different turntables. I’m perfectly fine with a large number of $200-$500 turntables. They do not pretend to sound neutral and they cost accordingly. However, what to do with an army of $1000-$75.000 turntables that sound identically to their $500 counterparts, cost hundred times more and accompanied with all imaginable BS about their irrelevant designs, the BS structured only to convince the gadgets-minded Audio Morons the they “should be” sounding better.

Really, HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND? I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. Let leave aside that their “sounds evaluation” is as bogus notion that they only is cable to employ in their “incorrect reviewing techniques”. Let leave also aside that the reviewers are juts plain ignorant fools living in complete denial: the Fremer,  reviewing in context of his impotent playback, impotent psycho-balance and in the room with sucked of reverberation time, the Myles who detects on his turntable the seismic movement of continental plates …. playing it in on the ….. smallest Martin Logans and having his turntable sitting atop of his TV set… I can go on … but give me a break! If we leave aside ALL that crap and presume that in the contemporary world there is no way to get a public objective opinion about a turntable’s Sound then what we have left? It is correct we have left with the pure intellectual and semi-technical justifications that you, freaks, convince yourself, while you are anticipating a turntable to reproduce better SOUND. So, HOW YOUR INTELLECTUAL CONVICTION RELATES TO  ACTUAL SOUND? Good luck to answer this question.

Two or 5 motors spinning the same platter, the tension decoupling, the DC supplies for motors, the super sophisticates power sources for the motors, the NASSA’s or defense materials (this always made me to laugh), the complicated player suspensions, the crazy bearings and oiling topologies, the sophisticated allocations of masses in platters, the unimaginable decoupling and suspension ideas, the kinky idea of the vibration propagations and so on and so on and so on … Certainly this all are valid engineering points but again: HOW MUCH ALL OF THIS RELATES TO THE ACTUAL SONIC RESULTS, and particularly not the DIFFERENCES HOW A TURNTABLE PORTRAY THE SOUNDS BUT HOW IT DOES SOUND? (Not to mention that what our analog gurus-reviewers know about Sound and it’s objective assessment worth nothing). So, you the consumers, do not buy the turntables for their sound but for this intelectual justification what was done in those turntables. As the result, we have  the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy  and floaty sounding Rega turntables, rubbery  and chewy  sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … I might go on and on…. You also have the Continuum guys who very egger to convince everyone  that his software know what their turntable needs to Sound “correct” but at the same time they was playing a half of the CES 2005 their turntable at wrong speed and not able to hear that tempi-vise and tonally his $50K turntable was way off… Pathetic? Stupid?  I am not taking about the Continuum’s people but about YOU - THE PEOPLE WHO GIVE A RESPECT TO A TURNTABLE EXPLICITLY FOR THESE INTELLECTUAL DESIGN EFFORTS INSTEAD OF THE ACTUAL SONIC EFFORTS.

Well,  be advised  that if you freaks buy turntables only as an investment into a MUSEUM OF ABSTRACT MECHANICAL ENGINEERING then you do it juts as an investment into a pure relevant to sound BS. A few days ago a guy that I know bought a big turntable. The guy considers himself a rational person and he perhaps is. The turntable came with a supplemental but demanding engineering feature that I personally consider is quite bogus; means HAVING NO RELATION TO SOUND. When I asked the guy if he intend to use this feature he replied that it is a magnificent feature that has a great implication to sound. Knowing that he did not even set his TT up I asked him why he made such a statement. He replied that whoever used it told him so. Eventually he admitted that he has no one credible person who ever use the feature and that his feeling that this feature might me beneficial he pulled totally out of his own ass. Why? Because he (as well as you) wants to believe that a MORE EXTRAVAGANT ITEM IN A MUSEUM OF ABSTRACT MECHANICAL ENGINEERING PRODUCES BETTER SOUND.

