8 Nov 2009

LP Appreciation Day

Modular Audio held a special 1-day event called “LP Appreciation Day” for vinylphiles or to-be vinylphiles on 7 Nov 09 to share with you some music from our personal LP collection, LP tips and so on. We would like to thank all who turned up and we hope that you enjoyed the program that we’ve designed for you. Here’s a rundown of the fun we had.

First off, we did a shootout on Norah Jones’ multi-award winning “Come Away With Me” CD (Blue Note) versus the same title in LP (of standard Blue Note release). Given that both media were released at the same time, we felt that it was a fair comparison. The result was not unexpected as LP played from the cheaper source - Origin Live Aurora Mk 2 with OL1 arm (with Structural upgrade) retailing at S$1,999 was favoured over the much higher priced CD player.

Not convinced? Another quick AB was next conducted using Kenny G “Live”. This time using a sort-after Japanese pressed CD against the US Arista LP. The result was even more obvious than the last test. The resolution from the LP was much higher with a lot more song in Songbird.
 

Convinced now why we became vinylphiles? Of course! Now on with the show...

We kicked off with this Joan Baez live LP titled “Diamonds & Rust In the Bullring”. We played about one and a half track. The live ambient was so vividly captured on LP.

Besides some pop/rock from Mary Black, Jennifer Warnes, The Beatles, we also selected a vintage Blue Note LP (deep groove) by John Coltrane and even some metal from Metallica!

There was no show of hands (as expected) when we asked if any of the attendees actually play any classical music at home. No worries, perhaps Modular Audio should organise the next LPAD titled “Classical Music For the Dummies”. The audience was informed there are many superbly recorded and beautiful light Classical music out there.

Now playing mono version (deep groove) of Blue Train. Nice airy saxophone.

Nearing the end of our 1.5 hour program, it’s time for the Mother of All Audiophile LP...

Flamenco Fever “Live” Direct-To-Disc. After listening, Martin posed the question “Do you think this is worth the hundreds of US dollars?”

  Tough question with no universal answer... “Yes, I would think so”; “Are you crazy?!”; “Get lost!”. In the end, if it makes you happy (the very reason why we are hobbyist) - Why not?!

We ended the set with Gary Moore’s 45RPM test pressing of “Still Got The Blues (For You)”. Full marks to the song, the recording and the showroom sound (Ocellia fullrange speakers, amplifier and cables).

As requested by some of you, here is the setlist of the original LPs featured in LPAD:

1. No Woman, No Cry - Joan Baez from Diamonds & Rust In the Bullring (Gold Castle Records)
2. And I Love Her - The Beatles from A Hard Day’s Night (Parlophone, Mono version)
3. Mr. Wonderful - Ayako Hosokawa from To Mr. Wonderful (Three Blind Mice)
4. Columbus - Mary Black from No Frontiers (Dara)
5. Nothing Else Matters - Metallica from “Black” (Elektra)
6. James Newton Howard Quintet (CES preview edition)
7. Moment’s Notice - John Coltrane from Blue Train (Blue Note, mono)
8. St. Thomas - Sonny Rollins from Saxophone Colossus (DCC, mono)
9. Meditation - Arturo Delmoni from Songs My Mother Taught me (North Star Records)
10. San Francisco Choral Artists - Star of Wonder (Reference Recordings)
11. Lute Concertos & Trios - Vivaldi (Hungaroton)
12. Way Down Deep - Jennifer Warnes from The Hunter (Private Music)
13. Llorona - Flamenco Fever (M&K)
14. Still Got The Blues (For You) - Gary Moore (45RPM, test pressing)

Once again, a big thank you to all who came, we hope you have had as much fun and benefitted (musically) from this event. Do take note of the limited period LP discount voucher. We’ll see you soon! 

8 Aug 2009

Framing Your LP

This webmaster loves LP cover art. Some years back, I wrote about “CD Killed the LP Cover Art” to voice my displeasure. To walk the talk, let’s celebrate listening and also watching this medium by framing your favourite LPs (or spare copies) on the wall.

