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Post by rexton on Apr 27, 2020 12:19:02 GMT
Has anyone got an idea of what the Capacitance for SME V-12 intrinsic silver wiring is?
Thanks
A
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Post by sq225917 on Apr 27, 2020 12:47:45 GMT
The vdh was 47pf/m
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Post by Deleted on Apr 27, 2020 12:56:31 GMT
Wow that high
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Post by sq225917 on Apr 27, 2020 14:00:31 GMT
That's from the v though.
Numbers I can see for the 312 says 20pf total.
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Post by rexton on Apr 27, 2020 15:07:35 GMT
I've just checked it's 15pF per channel on the V-12.
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Post by Deleted on Apr 27, 2020 16:10:32 GMT
If I had to endure a TT I would be looking to reduce this figure by as much as practically as possible
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Post by Deleted on Apr 27, 2020 16:23:01 GMT
It doesn't work quite like that. Capacitance doesn't matter that much where MC carts are concerned but it's important that loading is accurate for MM cartridges, so reducing it below that recommended will usually result in an under damped response which can sound bright and shrill. I wonder how many try a MM cart without considering the loading then post their findings not realising they haven't heard anywhere near the potential or designed output balance? I'm also sorry you feel that you'd have to "endure" a TT, as with decent recordings, most find it an absolute joy!
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Post by rexton on Apr 27, 2020 16:34:01 GMT
It doesn't work quite like that. Capacitance doesn't matter that much where MC carts are concerned but it's important that loading is accurate for MM cartridges, so reducing it below that recommended will usually result in an under damped response which can sound bright and shrill. I wonder how many try a MM cart without considering the loading then post their findings not realising they haven't heard anywhere near the potential or designed output balance? I'm also sorry you feel that you'd have to "endure" a TT, as with decent recordings, most find it an absolute joy! Exactly and that's why I'm fine tuning my MM cart setup whilst waiting to place my order for the new MC cartridge. I'm having a great time with the M55e and JICO neoSAS stylus. As stated elsewhere I'd like to give the Goldring 1042 a go, but that's at some point in the future. I have too many hifi projects on the go at this minute in time.
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Post by Deleted on Apr 27, 2020 17:37:21 GMT
It doesn't work quite like that. Capacitance doesn't matter that much where MC carts are concerned but it's important that loading is accurate for MM cartridges, so reducing it below that recommended will usually result in an under damped response which can sound bright and shrill. I wonder how many try a MM cart without considering the loading then post their findings not realising they haven't heard anywhere near the potential or designed output balance? I'm also sorry you feel that you'd have to "endure" a TT, as with decent recordings, most find it an absolute joy! Ok Paul you are correct with regard to loading, I will rephrase keeping the impedance pathway from the cart tip to the point in the phono stage where the loading capacitor/stage is selected I would keep as low a practicable possible for the signal pathway and cartridge *for the given cartridge loadings* and would also experiment around those specific loading points as you rightly point out it can and does have a large effect on the overall sound agreed. Also I would take into account any long tone arm cabling, SUT's and extra analogue interconnects as these are all part of the transmission line. My brother had designed and built a phono stage that you could make adjustments to the loading from quite small 2.5pf steps upto 2nf if required (which it never was lol) and the difference it made could be quite large to say the least. You could also adjust the resistance in the same fashion as well. But the combinations possible were somewhat large shall we say. Having had to endure many quite spectacular vinyl recordings and all of the effort that goes into actually making something that good and replaying that pressing to a standard to do it real justice. I have been privileged to listen to a couple of times. On those occasions the fastidiousness of the owners was beyond belief even using a thermal camera to indicate when the bearing temperature was at, for his experience the correct point. Along with using a fairly expensive microscope to set up the cartridge to his personal satisfaction. Also a making use of a GPS timing device for ultra accuracy checking of the turntable speed. It ran exotic valve amps, pure silver Audionote cabling and very large horn based speakers that did not honk (quite an achievement). Quite breath taking yes, usual non magazine gushing pro's, taking aside the cost and real space needed to house such a replay system, and having the actual time to perform these set up tasks to anal retentiveness factor 11. These systems are owned by gentlemen that have the real time to perform the in depth set up rituals than the rest of us mere mortals. Then again a couple of my brothers friends with similar attention to detail digital master recordings can achieve very similar results, better in a some areas, not so good in others but with zero anal set up duties and less physical equipment and space required. On the subject of good quality vinyl with music you wish to listen to not just put on because it sounds good, how much do those pressings cost from £50 upwards? Plenty of chaps who will prefer vinyl I totally understand I am not of that age (quite a way to go yet!) so yes maybe that is part of the vinyl love affair but with careful selection of components, measurements of the listening environment, correct amplifier <> speaker impedance matching and the desired front end of your choice you should be able to put together a system that satisfies your personal tastes without having to spin as the phrase goes a black pizza.
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Post by Deleted on Apr 27, 2020 18:39:20 GMT
I can see why you might get that impression from experiencing such systems but really there's no need to go to those lengths as you can experience superb results without half of that rather OCD attention to detail. It requires a decent TT with good stable power supply and ettention to detail on vibration control, a decent tonearm and cart, dito phonostage and a decent speaker set up. Any competently good main amp is fine, or pre power combo.
A really good pressing can be had for under £20...it is all dependant upon who is producing and mastering and how it is done. The best I have was £50 for a direct cut to vinyl via Newman valve cutting lathe but I have others done from digital master tapes which are almost as good for £15.
Much of my classical collection is from the heyday of recording and mastering in the late 1960's through to 1980s, a mix of HMV/EMI, Decca, various other quality makes and pressings of which around 40% are almost pristine and still sound superb today. I use a home made record cleaning machine, and am super-fussy about cart set up and arm matching.
I can honestly say that my current set up rivals that, in analogue sound quality of some systems at more than 4 or 5 times the cost perhaps as I'm lucky enough to have built some of it, or have talented friends who have built some of their specialisms (amps) for me.
Cable brands as far as IC's go and price tags matter far less than many would like to imagine but I never get into arguments about that....people use what people wish to use and people ascribe qualities to whatever they wish to. I approach it from both trying loads of variations and on appreciable time learning about signal transfer theory, being taught the odd thing by experts in that field and from understanding how important some geometries are for specific purposes. It hasn't done me any harm from magazine reviews of what I offer in that department and the like over the years.
I, for one, am very happy with how my set up sounds and you'e more than welcome to visit and have a listen when this lock down is over. It may change your mind about just what can be achieved reasonably modestly.
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