ThomasOK

Wammer
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About ThomasOK

  • Rank
    LP12 Whisperer, Lejonklou importer
  • Birthday April 11

Personal Info

  • Location
    Westland, MI USA
  • Real Name
    Thomas O'Keefe

Wigwam Info

  • Turn Table
    Linn Sondek LP12
  • Tone Arm & Cartridge
    Ekos SE/1, Kandid
  • SUT / Phono Stage
    LejonklouSINGularity
  • Digital Source 1
    LS-NAS, HAKAI
  • DAC
    ESI Gigaport HD+
  • Pre-Amp
    Lejonklou Sagatun Ms
  • Power Amp/s
    Lejonklou Tundra Ms
  • My Speakers
    Quad ESL, JBL 4645C
  • Headphones
    None currently
  • Trade Status
    I am in the Hi-Fi trade

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  1. I'm sorry David but I have to call you on the carpet for part of this section of the post. Music listening is most certainly about just getting into the music and being emotionally connected to what the musicians and producers intended. However, the way a Karousel or a Lejonklou amplifier (which one of my dealers correctly characterizes as a unit with no sound of its own - the theoretical piece of straight wire with gain) gets created is by "OCD tinkering and incessant A/B comparisons". Doing similar comparisons has helped to determine best practices for LP12 setup, cable making and other things which have allowed me to make my LP12 customers very happy with the performance of their turntables and has given me a music reproduction system at home that I have yet to hear the equal of. For those so inclined it can lead to making the system more transparent and enjoyable. This does not mean that every hobbyist, and certainly not every music lover, needs to involve themselves in this kind of OCD tuning. But you should certainly be glad that some people are, which would hopefully include the people who set up your equipment. Yes, "the ideal Hi-Fi is the one of whose presence we are unaware" and the Karousel, IMHO does takes us a good step nearer to that ideal. But it took a number of people a lot of work so that we could effectively ignore the equipment and enjoy the music.
  2. I have no problem with a person for whom English is not native having difficulty with the numerous inconsistencies in our language (not to mention the differences between the Americanized version and that spoken across the pond). The problem is that many of the younger generations in the US have started to refer to records as vinyls and it drives many of us crazy. It is enough of a problem that you can buy t-shirts with "The Plural of Vinyl is Vinyl" printed on them. The big concern is that, at least in American English, if a word is said incorrectly enough times the idiots who print dictionaries decide it is an official part of the language! Perish the thought that vinyls becomes officially correct! That is why I said I couldn't help myself.
  3. Yes, normally the arm tube should be parallel to the record, or close to it on arms with straight arm tubes (I adjust by ear and sometimes the arm tube ends up slightly above or below level). What doesn't make sense to me is that your headshell is not level with your arm tube. On Linn arms the headshell and arm tube should both be level with each other. Even on the Majik arm this should be very close, if not dead on. If your arm is significantly off I would have your dealer look at it as it may be defective.
  4. Oh, boy. I can't help myself. The plural of vinyl is vinyl. Enjoy listening to your records on your upgraded LP12!
  5. I tend to go with first pressings, or early pressings, from the country of origin. A recent re-release of Fleetwood Mac Rumors was really boring, an early US pressing I recently picked up has much more life and boogie to it.
  6. Basically what akamatsu said. The Karousel is higher in the hierarchy, therefore more important musically, than the motor/power supply. That plus the Kore will bring a very worthwhile improvement in musical perfromance. Then, when your budget allows, the motor/power supply would be the next step.
  7. The Linn upgrades do not remove the swing. All of them do make things more neutral and more resolved but also more fun and more engaging. I don't think you have anything to worry about on that. This somewhat depends on your timing, but for the price you are talking about I would head a different direction that I guarantee would give you more musical information and more fun. The package you talk about above comes up to $4095: Karousel $975, Kore $1200, Lingo 4 $1890, new crossbrace $30 (needed for Lingo 4). Now if you were going to order this by June 30th you could get a Radikal for $4250 and get the Karousel for free! You would still need a different subchassis to accommodate the Karousel but many Linn dealers will have a used Cirkus subchassis sitting around which was $170 new so should be a fair bit less used. Add a new Linn armboard for under $50 and you should still be under $4500. From personal experience I can tell you that a Radikal with Cirkus subchassis, Basik LV-X arm and At 95e cartridge easily outperforms a Lingo 2, Kore, Ekos 2 and Adikt cartridge. So if you can order in time to take advantage of the promo (which doesn't require installation by June 30th, just placing the order with Linn by then) it would easily the best way to spend about that amount of money. By the way I would also add a Trampolin 2 for $250. But your existing Ittok and Grado will be fine. Finally, contrary to the balance argument from mskaye, you can indeed set up a $20,000 LP12 with a $640 Adikt phono cartridge and it will sound quite wonderful, as some on here and others can attest.
