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Test Record + Protractor + Stylus Gauge are Essentials to check your system 

( TEST RECORD ONLY INCLUDED )

Ortofon’s new Test Record is designed to allow you to verify your HiFi system in the most natural audio surroundings at home. The Test Record contains special test signals developed for analyzing cartridge performance as well as its interaction with your tonearm and turntable. 

Before testing your cartridge, please verify the HiFi system’s functionality. The left speaker should be connected to the left amplifier channel and vice versa; both speakers should work in phase and be optimally positioned in the room. 
The Test Record is designed to be played through your system with in-built RIAA equalization. Volume control is recommended to be set at a moderate signal level. 

Please refer to your turntable and tonearm’s instructions for correct installation and alignment, adjust tonearm to be parallel to record surface, set Vertical Tracking Force and antiskating according to the cartridge’s recommended technical data, and adjust stylus overhang.

The new 15-track fine pressing

Each side of the record consists of 15 tracks which have been cut from 1-4 and 5-15:

1. Frequency Sweep Left Channel 800 Hz – 50 kHz. Log. 28 sec. Linear cut* (800 – 20000 Hz ±1,5 dB)
2. Frequency Sweep Right Channel 800 Hz – 50 kHz. Log. 28 sec. Linear cut* (800 – 20000 Hz ±1,5 dB)
3. Frequency Sweep Left Channel 800 Hz – 50 kHz. Log. 28 sec. Linear cut* (800 – 20000 Hz ±1,5 dB)
4. Frequency Sweep Right Channel 800 Hz – 50 kHz. Log. 28 sec. Linear cut* (800 – 20000 Hz ±1,5 dB)
5. Reference tone 1000 Hz 5 cm/sec rms Left
6. Reference tone 1000 Hz 5 cm/sec rms Right
7. Reference tone 1000 Hz 5 cm/sec rms Left
8. Reference tone 1000 Hz 5 cm/sec rms Right
9. Tracking ability, lateral 50 μm peak
10. Tracking ability, lateral 60 μm peak
11. Tracking ability, lateral 70 μm peak
12. Tracking ability, lateral 80 μm peak
13. Tracking ability, lateral 90 μm peak
14. Tracking ability, lateral 100 μm peak
15. Square Wave Form 2.7 msec duty cycle 3:7
* The record has a constant velocity amplitude throughout the sweep.

1-4 Frequency sweep – a tool for checking frequency response
There are several factors which can affect frequency response, including cable capacitance, cartridge loading, tracking force and worn parts. Because of this, it can be difficult to achieve perfectly flat frequency response. Sometimes by making small compromises in the cartridge loading, a better overall frequency response can be achieved. Considering the above the signal must be clean throughout the sweep.

5-8 Reference tone for testing channel output
With this standard reference signal is it possible to check the correctness of the connections of the left and right channels, channel balance and speed of the turntable.

9 -14 Tracking ability test, 315 Hz lateral modulation
These tracks contain a 315 Hz signal, recorded at increasing pick amplitudes of 50, 60, 70, 80, 90 and 100 micrometers. Please refer to your cartridge’s tracking ability value specified in the technical data sheet. Your cartridge should be able to track the actual level without audible distortion. Inability to track can be heard as a departure from a pure tone or a sputtering and intermittent tone. To determine if it is one or both channels, the balance control can be utilized. In case of differing tracking ability in the left and right channels it is probably necessary to readjust the anti-skating correction of the tonearm. If both channels fail to track properly, then vertical tracking force should be increased until no further improvement of tracking force can be obtained. 

15. Square Wave Form 2.7 msec duty cycle 3:7
When monitoring the output of your cartridge with an oscilloscope you’ll then see a square wave located precisely above each other if the connection from the cartridge is correct.

After successful completion of the above test procedures, you can ensure that your cartridge is optimized. Still the human ear is very sensitive to difference in tone distortion; its level depends on the stylus condition and record wear.

