Thank you In_shore.
Are there other Artisan Fidelity TT owners aorund?
So after being an audio hobbyist since my uncle got me going down this demented path some 17 years ago I finally purchased a TT. I had flirted with the idea for a very long time but honestly I've heard a number of TT's at shows and at buddies homes and none of them moved me. Now obviously many many variables are involved. Lets start with, was their TT setup correctly (superlatively).., I don't know. Was the arm/cartridge combination simpatico.., again, I don't know. Was the phono preamp just so-so or great and if it was great was the cartridge loaded correctly.., you get my drift.
So with my digital down through the years easily besting (to my ears) the analog I'd been privy to, I found no reason to spend the money required to involve myself with analog. My former Bidat easily dispatched a SOTA Cosmos Vacuum TT in a head to head listening session. Ditto for my former Dynavox Dynastation.., same with my AMR DP777...etc.
At Axpona last year I listened to the $170K Clearaudio TT along with about $85K worth of Pass Amplification and perhaps $200K worth of JM Labs speaker and cabling only to be more moved by the sound from the Playback Design MPD-5 in the same room.
Finally I realized the only way I would ever find out for myself would be to purchase my OWN TT and make sure it was expertly setup and dialed-in. I had a rare chance to purchase a latest-revision-pristine example of a Graaf GM70 Phono Preamplifier. I have a soft spot for Graaf as Mr. Mariani simply builds the finest gear I have laid ears on. So now I have this phono pre sitting in the box for a few months when I see a SP 10 MK III come up for sale in Agon. So, I threw caution to the wind and contacted Chris at Artisan Fidelity; after some conversation I hung up having just commissioned the building of a SP10 MKIII Next Gen TT.
I was happy for about a month then the fear started to creep in, "what have I done?". What if this thing SUCKS!!!! and my digital system which is very very very good if I do say so myself stomps it!
During the build I researched and read tons of user reviews (I don't really pay attention to so-called pro reviewers) on arms and cartridges. I finally settled (with a lot of talking to Chris and other friends and a lot of late night web searching) on the Kuzma 4 Point and the Ortofon MC Anna.
So, here we are today and I have had my TT for a little over 3 weeks now and I have about 150 - 160 hours on the rig. Early on it sounded ok, you know.., good but nothing special. I liked it but my digital was fully up to the task and in some cases much better :) (now I'm scared)
Ok, so fast forward to 100 hours.., ok, I think I'm starting to understand all this analog hype :) better and better. now we are at 150 hours.., the word SUBLIME comes to mind. The spaciousness, openness and natural continuity of the analog is addictive. The dynamics seem to go on forever along with a naturalness that is very difficult to put into words. I did purchase the Furutech Demag, the Destat II, a scale..., all the toys to go along with it :) Again, I wanted to know for myself and the only way to do that was to take the plunge.
So how does my digital hold up? Well, my well run-in long time AMR DP777 has NOTHING to be ashamed of. It sounds great and I can easily go from the TT to the DP without too much shock (the AMR guys are big vinyl heads and use vinyl as a reference when designing) BUT... when I have two equally well recorded pieces of music (Best of Eva Cassidy comes to mind or Diana Krall Live in Paris 24/96 vs 180g/45) as good as my digital sounds the SP10MK III simply walks away. Again the digital is not trodden underfoot and indeed 20 seconds of the digital and you will be into it fully, but the analog rig beguiles with its effervescent ease and infinite continuity of musical flow.
Ok, so to end this long synopses.., I am now deeply into analog and have been going to local used record stores and burning up my cc on Music Direct and Acoustic Sounds...etc.
The folks at Artisan Fidelity are the real deal and they built me a museum quality +180 pound Porsche Basalt Black TT/piece of art that sounds AMAZING!!!!
I also ordered a Bassocontinuo Apogeo rack for the table which should arrive in about 2 weeks. I am enjoying my foray into the land of analog!!!
THANKS CHRIS!!!!!!!
