I have been using OTL amplifiers with ESLs for 3 decades. But I am always looking to improve my OTLs and ESLs, so it is ever evolving. Just getting into vinyl in a bigger way than ever before. I never before had more than one tonearm/tt/cartridge combo.
Lenco L75 w/mods mounted in custom slate plinth using PTP3 top plate and Jeremy's Super Bearing (see Lenco Heaven). Tonearm Dynavector DV505. The Lenco is now featured in my basement system, based on Beveridge 2SW speakers. Performance upgraded by the Phoenix drive amplifier in conjunction with the Roadrunner tachometer, controlling platter speed very accurately.
Kenwood L07D
Direct-drive turntable with built-on tonearm, uses coreless, slotless motor, factory plinth brings total wt past 65 lbs. The quietest turntable I ever heard in my life. Seemingly antiquated tonearm sounds fab. I love this thing.
Technics SP-10 mkIII
I found this Mk3 NOS in Florida. I made a slate and wood plinth for it, and Bill Thalmann went through the electronics. Bill also performed the Richard Krebs mod, and JP Jones added his chip made of discrete parts, which is a replacement for the OEM chip, MN6042 (I think). The slate is 2.5-inches thick, and the base is made of solid cherry and baltic birch. Imbedded in the bottom of the wood base is a large threaded brass block. A threaded brass rod traverses the block and contacts the underside of the bearing housing, a la Albert Porter's idea, to drain energy. A 10.5-inch Reed tonearm is mounted on a slate armboard. I also have some aluminum armboards and other tonearms to try. Lately using the Boston Audio Mat2.
Atma-Sphere MP-1
highly tweaked by moi. A wonderful unit to begin with.
Silvaweld SWH550
All-tube phono stage, now discontinued. I use it for MM and MI cartridges and with the MC2000 via the outboard current-driven gain stage. Its output runs thru my 3160 phonolinepreamp linestage section.
Atma-Sphere MA240
Many, many power supply and circuit upgrades since original. Originally used six 6C33C output tubes in circlotron OTL. Now modified to use four type 7241 triodes in output stage. Output tubes are driven by four discrete Super Linear Cathode Followers, a la the late Allen Wright. This facilitates very accurate matching of output tubes for bias current, so no single tube is either hogging current nor not carrying its fair share. Uses solid state cascode constant current sources throughout. Now using type 7199 triodes as input dual differential cascode voltage gain section.
Sound Lab 845PX
modified audio step-up transformer and crossover, to present a high impedance for my OTLs. All resistors and capacitors were removed from the passive crossover in the backplate. The OEM Sound Lab treble toroidal transformer was replaced by a full range EI type transformer with a 1:90 step up ratio. This full range transformer is in parallel with the OEM Sound Lab bass step up transformer. Photo shows old M1s in my listening/living room. Picture the same black monoliths only taller and wider, if you want to envision the 845PX.
Ortofon MC-7500 and MC2000
The MC2000 is my current favorite LOMC cartridge. Neither of my two high gain phono stages (MP1 or 3160) by themselves have enough gain for the 0.05mV output of the MC2000. I run it either through an outboard current-driven phono booster (think head amp or pre-preamp) built for me by Dave Slagle, into the MM section of my Silvaweld phono stage OR into the BMC MCCI ULN Signature current-driven phono stage, and then in either case to the linestage section of the 3160.
I listen to a lot of different vintage phono cartridges. I have a small collection, many of which I have not yet heard. To date my favorites are the Stanton 980LZS, the Grace Ruby, the Acutex LPM320STRIII, and the B&O MMC1 and MC20CL . In many ways I prefer these cartridges to higher end LOMCs that I have heard, but the jury is out and probably always will be out. Best MC types I own are the Orto MC2000, Koetsu Urushi (now at home in the Fidelity Research FR64S on my Victor TT101, to be found in my basement system), and the Dynavector 17D3.
3160 Phonolinepreamplifier Full function preamplifier
Fully balanced, dual mono, solid state preamplifier with two completely discrete high gain phono stages plus linestage. I have been using this unit for a few years along with the MP1. It's by far the best solid state phono stage(s) I have heard in my system, and it rivals any tube unit as well. Built by R&J in Mexico.
Denon DP80 turntable
Found this 100V unit in California. Bill Thalmann replaced the single chip and upgraded all the discrete transistors and then calibrated it. I use an inexpensive 120V to 100V step down at the wall socket. I had a 60-lb slate plinth made and mounted my Triplanar on the slate surface. The Denon replaced the Lenco in my "upstairs" system, when I moved the Lenco to the basement Beveridge system. Using a Boston Audio Mat2 here.
