There
are various weights and record clamps on the market. But most of
them are either too heavy or they can not be used because of the
clamp mechanism.
For
light sub chassis models (Thorens TD166, TD160, Linn LP12, Ariston,
etc.) a very heavy weight is not recommended because it may effect
the proper functioning of the springs and thus will alter the resonance
of the design. If your suspended turntable is well adjusted than
the addition of this appr. 360 weight does not alter the suspension.
(See the 
Turntable
Adjustement Page.)
A
screwable clamp (Michel, Goldmund, etc.) can not be used on a machine
like a Thorens TD124 for instance, or on a Roksan Xerxes 10 or 20
turntable (if you leave the spindle in).
When
a good turntable weight is used it will give a significant improvement
of definition, tangebility of sound and transient response. Furthermore
it will deminish distortion.
Some
audiophiles consider a record clamp-system like the Oracle or Goldmund
as the best solution. Others think that these clamps give tension
to the vinyl. The Oracle turntable has a threaded spindle
on which the clamp can be screwed down and the record automatically
is clamped down in a slightly convex manner.
The Goldmund solution is a clamp which is to be used with
their slightly concave turntable mat. The Goldmund consists of different
materials and that is important for its working and for the effectiveness.
A clamp should not have a negative effect on the frequency characteristic.
Screwable clamps have the disadvantage that additional pressure
has to be applied in order to obtain the maximum 'bonding' of record
and turntable mat (or nude platter) before it is screwed to the
spindle. And because of the pressure the bearing of some designs
could suffer in the long run.
I propose a pressure weight that can be used on practically every
type of turntable.
It is heavy enough to be effective, and it is light enough to not
interfere with the design of the turntable. On top of it this weight
can be handled easily because of its ergonomical design.
The
material, the volume and shape of a record weight is also important
for the sound and its function should always be related to the turntable.
The record weight I devised was first of all judged when listened
to on many different turntables. Beware of imitations.
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HIGH PERFORMANCE
This turntable weight is not very expensive if compared to the
prices some weights may cost. This weight works well with the
Universal Record Stabilizing Ring and works better than the
Michell clamp. At right you can read what John Z., a serious
audiophile from Great Britain, wrote:
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"I was not prepared for its ability to greatly increase my
enjoyment of music. (...) The music is now much more balanced
and unified (this is the only way I can say it). Every note from
lowest bass to highest treble and from pppp to ffff is in obviously
correct proportion. Notes previously masked or almost unheard
are audible without any straining to hear them. Strong, center-stage
vocalists have often obscured individual instruments unless one
strained to hear those instruments by taking one's attention away
from the vocalist. Now all is heard, all the time, without concentrating
on hearing this or that sound. The music is whole, organic, balanced
and REAL".
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Do
never trust manufacturers who start selling you a piece by telling
you that the object is beautiful. It should deliver the best sound
in the first place. Beauty is secondary.
The measurements are well chosen so that the headshell stays clear
from it when it reaches the inner grooves. The height however will
not allow most dustcovers to be closed when playing. (But who wants
to deteriorate the sound through playing with a dustcover on!)
The base of this design is 70 mm, but can be 80 mm, depending on
the aluminum staff which is available in the fatory or work shop.
With 7 cm you are on the safe side.
The percentage of lead in the aluminum has an influence on the dampening
effect of the clamp on the vinyl. This influence is however relatively
small and will only be more significant in high end systems.
The
design - Copyright 1980-2008 by Rudolf A. Bruil -
may
be used by individuals for personal use.
The
height of 20 mm for the opening for the spindle leaves ample room
for practically all spindles that you encounter. If you want to,
you can make the spindle hole longer.
I
designed this weight in 1980 along with my first Basic Turntable
and have used it ever since on various turntables with all sorts
of mats: rubber, felt, sorbothane. And it works extremely well.