So with my digital down through the years easily besting (to my ears) the analog I'd been privy to, I found no reason to spend the money required to involve myself with analog. My former Bidat easily dispatched a SOTA Cosmos Vacuum TT in a head to head listening session. Ditto for my former Dynavox Dynastation.., same with my AMR DP777...etc.
At Axpona last year I listened to the $170K Clearaudio TT along with about $85K worth of Pass Amplification and perhaps $200K worth of JM Labs speaker and cabling only to be more moved by the sound from the Playback Design MPD-5 in the same room.
Finally I realized the only way I would ever find out for myself would be to purchase my OWN TT and make sure it was expertly setup and dialed-in. I had a rare chance to purchase a latest-revision-pristine example of a Graaf GM70 Phono Preamplifier. I have a soft spot for Graaf as Mr. Mariani simply builds the finest gear I have laid ears on. So now I have this phono pre sitting in the box for a few months when I see a SP 10 MK III come up for sale in Agon. So, I threw caution to the wind and contacted Chris at Artisan Fidelity; after some conversation I hung up having just commissioned the building of a SP10 MKIII Next Gen TT.
I was happy for about a month then the fear started to creep in, "what have I done?". What if this thing SUCKS!!!! and my digital system which is very very very good if I do say so myself stomps it!
During the build I researched and read tons of user reviews (I don't really pay attention to so-called pro reviewers) on arms and cartridges. I finally settled (with a lot of talking to Chris and other friends and a lot of late night web searching) on the Kuzma 4 Point and the Ortofon MC Anna.
So, here we are today and I have had my TT for a little over 3 weeks now and I have about 150 - 160 hours on the rig. Early on it sounded ok, you know.., good but nothing special. I liked it but my digital was fully up to the task and in some cases much better :) (now I'm scared)
Ok, so fast forward to 100 hours.., ok, I think I'm starting to understand all this analog hype :) better and better. now we are at 150 hours.., the word SUBLIME comes to mind. The spaciousness, openness and natural continuity of the analog is addictive. The dynamics seem to go on forever along with a naturalness that is very difficult to put into words. I did purchase the Furutech Demag, the Destat II, a scale..., all the toys to go along with it :) Again, I wanted to know for myself and the only way to do that was to take the plunge.
So how does my digital hold up? Well, my well run-in long time AMR DP777 has NOTHING to be ashamed of. It sounds great and I can easily go from the TT to the DP without too much shock (the AMR guys are big vinyl heads and use vinyl as a reference when designing) BUT... when I have two equally well recorded pieces of music (Best of Eva Cassidy comes to mind or Diana Krall Live in Paris 24/96 vs 180g/45) as good as my digital sounds the SP10MK III simply walks away. Again the digital is not trodden underfoot and indeed 20 seconds of the digital and you will be into it fully, but the analog rig beguiles with its effervescent ease and infinite continuity of musical flow.
Ok, so to end this long synopses.., I am now deeply into analog and have been going to local used record stores and burning up my cc on Music Direct and Acoustic Sounds...etc.
The folks at Artisan Fidelity are the real deal and they built me a museum quality +180 pound Porsche Basalt Black TT/piece of art that sounds AMAZING!!!!
I also ordered a Bassocontinuo Apogeo rack for the table which should arrive in about 2 weeks. I am enjoying my foray into the land of analog!!!
THANKS CHRIS!!!!!!!
