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I totally get it, while not the best maybe not the worst? I still love my New Vista Victrola with that funky floating cartridge.... I will be the first to admit heard much better!!!
Hi Drew,
That RCA system you've got was supposed to be one of their "top lines" systems.
But it was born when RCA was making changes within the company, with "solid state" transistor circuits.
And that record changer "floating cartridge" is very rare, because it's got a tiny "IC" in that silver floating disk to pre-amplify the cartridge signal. I have one in my old stock. The power supply for that IC is under the turntable and actually powered by a low voltage tap on the changer's motor.
Also, those record changers were poorly designed - the controls are difficult to operate without bumping fingers into the arm while it's on the arm rest.
Try switching the speed lever and see what I mean.
The earlier "Studiomatic" changers were better designed.

My 1963 RCA Victor console, re-designed by me back in 2010 is all tubes (18), and now has a nice Garrard changer with a magnetic cartridge, and custom speaker systems.
My snobby audiophile friends actually were stunned at it's performance, with one offering me $1K for it, which I politely turned down.

console-uphigh.JPG
 
Well you know? Entertainment and Industry are what I think don’t belong in the same sentence!

I will always love and will probably always be paying for and hopefully adding again to my beloved hard-copy media collection!
No matter what!
— Dave
Nice system Dave, but where's the 1960's Lava Lamp to complete the system?
 
Oh, nice RCA Matt! My aunt had a Zenith that size. Contemporary also, before the Allegro series with the 2.5 G tonearm. She and my mom adored Humperdink. I thought it sounded way better than our plastic portable avocado Silvertone.
I forgot to mention earlier that My 3 way floor speakers are KLH Research Ten from 1979. They are actually large bookshelf type with low pedestals and black glass inset tops. I think right after the Baron series. I chose them over OHM's from Tech Hifi. I've refoamed the woofers recently. I think my Technics was the Sa-5060 now that I think.
 
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Current main house system consists of:
-Dual 1229 turntable from 1972: idler wheel drive,but a quite good one-platter is some heavy cast alloy and 4-pole motor has a magnet ring so runs synchronous when up to speed.The neon tube strobe silvered up long ago.
-Philips 7951 receiver,1980: US made(by whom i do not know,possibly Motorola) FM performance is kinda meh,Am is good and the amp is good.
-Revox B215 cassette:German made machine,1985 Brushed DC reel motors,BLDC main motors-no rubber belts or tires:) very good unit,but sonics might be 2nd to a 1981 Akai that is a fave in my cassette deck fleet.
-Pioneer speakers,1979,Japanese, ~10" woofers-some audio snobs poo-poo Japanese speakers,but sound good here :)
 
Current main house system consists of:
-Dual 1229 turntable from 1972: idler wheel drive,but a quite good one-platter is some heavy cast alloy and 4-pole motor has a magnet ring so runs synchronous when up to speed.The neon tube strobe silvered up long ago.
-Philips 7951 receiver,1980: US made(by whom i do not know,possibly Motorola) FM performance is kinda meh,Am is good and the amp is good.
-Revox B215 cassette:German made machine,1985 Brushed DC reel motors,BLDC main motors-no rubber belts or tires:) very good unit,but sonics might be 2nd to a 1981 Akai that is a fave in my cassette deck fleet.
-Pioneer speakers,1979,Japanese, ~10" woofers-some audio snobs poo-poo Japanese speakers,but sound good here :)
Which Pioneer speakers? I've heard several from back in the day. I don't think it was their strong suite, but it all depends on room acoustics and what is driving them. I'm comparing them to Advent, JBL, and Cerwin Vega's from then. Jensen's weren't great either. Dual idler turntables were excellent!
 
This thread is based on my long-time experiences as a professional servicer of Home Entertainment Equipment, and my own personal equipment choices.
If any of it sounds "biased", it's only because I don't mince words. I like sharing the truth about such things to others in hopes that it'll save them money and any aggravation.
And, it's similar to the speaking out from others about Home Appliances and the current state of things.
So here goes......

We all want quality, and we all want to spend our money on something worthy.
But the industry mostly treats the public like silly puppets, catering to their conditioned lives with glorified advertizing and snazzy appearance.
I've been "in the guts" of literally thousands of products from TV's to high-end stereo stuff, along with "vintage" antiques/heirlooms that required special attention.

But as the decades progressed, I've noticed the so-called improvements and technology changes.
Some, were a good idea, others, not pretty.
The stuff sold these days in my opinion is garbage, in comparison to what I call "The Golden Years" of audio.
Those were from the early-late 1960's up to the late 1980's, centering on 1974 to 1980 as the peak years of "HiFi".

