Back in 2015 – Magic and Microphony (Pt 1) – I suggested that the tendency to ‘microphony’ in some vacuum tubes / valves, can actually enhance the sense of ‘ambience’ or ‘live-ness’ of the reproduced sound.
The last thing I wish for, is a ‘dry’ or ‘threadbare’ sound that is lacking in ‘resonance’ or harmonic ‘decay’.
Previously, I used 4 x ‘mag-lev’ (magnetic levitation) support ‘feet’ under the new plinth on my TECHNICS SP-10MkII – similar to the mag-lev feet used under my previous turntable.
However, I found that this turntable sounds much better supported on top of (3) solid plywood blocks.
Supporting the plywood plinth perimeter – the sound is sharper, clearer, dynamic, rhythmic, with a light, ‘agile’ touch. Image height and scale are good. There is nice treble extension, nice tonal ‘sustain’.
This is an example of why you cannot just assume that what works on one turntable (eg. rim-drive) will work similarly on another turntable (direct-drive).
When this record arrived in the mid-80s, I was an opera ‘newbie’, sampling the occasional aria.
This is Malcolm Mclaren’s strangely beautiful album, fusing together opera favourites (from Madama Butterfly, Carmen, Turandot and Gianni Schicchi), with ’80s Rhythm and Blues and disco beats, and given a youthful narrative.
35 years later, this album still ‘hits the spot’. Still as engaging and ‘catchy’ as ever, and the tunes and melodies of Puccini and Bizet’s music are timeless.
The Keith Monks Record Cleaning Machine was introduced in 1969 and is still unique in the method used to vacuum-dry the cleaning fluid from the vinyl record.
The KMAL (Keith Monks Audio Ltd) Record Cleaning Machine was originally developed from a ‘Record Doctor’ concept devised by Percy Wilson in England and presented to the Audio Engineering Society (AES) in 1965.
In 1969, Keith Monks was successful in securing orders from the BBC for the first KMAL Record Cleaning Machines to be manufactured.