Showing 50 responses by audiofun
Hi Salectric (I get your handle, cool throw-back reference) Yes, AF built the plinth and refreshed the SP10 Mk3.., i.e. bearing polish, power supply check.., calibration, re-cap...etc. You can check out my table (this is actually the table built for me) here: http://www.artisanfidelity.com/Technics-Sp10Mk3-Miroku-.html I have been busy buying vinyl and being introduce to new (new to me) artists from the past :) I plan to hit a couple of used record joints this weekend. I am having a good deal of fun and I am looking forward to discovering more great music on vinyl. |
Hi and thank you all for the compliments on the table. It is absolutely what I wanted and yes it sounds beautiful with my Graaf GM70 phono pre :) Yes Lewm, I did fail to mention the fact that the motor unit was completed extricated from the aluminum stock housing. Lewm I would totally tell you the cost of the plinth if I could but I purchased my deck as a package, meaning that I purchased the SP10 MK3 unit and arm ...etc together as a package :) Give Chris a call, he is a very easy person to deal with.., I have never heard him talk badly about other people or their products. I think it is awesome that you have a MK3!!!!!! Thanks Sonofjim, yes I do feel very fortunate to have this set-up and I am even more fortunate that I love the sounds it makes after parting with my money :) |
Tim that sounds awesome. I think Chris told me about your TT as he was tuning it :) I nevere thought I would even consider getting out of my chair to flip a piece of vinyl with my iPhone/iPad (for control of my digital rig) in hand :) The analog makes the physical requirements a non-thought :) I bet your 401 is gorgeous!!! Always wanted to here an idler... I will get that chance next weekend. Going to take a listen to another audiophiles Garrard 401 although it hasn't been gussied up like yours :) |
No_regrets; Not sure if he is going to be there, I will be there myself and I will check with Chris to see if they are going to be displaying. I hope they will be at Axpona as I would love to hear some of his other offerings. Thanks for the compliments on the table, just finished listening to Keith Jarret Standards, Vol. 1 Gary Peacock Jack DeJohnette. That album was given to me as a gift by a very good friend who has been into analog for a while now. |
Sonofjim I'm laughing because I totally understand :) I'll probably end up purchasing another MK3 someday just to have it. I did just purchase a Garrard 401 LOL because I really want to experience a really good idler unit and the price was very attractive. This Is going to be a slow project as I'm in no hurry plus I have to let my wallet cool :) I would love to check your system out. |
Lewm, you may be right. Based on what I have been reading/hearing idlers are very musical and fun sounding tables and the Ikeda is not the most neutral of arms, so you may be referring to something I wrote with these ideas running through my mind. For example, it may be too much to place an Ikeda/Shilabe in the 401.., but then again it may be fantastic... |
Beatlubum, thanks for the advice about the Origin Live tonearm. I have heard/read that the Origin Live/401 combination is very good. Thanks for the heads up on the cartridge. I am leaning towards a Shilabe for the 401 or a Decca Ref.., I want something different to play with on the 401 :) In the end, who knows what I will end up with on that table. |
Fvcruz: That is awesome to hear been busy with work and then a vacation :) I agree an think that his tables are a real work of art. My Bassocontinuo Apogeo rack arrived and let me tell you it is ridiculously heavy and very beautiful. Each of the 3 main support pillars is nearly 2.5 " and made of solid SS.., must weigh 70 pounds each. I will post equipment a little later :) Moving the TT to the rack later today when the help arrives. |
Sonofjim; that is awesome. You are going to find the wait worth it! As my analog system components continue to run-in the sound continues to truly amaze me with is depth, layering, quietness of background and grandeur. Considering all of the aforementioned attributes it also continues to imbue a lite ethereal quality when the music posses such traits; a feat I find many products can't replicate (i.e. they can do a few but something always gets left behind). Alongside my Graaf GM70 (one of the finest and rarest phono stages.., the only word is sublime) I've added an AMR PH77 and though just introduced it is sounding absolutely wonderful!!! I will continue to report on the PH77 as I run it in.., the number of features )by remote control or the face plate) is simply astounding! |
