With older recordings there’s lots of options, unlikely the record companies would release an available 30-40 year old master tape if they have a good digital copy, so to buy new now it’s likely a digital master with analogue remastering and then off to the lathe, the remastering process the most critical in getting a good sounding finished product.
Here in Germany, 1019s are a “thing”, not just among audiophiles and vintage audio enthusiasts. They have the nickname “Eisenschwein” due to their over-engineering…
All automatic functions work perfectly, no rumble or other noise, excellent pitch stability.
Tracking with the Ortofon 510 is not up to scratch. Maybe it’s because the VTA is much too high (still messing around with shims and wedges to get the cartridge parallel to the record)? The horizontal bearing of the arm is a little stiffer than I would like, but then I’m used to SME and Ortofon arms…
With older recordings there’s lots of options, unlikely the record companies would release an available 30-40 year old master tape if they have a good digital copy, so to buy new now it’s likely a digital master with analogue remastering and then off to the lathe, the remastering process the most critical in getting a good sounding finished product.
I think we are going to see less and less of those true master tape (or any type of backup tape) transfers to lathe. Blue Note and Analog Production is an exception. BN uses OG tapes from their own vault and AP seeks out deals that can support their analog principles and be profitable at the same time. Everyone else will struggle a little with getting those master tapes. Safety tape term is a bit misunderstood a little I think. I could be wrong but safety tape is made even before the master tape. There’s no EQ of any kind on the safety master, nothing. Just a flat raw transfer. Then there’s a master with EQ, splices etc. And then a master back up. And production copies that are used to actually cut the lacquers from. Rarely anyone is using the actual master tape. But it became an optimistic second nature to refer to transfer from any tape as the master tape. But most ppl get the idea and understand these nuances.
Here in Germany, 1019s are a “thing”, not just among audiophiles and vintage audio enthusiasts. They have the nickname “Eisenschwein” due to their over-engineering…
All automatic functions work perfectly, no rumble or other noise, excellent pitch stability.
Tracking with the Ortofon 510 is not up to scratch. Maybe it’s because the VTA is much too high (still messing around with shims and wedges to get the cartridge parallel to the record)? The horizontal bearing of the arm is a little stiffer than I would like, but then I’m used to SME and Ortofon arms…
No cover this time, and the LP covers most of the chassis (the platter is only 10” diameter). It’s tiny, because it was developed to fit inside consoles. Many of these weren’t big enough to accommodate a full-sized chassis.
No cover this time, and the LP covers most of the chassis (the platter is only 10” diameter). It’s tiny, because it was developed to fit inside consoles. Many of these weren’t big enough to accommodate a full-sized chassis.
I spoke to those guys who specialize with duals tt and the common theme is that they are great turntables but they need a bit of work to get them up to spects. Also, some periodic maintenance and calibration might be necessary. Not sure if that’s the case but it isn’t perhaps a TT for the beginners or ppl who aren’t familiar with TT inner workings. What do you think about that position on Dual TT?
It was fun to work on. In some ways, it reminded me of an 18th century automaton, or a cuckoo clock that happens to play records. Half of the fun for me was taking it all to bits and putting it back together again! And the fact that it is entirely mechanical and intuitive, in a Victorian kind of way.
Also, I wanted an automatic turntable for my home office.
It certainly requires a bit of work, and a little knowledge of “Maschinenbau”! Like documenting the assemblies you dismantle, being able to read and understand a service manual, and using the correct lubricants (not just 3 in 1 for everything!
If you are happy messing about with old cars or bikes, you’ll feel right at home!
Remember: the basic auto changer mechanism goes back to the 50s.
The good thing about old Duals (and old VWs) is that almost every part is still available, either NOS, reconditioned or fresh off the 3D printer.
Here in Germany, 1019s are a “thing”, not just among audiophiles and vintage audio enthusiasts. They have the nickname “Eisenschwein” due to their over-engineering…
All automatic functions work perfectly, no rumble or other noise, excellent pitch stability.
Tracking with the Ortofon 510 is not up to scratch. Maybe it’s because the VTA is much too high (still messing around with shims and wedges to get the cartridge parallel to the record)? The horizontal bearing of the arm is a little stiffer than I would like, but then I’m used to SME and Ortofon arms…
When it was made there were a lot of 10" records. Record companies cared more for singles than 12" lp's. And people still had many 78's. Full size record players were for people with money. As were lp's. I've seen prizes on old records that will make your hair stand up straight. Over €10 in the early sixties was a lot of money.
If you look at how lp's were made then, with lots of quality control and 200g records. Just look at the beautiful round edges of those old records, proper lined inner sleeves tio-on jackets, compare that with the sharp edge of flimsy 70-ies and 80-ies record in rough paper sleeves.
Also, with a thick 200g record the 1" overhang isn't much of a problem.
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