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Thread: what makes a good external tonearm cable.

  1. #11
    Join Date: Sep 2014

    Location: brighton uk.

    Posts: 4,737
    I'm jamie.

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    So a 2,2 core cables is preferable over 1 4 core split into 2 at the rca end.
    My System
    John Wood KT88 Amp.
    Paradise Phono Stage
    Sony TTS-8000 Turntable.
    PMAT-1010 MK6 Tonearm.
    Ortofon Cadenza Bronze
    Sony X555ES Cd Player
    Yamaha NS1000m Speakers

  2. #12
    Join Date: Jan 2009

    Location: Essex

    Posts: 31,859
    I'm openingabottleofwine.

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    Quote Originally Posted by karma67 View Post
    So a 2,2 core cables is preferable over 1 4 core split into 2 at the rca end.
    Yes. In fact I would go further and suggest using a separate 2-core screened cable for each channel. The two cores will be connected to the 'hot' and 'cold' pins of each channel of the cartridge, with the screening connected to the arm metalwork along with a lead to connect to the metalwork of the TT. Don't connect the screening to anything at the plug end.

    Since most cartridges (but not all) are ostensibly balanced devices, using the above wiring layout allows you to use a phonostage with balanced inputs, should you so wish.
    Barry

  3. #13
    Join Date: Sep 2014

    Location: brighton uk.

    Posts: 4,737
    I'm jamie.

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    Cheers Barry, Simon of paradise fame suggested the same thing
    My System
    John Wood KT88 Amp.
    Paradise Phono Stage
    Sony TTS-8000 Turntable.
    PMAT-1010 MK6 Tonearm.
    Ortofon Cadenza Bronze
    Sony X555ES Cd Player
    Yamaha NS1000m Speakers

  4. #14
    Join Date: Sep 2016

    Location: Brussels, Belgium

    Posts: 132
    I'm Tim.

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    Quote Originally Posted by Barry View Post
    Flexibility of the tonearm lead is essential for a sprung suspension TT.
    Most logically in theory, as it is for most or in most cases. Only during my tweaks, I decided to get rid of my original and a bit trashy looking by then SME3009 cable and discover else.

    While my soldering friend was there after finishing the re-cabling on my tonearm, all I had under the hand were 2 "quality" audio cables (not high end) still packed I was given "free".

    One was rather of the flexible kind and the other one rather rigid. Since I've never tested either, I couldn't decide accordingly and went with my gut feeling there; the more rigid and lighter one !

    Cut off the male RCA's at one end and solder the SME 4 pin connectors to it. With enough room in my then newly "tailor made" solid wood plinth, I "locked" it in place with a cable mount.

    This finally eliminated all external stress on the cable (t'was a problem before) and with a big/long enough necessary loop (due to rigidity) it allows the inner suspension bounce to work rather freely.

    Instantly loved it much better than my original SME cable. I know the old corroded RCA's... Still. After that I used the flexible cable to connect my preamp to my amp with and got use to it for a while.

    At one stage I decided to purchase a similar cable of the same build and specs to the one I used for my tonearm to replace the flexible one and... Loved it much better. Better "focus", 'tighter" and "denser".

    It matches my ear and gear much better IMO. Where I am certain, it can be the other way around on other phono chain set-up. I know; cables are just cables... No one listens to cables... But me

    My point being to have lighter "rigid" cable length between both attached points in the plinth will give less tension on the suspension than any flexible cable hanging between similar attached points if ever.
    - Cart Denon DL-102 in bakelite Ortofon SPU 'G' type headshell
    - TA SME 3009 'Improved' converted in heavy mass with detachable headshell
    - TT Thorens TD160 'E' totally tweaked driven by an 'Eagle & RoadRunner' PSU & tachometer combo
    - Matts top to bottom: leather, cork, felt & 12" vinyl
    - Pre-amp 'Modulis' Isem
    - Amp 'Exampli' Etalon 2x40W
    - Speakers 12" Leak 'Sandwich' first generation creatively recapped

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