Peter, the room is a total bonus, indeed its the blank canvas all these impvts are painted on. A big point of my thread is to bring to people's attention that there is a LT option at a crazy low price, and that it truly overperforms.
"New" Terminator air-bearing linear tracking tonearm
- Thread starter spiritofmusic
- Start date
Most times the systems were already really great, but we react to changes in a hyperbolic way . It is a consequence of the stereo system intrinsic behavior. Most of us need and love changes to help our enjoyment of systems and music.
But surely I agree an adequate room will open new and sometimes very gratifying possibilities in experimentation.
Francisco, as my system has evolved, critically in such a revealing room, I'm finding even the smallest changes are obvious (like VTA and spkr toe in), and component and tweaks swaps are either dramatically right or wrong. This is a function of me becoming a better listener, the whole sound being more transparent and less coloured, and the room being the ultimate laboratory. The odd change sneaks thru that sounds good to start but proves less so after a few wks (lp periphery ring, eg), but this is the exception.
Marc,
I know well the effects of perfecting and managing the airflow of air bearing tonearms - I owned a Forsell with three air bearings and Eminent Technology ET2 tonearms for very long. It is why I advised you to get the best - a large tank with long pipes. First take care of pressure ripple and noise, then consider the turbulency. And yes, I am using a supplementary tank in the AF1P ...
Well, I have the long pipes - 50' w pump in adjacent space. The Q is, what pumps could I use? Terminator arm utilises a stock 250 litres/hr aquarium pump.
Well, the first thing you should ask is what his the optimum pressure at the arm input and the typical flow. Only after that we can think about pumps. I had great experience with Hiblow pumps, manufactured by Techno Takatsuki, the manufacturer of the ET and Forsell pumps, but if the air system is outside the house any inexpensive compressor will be perfect.
There was a great article in an old TAS issue about a complementary air system for ET tonearms, including a Schrader Pacific air pressure regulator - I remember that the regulator was a key element. My air system for the Forsell had three pressure meters - IMHO it is mandatory and they are really inexpensive.
Francisco, I believe Terminator runs at 2-3 PSI, but supply is high flow. I'm sure the aquarium pump I'm using is fit for purpose, and I only mention running something more bulletproof and fit for audio purpose because the idea has been put to me.
Five pounds will get you a manual blood pressure meter in any chinese shop - and it is enough for the purpose. Remember that 1 psi is 51.7mm and you can get an air T connector and tubing in any pet fish shop.
The unused air pad and pump can be very useful to built a cheap pneaumatic rack. I have also used it to start lifting heavy objects when I can't insert my fingers under them!
The unused air pad and pump can be very useful to built a cheap pneaumatic rack. I have also used it to start lifting heavy objects when I can't insert my fingers under them!
Francisco, I'm already set up, and have a variable control to my air pump. I may try a HiBlow 20, esp if it's quieter than my current Hailea pump. The updated arm seems to do a better job of taming turbulence at the arm end of things, I was just curious if there were any commercial pumps out there that excel at linear consistent air flow getting to the arm? Or are all pumps in the commercial field much of a muchness?
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Did you try adding a surge tank filled with porous materials in series with the air flow? It is inexpensive, can be built in ten minutes and was a great improvement in ET's.
Getting something I'm now aware in retrospect I've been a little lacking in. And this is primarily to do w the new arm.
Just played Herbie Hancock Empyrean Isles on Blue Note, and the sheer energy and impact of Freddie Hubbard's cornet and cavernous energy of Tony Williams' drums, are total joys to behold. This is way beyond anything I've had before, and I now have some mental checkpoints on proper dynamics in systems from hearing exemplary horns at The General, Manisandher and Blue58.
I had been really happy that boosting my analog performance w better optimisation/setup, Stacore isolation and bespoke LPS to Straingauge cart, had led to way better timbral accuracy and tonal discrimination, this now established for over a year.
But this sharp boost in dynamics, jump factor and realism, is a total suprise, and a fantastic one too. And I can only put this down to the new arm.
The chasm to live classical (we go fortnightly to concerts) just narrowed by a country mile.
I'm so glad I took a punt on the new arm.
