我现在知道了，玩黑胶一定要有把好规尺，否则90%的机率听不到好... [复制链接]

后来我自己从美国订了一把类似的规尺，同样好用！

这是我收集的国外规尺资料，供大家参考：

从资料看，这类规尺采用的几何原理基本相同。

特点如下：

1. 可以同时用于唱臂和唱头调整，特别是安装新唱臂，那更是必须的工具。
2. 调整唱头精确，使用方法简单，一部到位。比拿着手电筒左瞧右瞧简单多了。
3. 即使你不知道唱臂参数也能调整出失真最小的效果。

原帖由 hpstudio 于 2012-9-25 17:31:00 发表 好贴，必须要顶！ 天藏兄居然有奶酪臂，牛！

这不是我的臂，网上扒来的图。


看看下面的黑胶坑纹图，对玩黑胶来说，误差真的是很要命的东西。

我有一只SME3009 SII早期版唱臂，在网上查到的资料是：
  有效长度: 228.6mm
  超前距: 15.14mm
  轴间距: 213.46mm
  补偿角: 22o

按以上参数怎么调都不对，后来用Dr.Frickert Protractor规尺调出来的参数与现在蒋兄公布的参数基本一致！！

我买的这把规尺是依照dennessen几何设计的，在美国还有专利注册，一般规尺都是需要两个校正点，这个只有一个，不知道具体的几何原理是什么？
DENNESSEN Alignment tool: US Patent 4,295,277 (Year 1981). Trade name "GEOMETRIC SOUNDTRACKTOR"

超距和角度误差导致的失真是有实际测量的，看国外这篇文章的数据。




Alignment Errors
Although this issue is often conveniently ignored, accurate cartridge alignment is very difficult to achieve, not least because the overhang and offset have to be set within extremely tight tolerances if anything like the distortion behavior shown in the red trace of fig.3 is to be realized in practice.
Let's demonstrate this by assuming that we can achieve accuracies of ±0.5mm in overhang and ±0.5° in offset—tolerances that are extremely difficult to achieve in practice, particularly the latter. Fig.5 illustrates the variability in distortion vs groove radius behavior encompassed by this error range by plotting the results for the four combinations of maximum error: +0.5mm/+0.5°, –0.5mm/–0.5°, +0.5mm/–0.5°, and –0.5mm/+0.5°.

As the plots show, you can strike lucky. If both errors are in the same direction (+0.5mm/+0.5° or –0.5mm/–0.5°, red and blue traces, respectively), then their effects are almost complementary and the result is acceptably close to the optimum. But if the errors are in opposite directions (+0.5mm/–0.5° or –0.5mm/+0.5°, orange and green traces, respectively), then the results are very much worse. The point, of course, is that you don't get to choose: If your tolerances are ?0.5mm and ?0.5°, you are as likely to suffer a bad result as a good one.
The message to take away from this is a stark one: accurate arm/cartridge alignment is a high-precision process. Achieving distortion behavior close to optimal in practice is no trivial task.

我们再来看看12寸臂与9寸臂失真曲线的差别。失真率12寸臂比9寸臂最大有27.5%优化！！这已经蛮大了。

Arm Length
Because increasing the effective length of the pickup arm reduces the curvature of the arc through which the stylus traverses the record, an optimally aligned 12" arm generates less LTE distortion than an optimally aligned 9" alternative. This is why 12" arms were traditionally favored for professional disc-transcription purposes.
But because the optimum overhang and offset are both smaller for a 12" arm, a given misalignment will have a larger effect. So let's repeat the exercise above and see what transpires with alignment tolerances of ?0.5mm and ?0.5° in the case of a longer arm. For an arm of 305mm effective length, the optimum alignment requires an overhang of 12.19mm and an offset of 17.15° (compared to 16.43mm and 23.02° for a 230mm arm), and gives the distortion plot shown in red in fig.6, with the equivalent for a 230mm arm (ie, the red trace from fig.3) shown in light blue for comparison. The additional 75mm of effective length has cut the peak second-harmonic distortion (at 10cm/s RMS recorded velocity) from 1.07% to 0.78%, a reduction of 27.5%. So far, so good.

Fig.7 shows the effect on the 305mm arm's distortion plot of misalignments of +0.5mm/–0.5° and –0.5mm/+0.5° (red and blue traces, respectively), again with the 230mm equivalents in the background for comparison (footnote 16). If we take the maximum distortion in each case, the results are as in Table 1. From these we can see that, in the +0.5mm/–0.5° case, the 305mm arm's improvement in peak distortion decreases to 13%, and in the –0.5mm/+0.5° case to 15%. If we increase the alignment tolerance to ?1.0mm and ?1.0°, then the 305mm arm's advantage is reversed in the +1.0mm/–1.0° case, and cut to 9% in the –1.0mm/+1.0° case—so honors are now about even with a 230mm arm on the basis of maximum distortion.

