This is an end of the road unit. A very high torque motor and a high resistance noise free bearing is one of the big advantages of this extremely capable suspended turntable. Pitch stability and w&f are amazing. Starts and stops faster than a DD one. Attention to detail is off the charts and i bet that Willibald Bauer will think of something more to improve it even further. The truth is that it would be a very difficult and time consuming task.

My deck has the very latest upgrades, the all mew higher spec bearing,  an improved oil formula for this bearing and the new spec belt, all being worthwhile changes thus transforming an exemplary turntable into something very special.

This is the higher output (0,48mv) copper version with the silver top base and ZN nut & screws. Not a night and day difference between the two versions (L & H), listened to both, actually they are very close, tracking is excellent between 1,85-1,91gr (easily surpassing manufacturers trackability claimed figures on Ortofon test record), for now my tracking setting is at 1,83gr,  and i guess it can get even lower. It is dead quiet, never sounding nervous whatever the material, is a natural performer with a touch of warmth. Speed, bass, imaging, instrument placing, and info retrieval are completing the picture. This is my second ZYX cartridge and in many ways  better than my previous Yatra 2 mkII. When in need for a change it would still be at the top of my list (in exceed version).

Very Impressive and equally quiet, neutral, accurate. Super sounding phono stage at more than a fair price. A very big mistake if they are overlooked as they are excellent engineered units even if lacking any MC loading adjustments.

Reason for not going with the MM/MC version is the slightly bigger image dimensions offered, especially in width, by using separate MM stage and separate step up unit.

So far i am very pleased with what i hear with this one, i find it has an engaging and immediate sound, offers plenty of detail being very quiet, sounds neutral with excellent impact and good dimensions. A true value component.

Most important though it shows to be good match with my power amp and with Bryston's own phono stage.

A game changer. A tool, simple and pure with attention to detail, i would call it elegant engineering. There is more though offered here apart from pure elegance. Main strength is the absence of character attributing to great transparency and extension with a very big and open soundstage. Natural speed and warmth with fine attack and dynamics, a rock solid and extended bass with energy and articulation, complete the picture of this wonderful mosfet amp. It seems that these amps circa 2000 were something special and production halted around 130pcs.

Mine has a serial number of 115.

Finally for me it is a very good looking beast, a rare feat in Audio. Definitely a keeper.

This XA9000ES is still an excellent performer even considering its age dating back in 2004. It shares a good portion of playing time among my sources. A slight but welcomed increase in transparency, depth and attack of midrange was noted after isolating the i-link function completely by disconnecting both the supply and ribbon cables, from its DAC board, resulting in a bolder presentation, nice.

I have owned and enjoyed in the past some of the big integrated Sony players like, XA707ES, XA7ES, SCD-1, XA777ES.

I really enjoy jazz, funk, ambient, electronica on this FM only tuner, late night listening is a very good musical experience. IF selectivity is exceptional in wide and outstanding in narrow mode.

A good calibration is required after all these years and an external antena is a must.

Ageing parts, all electrolytic caps, regulators, op amps, lamps, have been replaced. Resistors and ceramic filters not touched. A great sound from an elegant design, another keeper.

The disappearing act and being there effect so easily performed.

Acoustic Revive Power Max III

10 awg PCOCC-A, power cable, Acoustic Revive rhodium plugs. (2m).

Wall outlet to Power distributor.

DIY, 12 awg PC-Triple-C, power cable, with CSF-10, PSA-100 silk absorber, and Acoustic Revive rhodium plugs. (1,5m).

Power distributor to Line stage.

12 awg PC Triple C, power cable. Power distributor for sources and preamp.

MD at its best, a great recording machine especially from analogue sources (excellent DA converter?).

Not connected lately.

• Bassocontinuo Reference line Accordeon.

Have tried in the past many DIY solutions, different platforms, different racks, various vibration control tweeks but nothing comes close to a well executed designed rack. This is modular, rigid, and elegant. Yes, they are expensive, but is money well spent and better value in the long term.

Other Support/vibration control devices

I have enjoyed various tubed gear from CJ, ARC, SF, in over 30 years and tried nearly everything in ecc81, ecc88 and 5687 families but i have kept only some pairs of the ones listed below, for their excellent contribution to sonics, at least in the components i have used, and for their condition status. My top favourites are the 6n23p Voskhods made in mid 70's. The 6n23p Reflektor same period could be slightly better but i never had the chance to live with those.

Siemens E81CC Triple Mica (1967, 1969), Valvo 6201 (1971), Mullard M8162 (1974), Amperex ECC88 Bugle Boy curved D-getter (1958), Amperex ECC88 orange o getter (1967), Amperex ECC88 orange A Frame (1970), Amperex ECC88 PQ orange A Frame (1972), Siemens ECC88 (1965), Bell ECC88 (1969), Telefunken PCC88 (1968), Philips Miniwatt E88CC SQ IMPORT (1961), Philips Miniwatt E88CC SQ (1963), Dario Miniwatt E188CC (1962), Dario Miniwatt E88CC (1970), Valvo E188CC RED (1962), Philips Miniwatt E188CC SQ (1960,1962), RT E188CC (1960, 1962), Mullard CV2493 Disc getter (1970), Siemens E188CC (1965, 1969), Siemens E188CC A frame (1970, 1971), Tesla E88CC gold grid (1965), Tesla E88CC (1975), Tesla PCC88 (1980), 6N23P-EV Reflektor (1982, 1985), 6N23P Voskhod  Rocket logo (1974, 1975, 1976, 1977, 1978, 1979, 1982, 1985, 1987).