Mike, I'm onto my Uk Entreq rep, who should be able to help w/the US side of things. Give me a little time, it's vacation season.

spiritofmusic June 12, 2014 18:11

Mike, I believe grounding complements balanced power, and I'm somewhat confident it would bring impvts across the board to enhance and advance the EquiTech positives you're already experiencing. My Westwick Audio balanced transformer (in series with a dedicated ring main), is a pro studio grade unit, used in recording studios in london, and at 8kVA is poss the most OTT unit in the UK (EquiTech not distributed across The Pond) - my Entreq Silver Tellus just takes what the Westwick does and enhances it's effects all round. Lloyd here uses a combination of Entreq and Troy, and is ecstatic as to how it's maxxed out his Zanden/CJ/Wilson X1 system.
I don't know about Tripoint Troy, but Entreq in the UK are v.audiophile friendly, happy to do home demos. Would you like me to contact my UK rep and see if he can set up a taster thru the US distributor (which is just being announced)?

spiritofmusic June 11, 2014 20:14

Mike, great news re your positive experience w/the current iteration of the Dart pre. I notice on another forum board you say this pretty much announces your destination, reaching full potential of your long journey to ultimate sound quality.
I would really implore you to investigate grounding, whether Tripoint Troy or Entreq Silver Tellus/Atlantis. Everyone it seems incl. me who gets into this area, whether with a more modest system or something more uber, feel that it brings a major extra dimension to the listening experience that can't be achieved by simple component changes.
I humbly predict you'll find this "final frontier" in system augmentation as groundbreaking (or more) as your move to EquiTech balanced power - in my system, my 8kVA balanced transformer has bulked up the solidity and foundation of the sound, and grounding has crystallised the air and serenity of the soundstage.
Apologies if I seem to be trying to spend your money for you (as if!!!), but the effect of Entreq Silver Tellus grounding in my not inauspicious system has been radical to say the least.

spiritofmusic June 11, 2014 18:37

Hey Mike, I would have appreciated an acknowledgement of my apology posted 8-6-13. Even if you didn't accept it. Maybe we've fallen out more than I thought.

spiritofmusic August 21, 2013 06:45

Mike, I wanted to take time out to apologise if my comments on another forum re active isolation crossed the line into overly pointed criticism of you (and Christian). This was not my intention. I just struggled a little to shed skepticism in an area which has never provided much advancement in my system. And criticism is always sharpened if costs seem exorbitant.
My considered views after a day's audition re Accurion was that I was pleasantly suprised by the improvements on offer, but it wasn't quite in the same league as the move to 8kVA balanced power and Entreq grounding, this c25% of the cost of going active isolation, and c2x the benefit.
I'm going to exhaust all other upgrades to system improvements (cabling/power/grounding/acoustics) and take the plunge on active isolation as my last, most pricey enhancement.
Again, no offence intended. My enthusiasm for power is poss equivalent to yours for active isolation. Btw, how do you rank the improvements going to balanced power, and then going to active isolation in your system? I know you rave about both. How would you measure the bump up in SQ btwn the two areas of radical steps up?

spiritofmusic August 06, 2013 08:54

Mike, I know we've batted comments back and forth robustly on another forum re active isolation (like a bad game at Wimbledon! Ps c'mon Andy!), and I've declared my overarching need to be convinced by the attributes of active.
I fully bow to your initial comments that active takes your system into new realms of enjoyment. Can hardly disagree, since I'm not privy to your system. I'm intrigued enough that I'm about to hear an active shelf under my tt (to be sited on the floor since I run a Symposium Isis).
However, I'm really struggling to accept that an uber engineering device like Herzan, or Halcyonics, is going to perform to yet another level with passive footers in series with it.
This just defies logic - the active shelf is purported by it's makers to isolate so comprehensively in 6 axes, to sub-Hertz levels, that it surely can't be augmented any further by passive means.
This is taking the whole subjective v. objective audio paradox to unbelievable territory.
This is not meant to be a criticism, more a comment that my head really can't get around this particular peeling of the audio onion to reveal yet hitherto unknown depths of performance.
Of all the upgrades to audio, active isolation sticks most to objective scientific principles, there seems to be little scope, if any, for subjective experience to be so dramatically counter to it.
Part of me feels like the wave Kinetics footers still have to be talked up even though you've found a total engineering solution well in excess of their potential positives.

spiritofmusic July 02, 2013 05:21

Please, no, LOL! Divorce, split the assets-who knows, but the Bose Wave: NO, I SAY!
Just an interesting thought experiment.
You've got me seriously thinking about a Herzan for my tt. It's direct rim drive, with an air bearing linear tracking arm, and has really benefitted from being on a Symposium Isis stand with ball bearing/magnetic isolation. It's footprint is quite a bit smaller than your NVS, and the TS-150 would fit the bill, should be a bit more affordable than the 140.
The tt is a real giant killer, but I'm intrigued by this uber solution for isolation. Unfortunately outside the US, no sale-or-return is possible, so I'm going to hold my fire for the time being.
Interestingly, the Halcyonics Micro 40 and i4 appear to be nearly twice the price of the Herzan, which is enough as it is.
So it looks like a choice of sticking with the Isis, upgrade to the c$4000 Minus K BM-40, or a big leap to the TS-150.
Btw, just stumped the cash for the Soundsmith Straingauge cart. In love all over again with vinyl, it's my keeper for life.

spiritofmusic June 13, 2013 04:47

Mike, what do you think about placing Herzan TS-300's under your spkrs? It would be hellishly expensive with 4 needed, but relative to $200k, maybe not out of proportion. Size and weight tolerance on the TS-300 would work for all 4 towers.
Surely loudspeakers producing vibration as normal function would theoretically benefit most from isolation.

spiritofmusic June 12, 2013 22:08

Mike, an excellent analysis of the differences. Although I'm not sure that the age of items is necessarily that relevant. For instance, in the area of supercars even though material science has improved power to weight ratio, the inclusion of traction controls etc has taken the 'excitement' factor out of driving; many driving and even Formula One afficionados prefer the cars of the mid-90's to the current day.
So, the Rockport could still be totally competitive with your NVS despite the 15 yr age gap. But I understand you feeling the NVS has taken a march.
What other platforms did you investigate? Vibraplane, Minus-K etc? The Minus-K esp. seems to perform in a very similar way to the Herzan. Not sure what those '6 axes of movement' are.
Do you feel the Herzan could work on a stand already incorporating it's own isolation: I use the Symposium Isis which uses constrained layer shelves with ball bearing/magnetic isolation per tier.
Or woul I be better off placing the Herzan on a static tt wall shelf, it providing the only isolation method?