No idea how to begin? Short of writing a cookbook, these are the short steps:

1) Visit Ikea and buy one of these glass based removable picture frames

2) Buy a black colored cardboard sheet and cut to frame size.

3) At the center, stick an outer LP sleeve onto the black cardboard sheet (to ease your next LP cover change).

4) Insert just the LP cover into this LP outer sleeve. Now secure the glass onto the frame and clip together using the supplied hooks.

5) Hang it proudly - Enjoy! 

8 May 2009

Inner Groove Distortion

Putting it simply by Robert Harley of TAS Inner Groove Distortion or IGD is the “shattering” sound you may experience in the upper register towards the end of each side of the LP. Quoting from Issue 172 TAS from the same author it is “caused by the imperfect tracking of the groove by the stylus (the stylus momentary loses contact with the groove) - a phenomenon exacerbated at the inner grooves where tangent error is the greatest and the linear velocity as seen by the stylus is the lowest. As the stylus moves toward the inner grooves, the linear velocity as seen by the stylus gradually decreases. The recorded wavelengths become shorter and shorter, making it increasingly difficult for the playback stylus to accurately track high frequencies as well as high groove modulation.”

I agree with Robert that it is unfortunate that the most demanding passage of western classical music climaxes at the part that is most difficult to play well - symphony’s fourth movement. As a result, it is a common knowledge that song orders often used to be created with the softest songs coming at the end of an album's side, so that the inner grooves would be less subject to distortion. But I ASK - is this the fault of the LP technology (so we workaround it) or simply because many of us did it wrongly? 

But is it the fault of the LP technology?

The industry standard for a playable area of a LP extends from the spindle centre [i.e. Zero Centre] 60mm to 145mm. Often the paper label is 50mm in radius and hence the playable area is around 10mm from the paper label. Inner groove refers to the last 2 to 3 tracks of an ordinary LP.

Journey’s Faithfully from the LP Frontiers and Jennifer Warnes’ The Well are very good test tracks to evaluate your turntable setup/alignment. Here’s some more good test tracks: Linda Ronstadt “Simple Dreams” – I Will Never Marry (Side A Last Track) Billy Joel “Innocent Man” – Innocent Man (Side A Track 2), Longest time (Side A Track 3) Neil Diamond 12 Greatest Hits, Vol 2 – You Don’t Bring Me Flowers (Side A Last Track) Rickie Lee Jones (debut) – Easy Money (Side A Track 5) Dan Fogelberg Greatest Hits – Longer; Same Old Lang Syne; Run For The Roses Linda Ronstadt “Hasten Down the Wind” - That'll Be the Day (Side A Track 4) Carol Kidd “All my tomorrows” – Round Midnight (Side A Track 5) Some of the best tracks are often cut last. From left to right - Jefferson Starship “Save Your Love”, Iron Maiden “Hallowed Be Thy Name”, Journey “Open Arms” and Yes “Let’s Pretend”.

What is the cause of Inner Groove Distortion?

We do not think IGD is a phenomenon or a limitation of the LP technology. Assuming all things normal i.e. the record, the cartridge, the overall system then IGD is most likely caused by improper turntable/tonearm setup. By that, I mean the basic parameters of setting up a turntable system – cartridge alignment, mounting distance, overhang and turntable leveling. In a properly setup turntable system, the listener should not detect any noticeable degradation in sound performance from the outer tracks to the inner tracks whether he is listening to simple passages or some demanding tracks. Of course, IGD becomes more evident in demanding tracks and vice versa.

Even the most INTELLIGENT and BEST designed tonearm in the world today cannot compensate enough to avoid IGD if the BASICS are not done right!

Litmus Test LP for IGD

For your evaluation if your turntable system passes the IGD test, we have come up with some common pop/rock titles that many of you would have. We now stock them in our shop too so that you may request to play them to listen for yourself and even perform an A/B (if possible) of how an accurately setup turntable system should sound.

