Glad you're liking it. I can't wait to get my system back up and running so I can hear the impact on mine too. It's hard to imagine it getting even better, but Vic was quite confident it would and I've learned to believe him. |
Just installed Vic's new magnetic bearing upgrade to his Salvation tt, now ZERO physical contact btwn platter and plinth, and newest Tomahawk wand upgrade to his Terminator T3Pro arm.
ANOTHER leap fwd. Initial impression, much greater bass propulsion and texture. No mean feat of what is already a near SOTA contender, and giant slayer at anywhere near the price. |
Installed a Red Wine Audio Black Lightning twin battery psu for the Straingauge SG200 cart. Maintaining all the attributes of my current rig, now with an almost-zero noise floor. Killer! |
... oh dear, where it did lead... I´m running a non-suspended & heavily soapstoned TT would you believe.
A new life ! What a surprice, this sounds fantastic !
Dear Spirit, now I understand what you mean by Salvation direct rim drive TT sound quality.
I´m really stoned, I mean soapstoned ;) |
Just made my final component change in analogue which is letting me totally be "in the moment" - running a Soundsmith Straingauge Mk2 cart on the Salvation/Terminator.
I've always loved analogue but have been aware of it's flaws, time domain smear issues due to belt drive timing variations, tangency issues re inaccuracies in pivoted arm geometries across the lp, and tracking issues from many carts.
Rim drive tt is giving me rock solid timing with no smear or drift, linear tracking arm is giving me uniformity of sound across the whole lp side...and now the Soundsmith is tracking like a bloodhound, with amazing dynamic range, tonal shading and PRaT, and relegation of surface noise.
Finally, a medium that has the potential to be totally superior to digital, but is often hamstrung by it's own engineering hurdles has been transformed in my system to a constantly digital-busting performer with no colourations or artifacts that I can perceive. I can finally say I'm not "aware" of the medium, just the message. |
Hi Spirit
Thanks for info, I got the point: I don´t need a SG preamp either.
But I need an energiser box. I have no idea of it, is it a pre-preamp ? Please enlighten me.
The SG cart is the best you have ever heard in your analob rig, that´s really interesting as I do understand the superiority of your TT/arm unit.
I have considered buying the Salvation TT many times !
It´s the culmination of an isolated non-floating subchassis turntable I feel for sure.
I chose a different path: to stabilize the susbended mass on the already fantastic suspension and place the Terminator to a separate armpod.
After Vic´s mod to my DELPHI I`m very positive to take these leaps forward again. With Vic´s help I will complete them soon and see where that path leads !
Cheers |
Hi Harold, good to talk with you. No, I use only the energiser box ie the base level set up SG-200. I run a tube preamp (Hovland Hp200), and felt no need to pay more for the SG preamp. However there are some reviews which rate running the cart thru one of SG's own preamps.
Certainly, the cart will not work thru a regular phono stage (not designed to).
I've heard criticisms the SG doesn't sound accurate or authentic with some voices, but I can honestly say I'm not noticing any of this. Quite the reverse, I'd say it's v.faithful to tone.
The only caveat is that it's v.sensitive to set up esp. azimuth, but now I've got this right I'm getting accuracy and tone in equal measure, quite the best cart I've had the pleasure of using. I do have a thread dedicated to the SG elsewhere in the analog section.
Are you at all considering moving to Vic's Salvation tt? A total giant killer. |
Hello Spirit
Congrats for your intelligent choices for the analog rig
and glad to meet a kindred spirit !
I have enjoyed Terminator since 2008. Vic has raised my DELPHI to new heights by the Reso-Mat and the Salvation motor.
I am ready to take another leap to a new territory too !
But I need your guidance to start my venture.
Do you use the SS Straingauge cart alone or with the Straingauge pre-amp ? Can I just use the cart alone ?
Does the cart have a different tonal balance compared to regular carts, or is it the same when used without the pre-amp ? Does the pre-amp change the tonal balance ?
Cheers
Harold |
Just installed the Soundsmith Straingauge cart on my rig. Really taking analog to interesting new territory.
The Salvation tt is minimising speed/torque issues, the Terminator arm is minimising tangency issues, and now the SG cart is minimising tracking issues.