To maintain optimal sound reproduction and to minimize wear on your records as well as on your stylus, we recommend the following procedure before and after each playback: 
•    Remove dust carefully from record surfaces by using a fine antistatic brush or cloth before every use. 
•    Please remember to remove dust from the diamond tip before and after playback of each record
•    I order to keep electrical contacts clean and to lubricate the knurled nut on the tonearm, Ortofon recommends occasionally a light spray of contact cleaner like DeoxIT ®Gold G-Series into the tonearm socket.

It should be noted that some phono equalizers may generate some tone distortion, which cannot be referred to the cartridge.

Test Record + Protractor + Stylus Gauge - Essentials in your Toolbox

This great new product enhances the performance of the stylus by a great measure. It combines the cleaner and preservative into one effective easy to use product. It is the recommended fluid of several major cartridge manufacturers (Benz Micro, Transfiguration, Koetsu). You can’t find a better cleaner/preservative at any price. Includes stylus brush.

Includes Benz Stylus Soft Bristle Brush

Stereophile & the absolute sound recommended 

The Mobile Fidelity LP #9 Stylus Cleaner combines a cleaner and preservative into one effective easy to use product! With this 0.5 ounce bottle, you get twice as much for the same price (than the leading cleaner). The LP #9 is the recommended fluid of several major cartridge manufacturers such as: Benz Micro, Transfiguration, Koetsu. 

A dirty stylus gets between you and your music. The Mobile Fidelity LP #9, a revolutionary stylus cleaner and lubricant, is a simple, easy to use stylus cleaner which will improve your analog playback system. Providing smoother, grain-free sound and increased stylus life while reducing record wear. The LP #9 is both a stylus cleaner and a stylus preservative in one bottle.

The fluid is only used sparingly, so this half ounce bottle will last a long, long time.

Also included is a great, soft stylus cleaning brush. 

You can’t find a better cleaner/preservative at any price!

A dirty stylus gets between you and your music... Mobile Fidelity LP #9, a revolutionary stylus cleaner and lubricant, is a simple, easy to use stylus cleaner which will improve the sound of your analog system while extending the life of your phono cartridge.

LP #9 provides smoother, grain-free sound and increased stylus life while reducing record wear. Mobile Fidelity LP#9 is both a stylus cleaner and a stylus preservative in one bottle. The fluid is only used sparingly, so this half ounce bottle will last you a long, long time. Also included is a great, soft stylus cleaning brush, which will protect the delicate stylus while keeping it clean.

Keep your stylus clean and protect your vinyl investment by cleaning your stylus with the Mobile Fidelity Stylus Brush! 

The same brush that comes with the world renowned Mobile Fidelity LP-9 stylus cleaner, the MoFi Stylus Brush is now available separately. Designed as the ultimate stylus cleaning tool, the MoFi Stylus Brush uses ultra-soft fibers, bundled into a high-density cluster for maximum cleaning.

I've been using Mobile Fidelity's LP #9 stylus cleaner  for years, and it's a no-thought-necessary recommendation. You can easily see and, more importantly, hear the difference after a dab on the stylus tip has been removed with a bit of back-to-front brushing. Josh Bizar gave me a tip about using '#9 that's so sensible I feel embarrassed for not thinking of it myself. I was habitually cleaning the stylus before every play, which seems intuitive, but if you get in the habit of cleaning after, you will remove buildup from the stylus at the end of each album side, before it is able to harden. This method also means that you begin every listening session with listening and not stylus cleaning, a welcome byproduct. -Audiobeat

NOTE: Always brush from the back to the front! Start behind the stylus and pull forward delicately. Try to only touch the stylus and not the cantilever.

