Micro SX-8000 II or SZ-1

Thuchan,
>>> Maybe you think of me as a German going every weekend to a Volksfest in Bavaria, returning home and playing Marschmusik all the time...<<<

Ja, ja, ja, but you will! Weil se Marschmusic is se best, 1,2,3, Gleichschritt, jawohl...

Or are you by any chance into Chinese Opera then?! Badenweiler- und Radezky-March definitely be easier on the ear. (and all from se 12 inch Tonarm - heaven :-)

I guess not having been there leaves one to certain pre-conceptions, true.
Number one of them --- horror of horrors, some huge horns never mind with SET's, in very small rooms. (Chinese Opera what else?)

There was a 2 part presentation in Image HiFi some time ago and the presenter tried pretty hard to be all positive - alas kind of caved in at the end of part two.
He was invited to some of the top HiFi collectors and their sundry friends.
Well, I give him 10/10 for going through it all with ~ 'highish' spirits (Like Jeremy Clarkson driving cars in India... on Clarkson's car world).
It is a few year ago, but I'd say not one single system on display in A'gon could look quite as 'whacked out', for loss of a better term.
So, the TT may go right back up on the TV --- because is were we will hear the ocean...

Thuchan, you are talking about “environments” and the system setups, which is very primitive and incorrect way to understand what I said. T_bone the derivation of Japanese listening audio preferences from phonetic structure of Asian language is not a fact but a proposal I made a few years back, when I was arguing this point at my site at that time. There are plenty research done how different culture process sound and reflect with spiritual and ecstatic responses. I have my own views as well but it is not the point that I would like to advance in this thread. I mentioned it in context of Dertonarm proposal that Micro was made by God to use with strings and his bringing the “Japanese magazines” and experience of Japanese crowd to back it up.

I am well familiar with cult that took place at that time around strings, and the zillion techniques ho to soak the different material strings in different marinades in order to get improvement in the strings theory. Yes, there was a fashion to it in at that people, as anything else in audio the fashion was based not upon a lucidity, common since and listening experience but upon a foolish artificial idea. You can even find at that time people traded the “secretive” samurai ways to tight the strings… It is ridicules! I belt from a slow torch motor is too hard drive to a platter but a knot on the strings is invisible! Wonderful theory!

The true is that when people use light TT then how you drive of TT affect sound. In case of use heavy platter and proper balance between platter and stator the sensitively of TT to external forced become much negligible and many of fantasies that that people apply to TT logic is not applicable to TT with heavy platter and proper mass distribution. People are accustomed to endlessly tweak the TT searching the differences. The best example of it the Walker’s turntables (and many others) with zillion adjustments and each of them changes the TT sound. That is ridiculously-stupid thing to do and it is more celebrates ignorance people who make and use those TTs. The whole point of Micros that they are insultingly simple, have own “default” sound proper sound and, trust me, it is VERY difficult to change how they sound. This is the whole point – the “default sound” (or better to say the opportunity for the default sound ) is built into the design that illuminate the need to do those endless experiments trying to change the TT sound. Micro-Seiki topmost turntables are an opportunity do not do that entire BS that you guys do, I have no idea why you do not USE this opportunity.

I did look at the playback installations of some of you and I kind of confused what the hell you do in audio. Some of you have 5-6 turntables with 10-15 tonearms, which is a strong induction in my mind that a person can be disqualified to make comment about sound. After all audio is not about accumulation and cataloging the differences, if somebody do not know what they do in audio then they do not know. A good performing turntable, perhaps two, with 3-4 tonearms/cartridges is an absolute maximin that a person needs to address 100% of all tasks of records playing. If a person can’t do it by those means then person is clueless about ether sound or what he does. The heavier Micros are a good platform to render this task. It has good default sound, it allows use multiple arms and it is very difficult to screw up with this sound….

I do not think that I need to advocate the heavier Micros for this people in here as it looks like there are plenty Micro users in this thread but I wonder why the heavier Micro users are not set yet that make them to do further actions with TT. In context of this thread it might be mentioned other changes that people might make with their playback it order to get truly better sound, why to keep pondering that poor Micro, leave your Micro-Seiki alone. Work on other aspects of your playback, it will bring you more true results.

PS: I intentionally did not go into addressing the fantasies about of “SET amplifiers, LCR RIAA triode SRPP-preamplifiers, big string driven TTs, complex super sophisticated horn speakers”. It is not the subject of the thread and the participants apparently too lightweighted to understand the subject less superficial.

Oh Axel, you are a fan of Marschmusic and all prussian accessories, didn´t know that. Are you exercising in the house or in front of the house - I mean are you playing a Marschmusic instrument too?

Dear Fm login: +++++ " whole point – the “default sound” (or better to say the opportunity for the default sound ) is built into the design that illuminate the need to do those endless experiments trying to change the TT sound. Micro-Seiki .... " +++++

I owned through the years three MS TT's: two 1500 and my current RX 5000.

I like the " intrinsic " performance of the 5000 but as you know it is a unfinished product where we need to add to the unit : footers or some kind of damping platform, a TT mat and a platter damping.
I address all those factors trying to have a better Micro performance and IMHO I have success about.

I think that this kind of " help " ( in the case of the RX 5000 ) is need it and not because I try to change the Micro self sound ( that I agree can't overall change it. ).

The Micro TT's are very good units but not perfect and like almost anything else in audio needs some kind of " help ".

Now, if some of us really can hear tiny changes in the Micro performance due to those " help " is something that you, me or any one can't argue against/favor because the differences in each person perception capacity and of course the differences in the audio sytems/room and system set-up.

About your whole comment: +++++ " Some of you have 5-6 turntables with 10-15 tonearms........" +++++

I can tell you that thank's to all those tonearms that I have on hand I can obtain almost always the best quality performance of any cartridge I try/test that if ( with the vintage and today tonearms designs. ) I owned only two tonearms maybe I can't do it.
This is my approach on the subject, which yours? how do you know ( with 1-2 tonearms. ) that what your cartridges show is the best that can achieve?

+++++ " Work on other aspects of your playback, it will bring you more true results. " ++++, I agree.

Regards and enjoy the music,
Raul.