I can agree with the statement by @ghdprentice that a 'Turntable sound is very personal' and that the choice made for Isolation is of importance.
I started out with Belt Drives, and followed spending many years with Idler Drive and today have a DD as my most used TT.
I still make sure I experience all TT Drive types to keep my ear in tune to the recognisable differences that can be perceived.
From many encountered experiences, I have found that a structure built from differing devices and materials has proven to be invaluable for supporting a TT, and in a lesser perceived impression can be quite valuable for other devices to be mounted on within a System.
One individual I know has a selection of mounting materials for their owned SUT's and one model is used seated on a 25mm Thich Stainless Steel Plate.
The use of a Footer Type in contact with the Racks Support Shelve and Sub Plinth > then a Different Footer Type in between Sub Plinth and the TT Plinth is from my experience the method that seems to offer the best for decreasing smearing and improving micro details.
The materials used in the assembly can also have an effect on how the frequency extremes are perceived as well.
As a DIY approach a Sub Plinth can be tried in differing materials and of differing thicknesses, and enable a insight into how these assemblies can perform in a particular environment.
A Sub Plinth such as a Sand Box ( when assembled the structure will be a Three Tier Assembly of Materials) can also be produced, with a Kiln Dried Sand used as a infill material, a friend uses one in his environment and will not change it.
There are endless commercial items on offer that can extend to being as costly as a expensive TT Set Up.
The first experience of such ideas does not need to be expensive, and might prove to supply a mounting method that might allow the Kleos to show of some of its inherent values with an increased impression for the better, as managing unwanted transferral of energies within the listening environment are now better considered.
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I have the Brand Solid Tech - Feet of Silence' and Audio Technica's - AT-616 Footers in use under my TT, and will when I have a functioning HiFi room back in place, will be trialling Panzerholz and Permali Boards in place of a Highly Compressed PUR Foam (750Kg per cubic metre) that I have been using for a few years now.
As said previously, I am happy to loan items out and the Local Group I belong to, and am meeting with today are now using the Brand Isoacoustic Footers under their TT's, CDP , CDT > DAC's and Speakers.
Very recently a New to the Group Valve Amp, during the demonstration had a noticeable looseness to the lowest Bass Notes, Isoacoustic Feet were used under the amp' and the Bass become taught to a very noticeable degree.
Drawing on experience the best way to assess an impact a material or device can have is to live with it for a period and then go in reverse to return the Set Up to the earlier used method. It will be instantaneous where the difference are to be found and at what point the change occurred.
You have nice materials acquired to be sure any further investigation into producing a support structure is chosen to be undertaken, the trials are to be supported with desirable to own footer ancillaries.
The good news is that the response to an inquiry from almost all of the forum members, is not in any way a mimic of the Caricature of the Eighties/Nineties HiFi Retail attitudes as portrayed in the Link.
Enjoy the moment of satire.
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Did you detect the very young Mr Bean in his early in life role, as a Sales Representative for Trio TT's.
The Customer was to become the Director of the early Mr Bean Movies
A visit to Rome will be an amazing experience there really is an amazing architecture and ancient structure to be seen almost everywhere when within close proximity to the River Tiber.
Romulus and Remus have left a legacy that Multiple Millions if not Billions are enchanted by and compelled to experience.
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Tonearms are a very attractive item to be used in a System, there is an allure about the device, to the point a LP Replay enthusiast can lose many hours observing the models available.
The Designs and Aesthetics commonly discovered can easily be described as quite a feat of engineering.
The Devise has to offer an extremely precise accuracy in its function and maintain the designed function, when met with many different environments, any changes to properties of materials used within the design, as a result of an environment, has the capability to impact on the performance in a detrimental manner.
Learning about a Tonearms Design Intent and how its consistency in unadulterated function has been the basis for the choosing engineering methods and material selection will be quite a valuable undertaking.
A very nice aesthetic, one that really shouts pride of ownership, is not a compensation for a design that is supplied with deficiencies in place where the engineering and used materials are not optimised.
What really matters, is what is under the hood, what designs and materials are being used at the concealed locations, it is quality of thought and work undertaken for the out of sight various interfaces that enables the the magic to happen.
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I am with a limited understanding of these concerns, and have purchased known Brand Tonearms in the past that have been based on Brand, Aesthetic and Reputation.
My most recent Tonearm, is a Tonearm Model undergone a redesign, I have learned of many of the above considerations through discussion with the engineer who has produced the design and progressively improved on the micro mechanics of the interfaces.