Cardas  -  Half Speed Mastered by Stan Ricker - 180 Gram Virgin Vinyl

Unique tuning tool for system set-up, diagnostics and maintenance - Frequency Sweep LP More than just frequency sweeps, this famous LP contains multiple tracks to assist in turntable & system setup

Updated for 2010! Cardas Test LP is the burn-in and revitalization tracks. We guarantee that your analog front end will sound better after playing the demagnetization tracks, and the test tracks ensure everything is in optimum operating condition. This is an essential LP to own!

The Cardas Frequency Sweep and Burn-in Record is a unique tuning tool for system set-up, diagnostics and maintenance.Produced by George Cardas and mastered by Stan Ricker. The "Sweeper", in addition to the standard tones, includes relative and absolute polarity checks, vocal channel identification and frequency sweeps that ultrasonically clean the cartridge stylus and degausses the entire system. The Sweep LP also includes locked, pink noise grooves that repeat endlessly, blank plateaus, even a sync label to check platter speed. All on a 180 gram pressing with a smiling Stan cover.

Side 1 • Sweeper • 45 rpm (also works @ 33 1/3rd rpm). 
Note: This is three cuts, interleaved with smooth sections, to be played at 45 rpm.

Track 1. Short Sweeps, short version (52 seconds)

Lock-out

Track 2. Short Sweeps, long version (4 minutes 46 seconds)

Lock-out

Track 3. “I’ve Got a Feeling I’m Falling” Artists: Tom Loncaric Band. Music Thomas Waller and Harry Link. Publisher: Ann Rachel Music. (2 minutes 29 seconds)

Lock-out

Track 4. 1K tone (740.46Hz tone @ 33 1/3rd rpm)

Lead-out spiral and final tie-off

Side 2 • Burn-In • 33 1/3 rpm. Note: Burn-in is mastered at two different speeds and designed to be played at 33 1/3 rpm. The first section, from the outside edge to the lock-out groove (the stylus will stay in the groove until lifted out), is mastered at 16 2/3 rpm. Tracks 2, 3 and 4 are mastered at 22 1/2 rpm.

Track 1a. Voice announcement by George Cardas, "Greetings from the left channel"

Spiral

Track 1b. Voice announcement by George Cardas, "From the right channel"

Spiral

Track 1c. Voice announcement by George Cardas, "From both channels" Note: This is lateral modulation (mono, in phase).

Spiral

Track 1d. "In polarity" Both channels in positive polarity

Spiral

Track 1e. "Out of polarity" Both channels in reversed or negative polarity Spiral

Track 1f. 13 strikes on a high "B-flat" on a piano Note: The last of the 3 strings are brought into zero-beat, dead-on tuning. Listen for the impact of hammer on string, quickly followed by room reflections mingling with one another, followed by a keener sense of the piano sound itself, as the ring-out time of the string exceeds that of the reverb time of the room.

Spiral

Track 1g. Hollow sticks, of various lengths and diameters, being struck, one on another. Note: It is recorded in a very reverberant, spacious environment. The spatial, impact and directional cues will not sound correct if the polarity is wrong.

Lock-out. Note: The remainder of this side is cut at 22.5 rpm and consists of three wide bands of pink noise, separated by two blank, 1/2 inch wide plateaus. The plateaus are protected by two blank grooves on each side, to keep the stylus from sliding into the pink noise. The three wide bands are groups of individually locked grooves of mono pink noise, recorded at "0" dB, relative to NAB standard level. These are continuous grooves and the stylus will stay in a groove until it is lifted out. This 180 gram pressing is made of specially formulated hard vinyl.

Track 2. 20 locked grooves, lateral modulation (mono)

1/2” wide, unmodulated plateau

Track 3. 32 locked grooves, vertical modulation (out-of phase)

1/2” wide, unmodulated plateau

Track 4. 20 locked grooves, lateral modulation (mono)

Track 5. 26 unmodulated grooves Note: These unmodulated grooves facilitate electro-forming (matrix) operations and help vinyl flow in the record press, for a quieter, flatter disk.

