Who has multiple TTs?`
- Thread starter bonzo75
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I have multiple tables.
TW Acoustic AC-3 - generally has the Atlas on it, sometimes Denon DL-s1 or ortofon A90
Pioneer Exclusive P3 - generally has XV-1s, Lyra Delos or Technics EPC-1000 Mk4
Pioneer Exclusive P10 - MM carts, Ortofon SPU Classic E or Royal and denon esc denon 103r
Linn Sondek LP12 - generally has Linn Troika
Pioneer PLX-1000 - has AT AT25 or other MM's. will try the Lyra delos on day
Hooked up to either SS or tube with additional inputs taken care of with Dieter Uni input - can run all 5 tables from either tube or SS or combo of both.
Great fun playing with different tables and cartridges.
TW Acoustic AC-3 - generally has the Atlas on it, sometimes Denon DL-s1 or ortofon A90
Pioneer Exclusive P3 - generally has XV-1s, Lyra Delos or Technics EPC-1000 Mk4
Pioneer Exclusive P10 - MM carts, Ortofon SPU Classic E or Royal and denon esc denon 103r
Linn Sondek LP12 - generally has Linn Troika
Pioneer PLX-1000 - has AT AT25 or other MM's. will try the Lyra delos on day
Hooked up to either SS or tube with additional inputs taken care of with Dieter Uni input - can run all 5 tables from either tube or SS or combo of both.
Great fun playing with different tables and cartridges.
Not as multi as Shane but I have 2 TTs hooked to the same phono stage. A Garrard 401 with a Atlas on a 12"Ortofon 309D arm and a TW AC 3 modded all the way to BN status minus the platter and feet. The TW has a Lyra Etna mounted on a Durand Talea 2. Do intend to post my impressions on the idler vs belt thread that ddk started.
Pradeep
Pradeep
I don't advocate multiple turntables.
In my experience it's better to stick with just one with multiple arms going into phonostage with multiple inputs instead.
At the risk of sounding like a scratched record, in my experience, additional TTs in the near proximity tend to exert magnetic field interference over the whole system thereby degrading it's sonic performance.
When I removed the gyro's motor away from my system, the sound is audibly more opened.
When I removed the whole gyro, the degree of sonic improvements went up another level.
The same thing happens when I remove the digital combo.
As an experiment, I tried the same on several systems in different places, removing metallic objects progressively from these systems, one at a time, or several pieces at a time.
I (and my friends too) hear the same effect at their respective rooms.
So, these days I'll usually stick to one source at a time if listening critically.
I haven't experimented with placing offending metallic objects at varying distances from the main systems, but in some discussion with a Danish manufacturer, his experience is around two meters for magnetic interference not to audibly affect nearby electronics/wiring/cartridges.
In my experience it's better to stick with just one with multiple arms going into phonostage with multiple inputs instead.
At the risk of sounding like a scratched record, in my experience, additional TTs in the near proximity tend to exert magnetic field interference over the whole system thereby degrading it's sonic performance.
When I removed the gyro's motor away from my system, the sound is audibly more opened.
When I removed the whole gyro, the degree of sonic improvements went up another level.
The same thing happens when I remove the digital combo.
As an experiment, I tried the same on several systems in different places, removing metallic objects progressively from these systems, one at a time, or several pieces at a time.
I (and my friends too) hear the same effect at their respective rooms.
So, these days I'll usually stick to one source at a time if listening critically.
I haven't experimented with placing offending metallic objects at varying distances from the main systems, but in some discussion with a Danish manufacturer, his experience is around two meters for magnetic interference not to audibly affect nearby electronics/wiring/cartridges.
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I used to (in the same system) but I ran out of rack space so I just stuck with the one I use 95% of the time anyway. I didn't sell my other tables. One will go to my daughter who now buys her own LPs and the other will go to another system.
