Phono pre "Break-In" process? Necessary?

cleeds,

I hear without fail.

That doesn't mean, I hear perfectly or understand perfectly (scientifically) what I hear.

Perhaps whatever we hear is all that matters.

I do not derive any pleasure from numbers, or being "right".

Your statement is most accurate, yet if I'm musically fooled and happy (in front of my Hi-fi), is it not a better place to be than scientifically baffled and frustrated and somehow not into the music?

Thank you Zen master Hakuin for the koan, what is the sound of one hand (clapping)?

Happy Listening!

cleeds,

Well I see where you are going but it is not the same thing. For example in order to have speed variations on the turntable the are like those found in amplifier, your TT speed (33 rpm) would have to speed up to 66 rpm in order to produce a harmonic of what ever is in the groove. 

Amplifiers that can generate energy at 2 Khz from a 1Khz fundamental experience a very rapid change in velocity causing the fundamental to "slide" up the spectrum and be seen at 2khz and then slide" back to 1Khz.
If it does not slide - then it is digital not analog.

The reason it is only a small percentage of distortion is because the segment of the 1 Khz sine wave the experiences the non-linear event is brief. Energy from the fundamental cannot exist in two places at once because it is an analog continuum. This can be seen by measuring the signal level at the output as (lets say) +10db and see that the fundamental on the display reads +9.8 db The other 1.2 db is spread out across the harmonic content. If you remove the harmonics the fundamental will measure +10 and be seen as +10 on the display.

The velocity errors I have successfully trapped are right next to the fundamental. So If the 1Khz signal begins to head up the spectrum - it is held by a velocity countermeasure to keep it locked on speed. So 1,001 Khz (one extra cycle) is not allowed. This is why it does not have the ability to produce harmonic distortion. It is captured and dealt with while it is still in its infancy as a phase problem not a frequency problem. On the other hand, the burn-in process (outside the detection system) all by itself will cause an offset in the speed that will end up displacing the sound objects enough to cause the live nature of the sound to collapse. It can sound fake until it is broken in.

The break-in non-symmetrical charge/discharge currents will give you something that looks like a pencil sitting in half a glass of water. (It looks like the pencil is split at the water line) That is the positive and negative wavefronts in an unregistered condition. After burn-in the pencil is seen as normal (out of the water) as the wavefronts are now registered (same as live).

Roger

Knowing that something was still in the way led me to use pure theory to suspect what was happening. I put velocity traps in place hoping to catch the tiny errors that again were just theoretical. I was delighted to see (hear) it work and It confirmed what I thought was going on. Look up miracle in the dictionary.

Demonstrating the result as a live full orchestra to a few people at the factory left everyone speechless and weeping.

It works.

Roger

I have sat in glorious orchestra and opera halls. I have had chamber series seats for years, nearly a decade, working my seats to a position about nine rows back, just left of center. I know what acoustic music sounds like live and what horse-hair plaster walls sound like. I rarely weep at a performance, but in Birmingham's Alabama Theatre on July 3 2008 I had the extreme good fortune to have a first row, just left of center, mezzanine seat for Tom Waits Glitter and Doom. What can I say? It was my only occasion to see Mr. Waits live. Screw stereo reproduction, this was the real thing, flesh & bone. Sorry but, I am yet to be thrilled by the sound of a box of gadgets like I was that night... Was there audible distortions or a smearing of the sound stage? I guess, I was so caught up in the performance that I couldn't have cared less. It got behind the mule!