I had mentioned I purchased a Garrard 401 for a new project because of what I have read about idlers... BUT, I may have been hasty with my new-found love of analog. I am so happy now I don't think I am going to run 2 separate analog rigs as my NG has 2 arm capability. Thought about long and way later than I should have last night, but even as I type this I think I am abandoning the 401 project... I am sure it would have been sublime, but I think 2 tables in 2 systems is a bit much for me :) guess I got analog greedy for a minute LOL!!! |
This is a general FYI for SP10MK3 and MK2 owners. When I first received my SP10MK 3 I was contacted by a representative for the Krebs mod here on Agon. The guy was nice enough and we sent a few emails back and forth. As a software developer and degreed Elec Eng I like to know what a mod (at least some tech stuff to consider the efficacy of the intended modification) consists of, I do not need to know the intellectual property behind the modification. In other words a high level explanation of what I am paying for will suffice and I can make an intelligent decision based on what I hear. Examples would be, we rework the PLL's, we bypass key electrolytics, wire is changed in key location to a much better grade, clocks are changed...etc. I resist Magic Black Box changes i.e. you can't tell me anything except that after 100 plus hours it will be better sounding. I mentioned that I knew of a mod where the modification consisted of shooting the SP10 MK3 full of some sort of organic gunk.., for over a thousand dollars. Yes you read that right. I have a number of buddies with TT's and I saw one first hand with one such mod. It was NASTY!!! an oily viscous fluid had been applied to the innards of the MK3 and one buddy stated that is smelled like linseed oil... it was starting to harden and stink. This is a shame as there are very few of these MK3 tables left in the wild. I HUMBLY suggest if a modifier does not stipulate to something like "We DO NOT fill your MK3 full of (xyz) fluid (oil, linseed oil, crisco :)" I would not let them have my table. I am pretty sure I know who did this as I know of at least one of the modders on this table. I am investigating and once I am 100% sure I will share it. I am doing this as a community service. I would personally avoid a modification of this nature like the PLAGUE. Again this is one manÂ’s opinion and of course we are all free to do as we please. SAVE THE SP10 MK3's LOL ok, I couldn't help but put the last part in, wish I had a bumper sticker. |
To clarify, "Take 5" is one of the cuts on the "Meet Me in London" album. I ordered the vinyl and downloaded the excellent 24/192 digital copy. Once I have the album I will of course compare the analog and digital versions of "Take 5". I will also make a 24/96 copy of "Take 5" using the A/D ability of my AMR PH77 for comparisons.., actually for the fun of it. |
I can only speak for my ears, eyes and nostrils. I hear no grey-ness whatsoever with my SP10MK 3 and I have listened to a fully sorted Artisan 301 with the statement bearing and also my excellent AMR DP777 with hi resolution files as well as some truly superb redbook. Also some outstanding Reel to Reel (and to many other world class sources to name) and I can honestly say my SP10 MK3 had none of the grey-ness mentioned. The MK3 I beheld had the mod performed more than a year ago and oil was all over the inner housing and it was not dry except in places where it had hardened like a glue and it certainly smelled bad I would say rancid and this after more than a year. Matsushita had literally tens of millions of dollars at their disposal when they designed the SP10/MK2/MK3 as this was at the height of the great TT wars of Japan. I would think that if spreading an organic oil on the inner parts of this deck would have been better.., it would have been done. Again, I am not here to bemoan the point (Dover I do find your views very interesting). I simply wanted the community to beware of what is really happening to your prized SP10 MK3 and I know that should I ever purchase another MK3 (spare) it could NOT have a Krebs Mod. I would not buy a table subjected to that type of modification, but again, that is ok.., that is my choice and others may differ with my opinion; and they have EVERY right to do so. |
I have the 1985 review on this table as well as the original MK3 Service Manual; the MK 3 is one of the most Stable Accurate Tables in the world even by todays standard so I would say the speed measuring system was always world class/leading. Either way I have read your rebuttal and I don't have much to add. As I stated, my point was to alert peope that an oil, probably linseed oil was being placed inside their MK3 turntables. As I am sure a great number of people are now aware of this (that an oil is being applied to the inside of the table and I do not mean on bearings but in places that make absolutely no sense to this engineer like the inner wells/walls under the platter of the table and I think on the cricuit boards themselves of the power supply and table internal electronics (at least from what I saw)) fact. If people want to do this to their MK3's more power to them. I wish you the best. With do respect I really have nothing more to offer related to this topic, I truly believe enough info is NOW out there for folks to intelligently decide for themselves about this modification to the SP10 MK3. |