Do you wont evidence that you all analog freaks are in fact are just freaks? Ok, couple months back a guy from Hong Kong, a good and reputed dealer, posted at each audio junkyard his adds that he was selling Micro Seiki RX-5000 and RX-8000 turntables. The prices were moderate but over a course of months no one cared. Then the guy to sell his Micro decreased the prices to a laughable level, giving them practically free for the price of the shipping reimbursement. The Micro Seiki 5000 and 8000 were taken then. How the funny part – why the Morons who love to talk about the turntables, about their turntable’s sound and about the turntable’s features pay their tribute to their inferior sounding $30K-$75K turntables but disregard Micro Seiki, the turntables that for a minute fraction of the price make the “audiophile” $10K-$75K turntables to sound like bogus crap. What I mean: “HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND?” The beauty of large Micro turntables is that they are simple like hell and it is imposable to make them to sound bad. Whatever you do to them dose not affect their default performance level. What kind level? Well, give me Micro 5000 or 8000 (the 5000 is slightly better sonically but has “support issues”) and I put all my reputation behind that it will SONICALLY OVERPERFORM any turntable out there (probably the .the EMT 927 would have a chance but because of different reasons). So, for the bogus believe system of an average Audio Moron the lagers Micros Seiki are dangers as if person look at the ACTUAL SOUND from Micro Seiki than he recognizes that they deliver so high sonic complexity that the entire pyramid of audio-worth that the audio-moron has pre-built in his sick head is trembling and collapsing down. Why those (some others) better turntables do not sit in the homes of the “industry leader wonna be”? BECAUSE OWNING THE BETTER SOUNDING TURNTABLE DO NOT PROPEL THE BOGUS AUDIO-INDUSTRY ON IT’S ENDLESS “REACHING THE STARS”. In the end, why the average audio hoodlums did not snatched those available Micro Seiki like a God sent gift? BECAUSE NO ONE FROM THE “PUBIC OPINION MAKERS” TOLD THEM TO DO IT.


Frankly speaking, I personally, was looking at the funny things that are going on with turntables and decided to take that reminding Micro Seiki 5000. I do not really need it: I owned and used a couple RX-1500, RX-1500FVG, couple RX-5000 and now I am using the RX-8000. When I saw the RX-5000 that was selling for the price of an elaborated cable elevators I called for some guys who I know who were on the TT market, All of them decided to pass because the cretins who they see in their audio publication did not mention for them that Micro Seiki were the “recommended components” and because the NASSA did not sponsor the Micro Seiki design..  So, the Morons month after month refused to buy them I said that it is not right. I bought this RX-5000 and will repost it at my site for $15K. I am not exactly look forward to make money on it (people who know me personally know that those $3K, $10K, or $15K would not make any difference for me, not because I too wealthy but because I do not play those games) but I look forward to propose the JUSTNESS AND JUSTNESS IN ANALOG JUDGMENT. If Micro-Seiki RX-5000 SOUNDS better then turntables that are being sold for $75K and if there are some idiots out there who scream that the $75K is a justifiable price then HOW MUCH THE BETTER SOUNDING MICRO SEIKI SHOULD COST? You figure out.

Rgs.
Romy the Cat




"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-30-2006 Post does not mapped to Knowledge Tree
tokyo john
Narashino, Japan
Posts 30
Joined on 01-30-2006

Post #: 2
Post ID: 2003
Reply to: 2002
Re: The Foolishness of Analog People
I am very jealous of people who buy a decently designed turntable that does not cost an arm an a leg, and can be satisfied with it for life. That first step they took, going from direct-driven, plastic tonearm and throw away cart TT, to a belt driven, better finished bearing TT will be the biggest step they can ever make, with most exquisite/intense pleasure of discovery. If they then get the audio sickness, they will go on to spend many many thousands of dollars, over and over, for very modest incremental improvement to sound, and will feel horrible pain in each expensive dissapointing upgrade that did not deliver an improvement anywhere close to that first step. Romy is right in that unfashionable Micros are one way to end the nightmare/hell; but I also hope his writings will not lead to an escalation of world-wide prices for used Micros!
01-31-2006 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 3
Post ID: 2004
Reply to: 2003
Fremerism as a dominating force of Moronism.

 tokyo john wrote:
… If they then get the audio sickness, they will go on to spend many many thousands of dollars, over and over, for very modest incremental improvement to sound…
Actually I do not know if this is correct. In today’s world it is virtually imposable to try a turntable. Even if one has the chance then to facilitate even for yourself any more or less objective listening evaluation is very difficult. To observe the “improvement to sound” is even more complicated as it would requite to know what to look for, most of the morn out there do not know. Also, most of the Morons out there do not use in their TT assessment the main rule  (and the ONLY rule!!!) of playback upgrade:

http://www.goodsoundclub.com/TreeItem.aspx?PostID=432

For instance when the idiot-Framer recently drooled over himself about his new TT it was fine but the ONLY one way in which I might accept his (or anyone else) comments if he was able to name the specific imperfections of his former turntable (before even listening his new one, this is very important!!!) and then, after nail down what was wrong in his previous TT, he would listen the new TT and to observe how the new TT took care about the named imperfections. Any other metal approaches are faulty. No to mention that any worlds and that partially reviewing whore are faulty.