Three tables. Why? No rational reason I suppose, I just like them! All sound great and all sound different. TD-124/Ortofon AS-212S, Merrill-Williams 101.2/Tri-planar, Garrard 301/Schick (awaiting two arm plinth which I'll add a 3012R to).
I have two but rarely use the second one. It sounds very good, but not as good as my main TT. It ends up being a dust collector.
I like the look of those single driver speakers (denotes phase coherency) and those wooden stands (no magnetic field interference)
I like the look of those single driver speakers (denotes phase coherency) and those wooden stands (no magnetic field interference)
Thanks! They're Tocaro's. A German brand inspired by Rehdeko's, which were famous for being loathed and loved!
Kuzma Stabi M, 11" 4-point with sapphire cups and Kondo wire
Brinkman Bardo, 11" 4-point with metal cups and standard wire
I've compared them side by side, moving the same pre-mounted cartridge back and forth. The difference then being the tonearm wire and pivot cups, along with the TTs themselves.
Brinkman Bardo, 11" 4-point with metal cups and standard wire
I've compared them side by side, moving the same pre-mounted cartridge back and forth. The difference then being the tonearm wire and pivot cups, along with the TTs themselves.
Artemis SA-1 with Schröder Referance and Ortofon SPU Royal N into Naim superline/supercap.
Townshend Rock 2 with Naim Aro and mono London Decca Maroon into Naim Stageline N powered from the preamp.
The Artemis was meant to replace the Rock, which I’ve had since 1990 or so, but I thought I’d give dedicated mono a try instead of selling it on.
Townshend Rock 2 with Naim Aro and mono London Decca Maroon into Naim Stageline N powered from the preamp.
The Artemis was meant to replace the Rock, which I’ve had since 1990 or so, but I thought I’d give dedicated mono a try instead of selling it on.
I have 2 normally and 3 when I have the need. Not for comparison. One for stereo and one for a dedicated mono system.
Two very highly regarded analog systems. I bet that was an excellent and fun comparison! Would you be willing to share any impressions that you may have garnered from the comparisons.
Thank you and best wishes,
Don
I have two on a full time basis, a SOTA Millennia with the Eclipse mag lev and road runner upgrade. This table has a SME V with a Koetsu Rosewood Signature for the stereo side. I use a SOTA Nova with the Eclipse mag lev and road runner upgrade. A SME IV.Vi with an Ortofon Cadenza as a dedicated Mono TT. Occasionally I'll plug in my old Thorens TD125 just to play with.
I’ve got a few going, in no order of preference: a Teres 340 without a tonearm currently. The tonearm it used to have is a Schroeder Reference sporting an Allaerts MC-1b, which now lives on a slate-plinthed Lenco L75/PTP 6, which also has a Bokrand 12” arm with an Ortofon SPU (GE mk2). The third deck is a very very early Thorens TD 124, fully and beautifully restored by Greg Metz at STS Turntables in Tennessee. The Thorens sits on a DAS Macassar Ebony plinth, on Gaia III footers. The arms are: SME 3009 Series 2 unimproved (but magnificently restored by Alfred Kayser at SME Tonearms in Ontario) with a Shure V15 iii, on an Audio Silente graphite armboard; a Signet xk50 arm with a Signet TK10ea cartridge, also on an Audio Silente graphite armboard; an Infinity Black Widow with graphite arm tube carrying a Micro Acoustics 3002 cartridge with a sapphire cantilever and Fritz Geiger diamond, rebuilt by Joseph Long, on an acrylic armboard; and a restored Grado Lab series wood arm with a Shure M3D cartridge with original stylus on a plywood armboard. It’s been so much fun figuring out the best combinations af drive systems, arms and cartridges (and armboards too), but i think my wife is on to me. She’s figured out that the Teres is armless, so wonders when i’ll sell it (nooooooo!!!!!!!not the teres!!!!!!). Wait til she learns i’m hunting for a 301. I’ll be finished…
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