The end result is a bit radical, and would probably sound a little alien to those devoted to the typical euphonic warmth of most analog. It's bringing to the table some of the best attributes of digital presentation esp notes arising out of silence, from a lower noise floor, but combing them with the best that analog has to offer which digital can't match ie fantastic tone, dynamics and transparency. |
Lewm, yes, the Salvation is not more fussy re levelling than any other tt. It is indeed the arm that's most sensitive to this, as well as vibration. Was considering the tt/arm as a single entity. Careful setup really provides dividends. have been matching it with an ESCCo modded Zu 103 cart, another underpriced overperformer. Neutrality, transparency and tonality in spades. |
Spirit, I am not so surprised by the general lack of interest expressed in the "Trans-Fi approach." The marketing for Salvation, limited as it is to word-of-mouth, is co-joined with marketing of Terminator arm. I'm hoping that the appeal of Salvation will someday be broadened with an offering of multiple arm mounting points. This would encourage owners of pivot arms to give Salvation a try and to compare their darlings of the pivot world to Terminator. The linear Terminator is a tiny sliver of a small subset of the total market for tonearms. Modern linear tonearms are largely unappreciated and misunderstood, Terminator particularly so. When I think about this design, the only disadvantage I can think of(based entirely on conjecture, not on practice IME with Terminator)is the possibility that the sled bearing may become unstable and rock front to back with forces operating on stylus. To this point I recently learned of an experiment with a laser pointer that refutes this criticism. A mirror was afixed along the sled's 90D perimeter to reflect the laser beam from the horizontal onto a high ceiling. The laser dot stayed motionless on the ceiling throughout play. The geometry and resolution of the experiment suggests rocking of 2um or less. Terminator appears to be the only linear tonearm with good bearing stability that operates at very low air pressure. High pressure may cause bearing chatter and vibration at stylus. Once you get over the hump of good bearing design, most of the caveats about a linear design are minimized.
|
All I can say is that I will surely have a listen to the Salvation, if the opportunity arises. I would guess that leveling is an issue related to the Terminator, rather than to the Salvation per se. So far as I can tell, there is nothing about the Salvation that would make it more fussy than other turntables in that regard. Isolating it from footfalls would likewise be similar to isolating any suspension-less turntable. Yes? |
Hi Peter, I did the rounds listening to the top SMEs and TW Acustic AC3. There is a real tendency for these threads to become a sort of one-upmanship, which is REALLY not my intention. I absolutely was impressed by what I heard when listening to both the 20, and 30 with the V12 arm. The TW sounded great too with Graham and Triplanar. I had been taking a deep breath in ahead of planning possible purchase of one of these, and by luck more than anything went down the route I'm now on, leaving spare funds for my final phono stage upgrade.
So, just for the record, I'm so impressed with the engineering approaches of both the SME and TW alternatives (who couldn't fail to be?), but the Salvation/Terminator has given me a different perspective on music I don't feel I'd have gotten from these two.
So, I'm going to desist from rankings etc. TBH, I was expecting a few more people interested in the Trans Fi approach, or even fellow owners, but this hasn't transpired, and short of requests for info/opinions, I'm winding down my input.
Peter, and Lewm, I'm sure we agree on a lot more than we disagree. If you're ever in London, I'd be very happy to have you over to reveal what I'll still claim is the biggest bang per buck in analogue. And a drink or two! Best regards, Marc. |
You write a few posts up (1/30) that it was the SME 20, not the SME 30-12 with V-12, that you were prepared to buy. Quite a difference there. There is a substantial increase in both sonics and price between the two models. Glad you are happy with your decision and have no regrets. |
Hey Lewm, as per your request to mention the cons as well as pros of the Salvation to keep discussion interesting, I've done so, but as of yet no reply from you. Your input much awaited. If you have more to say, I can come up with even more disadvantages. But none that would ever get me to consider belt drive/pivoted arms again. I am the guy who was ready to drop my hard earned $s/£s on an SME 30/V-12, or TW Acustic AC3/Triplanar, and have NO regrets that I didn't. |
Ok, another flaw, although this pertains to all tts. But the Salvation/Terminator REALLY needs to be level and free of vibration. Being a rig using an air bearing linear tracking arm, it must be perfectly horizontal, and is very prone to any up and down movement causing serious mistracking.
In fact, I really struggled with this to begin with: my rack sits on a floor easily flexed and prone to footfall. So as I approached the tt, fun and games with skipping was to be had.
I had been contemplating a wall shelf possibly incorporating a Minus K BM-8, but then came across the Symposium Isis rack. And this has provided the solution.