Sonofjim, I sort of agree with you and have basically said as much. Not that you accused me of saying the MK3 was perfect but since I started this diatribe; I don't believe that the MK3 is perfect, BUT I will say they got closer than most. My concern was that this applied oil was heretofore not mentioned. I wanted people to know what was actually being done to these machines; I feel I have succeeded. I also do not consider this a flame-war (at least I don't consider myself at war with anyone :) but rather an intelligent discourse and as we have both stated, to each their own. People now have the knowledge of what is being done to there MK3's. I thought I was clear about this but perhaps not, I have no problem with mods on anything, (except molesting air cooled 911's :) I just happened to see the interior of one of these modded turntables. It was an oily mess and that is simply a fact. So once more, this is not about an inanimate object being sacrosanct, it is about informing people of what is actually happening to their TT's, remember, before this thread, I don't think the core of this mod was public knowledge. I saw no evidence of anything else in the machine other than a plethora of oil slathered around. This is quite a bit different than installing Harmonix or Still Point footers or a better plinth or Hexfred diodes...etc. Concerning the original Technics Chassis.., yeah, I don't know what they were thinking :) It's like they did all the heavy lifting and then got tired LOL. Or the "A" team finished the hard work and then handed off the final housing design to the "B" team. One more time.., people now know the deal, to quote Richard himself.., "Caveat Emptor". |
Concerning the individual with the unit, if they wish you to address it I am sure they will reach out to you. I am not involved in anything they may or may not decide to do with the unit nor am I advising them one way or the other. I only wrote what I experienced with your modification. If you say the PS does not have this oil applied then I certainly take you at your word and I stand corrected concerning the PS. |
Downunder; no doubt you are correct. I was trying to make sure people were aware of what was actually involved with the Krebs Mod and it sort of took on a life of its own. People like you are the EXACT reason I wanted this information to be out there :) It is not about maliciousness in any form or matter, it was and is about delivering information to make known the full story to persons thinking of getting this modification. |
I have just (I am sure I am late to the party) discovered the Naim Label recording "Meet Me in London" with Antonio Facione and Sabina Scuibba. If you don't have this album, you need to get it. I ordered it from the Naim Label site but in the interim I purchased and download the 24/192khz remaster of Take 5.., this is an outstanding cut. My buddy played his album for me about a week ago while at his home listening to his analog rig. I am not sure if the latest album version (original recording was engineered in 1997) is from the remastered digital Master. I read the story on how and why the original 24 track tapes were digitized (which made perfect sense due to the delicacy of the original tapes and the fear that it would not survive the multiple Studer tape runs to remaster in full analog). There is a very good you tube segment on the making of the 24/192khz remaster (I think it is about 24 min in duration) and certainly worth watching. A LOT of work evidently went into the remastering process with Mr. Facione present to give his seal of approval. You are going to love this album. |
Hi Peterayer: Thank you :) I know that Chris built a plinth that was modeled after the original MK3 plinth the SH10-B5 which is a design that has been around for about +30 years, but I do not have that design. I have the NG design and I do not believe it closely resembles the SH10-B5/Porter design/efforts. Panzerholtz is a cool and material which I found out about..,I believe around 2003 or '04 not sure when searching a database comparing the densities of various woods. It has some incredible properties and lends itself to plinth usage very very well. I started my own speaker design about 10 years ago and it employs Panzerholtz in key locations. Concerning support, I purchased a Bassocontinuo Arpoge dedicated stand for the table and the table itself rests on 3 or 4 (I have it currently configured for 4) Stillpoints