Andante-Largo’s Super TMD contact cleaner/enhancer
RG. Isn’t this mainly a question of degree? If we look at the Acoustical Systems Smartractor, it’s essentially the same as a Dennesen, but its execution allows you to see more clearly what’s going on and thus to do a better job. To go much further…
ST. Exactly. I think that people fail to appreciate that although cleaning interconnect and speaker cable connections is important, they are way outnumbered by the other connections in and inside the system.
Racks are a huge part of the job. Nine times out of ten, racks are put together in a way that actually helps create noise. They are simply not assembled properly in the first place. Then they are transported and man-handled. This has a huge impact on their performance and it applies to any number of different rack designs and brands. If we take HRS as an example – partly because I probably see more HRS racks than any other – they can produce excellent results, but they can also be put together in a way that actively creates noise. If they are loose, crooked, the parts are poorly aligned, then the results are terrible. It’s easy to get it right. It just takes time, care and a little application. I completely dismantle the rack, clean all of the fixings and then reassemble it using CopaSlip and a torque wrench, checking that the angles and alignment are all correct as I go. I also lay out and straighten every cable in the system, to relax mechanical tension in both the conductors and insulation.
RG. So, your process involves completely breaking down the system: cleaning and reassembling the constituent elements; reinstalling the electronics and cabling; all before you even touch the speakers. What are the essential tools that you need to make that happen?
ST. First up? Experience and the knowledge that it needs doing – and the extent to which you need to go: how much time and care you need to invest. Beyond the awareness of what makes a difference and how difference it makes – which pretty much includes everything, one way or another – you also need to have the right mechanical tools for the job.
I generally use two different levels: the DigiPass which measures to three decimal places of angular deflection and gives you a remote readout on your ‘phone, so if the level is on top of a tall speaker and I’m adjusting the spikes, I don’t have to keep getting up to read it; I also use a Mitutoyo engineer’s level, that measures to two decimal places. But I should point out at this point, it’s not about measuring absolute angular values. It’s about relative position and making repeatable changes. Finally, I also use a Level Developments bubble level for turntables.
