Avalon Indra vs Sonus Faber Cremona M

That seems like a strange suggestion to me. Whereas the Indra would probably better the Cremona M, you have wonderfully musical gear (admittedly, I haven’t heard it together in one system) and, since it is the “M”, probably still fairly new on top of that. Why should you not heave your analogue source into the same league first instead of possibly widening the cleft between front-end and the rest? I’m putting on my most innocent look now, but does that particular dealer perhaps not offer the most inspiring choice of TTs? In Europe the Indra is thrice the price of the Cremona M. In the US that will surely be somewhat different, but I gather we’re talking about a five digit figure difference, aren’t we? I can think of a number of wonderful TT/arm/cart combinations for that!

Bob, are you seriously talking about the Naim CD 555?

I am by no means trying to be inquisitional or sarcastic as I can sense your passionate enthusiasm, but in case you are referring to the CD 555, can you please tell me what your turntable/arm/cartridge is? I may want one of those for myself.

Hi Bob,
I was genuinely curious about your TT since I always like to discover things both on the analogue and the digital front. Allow me to make a "vinous" comparison as well: I am not interested in drinking labels or Parker points - the most horrid idiot on that scene - and so I think I can perfectly understand if one just unerringly "feels" one thing is better than another that may be way more expensive. One must just allow the thought to enter one's own mind.
Just a few more things to show you where I'm coming from:
You think vinyl is the inherently better medium; I wholeheartedly agree!
You remark in particular that vinyl is better on low frequencies; I obviously agree!
On top of that there is of course the fact that most - mainly, but sadly not only "popular" music - CDs are disastrously engineered especially in terms of dynamics (in the past we have seen a few decades of crappy vinyl productions as well admittedly)
You wonder how I can listen to CDs; now there my resounding answer is AMR CD-77!
... and productions such as the ones from Fonè (just found out that recording "wizard" Giulio Cesare Ricci has a small vineyard btw), ACT, Stockfisch, Tacet, Chesky etc. So, that's why I also firmly believe CDs don't necessarily kill the music.
Happy listening!
Karel

Oops, haven't replied to your question of last week yet. I've come to love ceramic drivers ..., if they are expertly done (Avalan, Ayon, Tidal, Thiel). Though I can't say I've heard so many as to justify a statement of general superiority, so I won't. The thing is, they seem to perform exquisitely in an area that's high on my list of virtues: they are fast. Immediate attack, very natural decay. Is it they don't store energy that much as e.g. metal that upon release can muddle up the signal? The other thing is, they appear very uncoloured to my ear. For instance, I very much like Antonio Forcione recordings; the Tidals make for a beautifully melodious acoustic guitar where the instrument is played like that. On the other hand, Forcione will suddenly accelerate, hard slaps on the strings and the wood and... no speaker to spoil the fun! If it's inexpertly built though, you can get an edginess that is hardly enjoyable. Also, combining ceramic drivers with other material must be a very delicate art mastered by not so many. But again, I'm not fixated on ceramic drivers. (Well, I like to work with ceramic kitchen knives also, but apply them wrongly and you can bid farewell to your knife, so I use Aritsugu knives just as often ;^))
Karel