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In the Forum: Analog Playback
In the Thread: Copper Mat on a Micro Seiki Gun Metal Platter

Post Subject: ...generally is not wrong but...Posted by Romy the Cat on: 2/2/2016

Chaslieb, you generally is not wrong BUT all of those very rational theories have in my view any practical meaning only in context of TTs with conventional platters, means the platters of sane mass. As soon we enter of domain the platters let say over 70-100 pounds then any exterior torque forces, acute pulling from belt or anything else external influences become just irrelevant. Retrofunk admits that visual aspect of the flywheel is very attractive and no one denies it. He also confirms what I have been advocating for years: with heavy platter there is no sonic impact to sound. I did not use a flywheel but I used an additional platter of Micro 5000 as a flywheel. I used a reel-to-reel tape to run the platter that is ultimate slipping drive.

http://www.goodsoundclub.com/Playback/Site_images/MicroDual1.jpg

I do not feel that there was any tangible sonic impact from the second platter.

One more thing. We all for sure would like to have our platters to have a stable rotation. Now is the question: what deviation from the stability we do hear. If the platter goes on and off 0.1rotation per minute them is it auditable? Let me to rephrase it. If a platter has a stable constant deviation from 33.33, or whatever it shall be then how auditable is it? If it does 32.1RPM then what do we hear? Download the brilliant RPM app to your smart phone and play with it. Yes, we feel a change in pitch but where it become practically significant? This is the questions that everyone should answer to themselves.

Still, I would insist that majority of audio people out there who love to be proud that they spent a lot of money for super-duper solutions to stabilized the speed have still no clue what they are taking. A case to proof my arrogance. Year back, I think it was 2006, the last year I went to CES, the Australian company Continuum was just a start up. They brought a first model of their TT and it was before they become “famous” and before a few US marketing whores puffed them up. So, Continuum, facilitated a closed demo at night for industry folks, trying to win US distribution rights. The room was staffed with all possible reviewers, distributes, dealers, editors and I was looking at all of that collection of audio dirt and was envying to those Muslims suicide bombers… Anyhow, the Continuum guy was spinning Heifetz’s Bach partitas. After the very first notes that were way lower I was looking at a friend of my (who invited me to that session) and asking with my eye if it was for real. He was also look like he had a tooth pain. The rest of the industry Morons were siting there listening that crap with no apparent complain or reaction. I stopped the listening and informed that the platter speed is way off. The Continuum guy did not believe me (!!!) and insisted that it need to be measured (!!!). So, he did and of cause it was way slower. It is not a big deal the TT get broken. However, that image of that room filled up with all that golden-ears holders audio-writing idiots, sitting there, looking at that turntable, listening the objectively faulty sound and having to brain to recognize what they are hearing is very much follow me each time I see them writing anything about analog sound reproduction. Well, whatever it worth the Continuum did what they wanted. At the show they were selling the TT for $10-15K with target retail price of $25-$30 but a few month after the show and after the Framer and the rest dirt engage the Continuum the price went to $150K or something like this. BTW, my satiate about the Continuum was written in a memory of that event:

http://www.goodsoundclub.com/Forums/ShowPost.aspx?PostID=1957

The Cat

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