Lead-out spiral and final tie-off

Pressing: 180 gram, specially formulated hard vinyl
Mastering Lathe: Neuman VMS 66 lathe
Cutter Head: Helium cooled, Neuman SX-74
Controller: A Sontec Compudisk computer
Motor: Technics 5-speed direct drive Console and cutter head electronics: Keith O. Johnson

General Suggestions for Use

by George Cardas

The Cardas Frequency Sweep and Burn-In Record is a set of tools that audiophiles have requested over the years. The benefits and uses of the "Sweeper" vary because turn tables and systems differ, as does the knowledge and tools of the end user.

The most important tools on this record are the Side 1 Frequency Sweeps. These are the degaussing tracks 1 and 2. Simply play one of these tracks through your system at a low, normal level and it will degauss the cartridge and the rest of the system, plus clean the stylus ultrasonically. When played, the tracks progress from low frequencies at a high relative amplitude, to high frequencies (35 k+ if played at 45 rpm) at a low level. This is a complete degaussing process and an ultrasonic cleaning of the stylus at the same time. You may hear clicks and pops in the high frequency section after use. This is caused by the accumulation of junk which has fallen off the stylus during ultrasonic cleaning. Clean the record to remove the debris. This is the most efficient and cheapest way I know to degauss your cartridge and system. Basically, it makes a flux buster obsolete.

How often you use the Frequency sweeps is something you have to determine for yourself. The build up of residual stress in a system, is system dependent. Some parts require more frequent degaussing than others. For instance, permeable parts require more frequent degaussing than non permeable parts. An iron core cartridge will need more attention than ruby cored cartridge. Speakers with cored inductors acquire more stress than those with air core inductors. There should be an audible difference after you play the Frequency Sweeps. I run the sweeper at least once a week, it really works!

The sweeps are also useful as room tuning tools for setting up wall and ceiling treatments. Room reflection points, as well as other anomalies in the system, cause the image to shift with rising frequency. Simply sit in the hot spot and play the sweep at a low level. The image should be centered and stable in a well focused room. You can ignore changes in volume which are caused by comb filtering. Hard reflection points in the room can cause a shifting in focus, so padding these points will help stabilize the image. Hold a piece of foam rubber at arms length and block the sound from suspected reflecting points. When you think you have located the trouble spots, cover them with suitable damping materials.

An interesting speaker set-up trick is to listen to the low frequency, out of phase tones while sitting in the listening position. The note should cancel completely if speakers are positioned symmetrically. Try both tones and pick the one that works best for your room. Playing this tone while in the null point, at the hot spot, may also allow you to pick out strange noises and rattles in the system. Sorting out the exact cause of these anomalies is up to you.

The higher frequency tones must be measured in order to be compared. You can use these if you have setup machines and other ways of measuring. They are good for crosstalk type azimuth adjustments. Start by listening to or measuring the channel opposite the one being played and adjust it to minimum level. Then use any other test that needs relatively even tones of different frequency, but of the same level. Actual levels are approximate, but very even with respect to one another. If you have an oscilloscope, a triangle wave should have straight sides if all is right.

The voice announcements (Tracks 1a, 1b, 1c and 1d at the beginning of Side 2) are, again, for determining proper channels and centering the sound. They were recorded in a small booth and can be compared with the spatial qualities of Tracks 1f and 1g.

The continuous pink noise grooves at the end of Side 2 (Tracks 2, 3 and 4) are unique. They are concentric groves, not normal spirals. The stylus will stay in the grove until lifted out. I use these continuous grooves with discretion, to break in a new cartridge, but only after it is properly set-up. Part of this break-in process is the adjustment of the final azimuth. I can’t determine the length of break in time for your system, but I feel an hour would be close to the mark. Save your cartridge for music!

If all adjustments on the arm are correct and the table is perfectly level, the arm should track very slowly inward on the smooth sections of Side 2. This is an "after proper adjustment" test! It is not a way to adjust the tone arm.