Let forget that the people who do those TT “evaluations” as THEY EVALUATE THE INCREMENTAL DIFFERENCES IN SOUNDS INSTEAD THE INCREMENTAL IMPROVEMENT TO SOUND. What we have to remember that “many thousands of dollars” buy just many features in turntables but not the more advanced sound via a turntable. The asshole Cho-san, the chief-designer of Micro, told me that the art of turntables design is the art of recognizing and managing emotions in materials. I wonder how much of that “recognition” exists among those who just apply the mechanical concept and the sound-unrelated theories to the marketing campaigns…

Rgs,
Romy the caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-31-2006 Post does not mapped to Knowledge Tree
drdna
San Francisco, California
Posts 487
Joined on 10-29-2005

Post #: 4
Post ID: 2005
Reply to: 2002
Re: The Foolishness of Analog People
 Romy the Cat wrote:

 I look forward to propose the JUSTNESS AND JUSTNESS IN ANALOG JUDGMENT. If Micro-Seiki RX-5000 SOUNDS better then turntables that are being sold for $75K and if there are some idiots out there who scream that the $75K is a justifiable price then HOW MUCH THE BETTER SOUNDING MICRO SEIKI SHOULD COST?



To get to Boston from Manhattan, I can take a direct route in a few hours or I can go the opposite direction around the world crossing oceans and the North Pole.  It will cost a lot more and be much more of an exploration, but the end result is still I end up in the same place. 

Sometimes the fanciest, most expensive solution can be arrived at much more simply.  Romy is making a little joke about the Micro-Seiki being worth $100,000, but let's not forget that we should never equate equipment prices with sound quality.
01-31-2006 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 5
Post ID: 2006
Reply to: 2005
Price do equate with sound quality.

 drdna wrote:
but let's not forget that we should never equate equipment prices with sound quality.
Absolutely disagree. This believe is the most ridicules accomplished that audio propaganda implanted inept the brains of audio people. Equipment prices should be directly equated with sound quality, this is what price should all about and this is the ONLY rational way the pricing should be applied. The person who pay highest price must have highest sound quality and if it is not the case then the prices strategy was wrong.

In contract to this the audio industry implemented a different model were Price has no reference point to sound quality and relates only to the sound-extraneous binary justifications of production and marketing efforts. Why binary? Because those evidences are compartmentalized and encapsulated, having no relation to anything that might relates to actual sound. Take for instance an abstract well perfuming turntable. Now, add to this turntable an reservoir with heavy water that has no purpose beside juts sitting on the side of the TT. Now begin to convince yourself that a manufacturing of heavy water, separation of deuterium, hydrogen/water catalytic exchange and even the storing of heavy water are expansive presses that require a lot of infrastructure. That would be all correct but how would it be related to actual sound of the TT? 

You said that “but let's not forget that we should never equate equipment prices with sound quality. You said “sound quality” not the salable marketing concepts? How much conversation about real “sound quality” you have seen in any audio review or any price assessment of any component, not to say a turntable? The point is that sound quality is not a tradable commodity by audio industry. However, in my world there are no other commodities besides the sound quality. That is way in my “framework of perception” prices have immediate and direct relation to sound quality. I wish everyone had the same feeling and if they do then that entire idiotic audio industry along, with own artificial price setting would die out and perhaps my new buddy Mike Fremer would go back to flip the burgers in a McDonald, the place what he belongs.

Rgs,
Romy the Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-31-2006 Post does not mapped to Knowledge Tree
drdna
San Francisco, California
Posts 487
Joined on 10-29-2005

Post #: 6
Post ID: 2007
Reply to: 2006
Syntax error
 Romy the Cat wrote:

 drdna wrote:
but let's not forget that we should never equate equipment prices with sound quality.
Absolutely disagree. This believe is the most ridicules accomplished that audio propaganda implanted inept the brains of audio people. Equipment prices should be directly equated with sound quality, this is what price should all about and this is the ONLY rational way the pricing should be applied. The person who pay highest price must have highest sound quality and if it is not the case then the prices strategy was wrong.



Yes, what I should have said is that "in the real world" prices do not equate with sound quality, I was not making a comment about the ideal of how I think things should be.  Still I am kind of glad this is how it is, so that it allows a poor middle-class fellow like myself to enjoy a decent sounding stereo.

Cheers! Adrian
01-31-2006 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 258
Joined on 08-03-2004

Post #: 7
Post ID: 2008
Reply to: 2004
Re: black belt 3rd Dan in Marketing BS
"Cho-san, the chief-designer of Micro, told me that the art of turntables design is the art of recognizing and managing emotions in materials."