Just played Herbie Hancock Empyrean Isles on Blue Note, and the sheer energy and impact of Freddie Hubbard's cornet and cavernous energy of Tony Williams' drums, are total joys to behold. This is way beyond anything I've had before, and I now have some mental checkpoints on proper dynamics in systems from hearing exemplary horns at The General, Manisandher and Blue58.
I had been really happy that boosting my analog performance w better optimisation/setup, Stacore isolation and bespoke LPS to Straingauge cart, had led to way better timbral accuracy and tonal discrimination, this now established for over a year.
But this sharp boost in dynamics, jump factor and realism, is a total suprise, and a fantastic one too. And I can only put this down to the new arm.
The chasm to live classical (we go fortnightly to concerts) just narrowed by a country mile.
I'm so glad I took a punt on the new arm.
Thanks Ron. I was not all convinced what appeared to be minor revisions to a great design would work. Well, cue great suprise and joy.
Update on New Terminator. It's been 5 weeks now since I installed it. No great expectations, since the design is unchanged from my previous arm, other than smaller diameter air holes, the "New" moniker reserved for changing metals used. Previously all-Aluminium, now Brass/Aluminium/Carbon Fibre.
I truly was THIS close to passing, but curiosity and audiophilia nervosa struck hard, and gave it a punt. And truly very very glad I did.
It has absolutely repaid it's entry ticket of c€1k many times over. What it has led to is a major change in how high I have my subs output into the room, and how I isolate my Zus.
The total magical thing is this locking down of start/stop bass, the low end is lightning fast, but w no lack of warmth or texture. This arm totally refutes the urban myth that air LT arms can't do bass.
This has truly clarified everything above, but more dramatically has put my imaging and stage depth on a whole new level. I'm finally getting this staging beyond the side walls that so many audiophiles report, and stage depth and placement of instruments is on a different level.
This is all recording-dependent, lots of recordings can still be a bit squeezed (my library is 70% non audiophile 60s/70s prog and fusion), but new life has been breathed into these too.
But this is a boon for my appreciation of classical and jazz as the live acoustic experience is rendered way more realistically.
So, after a decade plus of hit and miss vinyl replay, rejuvenated analog performance w my modded tt/arm on Stacore Adv isolation platform, further expanding the envelope w greater timbre and tone by sweating the details on optimal install of tt/arm/cart, and now this expansion of all parameters of performance esp bass and imaging via the new arm, my vinyl playback is super compelling, no more the variable relation to my cdp.
One final change to go. Just ordered a Kondo age-annealed 99.999% silver tonearm wire, w Cardas gold tags and Bocchino RCAs. Also have a HiBlow 20 pump for my air arm on order.
Short of a bespoke speed controller/audiophile pump option for my setup, that's my analog front end sorted for good.
I truly was THIS close to passing, but curiosity and audiophilia nervosa struck hard, and gave it a punt. And truly very very glad I did.
It has absolutely repaid it's entry ticket of c€1k many times over. What it has led to is a major change in how high I have my subs output into the room, and how I isolate my Zus.
The total magical thing is this locking down of start/stop bass, the low end is lightning fast, but w no lack of warmth or texture. This arm totally refutes the urban myth that air LT arms can't do bass.
This has truly clarified everything above, but more dramatically has put my imaging and stage depth on a whole new level. I'm finally getting this staging beyond the side walls that so many audiophiles report, and stage depth and placement of instruments is on a different level.
This is all recording-dependent, lots of recordings can still be a bit squeezed (my library is 70% non audiophile 60s/70s prog and fusion), but new life has been breathed into these too.
But this is a boon for my appreciation of classical and jazz as the live acoustic experience is rendered way more realistically.
So, after a decade plus of hit and miss vinyl replay, rejuvenated analog performance w my modded tt/arm on Stacore Adv isolation platform, further expanding the envelope w greater timbre and tone by sweating the details on optimal install of tt/arm/cart, and now this expansion of all parameters of performance esp bass and imaging via the new arm, my vinyl playback is super compelling, no more the variable relation to my cdp.
One final change to go. Just ordered a Kondo age-annealed 99.999% silver tonearm wire, w Cardas gold tags and Bocchino RCAs. Also have a HiBlow 20 pump for my air arm on order.
Short of a bespoke speed controller/audiophile pump option for my setup, that's my analog front end sorted for good.