Look at what you're forced to buy these days, if you want something....
It may looks snazzy, and might even sound nice to your ears.
Digital processing can impress you.
Convenient bluetooth, streaming, etc., makes it more attractive, because you've been handed that stuff as a result of the slow conditioning process of society.

Then how come the substantial numbers of people wanting that vintage stuff again?
You know, the "Analog" stuff that used to be king.
I'll tell you.....
Because humans speak and hear in analog, not digital.
Once you add Digital to the mix, you're messing with the original sound.
Like I stated, processing analog is impressive to the ears, I know that.
But my trained ears can still, even at my age, tell the difference.
And no, it's not my mind doing tricks on me.
Listening to music in analog on analog equipment is and can be such a seductive and surprising experience that some have re-imagined again.
I hear people all the time telling me that.
Sure, I listen to CD's, and online to MP3's.
It's nice, and one can get used to that, even lazy.
But plop a record on a decent turntable..... voila...... something comes back to you that all those years of digital listening made you forget.

By the way, whenever you hear the mention of Tube equipment having a "warm sound", it's all in your head, something dreamed up by somebody on the internet because tubes have heated filaments which warm up and get hot.
My expensive testing equipment and analizing procedures don't have human ears or human biases stemming from internet talk to sway them.
And confirm what I'm saying.

I'm wondering if anyone here can understand what I'm trying to share, or feels the same way.
Thanks for reading.
Indded Matt. The stereo wars in the 70s were competitive and they were often rated conservatively and even surpassed the published spec's. The type of measuring equipment matters too. The power transformers were larger and that makes a big difference even at the same watt ratings. A new example is the Yamaha AS -1200 compared the S 701. The results are online by an independent reviewer. While only 10 watts difference between them, the s 701 doesn't quite double down on the power bandwidth in the middle gain with 100 watts/channel while the AS 1200 does with 90 watts. It has a torroidal transformer and larger power capacitors and a floating amp design. This comes with a premium price of $2,900 vs. $800. It also has VU meters. Weight is 48 lbs. and 27 lbs respectively.
I just couldn't afford it. Buying vintage restored is just as expensive and you only get a 90 day warranty usually. It's a risk buying a vintage as is unit for less and possibly having to spend hundreds of dollars for a repair later. I wasn't given approval for one. The new models are warranted 2 and 5 years which is likely also in the higher price.
I couldn't agree more, Matt. For most home listeners, did you know that 10-20 watts per channel is all that is really needed. And, I'm talking about REAL watts, not peak wattage or any of the other ways manufacturers measure their audio outputs. This deception started way back in the late 1960's.
 
#36, HPM-40 : woofer frame is cast aluminum and they have cloth accordion surround.
I have a pair of smaller pioneers,8"woofer,from about 1974 that will end up hooked to a 1974 Panasonic delux all in one (phono,AMFM,cassette,8-track) in guest bedroom.
Out in the moon shack,a 1982 facility,a pair of TS-X6 car wedge speakers sit era correct :)
I had a set of "consumer grade"Advent speakers from 1993: foam went bad,placed them in storage,and a mouse ate the woofer cones!-that was the end of those...
 
Oh no, my other half wanted to pitch my KLH because they were in storage in the basement. I said no way. Cones and voice coils can be replaced or the woofers. Especially if the enclosure is nice and high quality.
 
Current main house system consists of:
-Dual 1229 turntable from 1972: idler wheel drive,but a quite good one-platter is some heavy cast alloy and 4-pole motor has a magnet ring so runs synchronous when up to speed.The neon tube strobe silvered up long ago.
-Philips 7951 receiver,1980: US made(by whom i do not know,possibly Motorola) FM performance is kinda meh,Am is good and the amp is good.
-Revox B215 cassette:German made machine,1985 Brushed DC reel motors,BLDC main motors-no rubber belts or tires:) very good unit,but sonics might be 2nd to a 1981 Akai that is a fave in my cassette deck fleet.
-Pioneer speakers,1979,Japanese, ~10" woofers-some audio snobs poo-poo Japanese speakers,but sound good here :)
My older system with that Panasonic SA-5800 was with the Dual 1229 TT with a TOL Shure V15 II Improved - outstanding performance.
And a Panasonic cassette deck, the Advent Smalls, a Sony reel to reel, and Koss PRO4AA headphones.
All great components.
I also had a Dual 1219 when I did some DJing at clubs, company parties, and charity functions.
Sadly, my first apartment got burglerized, and I lost my system to some druggies.
 
Oh no, my other half wanted to pitch my KLH because they were in storage in the basement. I said no way. Cones and voice coils can be replaced or the woofers. Especially if the enclosure is nice and high quality.
KLH, Advent, Boston Acoustics, Dynaco, Koss, all were "east coast sound" names and affilliated companies.
I enjoy that "Natural Sound" from them, non-fatguing smooth tonal quality.
Those "west coast" brands were Cerwin Vegas, JVC, among others, with a more brash in-your face type of sound.
Good for rock/metal maybe, but not my cup of tea.
 