What the hell does this nonsense mean?

best regards,

Guy
01-31-2006 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 8
Post ID: 2009
Reply to: 2008
Nonsense? Well, perhaps, still…
 guy sergeant wrote:
"Cho-san, the chief-designer of Micro, told me that the art of turntables design is the art of recognizing and managing emotions in materials."

What the hell does this nonsense mean?
Guy, I have no idea what he meant (thought I believe I understand what he might mean), as well as all today’s TT manufactures have no idea what he might mean. Still, Micro is the only know to me company that manufactured platters with different materials to match the platter’s sound to the different amplifiers used with given turntables. Apparently it is possible by using different design criteria to make a TT to sound is a certain predicable ways. Apparently it is possible to make a TT do not have own sound. Apparently it was possible without computers, without the NASSA technologies and without the flashy advertising pages in Las Vegas-minded audio publications.

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-31-2006 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 258
Joined on 08-03-2004

Post #: 9
Post ID: 2010
Reply to: 2009
Re: the heartbroken alloy
I must have skipped the lecture on the emotions of materials when I did my engineering degree...

seriously though,

I can understand the concept of impedance matching materials, I can see that different materials would have different mechanical (resonant) signatures etc... Which amplifier was your Micro's platter optimised for? Have you had to change it as your amplifier's evolved?

emotions?  I think something was lost in translation

best regards,

Guy
01-31-2006 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 10
Post ID: 2011
Reply to: 2010
Short and off the subject
 guy sergeant wrote:
I must have skipped the lecture on the emotions of materials when I did my engineering degree...

seriously though,

I can understand the concept of impedance matching materials, I can see that different materials would have different mechanical (resonant) signatures etc... Which amplifier was your Micro's platter optimised for? Have you had to change it as your amplifier's evolved?
Actually, I very much understand what the Micro guy was trying to convey and I am not surprised that you did not study it during your engineering degree adventure.  This stuff would not be tought in schools, like many other subjects that craft the REAL engineering.  They teach nothing in those colleges besides forcing people to embrace a primitively-conventional hierarchical thinking…

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
02-01-2006 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 258
Joined on 08-03-2004

Post #: 11
Post ID: 2014
Reply to: 2011
Re: fair point
Given that most commercially produced audio equipment is originally the work of engineers, and given that most of it doesn't perform as well as one would like then it is fair to say that engineers generally haven't succeeded in applying what they have learnt to great effect. Or maybe they have but what they've learnt is simply not enough. The best products are perhaps those which get close through competent engineering and then closer still through inspiration and an acute understanding of how the resulting performance should/could be.

These items are rare because few engineers feel the need to take the performance further than 'good enough' or even have any idea what might potentially be achieved. Bean counters often further restrict their research aswell.

I am however amused by your faith in some form of mythical 'real' engineering. Does this type of engineering have any applications beyond the world of audio ie architecture, motor racing, things that fly or that protect/prolong life? I personally doubt it. Those particular fields would have little time for the 'snake-oil salesmen' masquerading as engineers that pervade audio. Claims generally need to be justified or proven in those fields. In audio, people can seemingly claim whatever they want to. No one holds them to account or sues them for incompetence.
 
I'm not doubting the competence of the Micro designer. I'm sure the turntables are more than 'good enough' but I would be interested to know what you thought he meant to convey.

best regards

Guy
02-09-2006 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 12
Post ID: 2051
Reply to: 2002
Some shades of the Micro Seiki’s bonsai.

Recently, since I‘m doing some remodeling of my turntable, there was some noise on my site about Micro Seiki turntables. I really do not want to push my site toward to becoming one of the typical audio fetish sites but in context of this thread I would like to offersa few images of Micro Seiki.

micro 8000-2.jpg

The picture above is one of the latest productions of Micro Seiki. It is Model 8000-II. It is very uncommon version as it features the poll pieces that are not made exclusively to use it with dual-pivot armboard, allowing mounting three tonearms instead of juts two. Also, it has a shorter version of supporting air-base that is not as ugly as the Micro’s standard BA-600. The owner uses a new Kusma linear tracking tonearm that took place of the right and the front arm-pivot, making it all-together this turntable very comfy. If the owner did not use the dead sounding Burmester speakers with this turntable combined with a “Die Hard: With a Vengeance” subwoofer then it would be possible to talk with the him about Sound….