spiritofmusic June 10, 2013 03:14

I'm intrigued as to where the combination of NVS/Telos/Herzan stands in comparison with your previous reference Rockport. It seems that with the addition of the Herzan you have substituted the final component of the Rockport combination that you had previously, ie full isolation.
I do realise this q is a little unfair since it's, what, a couple of years since you replaced the Rockport, but I'm sure you've got a pretty good memory of it's sonic 'fingerprint'.
It seems that the NVS/shelf ($45000), Telos w.sapphire plate ($20000) and Herzan ($12000), is taking the combination into at least the ball park of Rockport prices.

spiritofmusic June 09, 2013 15:11

Sure Mike, understood. What I'm finding is that the role of noise, or rather lack of, can really define a system. I live in a semi industrial area of East London, in a work-live loft apartment block. There is broadband internet going on all day in most every apartment, internet booster stations and sattelite/cable relay masts nearby, and light industrial units adjacent. In other words, a lot of noise, hash and grunge in the mains.
When I ran my Burmester conditioner, the unit had an led display showing moment to moment voltage. Nominal 230V was never achieved. No, it varied from 210V to 250V ie a +/-10% variation, much too much for most audio transformers/power supplies to cope with. On moving to balanced power, the variation shrank to +/-1%. And the sound quality of the system took a major step up.
I believe the earthing improvements have taken the effects of balanced power, and moved that improvement further to the positive - not only has voltage loading on delicate audio equipment been stabilised, but the hash and noise swilling around the system has been drained right out of the system to an earth isolated from the polluted domestic supply.
What I love about this is that the inherent nature of the sound remains unchanged, with a wholesale lift in quality equivalent to a system overhaul. And all at a fraction of the cost.
I really would recommend that anyone hitting a logjam in their system enjoyment, improve the power/earthing before ditching current equipment and upgrading.

spiritofmusic April 08, 2013 19:40

Hi Mike, I've just had a really interesting experience with the Entreq/Tellus earthing system. It's a passive non powered box full of minerals and an earth plate which provides a clean earth independent of mains borne hash etc, with an interconnect in my case to an unused input jack on the preamp, total price US equivalent $2500-3000. It's aim is to eliminate, or drain away, RF/EMI/other mains noise, and in this respect is a complement to my balanced power transformer which does such a good job already at minimising noise.
Amazing improvement after bedding in - soundstage deepened dramatically, and intriguingly, vinyl surface noise is really supressed. I would say the level of the change is on a par with the positives achieved by going from a conditioner to balanced power, which was an eye (ear) opener in my system.
This area gets v. little, if any, discussion, and at a fraction of the cost of similar approaches (ie Tripoint), is a really cost effective system wide upgrade.
Would love to know if an uber system with OTT balanced power like yours would still show scope for improvement with improved earthing. I think it could well do.

spiritofmusic April 08, 2013 05:34

Thank you Mike. I won't hog your thread wittering on re my system anymore, ha ha. Do you have any thoughts on the exponential escalating cost of audio? For every SOTA component that can justify an exhalted price tag due to uber engineering etc like the NVS or MM7, there seems to be a burgeoning list of components, esp. spkrs that don't offer anything totally groundbreaking, but require a mortgage to buy. Is this all a case of 'me too' when it comes to pricing?
Even Jeff Fritz at Ultra Audio has lost his patience with these ever spiralling prices, that aren't reflected in commensurate engineering/performance, and is disenchanted with the high end.

spiritofmusic February 01, 2013 06:24

Can you fwd Danny's email if that's ok, I'd love to hear how he thinks the Def 4s and MM7s relate to each other on the audio spectrum. I'm so happy with them I couldn't practically wish for more, as you are with your 7s.
It's strange, I really think I'm at the apex of where I've always wanted to be when starting this journey 20 years ago. The incorporation of total neutrality and transparency with rim drive tt/linear tracking arm, fully expressive and dynamic spkrs, and elimination of vibration and mains impurities with a top class rack and balanced power has stripped back several layers of colourations and grunge to reveal music reproduction that can be totally relaxing and edge of your seat exciting within a heartbeat.
I've been lucky in the final analysis, making a couple of left field choices and taking a couple of punts in the dark. But if I hadn't I wouldn't be here.
Just need to add a couple of levels to my Symposium Acoustics Isis rack and I'll be complete. I may even post the system here in April.

spiritofmusic January 31, 2013 17:49

Mike, fully understand your comments about being happy with a component situation and staying there without needing to continually maximise it further.
Re power, my 4kVA balanced transformer is such an overwhelming improvement over my previous Burmester conditioner, with lowered noise floor and unrestricted dynamics 24/7, that extra dedicated earthing would really have to prove it's worth. And your balanced power is overkill compared to mine. But the UK Entreq dealer offers a no quibble trial, so I'm still going to try.
How did Danny rate your speakers in particular? I ask because he runs the Zu Audio Definitions Mk 4s which are the spkrs I've invested in as my final upgrade. Like me he's a massive fan of their full range driver/high efficiency/xoverless design. Your spkrs are true SOTA, but I'd be intrigued if he mentioned he felt the Zus got a flavour of your high high end performance.

spiritofmusic January 30, 2013 17:42

Mike, any thoughts on my queries re earthing/grounding? Personally I find Tripoint prohibitively expensive but the Entreq stuff is priced reasonably. From what I gather, these are not devices like the Granite Audio Ground Zero which combats hum/loops, but they're advised to enhance inherent SQ of components, possibly complementing effects of balanced power.

spiritofmusic January 28, 2013 19:44

Mike, I've suggested earthing/grounding as a possible option re further tweaking. I'm wondering if you feel this is a logical complement alongside balanced power. Tbh, beyond spending cash on supports, cables and an overkill 8kVA balanced transformer, I wasn't expecting to fork out on any other areas. I'm conciously avoiding all 'black magic' tweaks like Shakti Stones, Blackbodies, Quantum Field Organisers etc etc.
I considered Troy for a couple of milliseconds, but it's seriously out of my price range (fully configured, over half the cost of my whole system!). But there is a (reasonably) cost effective alternative: Entreq Audio Tellus grounding boxes and Eartha cables - in my system this would involve linking an Eartha cable each between: my phono stage, and 2 from the preamp rca jacks closest to cd input and output to power amp, all back to the Tellus passive grounding box. With 1 box and 3 cables this equates to about $3000.
I know like you that moving to balanced power has really reduced ground noise, loops and the overall noise floor. Indeed in my rig 4kVA of isolation is giving me an 'after midnight' sound all day long, so I'm finding it hard to believe there is a whole layer more of power related grunge to eliminate.
What's your gut instinct on grounding/earthing? If I go down this path it will delay what I'm considering is the definitive solution 8kVA pro studio balanced transformer, which with 85kg of copper in the transformer should outlive me!