Now I'm getting perfect level and isolation, and the tt/arm can really shine.
But level and isolation are maybe more of a preoccupation for this tt than many others, and could be a deterrent. |
Lewm, that's a very reasonable response. Beats the other thread I originated some months ago, where the first reply accused me of dishonesty, I was rude right back, and the whole thread got terminated!
The only 'flaw' to speak of is a very different presentation to music which in a lot of systems, and to a lot of listeners, may prove to be too uncompromising.
The combination of absence of belt drive time domain smear, which I believe to be maximised by the high torque administered by the direct rim drive motor, and reduction in tracking/tangential error by the linear tracking arm, results in a very neutral, uncoloured sound.
What was always present as an inviting warm colouration in my Orbe/SME V, I now believe in retrospect to be a layer obscuring a lot of detail buried in the grooves.
BUT, this very absence of warmth may be too much of a shock to listeners, since there is now a strong similarity in my analogue music presentation to digital presentation in the music. However, this is only superficial. Reduction of euphonic warmth reveals the full bloom of analogue that digital just can't match.
The facinating thing is that such unvarnished neutrality/detail retrieval can invoke two opposing reactions - some may well find it cold and challenging; others like me will find it totally refreshing, and redraw the landscape to position analogue ahead of digital, even in these days of improving downloads sound quality. |
Dear Spirit, In retrospect I fear I was too harsh in my response. But the basic idea I wanted to convey is still my position. Most long-lasting threads have either asked a question or posited a general issue that many of us have had some direct experience confronting. Here, you are the one of us who owns the Salvation turntable. So there's not much for any of us to say about.... the Salvation turntable. So the thread has drifted toward the discussion of other turntables that have a remote resemblance to the Salvation, but only a remote one for sure. I do say and have said that I am a big fan of the Terminator tonearm and of Vic as a person. I am quite sure he put a large portion of his considerable wits into the design of his turntable, as well. It might be more engaging if you could find a flaw and talk about that. |
Thekong, I totally concur. I haven't made a direct a-b in my system with other top tts, I've had to listen to top tts in a variety of different setups, so the comparison is maybe unfair.
I was ready to drop some serious money on an SME 20 or TW Acustic AC3, but it says something for this tt that I chose it over more celebrated brands.
Convinced the synergy between tt and arm makes a big difference.
But I'm not going to say this tt is definitively better, that would be churlish.
However, PLEASE get your Salvation/Terminator up and running, I'm desperate for someone to back up my views, ha ha! |
I very much agree with Lewm on the subject. While it was mentioned time after time what a giant killer the Salvation/Terminator combo was, there was not much direct comparison with other TTs other than the Orbe/SMEV.
While not a bad combo, the Orbe/SMEV (which I had), is just not on the same level as other highly respected TTs, such as the Rockport Sirius III and Capella II, Technics SP10 MK2 and MK3, Exclusive P3, modified slate plinthed PTP Lenco etc, just to mentioned a few that I have personally auditioned.
I am not trying to belittle the Salvation/Terminator combo, as I also got one from the manufacturer, even though I have yet to set it up. My good friend from Lenco Heaven is also a good friend of Vic, and he actually offered some useful suggestions toward the creation of the Tomahawk wand.
I have no doubt that it would be at the similar level (maybe higher) as a modified slate plinthed PTP Lenco, but saying it better other TTs mentioned above without any direct comparison would make me a bit skeptical.
The truth is, any of these TTs have their own characteristics, and it all depends on the owners preference to choose the one (or a few) that he likes.
Trying to promote a new brand with potentially high performance-to-price ratio is a good thing, but keep bombarding the audience with the same basic message time after time may actually have a negative effect. I have seen that happened with other products, which caused me to loss interest in even trying them out! |
Lewm, promote in this case means 'encouraging the flourishing of' the Salvation, not neccesarily 'encouraging the sales of' said item (check dictionary.com), although I believe it deserves to. So, a subtle, but important, use of the English language.
Sorry you think I'm a bit shrill here, in fact the designer often tells me to stop wasting my time on such forum boards, and I don't believe he's actually had specific sales as a result of my words.
My comment to you was bringing discussion of the Trio with no reference to the subject of the thread. If there was a discussion on eg Krell amps and mention was made of another make eg Dartzeel, but not as a comparison or other relevant connection, I don't quite see the point. But that's just me.
Sorry also you feel the thread is boring - no need to stress this quite so strongly. And if it is, why spend any time on it?