Hi, I’ve recently got a salvation and terminator. I got it second hand from Vic. I’m really happy with the whole thing. I was worried about pump noise and tracking issues. I can’t really hear the pump really and it tracks perfectly, super easy to use. Very happy. I would say that you have to pay a bit more attention to setup with this arm-which is very easy to do, fun and you get rewarded for it...and punished for bad setup.
I’ve managed to get a carbon wand with new Tonearm wire from andrey. I was wondering about the kondo fairy wire and noticed that you have been trying it. How did you get on? Any other tonearm wires that have been successful. I currently have andry’s Silver plated copper and the original one Vic used.
Cheers
Jon
QUOTE="spiritofmusic, post: 609291, member: 4334"]Update on New Terminator. It's been 5 weeks now since I installed it. No great expectations, since the design is unchanged from my previous arm, other than smaller diameter air holes, the "New" moniker reserved for changing metals used. Previously all-Aluminium, now Brass/Aluminium/Carbon Fibre.
I truly was THIS close to passing, but curiosity and audiophilia nervosa struck hard, and gave it a punt. And truly very very glad I did.
It has absolutely repaid it's entry ticket of c€1k many times over. What it has led to is a major change in how high I have my subs output into the room, and how I isolate my Zus.
The total magical thing is this locking down of start/stop bass, the low end is lightning fast, but w no lack of warmth or texture. This arm totally refutes the urban myth that air LT arms can't do bass.
This has truly clarified everything above, but more dramatically has put my imaging and stage depth on a whole new level. I'm finally getting this staging beyond the side walls that so many audiophiles report, and stage depth and placement of instruments is on a different level.
This is all recording-dependent, lots of recordings can still be a bit squeezed (my library is 70% non audiophile 60s/70s prog and fusion), but new life has been breathed into these too.
But this is a boon for my appreciation of classical and jazz as the live acoustic experience is rendered way more realistically.
So, after a decade plus of hit and miss vinyl replay, rejuvenated analog performance w my modded tt/arm on Stacore Adv isolation platform, further expanding the envelope w greater timbre and tone by sweating the details on optimal install of tt/arm/cart, and now this expansion of all parameters of performance esp bass and imaging via the new arm, my vinyl playback is super compelling, no more the variable relation to my cdp.
One final change to go. Just ordered a Kondo age-annealed 99.999% silver tonearm wire, w Cardas gold tags and Bocchino RCAs. Also have a HiBlow 20 pump for my air arm on order.
Short of a bespoke speed controller/audiophile pump option for my setup, that's my analog front end sorted for good.[/QUOTE]
I’ve managed to get a carbon wand with new Tonearm wire from andrey. I was wondering about the kondo fairy wire and noticed that you have been trying it. How did you get on? Any other tonearm wires that have been successful. I currently have andry’s Silver plated copper and the original one Vic used.
Cheers
Jon
QUOTE="spiritofmusic, post: 609291, member: 4334"]Update on New Terminator. It's been 5 weeks now since I installed it. No great expectations, since the design is unchanged from my previous arm, other than smaller diameter air holes, the "New" moniker reserved for changing metals used. Previously all-Aluminium, now Brass/Aluminium/Carbon Fibre.
I truly was THIS close to passing, but curiosity and audiophilia nervosa struck hard, and gave it a punt. And truly very very glad I did.
It has absolutely repaid it's entry ticket of c€1k many times over. What it has led to is a major change in how high I have my subs output into the room, and how I isolate my Zus.
The total magical thing is this locking down of start/stop bass, the low end is lightning fast, but w no lack of warmth or texture. This arm totally refutes the urban myth that air LT arms can't do bass.
This has truly clarified everything above, but more dramatically has put my imaging and stage depth on a whole new level. I'm finally getting this staging beyond the side walls that so many audiophiles report, and stage depth and placement of instruments is on a different level.
This is all recording-dependent, lots of recordings can still be a bit squeezed (my library is 70% non audiophile 60s/70s prog and fusion), but new life has been breathed into these too.
But this is a boon for my appreciation of classical and jazz as the live acoustic experience is rendered way more realistically.