spiritofmusic January 14, 2013 20:26

Hi Mike, interesting you're in the process of consolidation and winding down on significant, if any, further upgrades. I think I'm approaching the same stage now. But not 12 months ago, far from it.
At that time, I became extremely frustrated with my system: I'd always been a pro analog man, but upgrades, esp. to my digital (settling on an EMM labs CDSA SE) switched my allegiance almost entirely to cd! Oh, the ignominy!
But 6 months ago I discovered the delights of a direct rim drive tt and air bearing linear tracking arm, and a whole swathe of cloying artificial analogue warmth was stripped away, completely reasserting analogue's superiority over digital. Soon after I upgraded my speakers to full range drivers/non crossovered technology which enhanced this further.
My conclusion is, maybe like you, that I've removed "cognitive dissonance" from the system. In other words, I've achieved a massive reduction in colourations, and consequent increase in transparency and ease, which means I'm not subconciously analysing the music as I'm listening to it. So great to not 'hear the system', but 'hear thru it'.
My remaining journey is to improve the environment of the system, and indeed for the first time I'm finding discernable changes when experimenting with balanced power, acoustic treatments, supports and cables/cords. So I'm not totally done just yet. But other than a possible cart option which I believe may top the neutrality of the analogue front end further (Soundsmith Straingauge), I'm done with major component upgrades, and like you I'm sure, I'm pretty happy about that. I wonder if lack of cognitive dissonance means I've got one step closer to the best of live music?

spiritofmusic January 05, 2013 16:56

Mike, your journey sure looks long and winding, but totally fruitful. I often used to take with a grain of salt audiophiles who commented on small changes in a system leading to significant improvements. Well, my new Zu Definitions 4 spkrs are so transparent to the preceeding audio chain, that even small changes in toe in and support of components can take the sound in wildly varying directions. Luckily I'm getting a handle, and in my own way really reaching a Nirvana like state enjoying my music.
It's not helping the OCD side of my nature however. Your family must be celebrating you pretty much arriving at an end point of sorts, but probably seeing even less of you now that you're spending more and more time enjoying it.
I've spent a big proportion of my income on my evolving system over 20 years (maybe half of my disposable income), but I shudder to think how I could have spent it alternatively leading to frustration eg performance motoring in traffic jams and speed traps all day, or tearing my hair out following my underperforming soccer team all over Europe. Being absorbed in the moment with a system firing on all cylinders is a hell of a hobby and therapy all mixed into one.
Hope you don't object to my metaphysical tone, ha ha. Happy Xmas and New Year to you. And everyone else.

spiritofmusic December 20, 2012 23:06

The Westwick is used in many recording studios (although with all the "hot mastering" making so many modern recordings flat, lifeless and just plain unlistenable, maybe this is not such a compliment LOL!). I don't have the facility to have a permanent installation away from the system, but hard wired into my dedicated spur it sure looks earthquake proof (actually not an issue in the UK!) as a final power solution. At present a diminutive 40lb 4kVA $750 unit, not even audiophile grade, handilly outperforms my prev $7000 Burmester 948 conditioner.
To put power into perspective, in the UK our line voltage is (meant to be ) 230V. My belief is that swings +/- 5% puts tremendous demands on audio components, esp. power amps. The Burmester regularly showed fluctuations, moment to moment, of +/- 20%!
Placing the Burmester after the installation of the balanced transformer showed fluctuations no greater than +/- 1.5%. Nuff said.

spiritofmusic December 12, 2012 15:01

Hmm Mike, budget blown is a concept I'm well aware of having shelled out a tidy sum on upgraded tt/arm/speakers/stand.
I can quite understand how you'd need to be fully convinced to go down another uber expensive tweaking path.
One thing re the Troy grounding system I don't get is what to do if your components dont have grounding posts. Anyhow $12000+ sure is a big consuderation.
Btw, what is your opinion on the plethora of expensive "enviromental" tweaks out there eg Shakti Stones/Blackbodies/QOL Completion Device etc etc? They never seem to divulge their modus operandi, seem to be very overpriced, and very system dependent. One could easily pay the cost of a total component series overhaul in going down this path.
My main dilemma in having emptied the bank account, but still tempting to refine my system (trans Fi direct rim drive tt/linear tracking arm/EMM Labs CDSA/Hovland HP200& Radia amps/ZU Definitions 4 spkrs) further, is to investigate all tube amps (my spkrs are 100dB eff with built in powered subs) with SET 845 or OTL, upgrade my cart/phono stage, or go for further system wide upgrades (consistent cabling/power cords/more robust 8kVA balanced power transformer). On the last note I'm really tempted by a pro audio application Westwick Audio 8kVA isolation transformer, 200lb in weight, bullet proof overkill and I'm sure the best upgrade I'll ever make.

spiritofmusic December 11, 2012 03:43

Mike, any thoughts on my q re integration of bass from your separate towers in the MM7s due soon. It's hard enough getting the placement of simple subwoofers right, let alone 8 x 15" woofers. I'm totally unsure how moving bass drivers from a time aligned array when part of the main tower to an isolated location can be good for one's mental health with the myriad of poor integration choices possible.

spiritofmusic August 22, 2012 05:08

Mike, I'm always a little confused as to how separate bass towers integrate from a time delay/point source point of view. With your MM3s, the twin 15" woofers per side are lined up with mids and tweeters in a time aligned array.
I presume with the MM7s the woofer tower may be situated quite separate from the main towers and possibly some distance back.
I fully understand this new uber spkr will give you maximum capability in most parameters, but how hard is it going to be to dial in that just perfect bass integration with physical separation of bass drivers from the rest?

spiritofmusic August 15, 2012 20:01

Llbelchevv, Dartzeel and Evolution Acoustics are a bit out of my price range. Personally, my limit is around $15000 per front end/amps/spkrs, and my list of components in my dedicated thread will reflect this. Will list them in Oct.

spiritofmusic August 08, 2012 16:30

Metralla, a bit unsure why finding components to concur with Mike's positive view on non belt drive and suggesting interesting alternatives to his choices is frowned upon, but so be it.
It's not that I'm in disagreement. I'm sure Mike has considered gear as a result of suggestions from all sources.
Hoping to have my own system thread up in Oct.
Hope to be more specific in future contributions.

