THE ASKAL: All parts + Purloined Motor

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Re: THE ASKAL TURNTABLE PART I

Postby mandym » Thu Jan 21, 2010 5:08 pm

yellowpaper wrote:Nice one Sir Mandy and very well thought of too if I may add. I liked they way you designed the plinth to control/minimize the vibrations. Could I commission you to do the same concept with my TT? Kudos :clap: :y: :)


The framing technique will only work for solid-type plinths. It will not work with plinths that have to have cut outs to accommodate mechanisms (i.e. Garrards). I guess it is only good for belt drives.

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Re: THE ASKAL TURNTABLE PART I

Postby mandym » Thu Jan 21, 2010 5:15 pm

quarterback wrote:
mandym wrote:
camotecue wrote:mandy,

beautiful!

how about a slate platter on its twin brother!


Great new project! Slate platter on a slate plinth!


mandy,

i can help source the slate.

chito


Sounds good Chito! Do you know who can cut/shape it with a water jet? I had rapped a slate shelf and it was DEAD DEAD. The almost non-existent resonance stopped immediately! Good stuff to experiment with.

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Re: THE ASKAL TURNTABLE PART I

Postby Tjaderman » Thu Jan 21, 2010 10:06 pm

FANTASTIC!!!! :clap: :clap: :clap: :clap:
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Re: THE ASKAL TURNTABLE PART I

Postby Jon Agner » Thu Jan 21, 2010 10:54 pm

Wow, very nice :clap: :clap: :clap: :clap: :clap: :D
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Re: THE ASKAL TURNTABLE PART I

Postby dieya! » Sat Jan 23, 2010 8:24 am

:rock: :rock: :rock: :rock: :rock: :inlove:
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Re: THE ASKAL TURNTABLE PART I

Postby BobT » Sat Jan 23, 2010 8:54 am

huwaw! :clap:

what an inspiration... :?:
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Re: THE ASKAL TURNTABLE PART I

Postby TheAnalogSource » Sat Jan 23, 2010 10:58 am

congrats on your new toy :)
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Re: THE ASKAL TURNTABLE PART 2

Postby mandym » Sat Jan 23, 2010 2:50 pm

THE ARMPOD

The armpod is, like the plinth, made up of layers of various woods (4 types) of different hardness but this time stacked vertically, starting with hard Kamagong for the top layer and a soft wood on the bottom. The pod is veneered to match the plinth.


A. There is no separate mounted collar where the armpost slides into. Instead, the whole armpod IS the "collar" itself thus allowing direct and intimate contact between the armpost and the armpod (armpod=mass damper and vibration absorber). The usual intervening "collar" interface is thus bypassed.

B. Armposts that are adjustable through single setscrews are prone to "rattling" in the vertical plane 90 degrees off the setscrew. The use of 2 setscrews 90 degrees apart greatly minimizes this problem.

C. A short DIN-to-RCA is built in using Clearaudio tonearm wire.


Armpod with DIN input and holes for armpost and arm rest:
Image

Rear view of armpod showing the DIN input and the RCA jacks:
Image

Mounted armpost showing Damping cup, Unipivot "vee" and anti-skate pulley:
Image


THE WOODEN TONEARM
(Coming soon, a little patience please :) :)) .
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Re: THE ASKAL TURNTABLE PART I and 2

Postby Superman » Sat Jan 23, 2010 3:03 pm

BRAVO!!!!!! :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap: :clap:
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Re: THE ASKAL TURNTABLE PART I and 2

Postby audiostar » Sat Jan 23, 2010 4:08 pm

The Master strikes again :clap: Congrats Mandy!!!! :clap: :clap: :clap: :clap:
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby mandym » Wed Jan 27, 2010 3:19 pm

THE TONEARM

She is finished and eager to party.
Vital statistics...

1. The arm is a 12-inch Unipivot. I prefer this type because it has nil tendency to chatter as compared to other bearing types (air bearings excluded). Furthermore, it is very easy to make. I would also rather live with the unipivot shortcoming (teeter-totter which can be alleviated by a counterweight of low center of gravity or through viscous damping) than contend with bearing chatter caused by looseness or binding caused by tightness or by contaminants. There is however an slight interplay between VTA and Azimuth but adjustments are very easy to do in this arm.
The "needle" and "vee" of the unipivot is made of brass.

2. The arm is made up of two kinds of wood. One is super hard wood called "Binayabas" by the locals in Real, Quezon. The other is a semi-hard Narra used for the arm top. The idea behind the use of two wood types is to prevent a single dominant resonant signature. Also, the Narra grain more closely matches the grain of the armpod.

3. The cross section of the tonearm is triangular instead of cylindrical in shape. It is very rigid and probably more structurally stable than the usual hollow cylinder configuration. For better weight distribution, it is slightly tapered from back to front. More importantly, making a triangular arm is well within the capability of the DIYer...it is basically made up of three strips of thin wood bonded together with instant glue.

4. Internal wiring is Cardas wire and terminated with a male DIN type plug. Pieces of foam are packed inside the arm to help damp vibrations and to keep the wires from rattling around (Minimizes triboelectricity-generated noise? Heheh, dust up those Physics textbooks guys).