I have been introduced through discussion and demonstration of how Traditional Materials that are industry go to choices, have been considered to be replaced, and then replaced in exchange for a more up to date modern version of a material that has a design intent to be much improved for the maintaining of stability to the materials properties across different environments.
These purpose produced formulas, especially when produced to work in an environment that might have similar conditions as met when used on a Tonearm Interface.
When combined with a 'state of the art', very modern low viscosity lubrication can show 'real time' benefits when incorporated into a Tonearm design.
The demonstrations I have received where the Progressive Work on Mechanical Interfaces has been presented as A/B comparisons between earlier generation and latest generation selection for materials has been quite revelatory.
Especially when a modern material in use that has once made a great impression when utilised, has been exchanged for a same material with a change in machining tolerance for the part to change the mechanics at the interface, and a 'cutting edge' lowest viscosity lubrication has been used.
I am now fortunate to have a friendship with Two Individuals producing Tonearms with the above design intent and considerations.
The other designed Tonearm using the above design considerations is a complete New Design, with all parts needing to be produced to unique forms for the assembly.
It does not utilise any off the shelf parts for the structure, even the micro parts that are bought in, to be used in the concealed locations, are machined to a new tolerance to create a improved interface.
I do not use any of my earliest purchased Tonearms any more, I have now got access to Tonearms that I am confident are an improvement and are noticeably better.
It is a pleasure to know individuals who are not asleep at the wheel, and remain enthusiastic about materials and designs for a Tonearm, occasionally trying out that new idea that has been niggling them to investigate.
I thoroughly enjoy my invites to offer an assessment of the advancement of the designs as they evolve.
Again for the OP, what really matters is what is in place 'under the hood', $$$$$'s of outlay for a very attractive modern design aesthetic, might just be that only, a Ornament that has a added bonus of offering a Tangible Interaction.
The reality is that a much lesser value $$$$ selection of Tonearms can prove to be a match in the mechanics and operation and presentation.
How Old is your Tonearm? There might be an upgrade to your model available from the Manufacture.
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I will offer a suggestion, and one that I was familiar with having happened in the past few years.
A friend who had purchased an SP10 R was needing to select a Tonearm for it.
As an avoidance of acting in haste, they had a Standalone Tonearm Pod produced for quite a reasonable outlay by a local to their home engineering workshop.
This mounting device enabled them to try things out in a manner that suited their needs, as the need to have a plinth produced to suit multiple arm types was not desired.
As the device and mounting of the TT was capable of allowing for all Tonearms Lengths, variances could be catered for, this proved to be very useful device to experience Tonearms of various Brands and Models.
The ideal for the wish list was to own a 12" Arm but all options were not discounted.
I loaned my SME IV for their evaluation and I know Origin Live, Reed and Glanz and possibly a Linn arm were also used.
A Glanz 12" was the choice made, and it remains mounted on the Standalone Pod still to this day.
A plinth is also produced that really sets of the SP10 to an aesthetically pleasing finish. The Plinth is finished flush with the TT's chassis and does not have a mounting designed into it for a Tonearm.
I regularly attend this individuals home and can not fault the performance of the system for LP Replays, it is a reference system and used for many demonstrations.
Maybe? a Standalone Pod could be compatible with your TT and mounting set up, offering an extension to the opportunities for yourself to try out New Tonearm options.
A/B demonstrations with the insitu Tonearm would be possible, but the two different mountings would need to be considered when assessing.
Two Budget Cartridges could also be used to be consistent with the assessments of the Demonstrations.
The Cart' in use at present could be introduced when a discovery is made that impresses beyond the normal, and the Kleos could be kept for the final evaluation.
There are a few Ortofon Kontrapunk B's stored as spare Cart's within my local HiFi Group and these are available for such types of demonstration for Group members.
There is also the possibility that could be realised, where the TT ends up with a Two Tonearm configuration, this could be very beneficial to reducing the rate of wear on the Kleos.
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In relation to my suggestions, a further investigation might uproot some of the pro/con material to be discovered about a Stand Alone Pod, the following might clarify why some of the discussion takes place.
There is a die hard element in the use of Vinyl and LP Replays, that objects to the idea of using a Pod, the concern is usually seen that maintaining a consistency to the Spindle > Pivot distance is compromised when adopting this method.