spiritofmusic August 07, 2012 09:21

Mike I completely concur with you, that I may inadvertently be provoking accusations of bias in my postings. Whart, when my new spkrs arrive in Oct, I'll get my talented photographer friend to take some component photos and then post my own system thread.
Until then I'll stay on message and stick to matters within the correct focus of each topic and not spread my comments too widely.

spiritofmusic August 06, 2012 21:18

Thanks for your friendly and considered reply. This makes a bit of a change compared to the Zu Audio Definitions 3 thread on the Spkrs Forum, where a contributor is getting his nose out of joint over stuff that really shouldn't get him to raise an eyebrow eg he thinks it's unethical I'm allowing my spkrs to be professionally reviewed before I take delivery of them - in the UK, the high end audio scene is contracting, there are few pairs available of the Def4s, and I would love more people to get to hear about Zu who are a fantastic, ground breaking collection of audio enthusiasts and nut cases who really deserve to succeed on the audio scene. But no, i MUST be getting a financial advantage. Mike, tell me honestly if what I'm doing is wrong, I'd love to know.

You're a man who really knows your mind, nevertheless please keep a lookout for Ypsilon and post your thoughts if the chance arises. I believe it's Jacob Heilbrun who runs Wilson XLF spkrs with them? Me? If that lottery win eventually comes in, I might support the underdog and go all Ypsilon. With the Zu Audio Dominances, 62" x 18" x 22", 350lb per side, and 14Hz-20+kHz, 3 x full range drivers per side and 105dB/m efficiency this would give me an interesting high end alternative to your uber set up.

spiritofmusic August 06, 2012 19:46

When I heard Ypsilon, admittedly some time ago, it blew out of the water rigs it was compared to at the demo (and these were no small pretenders ie Boulder, Krell).
I've really never heard transparency and tonality since, and I have listened to a fair number of rigs incl. Tenor, Kharma, Mark Levinson, Rowland, Vitus, BAT etc.
I still remember the illusion (or was it reality, LOL!) of hearing well into the room BEHIND the room we were listening in, and stage width was as broad as it comes.
It would have been so underwhelming had it not got down and boogied, but it was no slouch in this dept. either.
I'm a bit perplexed by which brands make it and succeed in the uber high end. It seems that Ypsilon and Dartzeel are both highly specialist boutique brands from small non-typical audio nations, both bring cost no object engineering/aesthetics to the table, both bring unique engineering solutions to bear, but a brand like Dartzeel ride the wave of the apex of the high end exposure/take up, whereas Ypsilon plow a lonelier furrow.
Mike, PLEASE do not take this as a criticism, I'm sure I'd love your system, but at the outer limits of audio component choice both technologically and financially, I would be so curious to hear an equally distinctive case for final amp choice before putting my pen to cheque, and I would have thought you'd feel the same. Or is it all a logistical nightmare to even consider another brand (ironic if the more money one spends, the less choice one gives to oneself).

spiritofmusic August 06, 2012 17:51

Mike, the one amp combination I would love you to have auditioned and heard, perhaps as a comparison against the Darts, would have been a full Ypsilon rig of preamp, phono stage and monoblocks. I think the retail works out to about half the price of your top of the range Dart 108/458 combo.
They all use tubes, but the monoblocks manage 125W/ch which with your reas. high eff/powered bass towers MM7s should be mighty sufficient.
I've heard them once in Europe powering Rockport Antares spkrs, and up against various Boulders and Krell alternatives there was no comparison - the Ypsilons had transparency and delicacy in spades, but could flat out rock when needed.
I know that Mikey Fremer is a massive fan of the pre and phono, and Constantine Soo of Dagogo had never better than the SET-100 power amps. They may be close to state of the art in the transparency/tonality stakes. I know I'll never forget that demo!

spiritofmusic August 06, 2012 15:45

Actually, I'm getting pretty close to my end game too; "Thank God!" I can hear my girlfriend shout out! For me, the move to direct rim drive has been really game changing. With my prev. belt drive I always felt my tt was lagging behind the spkrs' performance, cds pretty much up there with the spkrs. Now with direct rim drive/linear tracking I'm struggling to hear everything into the treble thru my spkrs, which I'm sure my soon to be installed Zu Definitions Mk4s will remedy (they have MUCH improved high frequency capabilities). Only the cart/phono stage remains a poss. way to go.
Cd and amps I'm pretty happy with. Just more attention to vibration control, bass nodes control and OTT balanced power (looking at pro-studio application 8kVA unit).
It's actually a strange sensation that a sound I'm likely to be totally settled with is 90% in view.
I say this both from a financial point of view ie current downturn making me plan purchases much more rigorously (still can't believe I bought that Marantz SA-1!), and psychologically (direct rim drive-linear tracking/xoverless full range driver spkrs really making me relax into my music with no perceived colourations). I'm sure constant upgrading amongst audiophiles is right up there with other sophisticated forms of obsessive compulsive disorder!

spiritofmusic August 04, 2012 12:41

Mike, I'm coming from the point of view of a bit of a computer phobe, and a very pro-tactile person. Being in love with analogue, you'd have to shoot me before I give up on the whole fetish of playing lps.
But now servers/downloading is taking over, I'm getting a nostalgic feel for the little silver discs I've been struggling to love since the 80's.
In other words, ripping cds/sacds and downloading are not for me, not for a while yet anyway, and so I'll settle on the best old fashioned but quality way to spin those discs, just like lps.
Lord help me, I still collect LASERDISCS!
Obv. price is critical and the Stahl Tek is well beyond my means. It's just that as a no compromise design I thought you might be swayed by it, certainly before you put pen to cheque for the Darts.
But with your digital direction I can see this might be a blind alley. If you do get a chance to audition it, please convey your thoughts.
You must be nearing the end of your prev. never ending quest for 'that' sound. Have you considered the philisophical ramifications of getting there?

spiritofmusic August 03, 2012 10:40

Mike, what is the issue with PCM, excuse my ignorance? I know you were directed to the Audio Exotics HK forum site for the Dalby weight, and didn't get very far. It's on this site that it appears the selective audiophiles of Honk Kong are going collectively crazy over the Stahl Tek, firstly Vekian, and now Opus. The vast majority are analogue afficionados and feel the Stahl Tek is the only player that has the tonal density and ease of transparency tts like the Da Vinci demonstrate. You'd certainly hope so for upwards of $70000!

