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.)
In a forum some expert recently
wrote that there are manufacturers who advise against the use of a weight. The
writer cautions his fellow members but does not mention brands or names. He also
states that the VTA can be changed by putting a weight (even this light weight
stabilizer) over the spindle of the platter.
Well,
the man certainly does not know how turntables work.  One
important aspect of any turntable is that bearing-spindle-platter-tonearm
are firmly connected in the horizontal plane . and are an entity. There should
be no play, no independent movement possible. This construction is crucial. If
the construction was different, than the sound would change with every minute,
vertical move of either platter or tonearm, and you would have blurred transients
or in fact no transients at all. The frequency characteristic would change constantly.
The Vertical
Tracking Angle (VTA) can only be altered by adjusting the arm base, by using a
thinner or thicker turntable mat, or by putting sheets of thin cardboard or kraft
on top of the mat, or by inserting a thin piece between the cartridge and headshell.
No Direct Drive motor or tiny synchronous motor in belt drive turntables will
suffer from this light Turntable Weight.
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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: |
"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 1980-2011 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)
| 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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Because 45 RPM adapters
have been designed and produced by various manufacturers, they come in different
shapes and sizes. The
original Nagaoka adapter measures 38 mm in diameter (1.49606 inch). A
visitor of my pages mentioned that 37 mm (1.45669 inch) in diameter makes handling
record and adaptgor easier. The
Nagaoka gives a tight fit and makes the record and adapter an entity. |
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