想問下如果唱頭係外圈唱個時無事,不過去到內圈聲音有開叉.咁代唔代表個唱頭無問題呢

PS,事關點調教其他野都改善唔到,而家係到想緊關唔關唱頭事,因為個唱頭係二手的,想買個個新回來,不過一換就萬幾,所以係到三思緊,問問高手有無咁既經驗

我唔係高手;

內圈D聲係"踭"D o架.

我都係~內圈差d~
有mo師兄教下點set~

http://www.diyaudio.com/forums/analogue-source/5269-what-does-anti-skating-achieve.html

would this help

慘,小弟讀得書小,雞腸唔識睇,有無師兄可以幫幫手說明一下

就算set啱100%, D聲都係"踭"D o架. le個症 無解藥o架.

original from the link by 254mm

Imagine a flowing river. Now hang a paddle into it. Angle different to flow direction. The river's flowing water will exert friction and stream forces on the paddle. AS the flowing direction is not aligned parallel with the paddle's blade, stream force exert a momentum trying to rotate the baddle until its blade is aligned with the flowing direction. Then the momentum becomes zero and the only forces remaining are the friction forces trying to pull the paddle out of your hand.

So: the skating force's origin (in fact the SF is a momentum referenced to tonearm pivot) is exactly the same of the momentum caused by stream forces described above. "Flowing direction" is the groove tangent thru the stylus tip. As the tonearm has a headshell with an offset angle to minimize lateral tracking error and as the phono cartridge is aligned to that heasdshell, the groove tangent has a distance to the tonearm pivot. So a momentum develops turning the tonearm towards the spindle. Like the paddle in the river.


The purpose of anti-skating:

1st
Prevent skating, not very pleasant for the LP, or your ears.

2nd
Prevent wear in the inner wall of the track.

3rd and sonically important
horizontally bias the generator system of the phono cartridge.

The phono cartridge has its cantilever suspended in rubber. This rubber acts like a pair (or quad) of highly progressive springs (and that damping is built-in is secondary for tis consideration) which menas that the sping forces rise more than linear with excursion. If now the cantilever is biased out of its center position, acceleration forces spindle-wards and edge-wards become different. Different enough to spoil sonics.

Obvious the same has to happen in vertical direction ; proper adjustment of tracking force yields in similar sonic benefits as proper AS adjustment does.

To give you a figure, actual skating force is almost constant over the tonearm's sweeping angle and it is about 8 to 10% of the tracking force.

peranders, you ask why elliptic styli have different AS forces than conical ones. I have no comprehensive answer for that. IMO each stylus has a slightly different AS force/tracking force cocktail because friction differs. According to what i described below, i would not trust any AS scale printed on a tonearm. I would trust my ears only.

Sonic mess caused by improper AS adjustment becomes apparent in microdynamics, macrodynamics, transients. Left and right channel behaves different.
I decribe below a possible approach to adjust AS by ear. But before you get lost, consider this adjustments are well audible on a top-notch TT. I have no experinece if and how the sonic changes expose themselves on a Lenco.
------------------------
(copied from an earlier JoeNet post)

short advice to adjust the cartridge:
let's presume that overhang and offset angle are already correctly aligned, estimated tracking force and skating compensation adjusted.

1. Adjust correct azimuth by slighltly turning your headshell and listen to a stereo recording how soundstage changes its size, perspective and balance or: measure the crosstalk between left and right channel: adjust so that crosstalk L=＞R is *EQUAL* to R=＞L crosstalk. If you find the Ortofon Test Record 0002, you can do this by ear.

2. select a mono recording with female voice (dynamic!!) and a lot happening around. Relax and concentrate.

3. Wrong vertical tracking angle (VTA) lets her voice go wider and wider as she sings louder. Real wrong VTA lets her voice go cinemascope from left to right speaker.

Adjust VTA so that the voice has the maximum focus (minimum size and maximum shape of virtual sound sources). The louder she sings/screams the smaller her mouth has to appear; this is clearly audible at the right VTA position. This optimum is very narrow: within 2/100 of a millimetre of vertical tonearm position.

4.Find the tracking force with best dynamics and micro dynamics and most believable sound colours. This optimum also is very narrow.

5. Have a rest. You may have to repeat steps 3 and 4 : you need the maximum resolution for the following.

6. Have a rest. Select a premium stereo recording. Relax and concentrate again.

7. Adjust the skating force to zero and prepare yourself for a mean experience. The right channel will not show dynamics at all; it will sit in the corner totally bored and ignoring you. The left channel will sit in its corner like an evil ghost, considering to attack you in the next moment. It will sound very dynamic in a way that numbs the left half of your body. However, the dynamics will be nightmare-like artificial.