spiritofmusic August 03, 2012 03:23

Mike, I know you might hate me for my next suggestion (and to think, we've only just met via the internet, ha ha!). You're soon to complete a system to die for - nowhere left to go re improving tt (NVS), arm (Telos), cart (Anna), amps (top of line Darts), spkrs (MM7's), balanced power etc. It seems to me that there will be only one last component to seriously considering upgrading, that being your digital. I know you really rate your PD, but the Stahl Tek Opus cdt/dac REALLY looks the business, built to beyond-Boulder standards bulletproof, and various forum boards really consider it the cat's whiskers.
It seems to really marry the best of uber resolution units like DCS with true to analogue warmth and transparency apparently found in v.few if any other players.
So, if you have any change left over from the Dart monoblocks purchase...

spiritofmusic August 02, 2012 21:49

Mike, I think we are of one mind on this. And the last thing I'm going to do is claim this is the best and only way forward, Peterayer certainly got me to be a little humbler, lol!
But this is a real game changer for me, just as going to speakers with xoverless full range drivers (new Zu Definitions Mk 4s on their way!) have been for some time (Mk2s).
It's amazing that removing (what I believe to be) the dominant belt drive colouration of vinyl replay has led to the greater revealing of all the other positive attributes of analogue, which with a digital like precision, has me really investigating all those old favourites.
The amazing thing is the entry ticket to this rig is the cost of one of your top end interconnects!
What this all means is that I'm now a lot closer to the end of this continual audio merry-go-round: tt/arm/cd/amps/spkrs just about there. Remaining avenues to investigate: cart/phono stage/uprated balanced power/vibration control.
Will post system photos/write up on Forum when Zu spkrs finally arrive in the Autumn, about same time you HAUL the MM7s into your space!

spiritofmusic July 30, 2012 15:43

Mike, a quick update on my experiences moving away from belt drive. It is without doubt the most positively surreal experience I've had since starting in high end audio in 1995.
The combination of the positives of digital ie lack of time domain bass 'smear' and image stability, has been combined with all the traditional positives of good analogue ie tonal density, soundstage transparency, micro and macro dynamic integrity, into what is almost a new listening experience beyond anything I've ever heard in top digital, and only hinted at in uber expensive tts at shows.
I would really recommend analogue afficionados to go out and investigate dd/idler/rim drive more fully, whether it's my Trans Fi Salvation, or TTWeights, your NVS, Grand Prix Monaco, Brinkmann Bardo, Dobbins Beat, tricked out Garrards/Lencos/SP10s.
I know for many the paradigm shift won't be palatable, and the euphonic colouration I really believe to be endemic to belt drives will always be a factor many like in their presentation, but the truthful neutrality of non belt drives (some if not all) will really float the boat of at least a sizeable minority.
Additionally, I can't speak highly enough of the groove tracking abilities imparted by the Terminator T3Pro air bearing linear tracking arm. So many times I'm really unaware of coming to the end of an lp side, so stable and uncoloured and spacious is the soundstage as the stylus negotiates those lead out grooves. Spooky!

spiritofmusic July 28, 2012 06:12

Hi Mike, moving away from belt drive/pivoted arms certainly has been an education! Unbelievable clarity and a vibrant, almost live music like presence has been the upside. Downsides have been some unforgiveness with less than stellar material, exacerbated by it's brilliance with music recorded in the analog heyday of the pre-1980's. Additionally, it's highlighting need for careful cart/phono choice, and absolute need for levelling/vibration control.
On the former side, I'm going to dig out my long unused Transfiguration Orpheus, and together with my Zu 103 go down the paratrace profile stylus retipping/upgraded White Sapphire cantilever route, and manage an a-b demo against the Soundsmith Straingauge.
On the latter side, I'm aiming to invest in a Minus K BM-8 isolation shelf for the tt, which is good for controlling vibration down to 0.5 Hz in the horizontal plane, and 1.5 Hz in the lateral, both figures below the threshold of the tt's performance. It's pricey at close on $3000, but should give me close to state of the art isolation for this really sensitive piece of analog equipment.

spiritofmusic July 03, 2012 06:28

Hmm, there does seem to be a general trend that everyone rates the ASR for transparency, soundstaging and dynamics, but a fair few belive it to lack involvment. This seems to be a v.similar description of Halcro amps from a few years back.
Once I sort my cart/phono stage upgrade, investigating the ASR will be next, alongside Audion SET and Dave Berning Z-OTL gear.

spiritofmusic June 23, 2012 16:12

Hi Mike (and others), could you pass comment on another component? I'm about to take possession of my new Zu Audio Definitions Mk 4s which is getting rave comments by the handful of owners who've upgraded to them in the last few months.
With my new, very neutral tt/arm I'm on the lookout for the right cart. But I'd like to ask you if you have any experience of the ASR Emitter 2 integrated amp (4 components incl. power supplies). I'm currently running Hovland HP200 pre/Radia pow, which has really served me well for 7 years but am v.tempted to maximise neutrality further by moving back to all SS.
The ASR gets rave reviews everywhere, and seems to be engineering overkill (3 power supplies, all units built like tanks). But a lot of comments temper positives by concluding they may be a little cool and detached emotionally, despite mighty detail retrieval, transparency and soundstage. Any thoughts?

spiritofmusic June 21, 2012 22:33

Hi Mike, I'm finding possible cartridge upgrade the most confusing choice of all. Believe it or not after 5-6 years of running top draw MCs (Transfiguration Temper Supreme and Orpheus) I moved onto, I kid you not, a Zu modded Denon 103! Lost out a little in the tonality/transparency stakes, but gained a lot in dynamics/timing.
Selling my warm, overcoloured belt drive/pivoted rig for the highly neutral revealing rim drive/linear tracking rig I currently have has highlighted deficiencies in the cart.
So, advice on A'gon has been: to reinvestigate my Orpheus, check out the Straingauge (which I will do in due course), upgrade the Zu 103 w. a Soundsmith ruby cantilever with retipping Optimum Contour Line stylus, and even check out inexpensive NOS MMs like 1970's Pickerings/Technics, Acutex etc. Never expected these as possible alternatives.
This is compounded by the death of the hifi shop, it's next to impossible in the UK to get to hear a range of carts, let alone a proper home demo.
One has to investigate online, get a small number of possibilities and scour around for possible demos.