Ultra 5 feet. I have owned 2 Halcyonic Silencers and while they work, I found the active nature of those units to hurt rather help most items. Examples: The Silencer had negative affects on my AMR DP777 (which now has custom Duelund VSF Black caps on the output stage); my former Music First Audio Reference TVC was adversely affected (transformers are electromechanical and very subject to vibration); my Graaf Modena was adversely affected as well. In the end, the only device that responded well, actually very very well was my uncles $12,500 Ayon CD5-S which I was breaking in for him. I opened the Ayon up and I may know why; the CDM2 PRO drive unit is supported by nothing more than 4 metal rods, with NO type of isolation at all, I was a bit shocked at how it was mounted, certainly not what I expected to see in a $13K CD player/dac, just metal to metal with off-the-shelf stand-offs. I had been in talks with the owner of Minus k before the Silencers arrived and told him I would let him know my thoughts (which I did). I am going to try the Minus k solution to see what results I can obtain. At this point I seem to have no vibrational issues but you never know until you try:) If the Minus k is a big plus, I plan to have a dedicated countersunk stand which I am in the process of designing built to hold the table. I would like to know what MikeL's findings are with his active solution though I think MikeL has since moved on from his Dobbins SP10 MK3. I think (please correct me if I am mistaken) he went to the Kodo Beat and then the Wave Kinetics NVS. My table sounds superb (to me) as everything has settled in and now it does that weird holographic thing where images are literally out in the room, I've actually looked to my side and behind me a couple of times thinking something was going on in different parts of the room only to realize it was the systems imaging capabilities. Next up I plan on the addition of the Kuzma Airline Linear Tracker with a London Reference and I have my Garrard 401 build underway. I had a chance to hear on the Artisan Fidelity Garrard 301's with the Statement Inverted Bearing and Platter (Ikeda 407 + 9TT). The cartridge only had about 20 hours and the arm only 6 hours but it was promising, very good flow with great energy. Literally made me feel like I was at a table at an intimate Jazz set. |
Peterayer: You mentioned that I entered the world of analog in fine fashion (thank you for that :). I sorta laugh when I think about the way I went about this excursion :) I could have got in at a lower price point to see if it were viable but as I mentioned at the beginning of this thread, my digital has been quite a bit better than most analog I have been exposed to, so I figured I had to start a bit higher. I also considered that by the time I purchased various tables/arm/cartridges and sold them (at a loss) on the way to the next step up I would probably end up spending more (with the losses I would inevitably suffer by selling the gear to be replaced) in the long run than just going for it :) I am glad I did it the way I did. I am, however, in a funny position when it comes to people asking me about lesser tone-arms or cartridges :) I don't have much to say/contribute because I started with the 4 Point and a MC Anna. I have very little "hands-on" experience with other arms/cartridges. I plan to experiment with the Garrard 401 as the Ikeda arm I am installing has a detachable headshell so it will be easier to experiment with MM and other MC cartridges. I am also installing a Jelco 10.5" arm in the secondary position of the 401 and will probably run a mono cartridge in that position. The Jelco will be rewired of course. This is fun and my older analog buddies are having a good time introducing me to the jazz masters from yesteryear. |
I have heard that your turntable is one incredibly built machine and built to extreme tolerances. I found that the Halcyonics (Accurion) had the same effect on all the gear I mentiong above except for the Ayon, and that is a truncation of the decay. It was very apparent and basically shut the music down. I can't speak for other's experiences with active isolation but I found it to be profoundly deletarious to the sound. The Silencer worked on 6 degrees of freedom with 8 sensors but whereas it may be awesome for microscopy, IMHO, not so much for audio. It is a stunningly beautiful piece of gear and I hated to let them go but I couldn't listen to them and it was a lot of money tied up so off they went :) At least I experienced what they were capable of :) If you google Halcyonics Silencer you will see some images of a Silencer on a Necreous Blue Bassocontinuo rack with an AMR DP777 on it in one image and others with a Graaf GM200.., that is one of my systems. I was trying different components on the units trying to make it synergize with something, but alas.., my attempts were futile :( I have thought about a virtual page, but I would not keep it up :) I enjoy more of the occassional posting and reading. |