If the system is out of relative phase, you will have to determine where one channel is reversed. It will often be one of the speaker connections or one of the cartridge connections. Usually the offending connection can be found by visual inspection. If the output of the out of phase, locked grooves (Side 2, Track 3) are combined, they should null. This can be used as an azimuth check.

The 1/2" wide, Unmodulated Plateaus on Side 2 are for checking cartridge alignment and tone arm bias. On level tables, properly adjusted arms will track slowly inward on the Plateau.

The Sync Label is used to determine the rotational speed of the platter. The label has four concentric rings of short, white lines to measure both 33.333 and 45 RPM. One set is for 60 cycle alternating current in the U.S. and the second set is for international, 50 cycle use. If you view the label under a standard incandescent or florescent lamp, the stroboscopic effect of the light will make the appropriate lines on the label appear to stand still when the speed is correct.

By day, Stan Ricker is the head buyer for the Telemetry Department at the Naval Air Warfare Center at China Lake. By night, he “is” Stan Ricker Mastering in Ridgecrest, California. Stan specializes in less-than-real-time disk mastering from analog tape, DAT, CD and CDR sources onto 7 or 12 inch, 33 1/3 or 45 rpm LPs. Though his mastering skills were self taught, Stan is known for his development of the half speed mastering process and his part in the creation of the 200g UHQR (Ultra High Quality Recording). A few of the LP labels Stan has mastered include: AcousTech Mastering, Analogue Productions, Stereophile, Windham Hill, Telarc, Delos, Reference Recordings, Mobile Fidelity Sound Lab, and Crystal Clear. All this skill and experience is brought into focus by Stan’s love of music. His earliest memories center around music. He began playing musical instruments very young. He obtained a Bachelor’s Degree in Music Education from Kansas University, he’s been a band leader and orchestra conductor, loves pipe organs and theories for tuning pipes, and to this day, bows and plucks the string bass and plays a mean tuba.

This frequency sweep and burn-in record is a unique tuning tool for system set-up, diagnostics and maintenance. It was produced by George Cardas and mastered by Stan Ricker. The “Sweeper” includes relative and absolute polarity checks, vocal channel identification and frequency sweeps that ultrasonically clean the cartridge stylus and degauss the entire system. Also, locked, white noise grooves that repeat endlessly, blank plateaus, even a sync label to check platter speed. This is a 180 gram pressing. Stan mastered it on a Neuman VMS 66 lathe with a Helium cooled, Neuman SX-74 cutter head. A Sontec Compudisk computer controller, and a Technics 5-speed direct drive motor were used. Keith O. Johnson designed the console and cutter head electronics.