Now you increase the skating force to a quarter and then to a half of the expected value. You will sense that the right channel comes more-and-more alive and the left channel sounds less dynamic, intimidating and artificial. This reduction is less than the increase of dynamics in the right channel; the while system becomes more dynamic. You increase now the skating compensation by *very* small steps until you reach a point where left and right channel sound equally dynamic. Then you increase further very small steps; both channels will grow more dynamic. One step too far and both channels loose their dynamics completely and sound dead. So you go back to the position where dynamics and microdynamics were maximum.

8. Note down *all* positions, scale readings, input impedances/capacitances and so on (you may want to mount another cartridge later and then find you loathe it) .

Done.

I never had the skating compensation's scale read above the
tracking force scale, always below!
Usually 60-70% of the value expected by the scale prinited on the tonearm.

google translation (反滑冰 = anti-skating)

想像一下，一個流動的河流。現在，掛槳到它。角度不同流動方向。這條河的流水流將產生摩擦和部隊的槳。由於流動的方向不平行排列與槳的葉片，流力施加勢頭試圖旋轉槳，直到其刀片是贊同的流動方向。然後勢頭變為零，剩下的唯一力量是摩擦力試圖拉槳出你的手。

所以：滑冰力量的來源（實際上是一個科幻勢頭參照唱臂支點）是完全一樣的勢頭造成中游力量如上所述。 “流動的方向”是通過手寫筆槽切一角。由於唱臂有headshell與偏移角度，以盡量減少橫向跟踪誤差的唱機和磁帶是相一致的是heasdshell，有一個凹槽切線距離的唱臂支點。因此，一個發展勢頭轉動唱臂對主軸。槳一樣在河裡。


其目的反滑冰：

第一
防止滑冰，不是很愉快的唱片，或你的耳朵。

第二
防止磨損的內壁的軌道。

第3和10餘家頂級重要
橫向偏置發生器系統中的唱機墨盒。

該唱機墨盒有其懸臂暫停橡膠。這就像一對橡膠的行為（或四）的高度累進彈簧（這阻尼是內置的考慮是次要的服務貿易），其中梅納斯勢力抬頭的斯平多線性偏移。如果現在的懸臂是偏頗了其中心的地位，加速力主軸病房和邊緣病房變得不同。不同足以破壞超音速隊。

同樣有明顯的發生在垂直方向適當調整收益率的跟踪部隊在類似聲波效益好，不調整。

給你一個數字，實際滑冰隊幾乎是恆定的唱臂的掃角，它大約為 8至10％的跟踪力量。

peranders，你問為什麼有不同的橢圓形手寫筆作為比圓錐形的力量。我沒有全面回答了。海事組織每個鐵筆已略有不同，力/跟踪力雞尾酒，因為摩擦不同。據我所述，我不會相信任何規模的印在唱臂。我只相信自己的耳朵。

聲波混亂所造成的不當作為調整變得明顯的微觀動力學，macrodynamics，瞬變。左，右聲道的表現。
下面我介紹一個可能的方法來調整正如耳朵。但在此之前迷路，認為這是很好的調整發聲上頂尖的特。如果我沒有 experinece聲波的變化，以及如何在一個倫科暴露自己。
------------------------
（複製後從早期JoeNet）

簡短的意見，調整墨盒：
讓我們假定威脅和偏移角已正確對齊，估計跟踪力和滑冰補償調整。

1。調整正確的方位由slighltly把你的headshell，聽一個音立體聲錄音如何改變其大小，角度和平衡或：串擾測量左，右聲道：調整使相聲 L =＞“R是平等* *為 R =＞” L串擾。如果你覺得 Ortofon測試記錄 0002，你可以做到這一點的耳朵。

2。選擇一個單聲道錄音與女性的聲音（動態！）和周圍發生了很多。放鬆和集中精力。

3。錯誤跟踪垂直角度（VTA）的讓她的聲音更廣泛和更廣闊的層面去她大聲歌唱。真正的錯誤 VTA中讓她去銀幕電影的聲音從左至右揚聲器。

調整 VTA中，使聲音最大焦點（最小尺寸和形狀最大的虛擬聲源）。她唱的響亮 /尖叫的小嘴裡已經出現，這顯然是在正確的發聲 VTA中的地位。這是非常狹隘的最佳：在2 / 100毫米的垂直唱臂的立場。

