Playback of Grooved Media

2004-2008 Audio Archive, I nc.

ARSC Annual Conference
Palo Alto, CA

Playback of Grooved Media :
Transfer Methodology
March 29, 2008

Eric Jacobs, The Audio Archive, Inc.

Goals
Create awareness of
Disc cleaning and handling
Groove and stylus geometry
Disc playback parameters
Playback problems with damaged media
Set-up and alignment for modern and historical media
Terminology
Why important
But not how to do it
Equalization and how it influences transfer decisions
Cleaning and Handling
Significant cleaning solution research
Balance between chemical and mechanical cleaning
Disc Doctor solution as base for small batches
Tergitol solution as base for large batches
Use pharmaceutical grade distilled de-ionized water
Lacquers only: Clear ammonia additive (2%)
Use a suction-type record cleaning machine like Monks
Keith Monks users need to protect suction wand bearing
Dedicated brushes for wash and rinse
Fully support disc during cleaning
Lacquers only: ALWAYS wear gloves
Lacquers only: minimize water contact time with disc
Lacquers only: clean both sides even blank sides
Cleaning and Handling
Record cleaning station
Groove Geometry
Stylus and groove geometry
Example: 78 RPM Groove and Stylus
Groove Geometry
Coarse groove with 78 stylus
Stylus contacts walls = Less noise
Groove Geometry
Coarse groove with LP stylus
Stylus contacts debris field = Noise
Groove Inspection
Coarse groove 78 played with LP stylus
LP stylus scratch
Inner Left Wall Outer Right Wall
Spindle / Label
Inner Grooves
Outer Grooves
Groove Geometry
Groove cutter geometry
Groove Geometry
Tracing Distortion
Vertical distortion second harmonic, increases with frequency
Groove Geometry
Pinch Effect
Lateral dimension change Vertical distortion, second harmonic
Groove Geometry
Groove and stylus geometry
Cutter
Spherical
Elliptical
Line
Tracing and pinch distortion
Less tracing and pinch distortion
Least tracing and pinch distortion
Groove Geometry
Vertical tracking distortion
Expanded fall, compressed rise
Compensated by standardizing on 15-degree cutter angle
Groove Geometry
LP era 15-degree SRA (Stylus Rake Angle)
Groove Geometry
Coarse groove 78 era 0-degree SRA
Stylus Rake Angle
VTF = 4 gram + angle block (SRA = 0 deg)
15-degree
Angle
Block
Groove Measurement
Predicting stylus geometry and size
Groove Inspection
Cross-talk in an Edison Voicewriter disc
Groove Inspection
Damage from stylus drop
Groove Inspection
Damage from stylus drop
Speed Types
Two types
Constant Angular Velocity (CAV)
RPM is the same for all grooves
Constant Linear Velocity (CLV)
Groove velocity at the stylus is constant
RPM slower at outer grooves, faster at inner grooves
CAV used for most discs
Audio quality best at outer grooves
Example: LP, Shellac, Lacquer, Edison Voicewriter
Note: Sequential lacquers often run inner-to-outer, then
outer-to-inner for smooth transition
CLV used to maximize recorded disc time
Uniform audio quality from outer to inner groove
Example: Gray Audograph (dictation)
Measuring Speed
Digital read-out
Strobe
Tachometer
Calibration tone
Measuring Speed
Direct read-out
Easiest
More expensive

Measuring Speed
Strobe
Lower resolution
Low-Cost
Simple but takes awhile to detect small speed
errors

Measuring Speed
Strobe examples

Measuring Speed
Strobe examples

Measuring Speed
Strobe examples (my favorite by KAB)

Measuring Speed
Non-contact tachometer
Precise (0.001 RPM resolution)
More costly
Quick and easy to use

Measuring Speed
Non-contact tachometer uses reflective strip

Measuring Speed
Non-contact tachometer in use

Measuring Speed
Calibration Disc
Not as accurate for speed
Requires more specialized equipment
Multi-meter with frequency measurement
Cables to connect multi-meter to phono preamp
output
Can digitize and keep as record of
Rosetta Tone or system signature
Frequency response
Noise and distortion
Cartridge loading / damping
Speed Change in DAW
Pitch change in semitones

V1 = current speed (RPM, Hz)
V2 = desired speed (RPM, Hz)

Semitones = 1200*LOG(V2/V1)/LOG(2)

Example: playback a 78.26 RPM shellac at 33.33
RPM, digitize, and then re-pitch in the DAW with a
14.78 semitone pitch change
Note: do not use preserve length option in Wavelab
Fine-tuning Speed
AC synchronous motor change frequency