I have not at any time seen this as being a concern, and have seen TT's that are at risk of compromising the dimensions for this critical Geometry due to the Plinth Materials chosen to be used by the Manufacturer.
If the TT and Pod are both mounted onto a very stable material, that does not swell in differing environments, this material will serves as a Sub Plinth.
There are many out there, I have trialled many types, and most recently have been very impressed with a material called Panzerholz when used on a system I am familiar with.
When both TT and Pod are securely seated on the Sub Plinth, the Sub Plinth will not contribute to creating micro dimensional movements impacting on Geometry of the Spindle > Pivot distance.
There is then the risk that the materials used for producing the TT's Chassis or Plinth is made from materials that are not stable, and micro dimensional movements can occur.
Unfortunately if this is the case, the conventional method to mount a Tonearm will be impacted on with the same influence, and in differing environments dimensional changes can occur.
The use of materials with properties that are very stable for the Chassis / Plinth are the only method that ensures the rigid coupling philosophy for a TT > Tonearm interface having a chance of a success, when keeping with the required tolerances that allow for the design to be called a rigid coupling .
As my knowledge of the critical mechanical interfaces on TT's has grown.
My experience of TT's which have had an unknown amount of usage hours behind them when encountered, has been to discover many TT's, I have been able to manually inspected the Spindle Bearing, has shown a high percentage have a detectable sideways movement on the Platter Spindle, that in some cases can be made to rattle.
I have my own thoughts on how such a condition can develop, but that is a separate subject.
This sideways movement condition on a Spindle will when functioning during a replay put any of the above concerns out of the Ball Park, as these are no longer micro dimensional changes, but eccentric rotations and speed fluctuations.
The Tonearm Pod is in my view a totally acceptable method to mount a Tonearm when compared to how many other TT's function in relation to the Spindle > Pillar distance being maintained.
There is no reason why the correct methods when adopted are any lesser than other more common options used to maintain the critical Geometry.
The Tonearm Pod can also be a design that offers increased options and allows for differing Base Plate Materials to be used, that will further allow for a selection of a preferred interface materials to be discovered, and ultimately end up with a Bespoke assembly to suit an individuals unique preferrence.
If a Detachable Head Shell Tonearm design is also considered, the New Tonearm can be tried with differing Headshell Materials, which will further enable a opportunity to discover a Bespoke and preferred interface for your Cart' of choice.
The Detachable Head Shell will all so enable a Speedy exchange of the Preferred Cart' to a Head Shell that has a Cart' mounted, that is a of a lesser concern, which can be used to preserve the life of the Cart' of choice.
A little food for thought, Your Tonearm in use at present could? become an improved Tonearm if mounted on the Pod, as the separation from the TT's imparted energies might suit its overall function for the better.
@ skyscraper I hope you are not feeling as limited as you were when the thread commenced
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@lewm
The description is from Vinyl Engine offering an explanation on the DTS System utilised by Audio Technica.
I believe it is this Tonearm that was the birthplace for the commonly used philosophy for a design, that has a Stylus Contact Point and Pivot Vertical Motion Point designed to be at the same level. (Pivot in the Plane of the LP, is a loose description for this design)
To get the Math on the principle might be a little more difficult to acquire.
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AT - 1010 is a DTS (Dynamic Tracing System) Tonearm that blends an original design with new materials.
Also, the tracing performance of Universal Tonearms has been Totally Reconsidered in this new design.
Development efforts were aimed at improving the overall tracing performance of the dynamic system with a cartridge mounted.
This results in Improvement in Auditory Sensitivity and Elimination of Resonance.
One of the most obvious features of the AT-1010 is to Stabilise Stylus Force in Dynamic Variations, an inherent problem with Conventional, General Arms, caused by the change in velocity of the modulated record groove.
For this purpose, the front pipe is set at a far higher location than the pivot bearing.
Also, the arm is equipped with a damping mechanism to damp low frequency resonance.
As a result, this Tonearm gives a tracing performance that is in no way inferior to an integrated arm.
Review
The AT1010 exhibits a refined geometry, whereby the vertical motion pivot axis is in line with the stylus tip, thereby minimising the effect of varying stylus drag upon instantaneous downforce.
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@skyscraper The following underscored info', was not at any time a offered as a definitive guideline and made with the intention as being the method that should be followed. It was a suggestion put forward to help you realise that to experience an alternative Tonearm in use with your TT, there was options to tackle this idea.