4.Find力最佳的動態跟踪和微觀動態和最可信的聲音色彩。這個最佳也很狹窄。

5。休息。您可能需要重複步驟 3和4：您所需要的最高分辨率為以下幾點。

6。休息。選擇一個優質立體聲錄音。再次放鬆和集中。

7。調整滑冰力為零，並準備為自己的平均經驗。正確的頻道將不會顯示在所有的動態，它會坐在角落裡，無視你完全無聊。左其渠道將坐在角落裡像一個邪惡的幽靈，考慮到攻擊你在未來的時刻。它將聲音非常有活力的方式，麻木的左半邊的身體。然而，動態將惡夢般的人為的。

現在您增加滑冰隊，一個季度，然後到一半的預期價值。你會感覺到，正確的途徑來更和，更有生機和活力少左聲道的聲音，恐嚇和人工。這一減少小於增加動態右聲道;的，而系統變得更有活力。您現在的滑冰增加賠償 * *非常小的步驟，直到到達一個點左，右聲道的聲音也同樣充滿活力。那麼你進一步增加非常小的步驟，兩個通道將更加活躍。一步太遠，兩個通道鬆散它們的動態和聲音完全死亡。所以，你回去的位置，動態和微觀動力學達到最大值。

8。 * *記下所有的位置，規模讀數，輸入阻抗/電容等（你可能要發動一場墨盒後，然後找到你討厭它）。

完成。

我從未有過滑冰的賠償的規模以上讀
跟踪部隊的規模，總是下面！
通常60-70％的預期值由規模 prinited的唱臂。

LP是恆定轉速但非恆定線速，內圈時線速減少但音樂內容不變，每cm聲軌長度便會擠入更密集的訊號，當唱針半徑大過片紋pitch時，便會拆聲。

解決方法..................

刻唱片商：

1. 用45rpm代33rpm.
2. 減少每面錄音長度時間，
3. 避免在近內圈錄下大動態和高頻訊號。

用家：

4. 用fine line contact, MR, HE,等較細接觸半徑的針尖的唱頭。一隻Shure V-15 type V 已經OK.





最後修改時間: 2010-05-18 18:31:36

the most effective way is ask some friend to borrow a cart and try again or bring your cart to your friend's system to test

孟波ching,有料到＞＞＞＞＞＞＞＞＞＞＞＞＞＞

嘩! 呢位波SIR 堅呀!

多謝兩位讚許。其實這些只是玩LP的基本知識，係近代新晉同好有LP歷史上的脫節不知道吧。

細佬試過在同一唱片同一段用不同唱頭及同唱臂組合有d有事有d冇事總知好复雜..........

想問下波SIR
我E +用緊天龍DL110 MC頭之前用SHURE97XE
之前用97XE聽林憶蓮某碟的B-SIDE的第一首
點搞都係在同一地方跳線重係連跳幾句
自從換左DL110後問題就無再出現可由頭唱到尾
其實你咪DL110支針比97XE幼細食得住D坑紋
呢D係咪叫做巡跡力好一點既唱針在制造上
有少少問題既碟上都可以解決

ECC83兄，

DL-110和97XE的針尖大家差唔多，大家都有幾好既循跡力，97XE應該重好d。

而跳線在第一首如果唔係隻碟花左，好有可能係你之前set錯唱重，(97XE用埋掃要加多0.5gram唱重)或者係重臂(high mass)配高柔順度頭(97XE算係)導致唱臂/唱頭組合的諧振頻率太低，隻碟有d偏心或炒魷魚就會大打冷震而跳線。

SME唱臂的油槽就是針對這種情況而設，今期發x音響楊金耀話係damp住臂管諧振係攪錯了。

最後修改時間: 2010-05-18 20:29:46

原來係咁 唔該波SIR
不過隻97XE有一日想聽既時候才發覺一邊無左聲一邊正常
後來聽清楚原來有事的一邊係好好好細聲 但睇支針尖又睇唔出問題再問朋友借隻97XE番來試(朋友的97XE係無左唱針的)只可
試下係咪我個頭有事但結果同我之前情況一樣一邊正常一邊細聲
咁係咪真係支針的問題但橫睇掂睇都睇唔出支針有事
其實除左買支新針 波SIR請問有無辦法可CHECK到係咩問題呢?

補充少少
前一天聽都無事的
因為咁才買了DL110

ECC83兄，

你的情況未必是97XE有事，因為針尖有事都唔會左右大細聲，你換過body都係咁，睇下係咪head shell接觸不良，定phono amp 壞？可掉轉(L) blue/white, (R) Red/green 引線試試。

我個係PROJECT盤,一支臂過無HEAD SHELL
PHONO AMP都無壞,對掉都試過,在末借朋友個BODY番黎試之前都有用番個舊三角嘜黎試結果三角嘜正常但再換番97XE之後問題一樣,所以郁好肯定係97XE的問題但又唔想特登用成四佰幾蚊買過支針番黎求證,結果就買左DL110勒