My wish is only to promote (yes, that word again) a true giant killer in the world of audio, in technical, sound quality and VFM terms.
Just felt the audio world might like to hear about it. |
Spirit, I'm glad you used the word "promote". Because that is exactly what you've been doing. I have no beef with that, but let's not pretend that you've been leading a highly informative audio discussion here. The thread is BOR-ING, so the topic tends to wander around. Sorry about that. The thread would have been long dead were it not for your nearly daily repetitive posts stating how much you love the Trans Fi. If you want others to stick to your topic, you'd better re-invent your topic and make it interesting. |
Radicalsteve and Lewm, why are you talking about the Trio on a Trans Fi thread? I don't doubt it's a great tt, but your discussion needs to be on it's own, or a non belt, thread. I'm trying here to promote to the audio world an amazing overperforming, underpriced marvel of the analogue world. |
As Lewm notes I was the privileged buyer of his second L0-7D and frankly I can't understand why anyone would pay mega bucks for new turntables when you can buy for less $ great vintage decks (DD or idler) that spin discs just as good if not better than new models. Caveat is that if I was in the hunt for a new deck I would go for the Oracle Delphi Mk6, even though it is constrained to 9" arms. Now if only I could get a Sony PS-X9 or a Denon Dp-100!! |
I'm gradually changing my mind on the ESCCo modded Zu 103 thru the Salvation/Terminator. It's really proving to be an even handed cart thru this most neutral of platforms, with the slight caveat that it doesn't have the last percent of detail retrieval or soundstaging compared to my Transfiguration Orpheus. And even this is a marginal deficit at most. What's undeniable in my system is that it's the clear winner in tonality, dynamics, PRaT, and overall listener involvement/excitement. All measures of excellent transparency.
But this I believe is really counterbalanced by true listener involvement that I'm not getting from carts at 4-8x the price. Echos of the extreme VFM that the tt/arm is already providing.
My last cart comparison is going to be with the Soundsmith Straingauge, but this will have to provide a really compelling alternative to the ESCCo Zu 103 to make me actively switch. |
Hi Peter, yes, the Salvation/Terminator is providing that stable platform. The fascinating thing is that I consider them to be the most 'neutral' components in my system, and with the right cartridge provides a fantastically exciting sound. Strangely enough the one thing the Orpheus has always been classed as is 'neutral', so what's going on here? Surely one can't have enough of 'neutral'.
Personally, maybe 'neutral' means 'transparent'. Here, the Salvation/Terminator really provides an open window to the recording via the cartridge. But the Orpheus in conjunction doesn't really do so, sounding flat and uninviting. So maybe the Orpheus' is uncoloured but not transparent. Interesting, inasmuch that the ESCCo Zu 103 cart could never be called uncoloured, I believe it reveals all the way thru a recording, being allowed to do so by the tt/arm. And hence is not as uncoloured but more 'transparent'.
And before I confuse myself further, ha ha, I'll sign off! |
Dear Larry, I have nothing for sale. I had two L07Ds, about 2-3 years ago, and sold one to Radicalsteve (aka Steve) more than a year ago. I hadn't heard from him since, so I am happy to learn that he is happy. I would not part with my one remaining L07D; it ain't for sale. In fact, based on current market value, if you can find one, I would posit that the L07D is one of the best bargains in audio. |
Spiritofmusic, It seems to me that the Salvation is a solution to the turntable's main target: to be a neutral platform. Raul says a turntable (and arm) need to serve the needs of the cartridge, first and foremost. The fact that your turntable/arm combination allows you to assess the sonic signatures of your cartridges is IMO what it is all about. Ideally, it should not add any of its own signature.
In other words, if you hear the turntable as neutral, it has solved the issues of speed control and accuracy, vibration isolation and noise and is therefore a successful design. The fact that it does all of that at a low price point makes it a real value. Congratulations.
Your phrase "demonstrating an uninviting matter of factness" is one of the best I've read to describe what others have called "ruthlessly revealing" or "ultra detailed". Very nice description. |
Further thoughts on the Salvation/Terminator. It's providing a really neutral platform to assess carts/phono stages by.
I'm finding that the inherent tonality and bass texture of carts like the ESCCo modded Zu Denon 103 and Lyra Parnassus really shine on this rig, whereas other top end MCs like the Transfiguration Orpheus and Lyra Skala are demonstrating an uninviting matter of factness to their sound despite the extra detail dug out by the combination of tt/arm/cart.