As you had already expressed an interest in machining a Task to produce a Standalone Pod seemed to be viable as a beginners project, either self produced or through dialogue with an engineering facility.
Additionally as you were expressing an inquisitive mind, I shared further info about the 'under the hood' considerations.
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I will offer a suggestion, and one that I was familiar with having happened in the past few years.
A friend who had purchased an SP10 R was needing to select a Tonearm for it.
As an avoidance of acting in haste, they had a Standalone Tonearm Pod produced for quite a reasonable outlay by a local to their home engineering workshop.
This mounting device enabled them to try things out in a manner that suited their needs, as the need to have a plinth produced to suit multiple arm types was not desired.
As the device and mounting of the TT was capable of allowing for all Tonearms Lengths, variances could be catered for, this proved to be very useful device to experience Tonearms of various Brands and Models.
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@skyscraper In the first two posts of this Thread you were offered information on Tonearm Models.
By the third post you have shown you have been influenced by the offered ideas, for a Tonearm Brand and as further posts evolved, it was becoming clear you were toying with the idea of looking into discovering if alternate Tonearms were an option to be used on your TT.
In post 18, you were offered the idea of replacing the entirety of your TT Set Up with another Brands products, by the individual making the underscored statement statement below.
As usual on this forum, the information offered does go off topic, and such a suggestion to get rid of your present TT, reaches far beyond the initial OP request, of how to select a Tonearm, that might be a future event.
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You have posts here that even gone to almost " stupid " advise for you as an external arm-pod when your needs are way different. Even you and certainly not me know for sure what you really need till the Kleos arrives .
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I hope you can differentiate the differences between the suggestion I have made.
Which was offered to help with your understanding of an option to use a device that could be acquired at quite a reasonable outlay, to enable an experience of a alternative Tonearm with your TT, and the suggestion to get rid of your TT set up and purchase a New Brand entirely.
My suggestion, from my end seemed to be a cost effective method to broaden your experience, especially a experience that seems attractive to yourself to encounter, and usable on a TT that has limited options to use alternative Tonearms.
I certainly won't be informing an OP to get rid of the entirety of the LP Replay front end, when a inquiry is made about how to choose a Tonearm.
I certainly won't be making a statement that users of a Standalone Tonearm Pod whether encountered within a forum or outside, that their chosen method is ' stupid
I certainly don't agree with those that think it is OK to express such futile types of comments either.
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Throughout the Years, I have had owned Tonearms mounted on a host of materials.
The list might be of interest to the OP.
Note: it is not really possible to carry out an A/B assessment of a TT with differing Plinth and Tonearm Mounting Materials, the recollections are usually made from the knowledge that a presentation was an enjoyed experience and happily lived with and the overall impression made will have been a subjective evaluation.
Man made materials produced from organic plant based waste materials, i.e, Plinth Top Plates made from Chipboard and MDF, commonly seen in use today, for the economical solution they offer.
Man made materials produced using dedicated purpose produced organic materials, i.e, Birch Plywood 650Kg per cubic metre, MU 25 Birch Plywood 750Kg per cubic metre, I have Panzerholz and Permali to be tried at 1400Kg per cubic metre, used today, but will most likely be found as a Bespoke produced Plinth.
Man made materials produced from stone and resin being Corian, used today, but will most likely be found as a Bespoke produced Plinth.
Man made materials produced from metal, Aluminium and Lead, Brass and other Metal Alloy, used today, Aluminium is the most common to be found, but in general will most likely be found as a Bespoke produced Plinth or Ancillary part to be added to a plinth.
Natural Materials such as Granite, used today, but will most likely be found as a Bespoke produced Plinth.
It is not so much the material that is used for the Tonearm support that is the concern when in use, they all can sound quite satisfactory, if the TT's mounting is adequately prepared for.
Working with the heaviest materials takes extra thought to achieve a adequate mounting.
The concern is whether the material used to mount the Tonearm is stable throughout the year as the system is exposed to environment changes.
When the movement that I referred to earlier, that has been detected in a TT's Platter Spindle Bearings is considered, the stability of the Tonearm Mounting material when met with a play in a spindle bearing becomes an insignificant concern, as there are other mechanical interfaces needing to be addressed.
A Standalone Pod, with a Tonearm mounted upon it, when sharing a Sub Plinth produced from a stable property material, and used on a TT, with a correctly functioning platter spindle bearing, will in my view be a very acceptable interface.