In a lesser setup turntable, playing the song Africa from Toto IV (Side B last track) would turned ugly in the chorus section when the band is in full gear. You would sense some dynamics compression as the music becomes messy in the middle. AOR fave Journey’s two multi-million selling singles were also cut in the last track – Faithfully from Frontiers (Side A last track) and Open Arms from Escape or E5C4P3 (Side B last track). Incidentally, they are also our favourite test tracks after each fine-tuning and fresh setup done. Play them loud to listen if your turntable setup can get pass them without Steve Perry sounding anything but cracking and/or straining in his strong, high- pitch vocals.

Avoiding IGD

Like an automobile that needs to be checked regularly by a car workshop to stay roadworthy, your turntable needs to be fine-tuned once every 9 to 12 months to perform its best. Leave this to an expert (like us) if you are unsure or do not have the time to do so.

Do note that we would happily fine-tune turntable systems that are purchased from us FOC but we are unable to fulfill such requests (at this time) for turntable systems not purchased from us.  

A turntable system that is IGD free will sound more relax, grain-free, quieter and more dynamic - yes all true! The more expensive a turntable system, the more revealing it is and therefore the more critical and responsive it is to setup/alignment. We encourage you to listen to our showroom setup using some of the above mentioned LP and then compare it at home.

5 Apr 2009

LP-ing Etiquette

Dos and Don’ts: Everyday guidance for enjoying hi-fidelity audio’s best medium

Don’t…
understand estimate the amount of LP storage space you need. It can consume your newly bought IKEA LP rack in no time.

Do…
your LP selection and sequence them before you start spinning. Doing so sets the right mood for the rest of your session.

Don’t…
bother about run-in of a new cartridge. Listen with your heart not your mind and your cartridge will run-in naturally.

Don’t…
be consumed by hot stamper or latest greatest vinyl technology from any SPACE program. Standard issue can sound amazing too. Explore music beyond your heavily rotated Top 50. You could find gems you didn’t know you owned.

Don’t…
multi-task when you’re near your LP system. Some mistakes can be costly and irreversible – imagine hurting the elusive Elvis 24k (DCC) or breaking the Goldfinger!

Do…
keep your playing environment conducive to playing LP. Clean your stylus - your turntable - your LP. Scratchy and crappy LP is bad advertisement. Wear your badge proud - spread the word.

Don’t…
think there’s a wrong time to start listening or try out your first analog system. Just remember the first 20 minutes of play should not be taken critically.

9 Mar 2009

Q&A With Martin

In the second part Martin (Modular Audio’s resident turntable expert) shares with us his thoughts and playing experiences and looking back the fun filled years of how it all started. 

Question: Can you describe the first time you heard a turntable system? When and what model was that?
 
Martin: My first turntable experience was a 3-in-1 audio system which my mother used for her Cantonese Opera music.  What brand? That’s a tough one because that was over 40 years ago when I was just a kid. 


Question: Can you tell us your very first turntable?
 
Martin: I got my first turntable when I was in college and it was also a 3-in-1 Sansui. I wasn’t too aware of set up or alignment at that time - just plugged and played. 

I got my first serious turntable in 1979 and that was a Thorens TD160 super + SME SIII + Stanton 680. I bought this using my college summer job vacation earnings. Still remembered when I brought it back home, it was around 9:30 pm.  After a late shower, I was struggling within whether I should set up this turntable or not as it’s late at 10:30pm.  Like all hot-blooded, impatient audiophile, I couldn’t wait and started to set it up.

I can still recall the screws for setting the springs were at the bottom of the turntable. I had to place the turntable on 2 chairs and laid myself down on the ground to adjust the screws and then stood up to check the balancing of the springs.  This motion was repeated for at least 6 - 7 times to get it right. If I was asked to do it now, I surely would have fainted after the third iteration. Of course, there are better ways to do so now but as a turntable rookie then, what I did was just clumsy.

Anyway, I completed the set up in some 5 to 6 hours - the alignment was done at that time via a very simple paper tractor. I was really thrilled to play the first note on the same evening (or morning?) and couldn’t believe it worked. By the time I got to bed was almost 4 am.

Question: And the very first LP you bought? 

Martin: The Beatles 1962 – 1966 (Red Album). It was a HK press and honestly speaking the sound quality was just so-so but the songs were my favourite.

