interesting phenomena in the cutting room


We've (my friend Bob and myself) been working on an LP cutting lathe for some years. Its been a while refurbishing the lathe itself, finding parts and solving problems/puzzles, rebuilding the electronics, etc.

The lathe itself is a Scully, the cutterhead a Westerex 3D and the electronics the 1700 series built for the cutterhead by Westerex.

About 6 weeks ago we finally hit upon the magic combination of stylus temperature, vacuum, depth of cut, etc. It works beautifully! So we have been playing with parameters, including different amplifiers. The stock amplifiers were built about 1972 and are solid state.

Now those of you that know me know that I am all about tubes. But the stock amps worked quite well! As we gained familiarity with the system, we found out why: the Westerex cutting system is a high efficiency cutterhead- it does not take a lot of power to make the head work. It can easily cut grooves that no cartridge could ever keep up with, and do so without breaking a sweat. So the amps, which can make 125 watts, are loafing through the most difficult passages.

I had a Dyna ST-70 that I had rebuilt so for fun we swapped that amplifier in and it did quite well. Our next step is to use a set of our M-60s, as the cutterhead is an easy load relative to most loudspeakers.

What is interesting about this is that we can make cuts that literally demonstrate the audible differences between amplifiers, something that can be demonstrated on any playback system.

Its also apparent that the cutting process is relatively unlimited as a media compared to any other recording system. The dynamic range is well beyond that of analog tape or any digital system- like I said, it can cut grooves with such range that no cartridge could possibly keep up, yet is dead silent (if the lacquer is OK, that is). The real limitation in LP recording is the playback apparatus, not the cutters.

There is a fun little forum website for more information called 'Secrets of the Lathe Trolls'. Here's a post on that side made by my friend Bob (Bob has run a recording studio for some 20 years and was a roommate of mine in college):

http://lathetrolls.phpbbweb.com/viewtopic.php?p=19435&mforum=lathetrolls#19435
128x128atmasphere
Dear bdp24: You are right, we need different evaluation formats. In my evaluation process I have the same tracks ( I use many and always the same ones for different sound characteristics evaluation. ) in LP and CD and hard training ( even today ) in live music ( every kind ). If you have not live music training you can't evaluate nothing.


Regards and enjoy the music,
R.

There is an excellent documentary film entitled Tom Dowd & The Language of Music. Tom, recording engineer at Atlantic, Stax, and other labels, would go into the studio, walk around the room, stand in front of each instrument, then go back into the control room and attempt to replicate the live sound he had just heard via his recording equipment. He recorded a lot of the greats---Ray Charles, Aretha Franklin, Derek & The Dominoes, lots of Jazz.

Doug Sax of Sheffield Records and The Mastering Lab evaluated a piece of recording equipment by passing a mic feed through it and then into the monitor system in his control room, then by-passing the piece, listening for any change in sound, referenced to the sound of the live mic feed (from a source in the studio itself). Doug was looking for transparency.  

Dear atmasphere:  """  What's a True Expert Audiophile?? """"

For months I was and am tempt to start a TEA thread but I'm not sure yet if we Agoner's are really prepared  to the answer or answer on that TEA question.

In the otehr side I need time for do that. Sooner or later I will do it.

Regards and enjoy the music,
R.
Raul, IMO/IME as soon as someone tries to set themselves up as an expert in this field, they run the risk of Audiophile Guru Syndrome (AGS), wherein if the knowledge does not emit from their mouths then it must be some form of blasphemy. I think we have all seen this at one point or another. IMO true mastery is the understanding of how little one actually knows.


atmasphere, so true. If there was true mastery and understanding of vinyl playback there would be one design for all tonearms, turntables, cartridges, and phono stages. But the range of designs and materials is even more diverse than ever. So as you stated, we're still learning.

As to the quality of vinyl, it's the attention to details that matter, but in then end compromises have to be made in order to produce a commercially viable release. How those compromises are balanced out over the entire process is not clear, but I'm glad to see that the search for the best approach continues on.

Regards,

Tom