It would in my mind, be a more trusted mechanical function, than one that has a concentric rotating spindle on TT with a Tonearm attached to the Plinth.
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I’m sure VPI have been giving the idea of a Stand Alone Pod some thought as well.
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The OP does not need to spend substantial monies to achieve a Design for a Tonearm Pod that will enable them to try out a alternative Tonearm and not butcher the Plinth of the TT, risking de-valuing it by potentially much more than the cost incurred to produce a Pod.
A Thick walled hollow metal billet with the selected diameter, can be machined with a very tight tolerance for the overall length dimension.
These can be found at an engineering shop as a waste item cut off.
The Side wall can have a Slot produced to allow a Cable routing.
The Base can be Tripod Configured Drilled and Tapped to receive a footer.
The Top Face can be drilled and tapped to receive the a Top Plate for the Tonearm.
Materials of choice and selected thickness can be selected to produce a Top Plate, the thickness should prove to be a tuneable material, and trialling a selected thickness can create a preferred interface.
The type of above task is the kind of undertaking a trainee will be given at a machine shop, and the charge will be reflective of this.
A Lead Shot mixed with a modellers clay such as Newplast can be used to fill the void and add mass, that should prove to be a tuneable material by adding or removing, again trialling a volume of mass, can create a preferred interface.
To somebody that is toying with the idea of trying out a New Tonearm and expressing a want to learn about lathe machining, an investigation into producing a Pod will be a good place to start, especially when a dialogue can be had with a professional metal worker
Note: As an advisory for a TT that is valued and has the pride of ownership attached that many do, keep Children, Grandchildren, Pets and Cleaners well away from the device, it will most likely all end in tears for the Kleos, and possibly even the Tonearm.
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Is there an option on the Fatboy to have period of use prior to committing to the purchase.
It may incur an outlay, but at least it does not require a permanent loss of funds, if the device does not meet your expectations.
I have made a Transportation Box for my TT and it is a very good method to take my TT to other homes or events to be used for demonstrations.
The Box is approx' 2" (50mm) oversized on all dimensions and has hand hold points cut into the sidewalls.
A semi hard foam is used internally on the sidewalls and a softer foam is used as the base padding and to pack the top before the lid is attached.
The TT could be arranged to be taken to another premises to be demonstrated against other Vinyl Set Ups.
I am regularly participating in these types of encounters, and have learned a vast amount from the experiences met.
This method can at the least, create a situation where other enthusiasts are met and their experiences are drawn on.
The ultimate is that the encounter introduces you to an experience that shows the quality of your own set up, or if the set up is bettered by other devices in use.
I have done the above for both Idler Drive and Direct Drive TT's, along with other owned devices and have been very satisfied with the outcome of the encounters and the friendships that have developed.
Many HiFi Systems are in the hands of individuals that are insular and the systems are not encountered by many, other than the user with the interest, and the quality of the system, is solely an assessment of one individual only.
This as an attitude is quite limiting and the mindset can easily develop, where a individual believes their choices are absolute and without question.
I can assure you there is no harm that can be done in meeting others and experiencing their choices they have made, even better when an option arises for the chance to experience ones own choice made for a device in a different system.
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Maybe the trip can be planned to incorporate the enjoyment of music, there are a lot of live performances that are arranged to be performed within the confines of ancient structures.
It does not seem too far stretched to acquire a ticket to a concert during your trip.
I spent the afternoon yesterday with an owner of a Garrard 401 with a Origin Live Tonearm and Sumiko Pearwood Cartridge.
The 401 Owner recently sold their SME 20/12 and SME V Tonearm and was keen to receive a assessment from the local group of the new TT Set Up.
For the occasion, I supplied various Patter Mats, various Platter Spindle Weights produced from different materials, Panzerholz Sub Plinths and AT-616 Footers.
The attendees have all been quite familiar with the SME Set Up and the system the Garrard 401 was demonstrated in.
After a few configurations of ancillaries used along with the TT, the performance was superb, the changes were not nominal but quite noticeable.
One attendee claimed that the simplicity of the changes made and the impact on the SQ, was akin to having put a Cartridge put into the Set Up at twice the value of the Sumiko.
I agree without reservation, there was substantial changes made for the better, just by swapping the materials used in the support structure and the weights of a Platter Spindle Puck in use.