Question: So what were the turntables, tonearm and cartridges that came after? 

Martin: After Thorens TD160, I got a French-made turntable whose name has slipped me. It was a very heavy make using granite as base. Next came the Pink Triangle (Little Pink Thing) and Basis 2001.  For tonearms, I can recollect Alphason HR-100S, Moerch DP6 and Graham 2.2. As for cartridges, I was way more generous in this department. So after the Stanton 680 came Shure V15 type III, Suprex 900, Clearaudio Goldmund Gold, Transfiguration Temper V, Benz Micro LP, Clearaudio Accurate and Clearaudio Goldfinger. The very last Clearaudio cartridge was quite a revelation to me.


Quesiton: In your many years of playing, did any single one occasion strick you as having the BEST analogue sound?

Martin: The most impressive turntable based system I have had was one using Pink Triangle Anniversary Turntable with Moech DP6 tonearm with Clearaudio’s flagship cartridge at that time - The Insider.  The owner was a doctor and his system was Restek Pre + Power (Germany) driving a pair of Dynaudio Consequence speakers.  He's a classical music lover and this high-end system (really high-end to me at that time especially the Clearaudio Insider) gave me an unforgettable experienced - the most charming violin sound. I fell in love with his turntable system and copied it years later.


Question: What do you think makes a very good turntable?

Martin: The turntable must be stable and has good isolation; low wow and flutter.  The bearing must be smooth and of high precision.


Queston: Rank the order of priority - turntable/arm/cartridge? Why do you rank it as such?

Martin: All things being equal, my ranking is #1 Cartridge, #2 Tonearm and #3 Turntable.  The tonearm should also match well with the cartridge in order to perform at its optimum.
 
If my budget is limiting I would buy a very good cartridge, a good tonearm which matches the cartridge and remaining funds to the turntable.  Recalled earlier I mentioned the Clearaudio Goldfinger cartridge? I was amazed how my little humble system (Basis 2001) was transformed after this upgrade - I’m not exaggerating when I tell you it was by more than 100%
 
However, one component that is usually neglected by vinylphiles is the phono amp. Phono amp has a big say on the final result too especially if the loading is correctly set or not. 
 
All in all, the most important is still matching.


Question: Is cartridge alignment an art or science?
 
Martin:Alignment art is the spirit of playing analogue. In pivot type tonearm (over 99% of tonearms are of pivot type), the arm geometry / alignment is very important in determining the null points and underlying tracking angle error.

When the playing stylus begins from the 1st track to the last, the distortion is proportional to the tracking angle error over radius of the track.  In geometry calculation, the tracking angle error at inner groove will be the biggest. As the radius at the inner groove becomes smaller, the distortion in the inner groove will the highest. So if the alignment is good i.e. the tracking angle is very close to the lowest you will hardly hear any distortion even at the innermost track. In other words, the sound of the vinyl will remain smooth and steady from the 1st track to the last track. However, if the alignment is no good, the inner groove distortion will become more obvious. This can be tested easily when you play some female vocals and violin music.

Besides knowing the science of alignment geometry, turntable leveling, azimuth, VTA, VTF and also anti-skating all played an important part in this dynamic balance.


Question: We've read that there is only 1 optimum point in all alignment. Why?
 
Martin: Yes there is only one point in the tonearm geometry (formula). The art of alignment is how close one can get the stylus tip to that point (in X-Y-Z dimensions). It is not an approximation. It is not a range of values but an empirical value.


Question: How long does it stay optimum before it runs?

Martin: Assuming the setup was perfect and the playing condition normal, your turntable/cartridge should stay in tune for 9 to 12 months before the next checkup.


Question: Last but not least, what is your advice to budding vinylphiles?
 
Martin: In building your turntable system, unless you really want to fiddle with setup, it's best to leave it to the experts to do it - propose a matching system (turntable, tonearm, cartridge, phono amp) for you. Take the chance to listen to a varied of turntable systems and learn to distinguish between a very well setup turntable vis-a-vis a so-so setup - regardless of price. Over time your learning would make you better and get closer to perfecting your setup skills. For those who just want to enjoy good analogue music, the best is still to leave it to experts.

