Whew! Good thing I cannot hear a difference between 1 meter and 2 meters of the same interconnect in a blind A/B test!
American Sound, "The Absolute Nothing"
- Thread starter PeterA
- Start date
So i ve got some more SQ to expect then
lol
Im using ( probably )20 year old 6 meter long interconnects stereo / cinch between my pre / power amp .
Mtemur u did like my vids so its probably due to the fact interconnects age like good wine/ whisky lol.
They cost around 30 euros at the time .
Would be now 40 euros due to inflation
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Perhaps Ron’s cable trials should be discussed in his system thread, or on a cable thread, but not really on a turntable thread. My mistake to tell Ron to do his own experiments. Thank you.
Yes, I liked your videos if you switch to a higher quality 1 meter interconnect then it will sound better.
This depends on what kind of load is being driven and the current delivery capability of the output stage (pre).Whew! Good thing I cannot hear a difference between 1 meter and 2 meters of the same interconnect in a blind A/B test!
There are other opinions on this, for example that the motor needs a constant load in order to avoid any control interventions, a defined bearing friction and a lubricant that remains the same regardless of temperature.In the past, it has produced excellent results.
Doesn’t the stylus in the groove present a constant load for the motor, even if the bearing has extremely low friction? Perhaps those who are discussing breaking or constant load are talking about a greater force against which the motor must work.
As far as the theory goes, my understanding is that stylus in the groove does present a drag, and thus a load to the motor, but it is far from constant. The stylus drag actually changes considerable with different music passages, higher drag for louder passages and lower drag for softer passages. It is exactly this constantly changing drag creating a challenge to the motor / controller unit to maintain speed.
So, some designers believe a bearing with higher drag would mask the effect of this constantly changing stylus drag. For example, if the stylus drag would change between 1g and 2g (just pick a number for the discussion, I have no idea what the exact number is) and the bearing drag is 1g, then the total drag would be between 2g and 3g, a 50% difference, which could be harder for the motor / controller to maintain speed. However, if the bearing drag is 100g, then the resulting total drag of 101g to 102g, a less than 1% difference, would be a much more consistent load to the motor controller.
That is just my understanding of the theory, please correct me if I am wrong!
Look at it this way. If you eat a lot of peas and carrots and then do a No. 1, if you're constipated and there is a lot of friction and drag on your poo, you might not notice the presence of those peas and carrots the same way than if you had a smooth No. 1. Both contain the same peas and carrots but the constipated poo masks their presence. Now ask yourself do you want smooth or rough?
Howie, many of you audio posts have references to bowl movements, is this your listening chair ?
Nah. Chair back is too high for reflections. This is much better.Howie, many of you audio posts have references to bowl movements, is this your listening chair ?
now I know where the saying comes from "a good system even sounds good on a tiled toilet"
I’ve read this thread and others about the American Sound. As a polite disclaimer ‘A cat can look at a king’ insofar as this level of audio is in a stratosphere I can only dream of. I love the absolute no compromise design whereby clearly nothing has been left to chance and it’s an obvious culmination of all that the designer has learnt over the years. It’s intriguing his love for the 3012R and my humble question posed is - is it a case that the R is just a very fine synergistic match with these turntables or is the R a universal arm that reproduces the same magic elsewhere?
'Yes' for the AS2000 and The Absolute Nothing. 'It depends' for the rest of the universe. Do a search for '3012R' on this forum and other forums. It has a lot of users -- I have one on my Monaco (replaced a 4Point) -- but if there are no examples, you'll need to trial it out.
@tima
As I recall you used to have a 4Point and Triplanar. What led you to swap the Kuzma for a 3012R? Do you still use the Triplanar?
Yes, I still have a poorly functioning SME V, a Triplanar, and the latest 4Point along with armboards foe each.. I had the opportunity to try the 3012R and liked it alot. With the Aidas Mammoth Gold II I found the pairing more vivacious and weighty in the low end, with even better tonality and dynamics than I heard with that cartridge on my 4Point -- so I decided to keep the 3012R. This was after my Mammoth Gold review done with the 4Point which I still like with the Fuuga.
I’m curious, even if others are not, to learn what about PeterA’s comment had you think he was joking. What was it?
Hi HB22,
Thought to ask what you mean by 'the last turn’?
From my viewpoint, once a platter is in motion, driven by the turntable’s motor, it’s in motion until it stops. This would make your question moot because the platter turns continuously, until it doesn’t and stops.
Do you mean ‘the last turn’ after the turntable motor is switched off? This would, at least on the AS1000 and AS2000 — and I suspect on some other turntables, be numerous ‘turns’ or rotations —unless there is a brake, as for instance on the Technics SP10 turntables.
I would like to ask about the part of your comment that states "The interaction between motor, belt/string and platter determines the speed performance”.
Based upon my experience, I would have written The interaction between motor, belt/string and platter affects but does not exclusively determine a turntable's speed performance.
There are other factors involved in the speed performance of The Absolute Nothing turntable.
Do you agree?
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Getting back on thread I assume the multiple shapes in the milling is to prevent dominant resonant frequencies. I think I read elsewhere that DDK likes steel almost as much as Brunel - I think he articulated its use on the basis that unlike say Panzerholz it doesn’t absorb the musical signal/energy. I am personally a huge fan of mass used correctly such as on my EMT 950 makes a system so calm
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