So, after a decade plus of hit and miss vinyl replay, rejuvenated analog performance w my modded tt/arm on Stacore Adv isolation platform, further expanding the envelope w greater timbre and tone by sweating the details on optimal install of tt/arm/cart, and now this expansion of all parameters of performance esp bass and imaging via the new arm, my vinyl playback is super compelling, no more the variable relation to my cdp.
One final change to go. Just ordered a Kondo age-annealed 99.999% silver tonearm wire, w Cardas gold tags and Bocchino RCAs. Also have a HiBlow 20 pump for my air arm on order.
Short of a bespoke speed controller/audiophile pump option for my setup, that's my analog front end sorted for good.[/QUOTE]
Jon, fantastic news. What did you upgrade from? Andrey's carbon fibre armwand is an absolute no brainer.
I decided to stick w my existing silver wire that came w the original Terminator I bought from Vic in 2013, rather than replace w Andrey's wire. I believe Vic can't source that silver wire anymore, so the only option for you is Andrey's wire.
I will be installing the Kondo wire. Just awaiting it to be made up by forum member Audiophile Bill, using the Bocchino RCAs ordered. Covid has got in the way, and tbh everyone's priorities are on more important life and death issues, so I'm not fretting too much.
It'll be a nice bonus that once we clear this black cloud, I'll have a lovely little upgrade ready and waiting.
Anyhow Jon, absolutely enjoy yr new rig. Vic has created a landmark analog product w the LT Terminator, and a great complement to the Salvation rim drive. Keep in touch by PM if you need to. But also keep posting yr opinions here. Andrey has kept the flame burning re New Terminator production, and his product deserves as much visibility (audibility Lol) as possible.
I decided to stick w my existing silver wire that came w the original Terminator I bought from Vic in 2013, rather than replace w Andrey's wire. I believe Vic can't source that silver wire anymore, so the only option for you is Andrey's wire.
I will be installing the Kondo wire. Just awaiting it to be made up by forum member Audiophile Bill, using the Bocchino RCAs ordered. Covid has got in the way, and tbh everyone's priorities are on more important life and death issues, so I'm not fretting too much.
It'll be a nice bonus that once we clear this black cloud, I'll have a lovely little upgrade ready and waiting.
Anyhow Jon, absolutely enjoy yr new rig. Vic has created a landmark analog product w the LT Terminator, and a great complement to the Salvation rim drive. Keep in touch by PM if you need to. But also keep posting yr opinions here. Andrey has kept the flame burning re New Terminator production, and his product deserves as much visibility (audibility Lol) as possible.
Jon, one of the biggest joys of New Terminator LT ownership is tracking. Images are rock solid, unwavering, and as high end frequencies seem to extend upwards forever and a hint of hardness could creep in, it never happens.
The Dregs "Industry Standard" has some wild guitar playing from Steve Morse. His shredding in the past was often too aggressive and energetic on this lp for my sound to keep it all together.
Now? There is just a total perception of stability, total relaxation on my part as high end energy never gives way to shrillness, the soundstage stable and fleshed out, and the image never wavers.
The cd of this, despite being exemplary on my Eera, cannot replicate the hewn from stone quality of the lp. Now a lot of this is the rim drive tt and Straingauge cart as well. But a big change on control and imaging has come from upping the ante on the LT arm.
Remains imho the greatest bang for buck product in analog.
The Dregs "Industry Standard" has some wild guitar playing from Steve Morse. His shredding in the past was often too aggressive and energetic on this lp for my sound to keep it all together.
Now? There is just a total perception of stability, total relaxation on my part as high end energy never gives way to shrillness, the soundstage stable and fleshed out, and the image never wavers.
The cd of this, despite being exemplary on my Eera, cannot replicate the hewn from stone quality of the lp. Now a lot of this is the rim drive tt and Straingauge cart as well. But a big change on control and imaging has come from upping the ante on the LT arm.
Remains imho the greatest bang for buck product in analog.
Hoping to pick up my specialist tonearm wire v soon. It's been a long wait, first sourcing the 99.99% purity age-annealed Kondo silver wire, then getting the services of Audiophile Bill to make it up w Bocchino RCAs and Cardas tags, and then the interminable delay of Covid. But picking it up is imminent. I'm then gonna look for the quietest aquarium pump I can for my air LT arm. There's also a little upgrade for my arm that could prove promising, the Audio Machina V8 armwand/cart vibration absorbing damping plate.
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