akamatsu

I'm completely blown away by how good my system now sounds. The Kandid is running in nicely, revealing more and more of what is happening upstream, especially in regard to the Karousel. Last night, I played an album that wasn't one of my favourites. Well, it is now! It is so amazing how a better turntable makes for better music. I believe that Karousel has defined the beginning of an era. It is just that fundamentally, transformationally good.

I spoke with the dealer yesterday. He said he uses a little bit of toe-in for Akubariks. And thank you for replying with your helpful advice. I look forward to giving it a try.

You may find a gravitational shift to the west as the US is getting denser by the minute. I recently leveled my table and found the background noise to become quieter.

I can tell when my LP12 goes out of level, just by the sound. The way that it occurs is I just don't want to listen to music as much as I usually do.

The Cirkus bearing on my LP12 that was just replaced by the Karousel was a new one, installed in January. The Karousel still trounced it. I'm imagining that you folks with decades old Cirkuses will see an even bigger improvement in sound quality.

I've heard good about the Ikea Lack table. However, I do know that the LP12 needs to be absolutely level. The Lack table would need to be modified with adjustable spiked feet to achieve this. Even a Klimax LP12 won't be musical unless it is flat level on a rigid support.

I wouldn't place the EBS on the subwoofer, nor in front of it. You don't want the vibrations shaking the circuit board to pieces. I'm exaggerating, but damage is a consideration when designing and building the amp that resides inside the subwoofer enclosure. Other than that, anywhere in the room should be fine from a sound quality standpoint. I agree with @DavidHB about the long wavelengths. Those vibrations will be present everywhere in the room. There would be no escaping them. Of course, this could be very easily tested.

Phase alignment is handled by Exakt. The signals from the woofer and mid driver are delayed so as to reconstruct the musical signal in correct phase alignment. This is well explained on the Linn website. Time of flight is handled by SO+. How this works is more of a secret. I really can't explain it more than Petelinn did above. Your last paragraph is as I understand things as well.

Last night, I was following the tune.......of the bass pedal drum! Awesome!

In the video I posted above, Mr. Villchur talks about relative motion between record surface and stylus as being the main source of distortion. I've heard Ivor T. talk about this more than once. All the while, I thought that Ivor had come up with this idea.

530s here. I haven't heard the 520s, but I would like to. That desire is based on the fact that I find the 530s to be absolutely brilliant. I would love to get a pair of 520s in my house and feed them with my newly upgraded to Klimax level LP12. Please set up your 520s proper and report back ASAP.

Next time your neighbours complain about your music being too loud, just tell them it isn't you, it's Michael down in Point Roberts. Since we have a lot of summer homes that belong to Canadians here, and Canadians can't cross the border, yard maintenance is being neglected. I thought about neglecting my yard as a show of solidarity.

This is what @Philbo had to say about Boundary Optimisation: Consider an ideal acoustic point source. At any given frequency is produces a known acoustic volume velocity into a full sphere. Now place that source on a boundary, it still emits the same volume velocity but now into half the space. The acoustic intensity in that space is thus double what it was in the full sphere, so we observe an increase in power output by the source. If we move the source some small distance from the boundary we still observe a power increase at low frequencies, where the wavelength is long enough that the source may still be considered as 'seeing' the boundary, but the power support will drop away at higher frequencies. The source at a given distance from a boundary will have a mathematically predictable frequency dependent acoustic power response. Consider this for three local boundaries (floor and two walls) and you can approximate (quite accurately) the frequency dependent power response of a source placed in a room. Do this for each source in a loudspeaker (each drive unit and port) and you have a good idea of the power support offered by the room to a loudspeaker in a given position. Boundary optimisation calculates the expected power response for the loudspeaker in the ideal position, and for the practical position then optimises for the difference between them. The results of boundary optimisation are not shown in the graph in Konfig for a couple of reasons; 1) we do not anticipate that user interaction with the filters will improve their effectiveness (I have tried) 2) they would only serve to confuse the process of adjusting room mode optimisation filters Phil.