One thing I missed, the Silencer did perform very very well with my AMR Dac initially, but when I replaced the stock output caps with the Duelund VSF Blacks the Silencer became a very big detractor to the AMR's sound. I never came to a definitive answer as to why that was the case. Interesting to note that the Ayon used Mundorf output caps and I think the stock AMR output caps are an OEM Mundorf device.., so maybe that is it. Perhaps the Mundorfs respond well to the active cancellation whereas the Duelends respond in exactly the opposite manner. |
Beatlebum: You are correct sir, I now have "Tears of Joy" and this is an awesome work of art. Turns out I had it in the form of CD but was unaware that it was in my possession as a friend had lent me his binder of (CD) picks for fantastic music. I was looking through it this morning and was shocked (pleasantly) to see the title. I now of course have to get the title on LP if they have it but I must say this CD is recorded EXTREMELY WELL, nothing to sleep on :) |
Sjy425: Hi, I am sure your A.F. MKII sounds awesome, I mean it is not like your slumming :) I have been interested in the Terra Stone and how it might sound under a set of amps I own. So as to the Ultra 5's; can't help ya :) LOL. Ok, what I really mean is the table has always had them as part of the package (they were not added later) thus I have no idea of the sound sans the Ultra 5's. I can not intelligently convey what they may add or subtract. As the table weighs anywhere between 170 and I am guessing somewhere south of 200 pounds I am not willing to experiment :) The good news is that Music Direct carries the Stillpoints and they have a 30 day money back option so.., their really is no financial risk involved (unless you like them :). My guess it they are doing wonderful things as my table IMHO sounds awesome and Chris does not use junk in his designs. Also I have used Stillpoints (ultra SS I believe) under other gear before and while I do not hold that they bring about changes for the better under every piece of gear, I did like what their usage did in some, perhaps most cases. Nothing beats listening in your own rig :) Sorry I could not be of more definitive help. |
I understand about not wanting to buy and return but they offer it as an incentive and I would not hesitate to return something if I had no need/use for the item. The new platter for the MK2 is awesome, I have held it and I was amazed at how the copper and aluminum (gun metal ?) portions of the platter transitioned one to the other. I could not detect the transition from one metal to another with my fingers running over it. I am planning to run a mono cartridge in one of the arms of the 401, may I ask which mono you are using? |
Finally TWO weeks later my Naim "Meet Me in London" album has arrived. To say I am disapointed would be an understatement. The album has too much surface noise but the bigger problem is the recording itself, for instance my 24/192 version of "Take 5" is CLEARLY superior to the album. This album appears to have been mistakenly mastered in mono!!! The recording is closed in compared to the 24/192 version and my mono setting on the AMR PH77 does absolutely nothing to the presentation of the music. Now I have to fire off an email to Naim and find out what is happening. I've gone to the Naim forum and others are under the same impression as me.., that this may be a flawed pressing... Very disapointed. |
My buddy brought his copy of "Meet Me in London" on vinyl over today to do a comparison. Naim states that my LP is fine and that is how it is supposed to sound. I know that to be wrong, and my buddies copy proved me right. His vinyl copy is WORLDS better than my copy and we heard it on the first strum of the guitar on "Take 5". Now the LP and the HI-Res sound very close with the vinyl still sounding a bit more relaxed while the Hi-Res sounds like reminiscent of a mike-feed. Naim offered me a 30% discount on the hi-res download which is cool and all BUT I want what I purchased in the first place. A non-faulty copy of the vinyl. I will keep you all posted. The LP I received is non-listenable in my (and my buddies) opinion. Google NAIM Meet Me in London and on their forum their is a member called "AMA" who has stated to hear exactly what I hear on a copy he received. |
Naim has been world class in handling this. They offered me a replacement album in addition to the discount on the digit hi res download. Now that is customer service :) I am going to make a digital copy of a track or two on my album and then my buddies album and send it to them so that they can take a listen and hopefully identify where in the chain things went awry. |