spiritofmusic June 21, 2012 06:16

Mike, I just can't believe the influence that the tonearm has over the system. Since my rim drive tt and air bearing linear tracking arm have come as a package I can't separate which component is contributing to which aspect of sound improvement, but I suspect the tt speed stability involves soundstage and clarity thru the frequency spectrum, and rhythmn/timing; and the arm involves setting bass quality/foundation for rest of the sound and solidity/transparency of sound esp. as grooves tighten as lp proceeds.
Just amazed such a different sound from belt drive/pivoted arm is even more compelling than ever.
Are you ever over in the UK on business etc?
I live in the London area and would welcome you here for a listen if practical.

spiritofmusic June 18, 2012 03:27

Whart, I have not heard the Kuzma Airline, but it is highly regarded. All I can say is that the Trans Fi Audio Terminator air bearing linear tracking arm may be the best audio purchase I've made - it's bass is just so right, releasing the pivoted SME V earthbound quality, and tracking is really so superlative I can't go back to regular tonearms.
The great news re this arm is that unlike all other top class similar arms incl. the Kuzma, it uses a LOW POWER PUMP. This means that noise is present but pretty quiet, and is only slightly distracting if one was to listen to acoustic/vocals at v. low vols, with the pump next to the listening position. It can still be situated outside the listening room, but in 99% of situations, in room is fine. Also being low pressure it ends up being low maintenance and highly predictable in use.
Lastly at £750/$1200+, it's 4-6x cheaper than the Kuzma. So if you love the performance of air bearing linear trackers but struggle with the Kuzma, really give the Terminator some serious consideration.

spiritofmusic June 17, 2012 03:57

Mike, thanks for your kind words on my debut review for A'gon. I appreciate your comments on me successfully getting across the relevant info on the Salvation.
I'm just so pleased that what I thought might be a rocky baptism of fire in the paradigm shift of going from a lifetime of possible inaccurate speed consistency to a system poss 10x more speed accurate has been so seamless. What I didn't totally expect was that reducing time smear hasn't at all reduced the natural warmth of vinyl replay. This has been maintained, and enhanced by the increased solidity of image and enhanced dynamics and percussive impact.
Interestingly, I'm also starting to believe that the arm in a tt rig may be more critical than ever, the locked in tracking of Vic's air bearing linear tracker is startlingly good in traversing lead out grooves, allows bass notes to float beautifully with no earthbound sluggishness, and freedom reaches all the way thru the mids into a really ethereal treble. The majority of this may be controlled by the arm, not the tt.

spiritofmusic June 13, 2012 18:30

Hi Mike, will get around to pictures/system description when my Zu Audio Definitions 4 and Symposium Acoustics Isis Ultra rack is installed in next couple of months. At that point I think I will have reached my end game for major component upgrades. Happy to share info otherwise until then and beyond.

spiritofmusic June 13, 2012 05:57

Hi Mike, I've just opened a thread in the Analog Forum entitled 'Trans Fi Salvation turntable', describing the concept and early listening experience of this innovative direct rim drive tt/air bearing linear tracking arm rig. Have a read, tell me your thoughts. And everyone else interested.

spiritofmusic June 12, 2012 10:31

Hi Mike, you may be interested to know I've sold my belt drive Michell Orbe/SME V, and replaced it with a direct rim drive Trans Fi Salvation tt w. Trans Fi T3Pro Terminator air bearing linear tracking arm. I'm trying to get to something of your NVS nirvana at a less exalted pricetag. I'm going to collect my thoughts and open a new A'gon thread since I believe this is a fantastic tt option.
My question to you is re the Soundsmith Straingauge cart and your lack of love for it. I'm trying to secure an audition in the UK, and reviews seem to be v.positive, commenting on great detail retrieval, neutrality and excellent tracking/resistance to surface noise. What are your experiences of it? regards.

spiritofmusic June 09, 2012 20:15

Hi Mike, it's fantastic for you to to invest in (rel.) cost no object hifi like the NVS and MM7s where over the top engineering refines current technology (series crossover multi driver spkrs) and optimises new approaches (direct drive tt speed control), but I disagree with you that innovative approaches may not be as well executed/attainable lower down the price range.
Hard as it is to believe, the Trans Fi Salvation designer has achieved what 99.9% of other tt designers have failed in creating a speed secure high torque rim drive with minimal rumble transmitted to the platter, AND an innovative linear tracking arm, leading (in my humble opinion) to a natural and neutral presentation well ahead of rigs 5-10 x the price (no comment on your NVS, but I've heard the SME 20, TW Acustic AC-3 Raven etc., and I wouldn't take them ahead of the Salvation).
Similarly, the Zu boys have really taken their full range driver, crossoverless concept to fantastic heights with the Dominance and Definitions Mk4, and again I feel that their optimised holistic rhythmic and tone dense presentation is hard to beat at their price level or well beyond.

spiritofmusic April 14, 2012 15:20

Hi Peterayer, no I haven't heard the NVS/Telos. It's not available in the UK and likely out of my price range anyhow. Also the SP10 Mk3, rare as hen's teeth, not likely to be heard by me. In the UK choice of non-belt drive comes down to the Grand Prix Monaco 1.5 ($23000), Brinkmann Bardo ($8000), the Technics SL 1200 derived Inspire Monarch ($6000) and the afore mentioned Trans Fi Salvation ($4000). It is the latter two I'm most interested in and am really sold on the high torque analog only non-feedback drive system, which will get some of the NVS magic for a tenth of it's price. I'm aiming to run it initially with the Zu modded Denon 103, and possibly upgrade to the Decca London Reference (designer's choice) or the Soundsmith Straingauge for a highly neutral and natural presentation.
Agear, we agree about more than we disagree. The Def4s I have on order have taken the holistic and involving presentation of the crossoverless full range driver and really married it with truly excellent sub bass and supertweeter units plus beefed up construction to hopefully produce a real world beater. I'd really love it if you, Mike or Albert amongst others, if ever in the UK, could hear it in an optimised listening enviroment-the invitation is open! Anyhow, done the special Zu way I'm sold on the concept and unlikely to be swayed back to splitting the main part of the musical signal between multiple tweeter, midrange, midbass and bass drivers.
Mike, just one thought on your reasonable premise that careful execution counts for more than a unique engineering approach. I'd generally agree with you, but I don't think you feel this holds for the tt where the unique dd approach of NVS supersedes any careful execution of belt drive eg the Continuum tt, surely the best executed traditional belt drive out there. So in this case you do believe unique engineering is all, as I believe crossoverless is the way to go in spkr design.