Hi Lew, away from the captains and colonels I thought i'd send you this link to a webpage which provides brief, cogent explanations of the differences between the TMD & FMD bearings including a history of Transrotor's achievements -http://highfidelity.pl/!ev/artykuly/13_06_2007/transrotor.html Regards, Mg
Sorry. Have not been here for a while. As to Rugyboogie's question, the slate is from Pennsylvania, a company called "Structural Slate" in Pen Argyl. They cut and honed the slab(s) to my specs. For each plinth I made (for Denon DP80, Lenco L75, SP10 Mk2 and Mk3), I used a single piece of slate, 2 inches thick, except the Mk3 got a 2.5 inch thick slab. I also located a water-jet cutter in York, PA, who cut the holes in the slates, for each particular turntable.
I have had a major breakthrough with the help of others. We have made a modification to the input circuit of the Majestic 845PXs such that there is no longer any crossover. This is made possible by using a superb audio step-up transformer that runs full range in parallel with the standard Sound Lab bass transformer. (The new "treble" transformer replaces the Sound Lab toroidal one.) So, no resistors or capacitors in series or in parallel with the audio signal. This results in (1) much higher measurable impedance, making the speakers a very easy load for my Atma-sphere OTLs, (2) an increase in efficiency, and (3) coupled with the large size of the 845s, I get dynamics I would not have believed possible from an ESL. This is all just fantastic. I do not exaggerate when I say that a little tear rolled down my cheek when I first fired up the modified 845s.
Great collection of turntables. Congratulations. Could you describe how the Denon DP80 compares to the MkIII and to the Lenco? Denons seem to be available still and I'm curious about their performance. Thanks.
Very gorgeous collection of turntables. Love the slate that you used. If may be so bold and ask what type of slate is it and is it single thickness? Thank you and take care.
Dear Banquo, No. The Mk3 was not that cheap, not nearly. I paid $6500, then gave it to Bill Thalmann for a complete evaluation and ad lib parts replacement. Bill found that several of the (NOS) electrolytic caps had become leaky, and he replaced them all with new Panasonics. This is not surprising. Electrolytics left on the shelf will degrade faster than those in regular use.
My wife has a very wide "acceptance factor". Most wives would not tolerate what I have done to our living room. But we have a very large family room as well and no kids at home any more, so it is easy for her to avoid looking at the mess in an otherwise beautiful and well furnished room. I keep cleaning it up and then making another, different kind of mess. (Cartridges, headshells, CDs overflowing shelves, tonearms that look like a gaggle of petrified dinosaurs, arrayed on top of a nice cabiinet.) I now have a pair of Sound Lab Majestic 845s on order, which of course are even more humongous than the M1s.
A few months ago, I bought a Silvaweld SWH550 phono stage off eBay, just to scratch an itch and because it was so cheap. Silvaweld is defunct, was made in Korea by Mr. Park now of Allnic. The SWH550 was his top of line phono stage, does NOT use LCR RIAA equalization, as is the case with Allnic products. I have now been listening to it for a few days, in place of the Ayre, receiving the input from an Acutex MM cartridge riding in the Dynavector DV505 on my Lenco. This thing is divine! Tube rectification and voltage regulation, as well as amplification, really makes it go.
Hi Lew - it was hard to tell from the picture of your room if it was a dedicated room and you could move speakers where you wanted to, and how much of a long rectangle shape it was. Yes its about positioning them 40-50% into the room about 6-9 inches from the side walls. They get left on a line using a technique where the bass response is smoothest and best.
You put your chair where the sweetspot is best.
I experimented with this technique and it did work well in long rectangular room where you are free to place the speakers wherever. But doesnt go good with the spouse in a shared room. cheers chris
Ct0517, Define "midfield setup". Do you refer to positioning the speakers so they are about half way from the back wall to the front wall, or do you mean moving my listening position? In any case, the Sound Labs are so large that there is not much flexibility re positioning them in my listening room, which is also our living room. They are about 5 feet from the rear wall, at an angle to it. I made some sound-absorbent panels that are bolted to the blank wall behind them, two panels per side. I also use some very dense rosewood chairs, one behind each speaker, to tame the low bass response.