Before the Dual 1229 i had an Empire turntable of about the same vintage as the dual-a heavy 1950s basic design with a German external rotor motor belt driving the platter. Bought this one in near mint condition at a stereo store table sale in 1989 for $40: i think they thought it was a relic of a bygone era...The belt went soft and i could not find a replacement,so set aside when the dual was bought.I still have the Empire and should get it going again :)
 
Before the Dual 1229 i had an Empire turntable of about the same vintage as the dual-a heavy 1950s basic design with a German external rotor motor belt driving the platter. Bought this one in near mint condition at a stereo store table sale in 1989 for $40: i think they thought it was a relic of a bygone era...The belt went soft and i could not find a replacement,so set aside when the dual was bought.I still have the Empire and should get it going again :)
Keep in mind about the different drive systems that various turntables use....
I'll not get into the debates over which is better, etc., that online audiophiles seem to argue over, because that's just online blabbering.

Records themselves, all have a built in noise.
I'm talking about the "noise floor" that resides in the very grooves, and is pretty impossible to eliminate.
This noise can be noticed when the stylus is riding in a silent, non-modulated groove, easily heard if the volume is turned up.
It's the friction of the record vinyl and the stylus tip as it plows along a moving record, and depends on the quality of the record when pressed, as well as the vinyl composition itself.
Some think it's actually turntable rumble, which it's not.

Some people have critisized idler drive as the source, but that is only if the idler assembly, or the motor is at fault due to age or condition.
Others claim belt drives are the culprit, the platter bearing, etc.
Damage to those types is also due to condition, lubrication, etc.
But an utterly silent system in in a well-designed direct drive, as long as it's in top condition - they can never be the source of noise.

Dual idler drives in good condition can be substantially lower than the record's own noise floor. (All Dual idler drive)
So can belt drives. (Dual 1241)
And indeed the direct drives. (Dual 701)

So,


lubrication is paramount, as is the mechanical parts themselves.
Motor mounts are just as important.

Heck, even those VM-made Zenith Microtouch 2G record changers can be brought to amazing performance if restored properly.
As are those Zenith-made belt drive changers.
I'm even amazed when I've worked on them and layed the needle down on a groove.

Those Empire "tanks" are nice units, and worthy of good performance.
So are the Thorens TD 124 machines.
I've restored several of them, and know why they're in demand among purists.
 
Matt, Koss is in Wisconsin. I was lucky to get the reissued Pro 44-A headphones with the mic. mount before they sold out in a limited run. I had a lower model in the late 70's.
I have never had a reel-to-reel deck, but I regret selling My 1979 Aiwa wedge cassette deck because it needed new heads. The transport still worked perfectly. It had a hinged dust cover.
About phono deck drives, I think that either belt or direct is fine, but direct usually does have better wow and flutter specs. Especially the new ones with delta sigma motor controls. They are without hum that many old school ones had. I think the most important parts of a turntable for vibration isolation are the plinth, platter, and tonearm/cartridge mount. Then the feet. MDF is excellent. Plastic not, but rubber can be used inside and on the platter back to help. Technics used a composite TNRC plastic plinth in the 70's and 80's that was excellent. Probably polycarbonate and polyethylene.
 
Well Mike, (vac) don't be too regretful about that Aiwa tape deck.
They were not adored for their long life from what I gather.
My first cassette was a plain Panasonic cheapie model, I don't miss it at all.
My current one, a Technics dual-deck RS-TR333, is so impressive to me that it actually produces reel-to-reel quality tapes on Maxell UDXL90 cassettes.
And I like the fact that it's also remote-controlled from my Technics receiver.
I can sit my butt on the sofa and be a lazybones. LOL!

My Akai RTR is the long sold and popular GX-4000D.
Another workhorse that continues to serve my needs nicely.
It's simple, sturdy, and reliable. - even authorites, security, law enforcement, etc have used them for their ruggedness.
I did an overhaul on it a couple of years ago and it can still impress with it's performance.

My turntable is a Kenwood direct-drive linear-tracker with an Audio Technica cartridge.
It's actually not a high-priced, high-end model, but its got high-end specs, surprisingly, even to me.
I've done the wow-flutter and rumble tests on it in the shop with my testing equipment, and I put it up there with those expensive machines costing a lot more.
About linear tracking machines: To me they're are superior at producing what is in the record grooves.
This is because records are "cut" in a linear fashion, and particularly important with stereo record grooves.
Any misalignment with an elliptical stylus from the perfect 90 degree lateral angle can reduce or even blur the sound produced, a small thing, but still important.
Plus, with linear tracking, there is no worry or fuss about Anti-Skating, because of course there is none!
Along with that, I've got a mint condition classic Dual 1200 series TT tucked away in the closet and fully serviced - in case i ever need a backup.
 