spiritofmusic April 12, 2012 16:36

Hi Agear, I think we've both contributed to comments on the Zu Definitions Mk3/4 thread, both agreed that power rules, for me nowhere is this clearer than moving to balanced power which has transformed my system, esp. in the areas of improved dynamics and lowered noise floor. Even a cheap standard industrial non-audiophile unit has done wonders for my system, giving me that 'after midnight' sound all day long.
My thoughts on the Zu Audio full range driver concept is not that this is bound to be superior to all others, just having gone thru numerous high end crossovered speakers, the palpable experience of not artificially dividing the signal to separate transducers is really seductive and addictive, and I never got both the weight and dynamism of voices and instruments any where near as well with non Zu models.
It seems that with speakers in particular, there is so much choice in technology, price and sound presentation that going for a simpler more holistic approach of not subdividing the musical signal seems a logical way to go, borne out by (my admittedly subjective) positive experience.
Additionally, surely having pounds of copper/silver etc. that the musical signal goes thru in any crossover must lead to unwanted absorption and hence loss in the delicate electrical signals that finally get delivered to the drive units.
I mean, aren't we all trying to keep cable lengths to a minimum, we wouldn't run tens of metres of ics/spkr cables if we can help it?
In regards to the Trans Fi Salvation tt, according to the designer he has so designed the motor to drain vibrations away from the rim wheel and hence the platter/stylus interface. This he has acheived by way of isolation and engineering choices, and on audition I could detect no rumble over the course of a whole lp side of solo piano. There is more info on the evolution of engineering of this amazing tt on 'Lenco Heaven' website, go to 'other tts', then to 'from Lenco to Salvation'.
I have no affiliation with this product, just a deep admiration for what it achieves along with it's associated linear tracking tonearm, and I suspect it can get me a fair way towards what the NVS/Telos and SP10 Mk3 performance envelope provides.

spiritofmusic April 11, 2012 21:06

Mike, my photos will go up on A'gon when I complete my current set of upgrades (Trans Fi Salvation tt and Zu Definitions Mk4 spkrs), and I finally get used to my digital camera/usb cable (I'm such a flat earther!).
The reason why I've suggested you investigate Zu (esp. the Dominance, which would just LOVE your room) is their elimination of the crossover, which no matter how well designed, soaks up so much musical energy. The Dominance prev. mentioned is so dynamic with the musical spectrum unadulterated between 25hz to 12kHz covered by 3 x 10" full range drivers (covering the range of the human voice) with simple low pass filters to twin supertweeters (extending the range to 20+kHz), and to powerhouse 15" subs (down to 14Hz). After hearing traditional crossovered speakers at the high end eg Wilson, Magico, the dynamic and tone dense Zu sound is now something I can't swap.
My funds however extend only to the Definitions Mk4 which gives me 90% of the Dominance magic.
I've been in close communication with the designer of the Trans Fi Salvation tt. Like you and all those who have moved away from belt drive, he hates the speed inaccuracy imparted by belt stretching and stylus drag. However he's also not a great fan of DD tts which continually hunt/adjust speed at the micro level which he believes imparts a cold clinical quality to the sound. It's my opinion that this is the reason why Mike Fremer found the Grand Prix Monaco to be impressive but uninvolving in his review from a few years back.
His solution is to provide v.high torque rim drive with purely analog speed control, and no digital feedback. This setup drives the platter hard enough to cope with all stylus drag effects, and dispenses with the need for feedback control.
I've heard it and it maintains unwavering stability esp. on piano notes and a v. stop-start bass quality which really opens up the mids and treble. The great thing about listening to such a neutral tt is that NONE of the attributes of good analog are negated, but actually enhanced.
His tt is certainly made even more exceptional by his Terminator T3Pro linear tracking arm, which might give you a shot of nostalgia Mike, thinking back to your Rockport setup.
The amazing thing is that this is all available for what is an audiophile entry level price, I really feel it outperforms tt/arm combinations 5-10 x the price (and I've heard a few!)

spiritofmusic April 10, 2012 20:49

My system is undergoing a bit of a transformation, trying to get some of the "closer to reality" quality that takes us a step nearer to the musicians and what they are trying to say. However I'm trying to acheive this at a (cost) level a little below yours.
My first change was to install balanced power in my room, a simple 4kV industrial unit, $600, which after a month of burn in (30kg of copper) tightened up the soundstage, and expanded dynamics beyond the slightly constricted version my previous $6000 audiophile conditioner acheived. Second change was to address room acoustics, this I have achieved not by passive traps etc. but by installation of SpatialComputer Black Hole bass anti-wave generator, $1300, which has dealt with standing waves/bass nodes in my room (one esp. tricky one at 27.1Hz), reducing bass congestion and improving detail retrieval.
My component changes are mainly to the turntable front end and the loudspeakers. I'm dispensing with my belt drive Michell Orbe/SME V, and heading down the rim drive Trans Fi Salvation tt route using Terminator T3Pro linear tracking arm, $5000 the pair, which will get me some way towards what your NVS/Telos combination is presenting, and upgrading my Zu Audio Definitions, from Mk3 to Mk4 status, $15625. I particularly love the Zu full range driver, high efficency route, which dispenses completely with the need of a crossover, bringing real excitement and involvment to musical reproduction.
Had you not gone down the MM7 route, I would love to know how you would have rated Zu's flagship Dominance speaker (3 x 10" full range drivers 30Hz-12kHz, 2 x supertweetwers 12Hz+, 1 x 15" downfiring sub from 14Hz, per speaker) and NO crossover to absorb musical energy, 103+dB efficient allowing use of intimate SET amps no problem. I suggest the Zu Dominance would give the MM7s a run for their money. I've not heard a top end speaker yet that has the musical density and verve of Zu.
So many ways to get to musical nirvana.

spiritofmusic April 09, 2012 13:24

Hi Mike, I've always enjoyed reading about the evolution of your continually improving system. The feeling I am getting is that you're pretty close to the summit now: the NVS approximates v. closely to reel to reel in achieving the holy grail of neutrality in analog, the Playback Designs cd player in your opinion gets as close as possible to analog in character, and your new speakers will narrow the gap to the realism of live music esp. in the area of lifelike dynamics and limitless headroom. Alongside this you've upgraded to balanced power which has eliminated the constraints to the foundation of the whole system.
My guess of where you have to go finally is whether you upgrade to the Dartzeel monoblocks, or you move sideways to investigate further your low powered SET option. Will the MM7s accommodate the use of these lower powered amps more successfully than your current MM3s ie are they more efficient? Or is SS higher power still most indicated ie move towards the monoblocks?
My main question is that once this summit is reached, are you likely to be happy there, or will your restless curiosity maybe take you down a different path esp. in the area of speakers/amps. My thought is that you may re-investigate high efficiency horn loudspeakers/low powered SET amps. The Oswalds Mill Imperia and Musique Concrete horns look fantastic, and with well chosen SET amps I'm sure will rival the MM7/Dartzeel combination at what they do well, and do other things better eg intimacy, presence etc.