As there was such a impression made and detected by all the attendees, I was asked to describe my reasons for suggesting making the changes, and it was solely that my experiences has shown certain things I have perceived as being unattractive, can be diminished quite substantially by changing the environment the Cartridge functions in.
For me the environment is not the ambience of the room, but the materials the Cartridge is sharing its connection to the LP with.
This starts from the Rack, Rack Shelve and is then considered up through the structure and is not stopped until the contact the LP has with materials is addressed.
I was able to show an improvement yesterday with a few trusted material exchanges, if I was able to sit with the TT for a few hours and work with the material exchanges further, on all parts belonging to the support structure, I feel sure there was a further improvement to be eked for the better of the Cartridge.
I inform you of this as the Sumiko and Kleos are of a similar purchase value.
The Origin Live Tonearm 'Illustrious' model and your own Tonearm, even though not the same mechanical designs, might have similarities through the constraints for the design.
The above info' is made known, as investigating a little further into your mounting methods, the swapping of Sub Plinth materials can be quite cheap, your footers are already addressed.
The discoveries made, might impress you even further when the honeymoon period is ending with the Cartridge.
Being familiar with the Carts capabilities in the present set up is a very good start point, the suggestions I have made are not ones that will expose the Cart' to a risk of damage.
The idea to experiment and create an interface that is proving to be a better environment for the Cartridge to function in is the goal.
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@skyscraper Good Luck with your investigations into the options to experience new equipment within your system.
From your posts I sense you are a individual who has a background of thoroughly enjoying your encounters with music through the methods that you have chosen to participate in it. Maybe a Live Music Experience or a bit of R&R in front of the Home System.
Myself today, I share in the above history and even more crazily I treasure the moments sitting with my wife listening to her Alexia and her calling music up from our past, this as an activity that can be at certain times the bulk of my music encounters along with the Vehicles Radio.
Enjoying music and enjoying Hi Fidelity can easily become parallel universes.
There is another side to building a HiFi System that can create a side line interest, the interest is one that develops in not too many, and the development can quite easily manifest in some as an obsessional behaviour where the individual can become very insular and lose sight of the enjoying the music, it is all analysis, analysis, analysis.
My own history has been to go over the cliff with the obsession overloading the mind, but I have for many years walked free from it.
Wearing the weight of obsession, takes myself too far from the term for an Audiophile that I will happily label myself with, ’being an individual that has a healthy want to enjoy music’.
While reading through your thread, I sense you have not developed an obsession with equipment, and the interest arose to build up a little more understanding about working with an Interface within your Vinyl Replay Set Up, which was met with descriptions that were new and proving to be a further stimulation to your present interest.
I think it is safe to suggest we are very similar in our approaches to our own systems, even though the experiences encountered are in a different quantity between us.
A large proportion of my time in the recent past has been working with the interfaces that are present within the system.
Mounting Methods, for the Overall Systems Devices and Mounting Methods for singular devices such as a Chassis to a Plinth Material and a Tonearm to a Plinth Material or Tonearm Base Material, add to that Head Shell Materials and Platter Mat Materials.
There is a lot of Pro’s and Con’s to be discovered when trying out materials and devices within a system, but as described previously, there are differences that can be detected and some are preferred to to be kept, but I do not believe any one makes the music less enjoyable.
Putting this into context, I have an LP I have owned for nearly 40 Years, the first time I listened to this Album was using a TT that was worth very little money, and was all things a TT should not really be, but I loved every minute of the replays and have kept the LP close.
When listening to the LP throughout the years and today on a equipment totally correct for the replay of a LP, the enjoyment factor of listening to the LP has never increased, the change is, the satisfaction with the equipment being used, this has increased substantially.
The other side to interfaces is the Electrical side of the equation, Power, Phono RCA and Speaker Cable Types. Cable Plugs and Tube Rolling.
These are all able to participated in with a minimal user input, and can be achieved through a frugal or substantial outlay or even loaned for the items to be tried, and through all the above experiences being encountered the need has not arose to change owned Electronic equipment used in the system for many years.
I do have a social outlet as well, and I do get great pleasure out of introducing others to some of the items I have acquired that I feel has been able to make a impression, or not.
It is quite interesting to discover a ’or not’ for one system can be a most attractive when used in a new system and new environment.
I am sure your ongoing investigation will be fruitful and will bring you into the company of others that understand your intentions, and share with you encouragement.
To add further curiosity to your interest, I have PM’d you a link to a Web Site that might prove to be an enjoyable read.
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