Still contend this tt/arm is the greatest giant killer in audio, providing the biggest bang for buck anywhere. IMHO. |
lewm 10 years ago i would be all over your L07d! now i am into the no plinth TT's
good luck with your sale
Lawrence
Fidelity Forward |
Thanks, Steve. Most of all, I am glad you like the L07D. I would not be without one; I just did not need two. In the case of the L07D, its stainless steel mat seems to be so well integrated to give a very neutral sound that I would be loathe to substitute something else. But one might try the fancy metal mat from TT Weights that has a black composite surface over a brass base (I think, too lazy to look it up). That one weighs nearly the same as the stainless platter mat on the Kenwood and so would not upset the servo, but it might have a slightly different sonic flavor. |
Lewm, I struggle to say one is better than the other, but the TT-101 is a very fine deck in the heavy lead japanese plinth I have. The L0-7D is preferred by my friend who has heard them both several times (he likes a warm sound). Both are keepers and I have compared the Dynavector arm on both but don't ask me to articulate any obvious differences ..... that's probably not surprising. If I had to call out a difference the Kenwood might have a quieter background using metal mats on both, but I do find the TT-101 character in general comes across as dynamic and lively. Both are excellent at information retrieval - which is my preferred character of sound - that's why I am selling my 301 and 401 Garrards. |
I live near Atlanta GA if any of you are close and want to hear the Salvation/Terminator set-up. You can view the rest of my system here if that helps. |
Either way, your system will be "groovy". |
So, in analogue Heaven now. Salvation/Terminator mated with the ESCCo modded Zu 103. Finally I've found the analogue front end I'm going to be happy to be keeping.
Aiming only now to investigate Tom Evans Audio Design Groove Plus SRX to Tom's flagship Mastergroove, to really maximise what's coming tru this fantastic rig. |
|
What I love about the Salvation/Terminator is that it is really synergising beautifully with a cart at the bottom end of the price range for quality MCs - the Zu Audio modded Denon 103. With a stylus and cantilever upgrade by ESCO, it comes out at 25% the price of my previous reference Transfiguration Orpheus, but trumps it for pure tonality and enjoyment.
So I really believe I have a top performing analogue front end right at the bottom end of the price scale for top tts. |
My previous tt was a performer that punched above it's weight, belt drive, suspended type. But I was always aware of a seeming excessive warmth in the sound - rounded transients and slight smear in the timing domain. This was in the Orbe, and my previous Roksan Xerxes 10 and Linn Sondek LP12. And I was always aware of some wavering of notes esp. decay of piano chords. As I became more at home with digital, these attributes became more jarring. Listening to the '30 etc, much was eliminated (non-suspended designs, vibration isolation thru overengineering) but still felt some euphonic warmth wasn't fully dealt with.
TBH, I had no real expectations of the Salvation, indeed skepticism that the drive was critical in this. Hence my major suprise that what I believe to be time domain issues were almost fully eliminated. I really do hear piano as solid as cd. And what could have been a sterile end result is quite the opposite, unobscured tonality now blooms fully when listening to lps with no smearing leading to detail obscuring warmth.
Now, I have to admit that many aspects of the rig are different as well (non-suspended, use of slate/Aluminium over acrylic, and most importantly of all, air bearing linear tracking arm) meaning that a strict comparison is impossible. And I'm sure that fanatical attention to engineering and materials to provide an inert environment for the cart as in the '30 provides an excellent end result beyond my more modest Orbe prev.
All I know is that I really do believe I'm hearing a more 'truthful' representation of what's in the grooves, and this is is in no small part due to the choice of drive technology. |
Spirit, I'm just trying to understand what you mean when you use these terms. You paint with a mighty broad brush all belt drive turntables, and admittedly I have not had a rim or idler in my system, so I'm curious about how the difference in sound is described through words. With difficulty, I'm sure.
It is clear that you are very satisfied with your new table and I congratulate you for finally finding your end point. I appreciate the sailing analogy.
I'm planning a tour of some good systems and some have top DD tables. Perhaps then I will better understand what you mean by "a flavour of belt drive."
I guess we do square up every now and then. Perhaps roundup is a better word for it. |
For whatever it's worth, I have the 10.5-inch version of the same tonearm. I only meant to infer that there are differences between the two tonearms which in part account for my perception of the differences between two turntables. I like the Dynavector tonearm quite a lot, but I think the Reed may well be a bit superior. Impossible to compare them fairly when they are on two different turntables, so your testimony is more relevant.