micro 1.jpg

micro 2.jpg

micro 3.jpg

The 3 images above were sent to me by a visitor of my site as an illustration of an incredible madness that some Japanese turntables people might dive into. Japanese folks very frequently (and very unfortunately!!!) precipitated with a notion that natural materials would produce “natural sound”. Well, chicken feather is a natural material, why they do not use it for their tonearms? Anyhow, here is a person took a large chunk of wood (I’m sure it is some kind of Stewartia or Snowbell  tree) and converted it into a TT base using a Micro Seiki’sd platter. I have no idea how it sound and if it all make any sense but I’m sure that his wife was very pleased that he spent that weekend in the  family basement making his turntable instead of smoking marijuana in a local strip club…. :-)

Rgs,
Romy the Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-02-2008 Post does not mapped to Knowledge Tree
Dominic
Montreal, Canada
Posts 69
Joined on 08-23-2006

Post #: 13
Post ID: 8681
Reply to: 2051
Maybe i'm just being a smart-arse fool
fiogf49gjkf0d
but i think, ending up that far down the drain, he may well have been doing exactly that. Or at least inhaling a bit too much in the company of smokers.

I've been researching getting a new table, and a micro seems a nice balance of toplogy and execution.

do you happen to know which models had the air bearing?
11-02-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 14
Post ID: 8683
Reply to: 8681
Micro Seiki air bearing.
fiogf49gjkf0d
 Dominic wrote:
do you happen to know which models had the air bearing?
I have seen 777, 1500, 5000, Z1, 8000 with air suspension but I think Micro did also some lighter tables with air. All those models (with exception of 8000 and Z1) are available with no air. Micro Seiki did not have “models” in a normal sense. Micro was a mashie shop and they did run by run, making each run slightly different and customizing whatever they wished. So, the model name is not necessary descriptive to what a given TT might have as many Micro tables might have features from other “models”

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-15-2009 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 222
Joined on 01-15-2009

Post #: 15
Post ID: 9421
Reply to: 8683
RX 5000
fiogf49gjkf0d
Some more pics

2z83si1.jpg



Kind Regards
Stitch
01-15-2009 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 222
Joined on 01-15-2009

Post #: 16
Post ID: 9422
Reply to: 9421
RX 5000
fiogf49gjkf0d
 Stitch wrote:
Some more pics


FR-Arms.jpg


Fr-66s right side, FR-64s rear


Kind Regards
Stitch
01-15-2009 Post does not mapped to Knowledge Tree
RonyWeissman
Lyon, France
Posts 138
Joined on 05-29-2004

Post #: 17
Post ID: 9425
Reply to: 9422
RX5000 Pornography
fiogf49gjkf0d
With SME 3012 (Shelter 901), Ortofon RMG 309 (Orotofon S15-T) and Micro 237 (french mono cartridge early 50's, unbeatable)...

I couldn't really get the sound I wanted out of the TT until I put it on the SR stands, I envy your vibraplane but trying shipping one of those to Europe...

R Weissman
01-15-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,302
Joined on 05-27-2004

Post #: 18
Post ID: 9427
Reply to: 9425
I never thought that I would have a right bias but…
fiogf49gjkf0d

Ronny,

I found is a bit strange that you decided to use the left front leg instead of the right front leg for mounting the third SME tonearm.  If any reason why did you do it? I always thought that left front leg is the least conformable leg as the cartridge covers the point where a needle nits the record and it make it very uncomfortable to use.  When the third tonearm is mounted on the right front leg then I found it very comfy. Not to mention that the gap between the motor and platter will become very narrow and the standard 35 belt might be used. The fewer gaps take smaller footprint. One more thing: if you use some very noise-fertile cartridges then the left front leg location might be too ‘live” for them.

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
01-17-2009 Post does not mapped to Knowledge Tree
RonyWeissman
Lyon, France
Posts 138
Joined on 05-29-2004

Post #: 19
Post ID: 9443
Reply to: 9427
RX5000 arm layout
fiogf49gjkf0d
Hi Romy,

Yes there was a reason. I typically used four arms on the table, the fourth being a shorter Ortofon rmg-212. The problems with the arrangements of two shorter arms with the two longer arms with the cable exit on bottom of the micro arm (which is incompatible with my rack in any other position than right side front or back) etc. anyway you get the picture. 

Now that I am down to three arms (and seriously considering going down to two) I may switch around again. Where can i pick up a shorter micro seiki belt?

Thanks,
R weissman
01-23-2009 Post does not mapped to Knowledge Tree
Stitch


Behind The Sun
Posts 222
Joined on 01-15-2009

Post #: 20
Post ID: 9497
Reply to: 9443
Picture
fiogf49gjkf0d


Micro-Seiki-RX-5000-19.jpg


Kind Regards
Stitch
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