Remember that the aim is to enjoy music and so get your hands on good vinyl whenever the opportunity arises. I always believe one becomes happier playing software instead of hardware. But of course, your turntable system should be done right to start.

16 Feb 2009

Martin’s Hi-Fi Journey

Modular Audio’s very own Martin Ng’s Hi Fi journey is quite eventful and of interest to some of our customers. How did he start? What was his technical background? How does he feel about LP given he is our resident Analogue Expert? With thanks to 1388.com (original article published in 1999) we are happy to reproduce this article here and bringing you back some 25 years ago.

First of all, I am really grateful to 1388.com for letting me have my own column. Through this column, I have the chance to share my hi-fi experience and thoughts with fellow audiophiles. Well, I know I sounded like those stars during an award ceremony. In my hi-fi journey of over 20 years, I have many “First” and sweet memories

My First Sound

I still remembered vaguely that during my secondary school days, I already D-I-Y my First AM tuner and a simple amplifier by following the instructions of some electronics magazine. The moment the sound first came out of my handicrafts, I was overjoyed and I still smiled when I recalled this incident. Soon after that I bought my first system, a low-end 4-in-1 Sansui set comprising turntable, cassette deck, tuner and amplifier.

I had two happy years with this system.

My First Love

After I graduated from polytechnic with an Electronics Diploma, I joined an audio company as an engineer. It was a big company that distributed many famous brands of hi-fi and pro-audio equipment. They also had an audio project section that specialized in implementing audio systems for concerts and I was attached to this section.

Even though I was full of enthusiasm and eager to show off my knowledge and expertise, due to the bad economic situation at that time, the concert scene was very quiet and my company couldn’t even secure a single project.

Well, too bad! Thus, this engineer had to do a technician job – maintain and repair equipment and a salesman job too – sell hi-fi in the company’s showroom. Consequently I came to know certain brands, such as Mission amplifiers, speakers and turntables, Acoustat speakers, Spectral pre-amplifier (at that time, Spectral was a new brand and they only produced pre-amplifier), Supex cartridge, David Berning’s Valve amplifier, Polk Audio speakers etc pretty well as I had to study all their manuals and learn about their characteristics, their strong and weak points and the ideal combinations, etc. by heart in order to convince customers. This knowledge and experience laid a solid foundation in my future hi-fi journey.

It looked like a lot of learning but in fact I only stayed with the company for two short months before I joined another electronic company as a product engineer.

Unforgettable

The pure, crystal clear and untarnished sound of the Acoustat speakers impressed me so much that I still remembered vividly an incident that happened 20 years ago:

A customer finally forked out HK$20,000 for a pair of Acoustat after auditioning it for 2 nights. This is a “small” sum now but was an astronomical amount to me 20 years ago. Even his friend queried his decision as he thought it wasn’t worth it. The customer said:

“The speaker is just like the woman behind a successful man. She has the right of speech. Don’t forget, the speaker is the component that produced the final sound. If I think it is a good pair of speakers, it is worth half of my budget for the whole system.”

Over the years, whenever I set up a new system, I recalled his words. To me, these are really “Words of Truth and Wisdom”. The speakers I chose must suit my taste and it must be of high quality (as I have good taste). I never compromised on this point and it was only logical that I usually spent at least 40 to 50% of my budget on the speakers alone. Many friends who have listened to my system praised the tonality and I think most of the credits should be attributed to the speakers.

My Greatest Love

Actually My Greatest Love is still LP. My love for LP lasted for more than 20 years and I still cannot and would never discard LP from my system. Even though it may be troublesome to maintain a turntable with all its accessories and LP are not easy to handle (Ed: vis-a-vis CD?), but its sonic performance is so superb that no CD system (not even the most expensive ones) can come close.

Even though I heard that SACD and DVD Audio (not in the market yet) are excellent (Ed: still a fact till this day), I believe they can never beat the performance of LP. After all, regardless of the format, it is still digital sound whereas LP is pure analog and thus free of the jitter problem that was and still is the biggest headache for the digital format.

I believe I will stick to my LP forever, till death do us part.

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