5. There are easy adjustments for VTA, VFA, AZimuth and "Sweet Spot" or centroid shifting.


Tonearm unadorned and all alone
Image

Some adornments clockwise: setscrews, unipivot needle with cylindrical damping paddle,
Azimuth counterweight, Sweet Spot Shifter, anti skate counterweight
Image


Trying on the Armpod
Image


Lovely pair all set for a night out
Image Image


Oh my. A MOTOR, A MOTOR! My Kingdom for a good motor!!!
(Hang on, we are almost there!)
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby arnoldc » Wed Jan 27, 2010 3:58 pm

Very nice and thoughtful as usual... :clap:
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby forseti » Wed Jan 27, 2010 6:03 pm

Simply Magnificent!!! :rock: :rock: :rock:
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby Jon Agner » Wed Jan 27, 2010 11:02 pm

very nice :clap: :clap: :clap: :clap:
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby vallottee » Thu Jan 28, 2010 1:52 am

i like it can i have 1 set, please
Last edited by vallottee on Thu Jan 28, 2010 5:31 am, edited 1 time in total.
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby dimfer » Thu Jan 28, 2010 4:07 am

very nice. German exotics watch out, here comes the pride of the Philippines.

I had always been curious about wooden turntable/arm, although a friend who had owned one warned me about changes in sound relative to the humidity level in the listening environment.

Mang mandy, did you use any secret ingredient :x ?
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby TheAnalogSource » Thu Jan 28, 2010 8:45 am

mandym wrote:
1. The arm is a 12-inch Unipivot. I prefer this type because it has nil tendency to chatter as compared to other bearing types (air bearings excluded). Furthermore, it is very easy to make. I would also rather live with the unipivot shortcoming (teeter-totter which can be alleviated by a counterweight of low center of gravity or through viscous damping) than contend with bearing chatter caused by looseness or binding caused by tightness or by contaminants. There is however an slight interplay between VTA and Azimuth but adjustments are very easy to do in this arm.
The "needle" and "vee" of the unipivot is made of brass.


may i add a personal observation....the musicality of a uni-pivot to me is by far better than even the hi-end bearing arms. there is such liveliness present into it. but of course, we sacrifice a bit on the other characteristics as well as with the ease of use but overall my preference is for the uni-pivots. :)
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby mandym » Thu Jan 28, 2010 9:49 am

dimfer wrote:very nice. German exotics watch out, here comes the pride of the Philippines.

I had always been curious about wooden turntable/arm, although a friend who had owned one warned me about changes in sound relative to the humidity level in the listening environment.

Mang mandy, did you use any secret ingredient :x ?


Good point Ding. Although I have not noticed any change in "sound" relative to changes in humidity, that does not mean it does not happen. I just wonder if this is the reason violins and guitars for instance are varnished (to seal the wood?). There is a hideously expensive German lacquer, C37 that is used on violins to produce good sounds http://www.ennemoser.com/presse.html . I can use that to allay humidity concerns. BTW, yes, I use a "secret ingredient for all my latest tonearms. This is the AVM coating I ordered from you. I coat the internal surfaces with this. I do not know how much it helps the sound, but I have been so pleased with my newer tonearms that I figure I should just continue using the AVM :) :) .
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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby mandym » Thu Jan 28, 2010 9:55 am

TAS wrote: ...... but of course, we sacrifice a bit on the other characteristics as well as with the ease of use but overall my preference is for the uni-pivots. :)


HP, I agree with you 101%. Perhaps you could be clearer about this part of your statement?

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Re: THE ASKAL TURNTABLE PART I, 2 and 3

Postby august » Thu Jan 28, 2010 10:20 am

mandym wrote:THE TONEARM

She is finished and eager to party.
Vital statistics...

1. The arm is a 12-inch Unipivot. I prefer this type because it has nil tendency to chatter as compared to other bearing types (air bearings excluded). Furthermore, it is very easy to make. I would also rather live with the unipivot shortcoming (teeter-totter which can be alleviated by a counterweight of low center of gravity or through viscous damping) than contend with bearing chatter caused by looseness or binding caused by tightness or by contaminants. There is however an slight interplay between VTA and Azimuth but adjustments are very easy to do in this arm.
The "needle" and "vee" of the unipivot is made of brass.

2. The arm is made up of two kinds of wood. One is super hard wood called "Binayabas" by the locals in Real, Quezon. The other is a semi-hard Narra used for the arm top. The idea behind the use of two wood types is to prevent a single dominant resonant signature. Also, the Narra grain more closely matches the grain of the armpod.

3. The cross section of the tonearm is triangular instead of cylindrical in shape. It is very rigid and probably more structurally stable than the usual hollow cylinder configuration. For better weight distribution, it is slightly tapered from back to front. More importantly, making a triangular arm is well within the capability of the DIYer...it is basically made up of three strips of thin wood bonded together with instant glue.

4. Internal wiring is Cardas wire and terminated with a male DIN type plug. Pieces of foam are packed inside the arm to help damp vibrations and to keep the wires from rattling around (Minimizes triboelectricity-generated noise? Heheh, dust up those Physics textbooks guys).

5. There are easy adjustments for VTA, VFA, AZimuth and "Sweet Spot" or centroid shifting.


Tonearm unadorned and all alone
Image

Some adornments clockwise: setscrews, unipivot needle with cylindrical damping paddle,
Azimuth counterweight, Sweet Spot Shifter, anti skate counterweight
Image


Trying on the Armpod
Image


Lovely pair all set for a night out
Image Image


Oh my. A MOTOR, A MOTOR! My Kingdom for a good motor!!!
(Hang on, we are almost there!)


Galing ni neighbor! :clap: :clap: :clap: :clap: :clap:
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