spiritofmusic April 09, 2012 06:57

Hi Mike, curious what price Evolution Acoustics charge for the MM7s?

spiritofmusic April 08, 2012 06:07

Hi Mike, can you give me your take on an NVS matter. You've progressed from Rockport to NVS, and in parallel had been running modded/replinthed Garrard 301s and Technics SP10 Mk3s, as well as the Dobbins Beat. from all of this you feel the NVS surpasses by some margin your previous standard, and the vintage newcomers (slight contradiction in terms I know since they are from the '50s to the '80s). Obviously you are a major DD (and to a lesser extent, idler) fan.
What I can't figure out is that Albert Porter, who has his own modded SP10 Mk3 and the new NVS, has checked speed stability via his Sutherland Timeline on both, the SP10 runs rock solid speed perfectly, but the NVS shows up second place in this comparison. He also still feels the SP10 beats the NVS in the bass.
I can only assume this is due to the fact that the SP10 motor still beats all newcomers incl. the NVS, as it has always done in comparison to all other tt's before it.
How can a state of the art, rel. cost no object new millennium design still fall technically behind an item from 40 years ago, and since speed stability is the ultimate holy grail for DD afficionados, doesn't a heavily modded SP10 represent the final journey, not the NVS?

spiritofmusic March 27, 2012 04:18

Hi Mike, good to hear that more performance can still be wrung out of the humble analog waveform. Since the Telos 12" outperforms the standard 9", do you still believe this points to linear tracking still being the holy grail for tonearms, or does this arm have other things going for it above and beyond it's length?
Some queries on the Wave Kinetics a10-u8 footers: do you place them under existing feet, or adjacent to them? Is 4 per component optimal, or can 3 in tripod arrangement be feasible? How do lighter components with less downward pressure mate with the footers? Best regards

spiritofmusic September 10, 2011 10:14

Hi Mike, the other support I'm considering is one made by Symposium Acoustics which uses a sandwich layer construction on shelves and grounded spike system on rack, so shares more similarities than differences with the Adona, albeit no use of granite, and a little more expensive. I'm a little concerned re use of granite in the Adona shelves, my instinct suggests it must harden the sound or artificially accentuate transients. Any comments on the Symposium? I'm finding the upgrade path regarding racks the most difficult to get right, due to the fact that it changes the sound of the system as a whole rather than one component at a time, and also due to the near impossible logistics of arranging home trials, esp. when one is buying from outside the States
Regards.

spiritofmusic July 28, 2011 05:36

Hi Mike, can you give some further opinions on your new Adona rack? I'm in the market for a new rack myself; Grand Prix, HRS etc are a little out of my reach, but Adona seem reasonably priced regarding quality of materials used. Can you pass an opinion as to how they compare, esp. wrt the Grand Prix rack that took previous pride of place, and also their overall quality. Best regards.

spiritofmusic July 27, 2011 20:59

Hi Mike, is the benefit of high torque direct drive on a loud/complex passage on vinyl analagous to 2 cars suddenly having to take a steep incline on a mountain road-a car with a smaller engine can maintain the same speed as a more powerful car, but the latter will maintain a more effortless, smoother transition? Does this translate into hightening the rhythmic impact of music, and so uncluttering frequencies further up the spectrum?
I take from your comments about the Caliburn that the perception of extra detail it provides takes overall second place to the perception of extra rhythmic momentum that only high torque can provide.
Considering a new design like The Beat, compared to your Studer R2R and MPS5 cd, are the 3 mediums converging in sound quality terms, or are they as wide apart as ever?
Btw, have you seen Albert Porter's Thread recently where he is using a Sutherland Engineering Timeline which can measure speed stability on 33/45 to a few parts per billion?
Regards.

spiritofmusic April 05, 2010 20:15

Thank you Mike for such a detailed 4 way comparison. I had been unsure of 301/sp10 modifications, and now there appears to be a more practical/superior option.
Despite high torque being a very valid way to go, another turntable on my final upgrade list, the Townshend Audio Rock V, despite being belt drive, has a unique solution to vinyl coloration in form of a damping trough which eliminates vibrations at cartridge end, resulting in a very neutral sound which compares very favorably with master tape.
Do you think this is an equally valid way to go to reach audio nirvana, or are you convinced high torque is now the major deciding factor?
The only reason I am unsure whether high torque is the be all and end all is that the Continuum Caliburn, which is up there with the Rockport as world's best, is traditional belt drive, albeit highly sophisticated.

spiritofmusic April 03, 2010 13:11

Mike, a very happy Easter to you. Can you go into a bit more detail as to the sound quality of 'The Beat' turntable, how you find it superior to the 301 and sp10, and how it stacks up against the Rockport? Tape is out for me, I am finally satisfied with my emm labs cd, but as a vinyl devotee I am considering a final ever turntable purchase and am really curious about this direct drive renaissance, regards.

spiritofmusic April 01, 2010 20:07

Mike, thanks for you contacting Steve on my behalf. I'm pretty sure high torque direct drive is the way to go to re-establish superiority of vinyl over cd in my system. Out of interest, do you believe that a linear tracking arm is of equal priority to direct drive to extract neutrality and trasparency from vinyl or does a well matched pivoted arm with high torque direct drive tick enough of the correct boxes? I ask this because there is a linear tracker made in england that is well regarded' is reasonably inexpensive and it's design ethos seems to be on a par with that of direct drive. Regards.

spiritofmusic March 22, 2010 08:10

Hi Mike, new to audiogon posting, and have greatly enjoyed the development of your system. Here in England we don't have much new to choose from in terms of direct drive/idler drive turntables except for the Garrard 501 Inspiration, and the Grand Prix Monaco which i will be auditioning with a Triplanar arm and Lyra cartridge. I haven't seen you discuss the Monaco very much: do you have any experience or opinions, especially in comparison to the Dobbins 'The Beat"? Also have you come across the Saskia which in terms of aesthetics at least is the most "to die for" turntable out there yet? Btw, I have emailed Steve Dobbins twice at [email protected], but no reply. Regards

spiritofmusic March 18, 2010 21:02