A note on polarity:
The first burn-in section consists of voice announcements by George Cardas from the left, right and both channels. This is lateral modulation (mono, in phase). The tracks denoted "In polarity" feature George speaking into the front side of a Sennheiser MKH-20 condenser microphone which is figure-8 pattern only. The tracks denoted "Out of polarity", have George speaking into the back side of the same microphone. This microphone consists of a very thin (about 5 microns) Mylar diaphragm, suspended equidistant between two charged grids. This grid-diaphragm system is completely symmetrical, front-to-back, in terms of sensitivity, frequency response and polar response (the amount of high-frequency roll-off exhibited as the sound source moves increasingly off-axis to the plane of the diaphragm). The only difference between the signals derived from in-front-of vs. in-back-of the microphone is the absolute polarity. In microphones, electromechanically, positive polarity is defined as a positive pressure. For example, the "p" sound in polarity, causes the microphone diaphragm to move away from the sound source and rearward in the diaphragm-grid assembly. Further more, this rearward movement must produce a positive voltage at the designated (+) pin of the output connector. When George says "polarity" into the back side of the mic the diaphragm moves away from him. The diaphragm is moving towards the front of the capsule however, causing a negative (-) voltage to appear at the (+) pin , which is supposed to show positive (+) voltage. On a spoken voice, the effect of negative polarity is often subtle. On a singing voice, the effect becomes rather more evident. Wind instruments of the brass family (un-muted), produce a saw-tooth wave and the effect can be disastrous. It sounds worst on horn-loaded loudspeaker systems of high quality. Reverse polarity on a trumpet waveform means the loudspeaker diaphragm is moving rearward, away from the bell, or mouth of the horn and gives the effect of sucking on the trumpet mouthpiece, a near-impossibility. With bowed strings, from violin down to double-bass, especially when played solo, polarity makes it easy to discern the down-bows (positive polarity) from the up-bows (negative-going waveforms). If the polarity is reversed, the pairs of auditory cues become "cross-multiplied", causing an uncomfortable reaction in the listener, as the new pairs of cues simply do not exist in real life. By making the polarity correct, the pairs of cues line up, and everybody marvels at how "focused" the sound has suddenly become! Negative polarity with percussion instruments can cause snare drums to seem to lose their leading-edge transients and therefore, their clarity. Cymbals struck with sticks lose the instant of drumstick tip impinging on the brass of the cymbal. This causes the listener to try to boost the top end to a more forward sound. But alas, the next recording may have too much high end! Imagine a kick drum or a bass drum causing your woofers to recede or move away from you at the moment of impact!

Removes all earthing hum - Improves turntable motor stability - More enjoyable audio experience

A highly underestimated part of good sound is a clean power source. Noisy, unstable AC power makes turntable motors vibrate more and cause lots of mechanical noise on the audio output. It can also affect the speed stability of an AC turntable motor, degrading the quality of the playback speed. The High Power-IT solves these problems with its superior power supply design.

The High Power-IT is a three-pole power supply with a special earthing connection, immediately eliminating all earthing problems associated with turntable-based systems. Not only does it resolve issues within the turntable, but it also improves the performance with external electronics that may not have their own "true" earth connection. The inclusion of a grounding "pole" in the power supply connector means any radio-magnetic interference (RMI) introduced into the system is also led-to ground rather than interfering with the music. 

The overall result of a High Power-IT is a vinyl hi-fi system that can work to its fullest potential. The sound stage will open up, free of unwanted electrical noise from your mains power feed.

Key Features:
Upgrade power supply with special earthing connection
Removes all earthing hum
Leads unwanted RMI to ground
Improves turntable performance
More enjoyable experience
UK mains power cord included
Suits all 15V DC Pro-Ject turntables

Dimensions to Suit a Wide Range Of Open Turntables Supplied Without Dust Covers

Eg - Sme . Clearaudio , Project etc 

( Clearaudio Solution Turntable Dust Cover )

External -  530 x 420 x 200 mm

Internal   - 522 x 412 x 196 mm 

4mm Thick

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         Dust can have a substantial impact to vinyl records and turntables, both in terms of the sound quality you experience, and with respect to the longevity of your records and phono cartridge or stylus. Dust and dirt from the air settles on a turntable and records and can clog up the grooves, and accumulate on the needle, seriously hampering the sound of your music. Using a turntable cover prevents large levels of dust and environmental particles settling on your equipment, and can also protect your record player against knocks, bumps and spillages!         

 

Please Note These are NOT Cheap   dust covers   - Near museum quality heavy duty custom fit dust cover

High Quality European Glued & folded in a Rig with  Heat and CNC cutting  & machined for Maximum Visual Design

 

 

 

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Audio Desk Systeme Glass Ultrasonic RCM Acrylic Dust cover ( 355 x 230mm x 280 mm )

The  Audio Desk Systeme Vinyl Cleaner Table Top  Dust Cover does everything a dust cover should do and more

Dimensions to Suit a Wide Range Of Open Turntables Supplied Without Dust Covers - Clearaudio , Project etc

 

 

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