So you are favoring the TT101 vs my L07D? |
Hi Pete, it seems we regularly square up against each other on these boards. Hope you're not a lot bigger than me, lol!
Despite our pinning flags to different masts (drive systems), I'm sure we agree on more than we disagree.
I have to say wavering and artificial warmth was a lot less present on the '30 (and TW Acustic AC3) than my previous Michell Orbe, but I was still aware of a flavour of belt drive. This was in stark relief when hearing it's total absence on the Salvation. But I would have to concur that my current tt might lack the kind of warmth that would be unacceptable for many other listeners. Ironically I became more aware of my aversion to euphonic warmth not in comparing the Orbe to the Salvation, but on my system improving so much that digital took precedence in providing a more neutral presentation than analogue. Only by moving away from belt drive was I able to bridge the gap, and then move past it as the Salvation gave me all the neutrality of digital with rediscovered correct analogue tonality.
But I know I'd have been pretty content had I settled on the '30. |
Spirit, did you hear "artificial warmth etc, wavering of suspended notes etc" when you auditioned the SME 30 in your system? I hear none of that with my 30/12 belt drive table. |
No disrespect Himiguel, but you continually extol the virtues of grounding, saying no component/system can sound anywhere near it's best without addressing this aspect of noise elimination. You may be right, but I feel you should reveal you sell such solutions. I really feel these boards should be for enthusiasts with no affiliations to share their experiences. Dealers, fair enough, but reveal your bias.
I'm naturally skeptical of anyone not doing so, esp. when comments from you always seem to criticise other excellent engineering solutions to the same problems (eg your dismissal that my pro studio 8kVA balanced power transformer can be comparable to your products).
We all value the information, not the hard sell. |
Would love to hear the NVS/Telos, but there are no opportunities outside the US, so a bit of a dead end for me. Still in awe of what my Salvation/Terminator can do at the very bottom end of the price scale (c10% the cost of the NVS/Telos), and other than cart considerations (will be investigating the Straingauge in the Spring), finally have a real feeling of ease listening to vinyl, and not being aware of the usual analogue artifacts (enhanced artificial warmth etc., wavering of suspended notes etc.). I've coined this "lack of cognitive dissonance", and finally I have it in my analogue front end. |
Lewm, we have to be careful comparing the Reed 2A 12" red cedar with the Dynavector. I have both on the same TT-101 table and the Reed clearly is more dynamic in the higher frequencies and I get seduced into thinking it has a more open sound. However, the 507 is probably more tonally even, if not as immediately dazzling and superficially dynamic. For the record I prefer the Reed, especially with my Puritas. |
Himiguel, You might want to contact Albert Porter. He has extensive experience with the NVS/Telos and owns an Atlas.
Could you elaborate on your point about unheard variables due to noise? Are you talking about the environmental noise, a component noise, some noise floor or noise related to DD turntables? |
Few of us here play at such lofty price points. I do own a highly tweaked Lenco L75 with a Dynavector tonearm and a Technics SP10 Mk3 in a slate and wood plinth of my own design, with a Reed 2A tonearm. The Lenco is divine, could easily live with it, but the Mk3 has the edge overall. If you categorize the Lenco as "rim drive", there is some remote relevance to your question. (Lenco idler drives the underside of the platter, not the rim.) The difference I hear is clearly in part due to the Reed vs the Dynavector, but there is a separate contribution from each of the respective turntables. None of the cartridges I am playing with at the moment is worth more than $1000, but most are "vintage" types. |
Considering NVS/Telos for my ATLAS as my final destination for analogue front end. Has anyone compared rim drive to exotic DD drive like NVS exotics? For those of you who think that once you've maximize front end you've eliminated all colorations and midrange warmth from your system think again about the remaining variables that you can't hear due to noise. |
Imagine if the "world" were full of "giants". Armageddon. |
Zu Denon 103 and Transfiguration Orpheus just sent off for stylus retip/cantilever upgrades. Likely to be some time.
Fascinated to see how my game changing tt/arm will either accentuate or close the gap in sound quality btwn one cart which is a world beater with a price to match, and one which is a giant killer, but in some ways a better all around performer than it's pricier partner.
This comparison will tell me a lot more about the possible performance envelope of current setup, and what is ultimately possible from analogue. |