Fine-tuning Speed
Low torque motor tips
Sensitive to temperature
Motor heats up over time, winding resistance increases,
torque is reduced, turntable slows down 0.1 to 0.2 RPM
effect
Shows up as speed drift over time
Sensitive to stylus friction
Coarse groove discs offer substantial friction resistance
0.1 to 0.2 RPM effect
More friction at outer grooves (function of linear speed)
Fine-tuning Speed
Can you hear a speed change?
Generally, the human ear can detect an 8 cent
pitch difference
33.33 vs 33.43 = 5 cent
33.33 vs 33.53 = 10 cent
78.26 vs 78.36 = 2 cent
78.26 vs 78.46 = 4 cent
Alignments and
Adjustments
VTF Vertical Tracking Force
Affects sound quality, anti-skate, and SRA
Antiskate Lateral Tracking Force
Compensates for inward lateral force
HTA Horizontal Tracking Angle
Controls distortion profile
VTA Vertical Tracking Angle
Affects SRA and tracking stability
SRA Stylus Rake Angle
Vertical offset angle of stylus with disc surface
Azimuth
Affects channel separation / cross-talk most
Vertical Tracking Force

Affects sound
Alignment of coils and magnets
Affects tracking performance
Suspension travel
Skating forces
Stylus rake angle (SRA)

Example of simple balance beam VTF gauge
Example of built-in VTF gauge

Example of digital VTF gauge (0.01 gram
precision)

Stylus rests on
light gray disc
Anti-skate
Lateral skating force is a vector component
of stylus friction
Skating Force
Stylus Friction
Platter
Tone-arm
Anti-Skating Force
Anti-skate
Increasing VTF increases Stylus Friction
Increasing
Skating Force
Increasing Stylus
Friction
Platter
Tone-arm
Anti-Skating Force
Anti-skate
Increasing groove amplitude increases
Stylus Friction
Increasing
Skating Force
Increasing Stylus
Friction
Platter
Tone-arm
Anti-Skating Force
Anti-skate
Increasing groove speed increases Stylus
Friction
Increasing
Skating Force
Increasing Stylus
Friction
Platter
Tone-arm
Anti-Skating Force
Anti-skate
Example of spring anti-skate
Anti-skate
Example of weight anti-skate
Horizontal Tracking
Angle

Deviation of cantilever from groove tangency (when
looking from above the cartridge)
Deviation results in geometric tracking distortion
Horizontal Tracking
Angle
Pivoted tone-arm
Discs grooves are cut on a linear tracking lathe
Pivoted tone-arm introduces tracking distortion
Cost-effective to manufacture
Easy to operate
Tracking distortion can be minimized but not eliminated

Horizontal Tracking
Angle
Linear tracking tone-arm
No tracking distortion (offset angle = 0)
Highly sensitive to level and linear track friction
Expensive to manufacture and operate
Horizontal Tracking
Angle

Choice of HTA determines locations of nulls
Null points are points of zero tracking error
Loefgren Distortion Curve
Minimize distortion between nulls
Higher distortion at inner and outer grooves
Baerwald Distortion Curve
Balance max distortion between nulls and inner/outer
grooves
Stevenson Distortion Curve
Modified Baerwald
Places inner null at inner groove
Horizontal Tracking
Angle
Baerwald versus Loefgren alignment (LP)
Loefgren
(a) Less distance between nulls
(b) Max distortion between nulls
is lower than Baerwald
(c) Max distortion at inner/outer
grooves is greater than
Baerwald
Baerwald
(a) More distance between nulls
(b) Max distortion is same
between nulls and at
outer/inner grooves
Red = RMS Tracking Distortion (%)
Blue = Tracking Error (degree)
Null Point = Zero Tracking Error
Horizontal Tracking
Angle

Stylus
Cantilever
Tone-arm
Effective
Length (Le)
Pivot
Spindle
Stylus
Mounting
Distance
(Lm)
Horizontal Tracking
Angle
Terminology

Le Effective Length (Pivot-Stylus)
Lm Mounting Distance (Pivot-Spindle)
Theta Offset Angle (cantilever angle)
D Overhang (Le Lm)
N1 inner null radius
N2 outer null radius
Horizontal Tracking
Angle
Applications

Minimize distortion for different disc sizes
Use arm-specific spindle-pivot distance
Use arm-specific offset Angle
Compare optimal versus actual distortion
Evaluate distortion between nulls
Evaluate distortion at inner and outer grooves
Horizontal Tracking
Angle
Sensitivity Analysis

Error Distortion Increase
Pivot-Stylus (see overhang)
Pivot-Spindle (see overhang)
Offset Angle 3 deg 2.00%
Overhang 1 mm 0.12%

Conclusion focus alignment efforts on offset angle for
greatest impact
Horizontal Tracking
Angle

Tone-arm
Pivot
Spindle
Null
Stylus
Overhang
Tracing
Curve
Max
Distortion
Notation:
B Baerwald
L Loefgren
S Stevenson
Offset
(Cantilever)
Angle
Example Alignment Tool
Horizontal Tracking
Angle