Even if you use a turntable with a glass mat (I do not advise the
use of glass) or an acrylic mat (which I do advise), or if you are
not using a separate mat, you can use this weight. In that case
always place the weight on the record when it is not turning! (Note:
Why don't I approve of a glas mat, read
The
Turntable Mat)
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A
l t e r a t i o n s
Ever
since it was designed in 1980, the proposed record weight is in
fact just a plain piece of aluminum machined according to the drawings
on this page. The most important aspects of the design were the
relative low weight and the ergonomic shape, plus - of course -
what this simple weight does to the reproduction of every long playing
record, old and new, mono and stereo, and whatever music the groove
holds. The significance of the weight and form can be heard: more
precision, better transient response and less distortion. There
is the improved reproduction of all frequencies without emphesizing
one section of the response curve. And there is always the improved
rendition of the mid band.
We
have heard the same effects on high-end turntables in great audio
sets as well as on the less costly turntables in affordable sound
systems. I know of and heard the effect on a Linn turntable with
a Goldmund mat, on two different Nottingham Analog turntables, on
several Technics turntables and on the SP-10Mk2, on a Lenco 78,
on a Transrotor Fat Bob, on the Thorens TD 124, etc.
The
contact between the surface of the weight and the label of the records
varies and is generally only partly, and most of the time the weight
just presses on the label around and near the spindle. The 33/45
weight (described below) does the job in a different way. The weight
has a chamber for the use of a 45 RPM adaptor. Therefor the contact
with the label is over a larger area, away from the spindle, more
towards the periphery of the label. Depending on the nature of the
front end, the differences between the two weights are more or less
audible. With the recent
acquisition and optimization of Infinity Kappa 7 A loudspeaker
systems the difference between the two versions are more
evident, mainly because of the somewhat irregular frequency curve
of the Kappas and the precision of the EMIT units. The reproduction
became more chiseled. The performance of the high frequencies was
much stronger and strings in a symphony orchestra were more prominent.
These differences are less significant when soft dome tweeters are
being used.
It
was Philip Fregeau from the US, who - after procuring the "solid"
weight - contacted me about the way the original weight touched
the record label. He wanted a better contact and asked a machinist
to make two modifications. He wrote:
"This is to
let you know that I have had a local machine shop make 2 small
modifications that have proven very beneficial. The first
is a 1/16 inch X 45 degree bevel to the bottom outside edge
which allows the weight to sit firmly within the depressed
center portion of records that were pressed in that configuration.
In my collection there are many. The second is a 3/32 inch
by 60 degree flair to the spindle hole opening which eliminates
contact between the weight and any excess vinyl left by the
record hole punching operation. In my collection this vinyl
debris is common enough for concern." - Philip Fregeau
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 In
the past I have contemplated many times to alter the weight just
by having a flair at he spindle hole as was done by several audio
firms already decades ago, and in whatever form. It would have been
logical to alter the design. However it never came to this because
the results without a flair were very good. Originally the size
of the weight was 8 cm (3/14 inch) but I reduced this to 7 cm (2
3/4 inch) as there were occasions when a wide headshell would touch
the weight in the end. That was the only main alteration. I originally
had a length of 25 mm (about 1 inch) for the spindle but this was
reduced because even 20 mm spindles were not encountered, not even
on the Technics SP-10Mk2. Though the length of the spindle hole
seemed Ok, the weight is obstructed by the length of the spindle
on Fregeau's VPI turntable.
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| Conclusion:
If you are a DIYer or ask a machinist to turn the 1980 design, you
can decide for yourself if you want to alter the weight by making
the flair or even go further and have the bottom beveled according
to Philip Fregeau's idea. But be aware of what it does to the sound. |
The 33/45 RPM Turntable
Weight
From 2006 Includes An Original Nagaoka Adaptor
(already value of at least $20.00)
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- Less
Distortion
- Professionally
Machined from Aluminum (NOT from Brass or Stainless Steel) to
keep the bloom of the mid-band in tact
- Improved
Dynamics
- Tighter
Bass
- Precise
High Frequency Retrieval
- Better
Transient and Attaque
- Stable
Sound Image
- Deeper
Sound Stage
- Natural
Harmonics
- For
all EP and LP Records
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