Table 1

Misalignment	Maximum Distortion (%)
	230mm arm	305mm arm
+0.5mm/–0.5°	2.36	2.06
–0.5mm/+0.5°	1.82	1.55
+1.0mm/–1.0°	3.07	3.35
–1.0mm/+1.0°	2.65	2.41

Whether a 12" arm's improvement in LTED is worth its higher effective mass, and reduced bending and torsional stiffness, has always been a judgment call. What these figures show is that unless a 12" arm is very carefully aligned, even that advantage can easily be squandered

我现在在用蒋鹏兄的唱盘，唱臂两只:分别是Audio Craft AC400MKII 12寸臂配Fidelity Research FR-MK3唱头，和 Micro Seiki 202L 10寸臂配Technics epc-310mc唱头。 都不是什么高档货。

我现在听黑胶比较多，几年下来也买了近千张黑胶片了，70%都是古典，country,jazz,人声都有些，听得比较杂。喜欢玩黑胶主要是享受它“慢”的艺术。玩黑胶比较”麻烦“，调整和操作环节都比较多，逼迫你要有耐心慢慢来，现在生活节奏比较快，而黑胶的”慢“刚好帮助我调整一下心态，这是我喜欢它的主要原因，当然听音乐舒缓神经也是主要目的。


如果从HIFI性能方面比较，我认为黑胶比不过现代数码技术产品，就底噪一项就相去甚远。如果你单纯追求的是系统的HIFI性能，我觉得没有必要玩黑胶，可以多关注现在的高清数码产品。这并不是说玩黑胶就不追求HIFI了，在现有黑胶系统基础上使声音效果达到最HIFI是每个玩家的必然最求，但HIFI性能不是你选择黑胶的先决条件，是你选择后的追求。


选择玩黑胶更多地是体现玩家的一种生活态度，一种心态，否则，黑胶会让你失望，会让你很纠结。

原帖由 蒋鹏 于 2012-9-29 16:03:00 发表 原帖由 sm163 于 2012-9-29 15:12:00 发表 如果从HIFI性能方面比较，我认为黑胶比不过现代数码技术产品， 不对啊 可能跟小弟的唱盘有关系。 小弟的唱盘追求的并非那种大开大合的感觉，要求的是一种温文尔雅、细腻温和的音色。 这要从软件上讲起！ 我想如果追求音效、追求音响效果的话，TAS榜的碟子绝对当仁不让！而

首先声明一点：我很喜欢黑胶的声音，相对于我的CD和PCHIFI系统，我听得更多的是我的黑胶系统。但这并不与我的观点矛盾。希望我们用理性和科学的观点来探讨系统的HIFI性能，我这里说的HIFI性能是指器材重放录音的保真性能，黑胶碟片每放一次都会增加一次对原来录音的磨损，还有灰尘，污渍，静电等常态因素的干扰，这些是由黑胶的物理特性决定的，没法改变；而数字音频不一样，你重放多少次，原始数据不存在损耗，所以我认为从总体上说，数字音频比黑胶更保真，更具备HIFI特性。
但数字音频不好听，因为与我们习惯的日常生活环境差别很大，他太干净，太清晰，以至于不自然，所以不耐听。偶尔听一下有惊艳的感觉，听久了觉得累。黑胶不一样，虽然有这样和那样的失真因素，但出来的声音更自然，更耐听。黑胶是更接近生活的艺术，是一门“失真”的艺术。

原帖由 jacky70 于 2012-9-29 13:48:00 发表 天藏兄,还玩双臂,挺爽呀. 期待天藏兄说说蒋鹏兄的唱盘听感吧.

我一直有关注蒋兄的东西，从这几年他出的产品就可以看出，蒋兄是个认真做事的人，产品也不断在进步。
我这款唱盘是蒋兄早期的产品，完成度已经很高了，相信他现在出的新品应该更好。


之所以选择将兄的唱盘，一是性价比高，而是可玩性强，基本素质比同价位的进口盘有明显优势。
我用的这款，有更换过电机，下一步打算把避震再改进一下。目前系统的声音我听着很满意。

原帖由 富盛 于 2012-9-29 16:00:00 发表 就算有好规尺也有90%的常盘系统出不了好声，不知天藏兄同意不同意呢？

同意！ 我都说过，水桶的最短板决定系统的水平，这块短板也可能出现在其他位置。


国庆假期准备到广州逛逛，看看有无机会去富盛兄店里学习一下！

进口货没有中文说明书。

一般调好中间那个B点就OK.