Trammel for Spindle-Pivot distance
Horizontal Tracking
Angle

Horizontal Tracking
Angle

Vertical Tracking Angle
Vertical Tracking Angle (VTA) = red
Stylus Rake Angle (SRA) = green

VTA adjustment affects
Stylus Rake Angle (SRA)
Tone-arm stability

VTA Adjustment is
Vertical
Influence of VTA on SRA
5 mm change in pivot height = 1 deg change in SRA
Note: 1 gram change in VTF = 3 deg change in SRA
(depends on compliance of cartridge)

0
1
2
3
4
5
6
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21
VTA offset (mm)
S
R
A

o
f
f
s
e
t

(
d
e
g
)
9-inch arm
12-inch arm
Stylus Rake Angle
VTF = 3 gram (SRA = 13.8 deg)
Stylus Rake Angle
VTF = 4 gram (SRA = 16.6 deg)
Center of tone arm bearing ideally at height of record
surface

Tone-arm STABLE if bearing center is BELOW record surface

Tone-arm LESS STABLE if bearing center is ABOVE record
surface
VTF
Stylus Friction
VTF
Stylus Friction
Center line of SME tone-arm is actually drawn on arm
VTA level line
Center line of SME tone-arm is actually drawn on arm
Check height
Front Back
Note: too high
Variability in cartridge dimensions
Stylus-to-cartridge-mounting-bolt distance
varies from 8.5 to 10 mm
Stylus-to-top-
of-cartridge
Variability in cartridge dimensions

Ortofon SPU-GT with mounting block (4.0 gram VTF)
21.60 mm
Lyra Helikon SL (1.8 gram VTF)
17.85 mm
Shure M44-7 (2.0 gram VTF)
17.90 mm
Shure V15 Type VXMR (1.0 gram VTF)
17.10 mm
Azimuth

Primarily affects channel separation / cross-talk
No real affect on channel balance
Using a test disc
LEFT channel signal measure LEFT output (V1-L)
RIGHT channel signal measure LEFT output (V2-L)
LEFT channel signal measure RIGHT output (V1-R)
RIGHT channel signal measure RIGHT output (V2-R)
Cross-talk-L = 20*log(V1-L/V2-L)
Cross-talk-R = 20*log(V1-R/V2-R)
Minimize either Cross-talk-L or Cross-talk-R
Tone-arm / Cartridge
Resonance

Resonance impacts susceptibility to tracking problems
from external vibration and music to cueing
Typical resonance is 5-12 Hz
Building vibration, warp and footfall is 2-6 Hz
Lowest musical frequency is 16 Hz
Tonearm and cartridge form a mass-spring system
Effective tonearm and cartridge mass at the stylus
Cartridge suspension acts as a spring
Rules of Thumb
Keep resonance between 6 and 16 Hz
Resonance >= 16 Hz (sensitive to distortion)
Resonance <= 6 Hz (sensitive to footfall & building vibration)
Resonance

Calculating resonance frequency

RF = 159 / sqrt ( (eff. mass + cart mass + fastener mass) *
(compliance) )

RF (Hz): resonant frequency
eff. mass (gm): rated by tonearm manufacturer
cart mass (gm): rated by cartridge manufacturer, or you can
measure this with a scale
fastener mass (gm): screws, nuts, spacers, washers, shims.
Compliance (x10E-6 cm/dyne): stiffness value rated by cartridge
manufacturer
Resonance

Measuring resonance frequency

HFNRR (Hi-Fi News and Record Review) Test Record
provides good tools
Vibration Isolation

Prevent external noise
Improve cartridge tracking
5-12 Hz tonearm-cartridge resonance
2-6 Hz building vibration and foot fall
Most consumer isolators are insufficient
Most turntable suspensions are insufficient
Vibration Isolation
Minus K Atomic Force Microscope (AFM) isolator
Vibration Isolation
Minus K Atomic Force Microscope (AFM) isolator
Equalization

Increase playing time
Increase frequency response
Reduce high frequency noise
Equalization

Bass EQ - Record
Attenuate low frequency groove amplitude
Grooves can be closer together = longer playing time

Bass EQ Play
Increase low frequency groove amplitude
Low frequency signal is at correct original level
Stylus can better track low frequency grooves

Equalization

Treble EQ - Record
Increase high frequency groove amplitude
High frequency signal is above high frequency noise

Treble EQ - Play
Attenuate high frequency groove amplitude
High frequency signal is at correct original level
High frequency noise is attenuated

Equalization

Create preservation master with EQ
If you know EQ with absolute certainty
Example: RIAA, NAB
Create preservation master FLAT (no EQ)
If you do not know EQ
Example: Coarse groove 78s
Create access copies with EQ
Thank you
Eric Jacobs

The Audio Archive, Inc.
Tel: (408) 221-2128
EricJ@TheAudioArchive.com

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2004-2008 Audio Archive, I nc.

2004-2008 Audio Archive, I nc.

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