Thuchan, you are talking about environments and the system setups, which is very primitive and incorrect way to understand what I said. T_bone the derivation of Japanese listening audio preferences from phonetic structure of Asian language is not a fact but a proposal I made a few years back, when I was arguing this point at my site at that time. There are plenty research done how different culture process sound and reflect with spiritual and ecstatic responses. I have my own views as well but it is not the point that I would like to advance in this thread. I mentioned it in context of Dertonarm proposal that Micro was made by God to use with strings and his bringing the Japanese magazines and experience of Japanese crowd to back it up.
I am well familiar with cult that took place at that time around strings, and the zillion techniques ho to soak the different material strings in different marinades in order to get improvement in the strings theory. Yes, there was a fashion to it in at that people, as anything else in audio the fashion was based not upon a lucidity, common since and listening experience but upon a foolish artificial idea. You can even find at that time people traded the secretive samurai ways to tight the strings It is ridicules! I belt from a slow torch motor is too hard drive to a platter but a knot on the strings is invisible! Wonderful theory!
The true is that when people use light TT then how you drive of TT affect sound. In case of use heavy platter and proper balance between platter and stator the sensitively of TT to external forced become much negligible and many of fantasies that that people apply to TT logic is not applicable to TT with heavy platter and proper mass distribution. People are accustomed to endlessly tweak the TT searching the differences. The best example of it the Walkers turntables (and many others) with zillion adjustments and each of them changes the TT sound. That is ridiculously-stupid thing to do and it is more celebrates ignorance people who make and use those TTs. The whole point of Micros that they are insultingly simple, have own default sound proper sound and, trust me, it is VERY difficult to change how they sound. This is the whole point the default sound (or better to say the opportunity for the default sound ) is built into the design that illuminate the need to do those endless experiments trying to change the TT sound. Micro-Seiki topmost turntables are an opportunity do not do that entire BS that you guys do, I have no idea why you do not USE this opportunity.
I did look at the playback installations of some of you and I kind of confused what the hell you do in audio. Some of you have 5-6 turntables with 10-15 tonearms, which is a strong induction in my mind that a person can be disqualified to make comment about sound. After all audio is not about accumulation and cataloging the differences, if somebody do not know what they do in audio then they do not know. A good performing turntable, perhaps two, with 3-4 tonearms/cartridges is an absolute maximin that a person needs to address 100% of all tasks of records playing. If a person cant do it by those means then person is clueless about ether sound or what he does. The heavier Micros are a good platform to render this task. It has good default sound, it allows use multiple arms and it is very difficult to screw up with this sound .
I do not think that I need to advocate the heavier Micros for this people in here as it looks like there are plenty Micro users in this thread but I wonder why the heavier Micro users are not set yet that make them to do further actions with TT. In context of this thread it might be mentioned other changes that people might make with their playback it order to get truly better sound, why to keep pondering that poor Micro, leave your Micro-Seiki alone. Work on other aspects of your playback, it will bring you more true results.
PS: I intentionally did not go into addressing the fantasies about of SET amplifiers, LCR RIAA triode SRPP-preamplifiers, big string driven TTs, complex super sophisticated horn speakers. It is not the subject of the thread and the participants apparently too lightweighted to understand the subject less superficial.
I am well familiar with cult that took place at that time around strings, and the zillion techniques ho to soak the different material strings in different marinades in order to get improvement in the strings theory. Yes, there was a fashion to it in at that people, as anything else in audio the fashion was based not upon a lucidity, common since and listening experience but upon a foolish artificial idea. You can even find at that time people traded the secretive samurai ways to tight the strings It is ridicules! I belt from a slow torch motor is too hard drive to a platter but a knot on the strings is invisible! Wonderful theory!
The true is that when people use light TT then how you drive of TT affect sound. In case of use heavy platter and proper balance between platter and stator the sensitively of TT to external forced become much negligible and many of fantasies that that people apply to TT logic is not applicable to TT with heavy platter and proper mass distribution. People are accustomed to endlessly tweak the TT searching the differences. The best example of it the Walkers turntables (and many others) with zillion adjustments and each of them changes the TT sound. That is ridiculously-stupid thing to do and it is more celebrates ignorance people who make and use those TTs. The whole point of Micros that they are insultingly simple, have own default sound proper sound and, trust me, it is VERY difficult to change how they sound. This is the whole point the default sound (or better to say the opportunity for the default sound ) is built into the design that illuminate the need to do those endless experiments trying to change the TT sound. Micro-Seiki topmost turntables are an opportunity do not do that entire BS that you guys do, I have no idea why you do not USE this opportunity.
I did look at the playback installations of some of you and I kind of confused what the hell you do in audio. Some of you have 5-6 turntables with 10-15 tonearms, which is a strong induction in my mind that a person can be disqualified to make comment about sound. After all audio is not about accumulation and cataloging the differences, if somebody do not know what they do in audio then they do not know. A good performing turntable, perhaps two, with 3-4 tonearms/cartridges is an absolute maximin that a person needs to address 100% of all tasks of records playing. If a person cant do it by those means then person is clueless about ether sound or what he does. The heavier Micros are a good platform to render this task. It has good default sound, it allows use multiple arms and it is very difficult to screw up with this sound .
I do not think that I need to advocate the heavier Micros for this people in here as it looks like there are plenty Micro users in this thread but I wonder why the heavier Micro users are not set yet that make them to do further actions with TT. In context of this thread it might be mentioned other changes that people might make with their playback it order to get truly better sound, why to keep pondering that poor Micro, leave your Micro-Seiki alone. Work on other aspects of your playback, it will bring you more true results.
PS: I intentionally did not go into addressing the fantasies about of SET amplifiers, LCR RIAA triode SRPP-preamplifiers, big string driven TTs, complex super sophisticated horn speakers. It is not the subject of the thread and the participants apparently too lightweighted to understand the subject less superficial.