System edited: I just added a photo of my SP10 Mk3, now finally making tunes in my system. The heading explains a lot, but I will also answer any questions. When I write that I "made" the plinth, that is an oversimplification. I had the assistance of skilled professionals, but it was built to my specs. The SP10 Mk2A was sold, and the Denon DP80 now resides on a shelf in my basement, having been replaced by the Kenwood L07D. Reed seems like a great tonearm, but it's all new stuff, so hard to tell.
I'm having difficulties with the spiked stand-alone arm column. It definitely increases the bottom end and midrange bloom in my system but I feel it does so excessively and moves me in a direction that I do not want. The cost of these elevations seem to be a loss of air/acoustic layering and refinement.
I'm still playing with this though and will try a mix of the spikes and blue tac approaches to see it I can tune in the necessary accuracy in tone and staging.
System edited: Just deleted Technics SP10 MkII because will be replaced by Mk3. Added several cartridges. I have also got a couple of tonearms not listed here yet. I am having fun.
This is a belated response to JLoveys: I don't know where you saw mention of my owning a VPI SDS, but I don't and have not. I do own a Walker Audio Precision Motor Controller, which I originally purchased for use with my then one and only turntable - a Nottingham Analog Hyperspace. The Walker did wonders for the Notts, way beyond my wildest dreams. I am now using the Walker on my Lenco. I am told by Mark Kelly that the Walker (and most conventional single-phase motor controllers on the commercial market) is not optimal for the Lenco motor. In any case, I cannot hear as much of a benefit with the Walker/Lenco as I heard with the Walker/Notts. I am on the list for a Mark Kelly motor controller specifically dedicated to the Garrard motor, but Mark says it will work well for the Lenco too. The wait for the final product is lengthy, to say the least. Hope this hellps. Currently doing some further upgrades to my MP1. Paul Dang made me a baltic birch base for my Mk3, but it is still not up and running. I will need a tonearm for it that does not cost more than $3K, used or new. Any suggestions are welcome.
Dear Kmccarty, et al, Since last fall, I sold my Lenco with Jean Nantais wood plinth (in favor of the Lenco in slate) and I also sold the Garrard 301, for lack of energy to do anything with it. I also picked up a mint NOS Technics SP10 Mk3. Just two days ago I finally picked up the slate plinth I had made for it. The plinth for the Mk3 will be a composite of slate and baltic birch, using also the iron block that Albert Porter employs to sink vibrations from the bearing. Someone asked for a comparison of the DP80 vs SP10 Mk2. I have yet to hear them with the same tonearm and cartridge, but my impression is that the DP80 is every bit as good as the Mk2; however, this is after damping the outer hollow ring around the platter and replacing all electrolytic caps, transistors, and the one IC in the electronics. With this work done, the DP80 in slate is a gem.
I have been listening to the Kenwood L07D, not shown above, for about two weeks. This tt is fan-freakin-tastic, is all I can say. Even with the original archaic tonearm wiring and all its connectors in the signal path, this tt pulls sounds out of familiar LPs that I had never heard before. It also makes the Urushi a killer cartridge; I can't wait to try it with the Colibri and with some of the MMs. Mainly I think the L07D achieves these qualities by being incredibly quiet and incredibly in control of spurious vibrations. Also, it is a stone cold bargain, even though not "cheap" in the usual sense of that word. For the one price, you get a done sota plinth that no amateur could ever build and a very good tonearm, plus a motor with an advanced and flexible drive system. Meantime, the Lenco can hang with the big boys, too.
Sound Labs should go back to Utah for new diaphragms, but I cannot bear the thought of living without them for several months.
Hi Lewm, nice system and interesting that you have 3 vintage turntables. I have a Denon DP6000, precursor to the DP80. So I am interested to know how you compare your DP80 to the SP10 MkIIa especially since they both have slate plinths. I am always tempted to switch my DP6000 to a better plinth (it now has an original Denon plinth) or try an SP10. Also, keep up your posts on MM/MI cartrideges. I have a B&O MMC1, Andante P76 and Azden but yet to set them up. Interesting times ahead!
Hello Lewm, I read a post of yours saying that you use the VPI SDS with your Lenco, then the post disappeared... I was very skeptical to use my SDS with the Lenco, but after calibration it seems to work all right. What are your opinion with use of SDS with Lenco ? Thanks,
Have you ever done a comparison review of your great collection of vintage turntables? If so, please provide a link. I'm curious to know which, if any, is a clear top performer. Thanks. Ken
