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Newbie Wammer
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About HH2010

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    Linn tune exile

Personal Info

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Wigwam Info

  • Turn Table
    LP12 SE, Karousel
  • Tone Arm & Cartridge
    Linn Ekos SE, Kandid
  • SUT / Phono Stage
    Linn Urika I
  • Digital Source 1
    Linn RKDMS/1
  • Pre-Amp
    Linn Kontrol/2
  • Power Amp/s
    Linn Solo
  • My Speakers
    Linn Akurate 242
  • Headphones
    Grado PS1000
  • Trade Status
    I am not in the Hi-Fi trade

Recent Profile Visitors

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  1. I've tried K200 vs. K400/600 at home with my 242s passive setup. K200 gives some more details and transparency. Here a bi-wired K200 is on par with Quin-wired K400/600. With quin-wired K200 you shound have better details over K400/600. But the improvement is more on the "hifi" scale, quin-wired old stuff delivers a better tune. BTW: When using solo's binding posts, soldering all 5 wires into 1 banana sounds more consistent than having e.g. 2 on a banana and 3 on a spade connector. To solder 5x4mm² into- or better onto - one banana is some piece of art, but manageable.
  2. Sorry to chip in some ranting from tune exile again: I had the opportunity to listen to the above baseline setup of Selekt / Katalyst 350 Exakt at Linn's factory demo and at my dealer's shop. Despite the fact that the two demo rooms were very different, the system managed to sound the same at both locations thanks to a careful SO config. Unfortunately this setup made it easily into the top ranks of my "tunewise worst ever" list both times. Utterly boring and uninspired. To satisfy my curiousity about the KDSM I'm very patient to wait for a demo setup without 350s and without SO,
  3. It's not a question of 'who is right'. Let everybody seek for what he finds important. Most of us will navigate on a mix of the stated extreme positions. Because the fun comes partly from the musical message and partly from sound experience hitting into the autonomic nervous system.
  4. With every step in digitals we've got this discussion: Does it now sound better than a vinyl system? I do not know anybody with an LP12 at home preferring a similar priced digital source. As soon as a LP12 hits the ground, digital runs for convenience only or stays silent. And the others decided before buying. For me it's simple: Nature only delivers sounds that are sourced by mechanical oscillations and harmonics. That's what our ears are conditioned for over 10.000s of years. A turntable is - entry level or top notch - a mechanical source or - in case digital mastering is in
  5. zee9, yes, even with solos the 242s kept some clinical distance. It's a difference between studying the performers feelings in a laboratory or getting your soul directly connected to those feelings. This good old Linn groove over here is back since Karousel. Which of all the other improvements I did before are essential I cannot say. All helped the tune, but the last step was the breakthrough. If ADSM/Katalyst does not bring satisfaction and you are about to test a pair of solos, try to get a Klimax source for a test too and play with combinations. And be sure to have space optimisat
  6. I've come some way over the decades and lived with all the listed systems for two years at least. To jump on this discussion I skip Nexus, Keilidh, LK100 passive and active stuff of the 90s and start with: 3Klout/Ninka aktive 4 Klout/Keltiks This was a side step. With Ninka tweeter the Keltiks gained some more life but it continued to be a side step. nondynamik Twin / 109 Not the earthquake qualities of the Klout/Keltiks but the speed of the Twin/109 was so much more fun. And it delivered much more bass information than the Keltiks ever did, sorry to say. nondynamik T
  7. Full anlog spec over here. No plans for Urika II or digitizing an analog signal. :-)
  8. To add a maybe rough comment from old school tune exile: I've listened to quite a few 350s passive, active and exakted setups over the years including the most recent full blown one at Linn's and at my dealer's. Unfortunately not one of these setups was able to unfold Linn's tune magic. I never would swap my passive non-dynamik-soloed 242s for any of these 350s setups. Not with paying a price difference. Not if offered for granted. Not if offered additional money with the 350s. Something went seriously wrong with these speakers. Paul, from our Hamburg sessions I remember your
  9. If you manged to do an substantial improvement, like getting a Karousel, sometimes you can even experience the difference during the silence before the music starts, latest within the first few notes. I think any music will do. Mostly I just take the record that's on the platter anyway. If you like it more specific, you can try to value the fun, you are able to draw from a more complex timing, e.g. Dr. John's "Ske-Dat-De-Dat - The Spirit of Satch". You can try to select records you found boring or annoying over the years. Your hifi setup has improved when the number of these rec
  10. To add some more details of the Loricraft: The platter can be run in both directions too. The arm is driven clockwise and not limited in range. You can start at the front edge towards the label, like playing a record, or at the rear edge of the label towards the distant edge of the record as David has described for the Redux. The Lori has no automatic switching etc. . There are just three switches: Platter motor left-off-right, pump off-on, arm off-on. The dump is a standard glass jar with screw cap and is normally placed by the arm side of the machine. Two hose fitting
  11. Yep. That's exactly what a Loricraft is, added some minor components suction arm with pump, dump container geared arm drive with magnetic clutch to actively move the arm over the record (it is not following the grooves but moves much faster) and to be able to move it freely by hand where needed turntable with strong bearing (to sustain brush cleanig forces) strong motor and drive belt (to pull against cleaing forces)
  12. I've started with an Okki Nokki when it appeared on the marked and found that I should have made this purchase some decades earlier. It migth be a good idea to postpone any hifi upgrade on any vinyl setup and buy a simple RCM like the ON first. From my following experience a simple RCM is doing 80+% of the job. Later I bought a Loricraft PRCM 3 III, reaching 90%. Inspired by the fact that bigger Loricraft machines have stronger pumps (28 instead of 16l/min) I bought a 2nd hand three cylinder labratory pump with 28l/min from the same "KNF" brand and mounted it into a separate hous
  13. Not quite shure how to put it. Let's try it short, non-scientific and by highlighing a few simpliyfied aspects. Components have a certain abilities a) to dig out details and b) to harmonize the music into tune. To give sense to the music, a and b need to be in balance. Try to listen to a string quartet on different systems and you get the idea. How to spend money from source to speaker is a question how the components are performing in the a and b domains. A Klimax Kontrol is a big harmonizer, a Komri too. You can combine these components with lesser equipment up the path w
  14. MickC did an excellent job to find some words. But in the end no words can replace listening. Any time I had an upgrade in mind I went to my trusted dealer and he arranged for a significant listening session. Example: I had a Klimax Kontrol without dynamic and double mono upgrade and was interested in an upgraded KK/1. He lent that one to me and advised me to take a factory full blown KK/2 home too to have a proper listening. What I'm trying to say: If you have the need to listen to solos you should arrage somehow to do so. After all even 2nd hand and non dynamic: 4k is a lot of mone
  15. +1 Plus the Solos are not just the bigger amp but do add a Solo specific special quality. If you like that quality it's hard to live without again. The 242s are very demanding speakers that show every fault of source and amps painfully. If I were forced to go back from Klimax Source and Amp to Akurate level I would not hesitate to change from 242s back to 140s to get into tune again.
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