The linear tracking makes sense Matt! I had a Technics cassette servo actuated silver deck from the mid 1980's and gifted it to my sister when I got a CD player in 1990. I have tow AT carts. One from 1979, at12-e I believe, and a VM 95-ML. Also a Pickering from 1978 hypereliptical, and the newest is an Ortofon 2M red that came with the Technics SL 1500-C.
 
The linear tracking makes sense Matt! I had a Technics cassette servo actuated silver deck from the mid 1980's and gifted it to my sister when I got a CD player in 1990. I have tow AT carts. One from 1979, at12-e I believe, and a VM 95-ML. Also a Pickering from 1978 hypereliptical, and the newest is an Ortofon 2M red that came with the Technics SL 1500-C.
Those 2M reds are not particularly fond choices for the snobs, they prefer the blue ones.
I miss my "Shure V15 Type 2 Improved" that I had on my Dual 1229 that got robbed from my apartment in 1982. Those Duals were made for that Shure!
Flawless perfection!
Trust me, back then my 20s and 30s trained ears knew excellence in sound.

I do have a mint condition Stanton 681EEE "Calibration Standard" stored away, but nothing to use it on
Along with a Stanton 680EE.
I thought of selling them, they go for huge prices $$$, but they sit idle here.

The tucked away Dual TT in the closet's got an AT95E elliptical on it, and plays nice.
My Linear Tracker's got an AT 3472SE (Special Eliptical) and I'm quite satisfied with it.

My next door neighbor's Mint Dual 701 DD (serviced by me) has a Stanton Shereohedron and it's also a fabulous combination.
 
The linear tracking makes sense Matt! I had a Technics cassette servo actuated silver deck from the mid 1980's and gifted it to my sister when I got a CD player in 1990. I have tow AT carts. One from 1979, at12-e I believe, and a VM 95-ML. Also a Pickering from 1978 hypereliptical, and the newest is an Ortofon 2M red that came with the Technics SL 1500-C.
Of course Linear tracking makes sense. ;)
It's about physics, no one can dispute physics.
If you play a record the WAY they were originally cut, any distortions are nulled or minimized.
By the way, there's been much arguing on audio sites about conventional radial arm-swing arm turntable cartridge alignment and those "2 point" protractors.
I find that bickering and debating to be annoying and over discussed.

What they never seem to address is the obvious fact that records have variable groove modulation depending on the radius and speed of the groove itself.
At the first//outer grooves, the stylus is tracking the groove at a much higher speed, as opposed to near the label/last grooves.
And THAT area is the most important section of all records.

For clarity....
A given High Frequency modulation, like a cymbal, trumpet, or soprano, at the beginning of a record, it's relatively easy for the stylus to handle.
Because the modulations are "spread out" over a longer groove distance and higher revolution speed.
However, at the last grooves of that record, if a soprano hits those same high notes, it's modulations are much more compressed because the groove speed is much slower per revolution.
So... the stylus is now more challenged to properly track that tight closely-spaced modulation.
Particularly if it's an elliptical or microline stylus that needs to be straight in those grooves.
So you want a perfect alignment for THAT inner radius, to prevent/minimize that annoying mistracking and distortion.

All the tradional radial arm turntables that I've worked on have been adjusted to have the stylus aligned (90 degrees) with that last band of music, the ending grooves just before the lead-out groove - 2.5 inches/63mm from the spindle's center, as would be the case of how linear trackers were designed, and to heck with those audio nuts and their arguing sessions.
It's pure physics.
 
Agreed Matt. Aren't linear tracking cartridge receptacles only P mount?
Fremer has an article about setting up a cartridge under hung no over. Said it sounds better on an S arm. I tried it and it does. Especially on the first tracks which have more error. I noticed less silibance on certain lps.
 
Agreed Matt. Aren't linear tracking cartridge receptacles only P mount?
Fremer has an article about setting up a cartridge under hung no over. Said it sounds better on an S arm. I tried it and it does. Especially on the first tracks which have more error. I noticed less silibance on certain lps.
Not all linear tracker TTs are P mount.
Some are traditional 1/2 inch mounts, some with removable headshells.
Mine is though, which is fine.
And AT still continues their line with new ones.

For radial-arm TTs, it's so simple to use any guage to align a stylus as I mentioned - at the inner end of the record. - forget about that silly "outer setting" they argue about.
Like I said, that inner setting is the most important area to insure that 90 degree setting.
 
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