Too Hot to Handle (Feb. 1977)

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Which would give me the best sound: a pre recorded, Dolby-processed cassette, or a cassette tape I record (from a turntable) myself? I use TDK SA C-90 tapes and a Marantz 5420 deck. Also, once I've recorded a tape, do I lose any fidelity by erasing and recording on that same tape?

-Byron Roloff, Corvallis, Ore.

We'd love to be proved wrong, but right now we'll bet on the disc copied at home-if your disc-playing equipment is up to snuff and your deck correctly adjusted for the tape.

While Dolby cassettes represent a great step forward, their manufacture still requires more tape transfers than that of a disc.

Before re-using an already recorded tape we prefer to bulk-erase it, rather than relying solely on the deck's erase head. This usually makes a small improvement in signal-to-noise ratio. But in practice there should be no difference between the recorded sound on the re-used tape and that on a new one of the same type.

I hereby denounce the plastic dust cover so commonly used with turntables-even the top models on the market. It’s highly susceptible to static. I checked its effect on tracking on a dry day. Using the Shure stylus gauge, I found that the closed cover reduced tracking force by 1 2 gram. In New York City, closing the cover during play is a must. I find myself rubbing water on the cover prior to every play. Isn't there a better way?

-William Chan, Brooklyn, N.Y.

For the reason you indicate (which can be obviated, as we explained in the October 1975 "News and Views," with the Zerostat static neutralizing "gun"), as well as susceptibility to acoustic feedback, we recommend that such plastic covers, at least on single-play turntables, be removed entirely while a disc is playing-even in New York City. The health of the disc can be best attended to by cleaning it carefully before and after each playing.

I possess Bang & Olufsen equipment consisting of an amplifier, open-reel tape recorder, turntable, and speakers. I am considering adding a tuner and stereo microphones to this system, although I have not yet decided on any particular brands. My problem is that all the models I have looked at have single-pin sockets, whereas my B&O equipment has five-pin DIN sockets. Is there a product on the market that will enable me to connect a tuner and microphone with single-pin connectors to my amplifier?

-David Brocklebank, Grand Blanc, Mich.

Most well-equipped audio dealers (especially those who sell equipment using DIN plugs) stock DIN-to-pin adapters. They should do the trick, though levels may not be well matched between components and either in sufficient gain or input-stage overload can result if the mismatch is severe.

I have owned a Thorens TD-124 turntable since it first came out. Over the years, when ever I thought of modernizing or upgrading, I came back convinced I could not do any bet ter. But one thing has disturbed me, and that is rumble level. I like to play my symphonic music, etc., loud-but the rumble level militates against it. The "low filter" helps some what but not enough.

Is it possible to have a filter built to cut down the specific frequencies at which the rumble appears? If so, do you know what that frequency is? Could it be designed with narrow enough discrimination not to affect the over-all sound? If it helps, I have an Ortofon cartridge (newest elliptical) with Ortofon arm, McIntosh 250 amplifier, Dynaco PAT-4 preamp, and a pair of 15-inch Tannoy speakers. (Great sound!)

- Walter E. Judelson, Bronxville, N.Y.

A specially designed filter of the type you suggest would probably cost more than a new turntable-and it's not likely to work too well since you would almost certainly lose music with the rumble. We suspect that your ancient Thorens is worn out and due for re placement.

I have a Pioneer PL-71 turntable and SX-950 receiver. I am contemplating buying an Audio-Technica AT-20sla cartridge. Can you tell me if this cartridge is compatible with my equipment? Does two-channel stereo reproduction suffer when using a cartridge de signed for CD-4?

-M.J. Churchich, Omaha, Neb.

The Audio-Technica AT-20sla will probably work in the PL-71 tone arm, but the low-frequency resonance of the combination could get very close to the frequency of record warps-which could impair the tracking of discs that are not perfectly flat. CD-4 cartridges are perfectly capable of tracking two-channel discs, and, though their extended frequency response sometimes results in a slightly bright high end, the seriousness of this effect varies from model to model and depends in part on the high-frequency behavior of the speakers you use. If, however, you don’t intend to use the CD-4 capability, the extra expense for a cartridge of this type is probably not justified. Should you wish to avail yourself of the advancements in stylus design prompted by CD-4 while keeping a two-channel system, the new Pickering XSV 3000, which offers a unique combination of a new stylus design, optimization for stereo, and a price lower than that of most top-of - the-line CD-4 cartridges, could be your best bet. See this month's test reports.

My system contains an early model Garrard Zero 100 turntable with a Shure M-95ED pickup tracking at 1.5 grams. My primary source is recordings that I care for (perhaps to extremes) with a D-stat mat, a Zerostat gun, Sound Guard, and Discwasher. While the quality control of recordings is variable, I feel that some of the problems I encounter may be more the fault of the changer (used only in the single-play mode) than of the pressings. I had the Garrard tested locally and found that it tracked well all but the most difficult areas of the test record. Still, certain records pro duce excess surface noise, pops, skips, and sticking on a groove. I also sense a shifting of dominance from channel to channel. In records that arrive warped, the tracking is erratic and the sound distorted.

I am trying to decide whether to replace the Z-100, and, if so, with what. I tend to prefer either radial or articulated arms, to minimize tracking error. My first choice would be a B&O, but I find it difficult to justify $750 for a turntable unless the difference in quality is that great. I also am considering the Rabco ST-7 and the new Garrard GT-55. With all of the claims made for the various turntables, however, I find it difficult to decide between them.

-Dr. James S. Reid, Vienna, Va.

It seems to us that you have not yet made sure that the Zero 100 was at fault. What we suggest is that you take the records that are giving you trouble and play them on other turntables (particularly the ones you are interested in) and see if you get an improvement. Then you can decide what to do. And check your stylus. We have not reviewed the Rabco S1-7. but the Garrard GT-55 is re ported on in this issue.

My Rectilinear XI-A speaker came with the duct port stuffed with sound-absorbent material. I have seen a photo of the speaker with grille removed, and it showed the port wide open. I removed the stuffing, and the bass response was better, but Rectilinear advised me that the port should be left sealed with the material as it "tunes itself." It said that using the speaker with the port open risks dam aging the woofer from excessive cone excursion. Could you comment, please?

-Peter Bourneuf, Hudson, Mass.

Clearly there is no point in creating a port and then literally sealing it again, but that is not what the sound-absorbent material does.

Rather it provides damping at the low frequencies at which the port is effective. In cases like this, it's best to heed the manufacturer's advice. After all, Rectilinear designed the speaker.

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(High Fidelity, Feb 1977)

Also see:

News and Views

Too Hot to Handle (Mar. 1977)

 

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