  8. Unquestionably! Less expensive than an Akurate LP12 and easily more musical. If that stretches the budget you can even hold off on the Kore and still be musically superior to the Akurate. As for the upgrades I'd go Ekos SE/1, Keel then cartridge (your choice) and a Lejonklou Entity.
  9. Pretty much right on. The big differentiator in the Lingo 4 is the electronics driving the motor rather than the motor itself. Indeed, my understanding is that one of the hurdles was to make the motor run as well as the 120/240 Volt versions. It is actually the same construction as the high voltage versions, made by the same company, just with the necessary changes to the coil windings to make it run on 12 Volts. I also believe the reason for it running at 12 Volts was mainly to allow it to work with the driving circuitry. The circuitry is completely different from what was used on earlier Lingos. It uses a circuit that digitally synthesizes the waveform to drive the motor. This allows the waveform to be optimized for lowest motor noise and also the two phases to be adjusted for best motor perfromance. In addition, since the waveform can be adjusted dynamically, the same optical sensor used on the Radikal is fitted to allow the motor to reduce long term drift that did have an effect on the Lingo 1, 2 & 3. (Admittedly, that long term drift was relatively small, on the order of 33.29 RPM vs. 33.33 RPM, and it stabilized at that lower rate after about ten minutes so a Lingo /motor combo tuned for correct speed after 10 minutes of warmup would be correct if allowed to warm up for 10 minutes each time it was used - if you wanted to be that picky about it.) But with the Lingo 4 there is in effect no long term drift due to the tachometer speed control. Finally the Lingo 4 is driven by a switch mode power supply so it should be more efficient than previous Lingos.
  10. I have definitely found a good digital mastering recorded on vinyl to be more musical than the same file played digitally from a quality server through a top streamer. One possible reason is that IME the digital signal is more fragile than the engineers would like you to believe. Regardless of the stream being bit perfect, every transformation seems to cause degradation. Just imagine how many transformations happen to a file between it being mastered and it getting to you through Qobuz or Tidal or even from a downloaded file. Another possibility, although this is only an interesting hypothesis, is that the vinyl groove itself may provide a good anti-aliasing filter. Whatever the reason, my ears tell me that a quality digital mastering to vinyl can sound very good, easily better than the same file through a KDS/Katalyst, although certainly not as musical as an all analog recording on LP.
  11. You don't have to worry about the logo because it it more musical when you turn it upside down (and more musical again when you replace it with a Linn felt mat).
  12. Considering what you are talking about putting into the upgrade of your LP12 I would take it a different way. The Karousel is definitely the most important upgrade and it would need a new subchassis, so the Kore makes a lot of sense. However, I would strongly recommend going with the Radikal as it will make more of an improvement than everything else upstream (arm, cartridge, subchassis) put together. Also the Akito 3, while a nice arm, is not a significant upgrade from a properly functioning Ittok LVII, IMHO. So here is what I would do if it was my money: Radikal, Free Karousel, Kore, keep the Ittok LVII (as long as the bearings test well), Akito arm cable, Trampolin 2 and the Krystal (or an Adikt if you need to keep the budget down). Since the Radikal is $2300 more than the Lingo 4/crossbrace but you would be saving the $2400 on the Akito 3 (but paying $400 for the arm cable, all US prices) it would come out very close to the upgrades you proposed and give you a lot more musical quality.
  13. I know this might not be an inexpensive option either, but the Kans use the same tweeter. If you were lucky enough to find somebody who has blown up their Kan bass drivers you could salvage the tweeters. Of course you would have to get that lucky twice, so it is a long shot.
  14. You could always ask your dealer if they would give you a good trade-in to allow for a Radikal and free Karousel purchase. They might be inclined to be generous.
  15. I don't know the exact thickness but it is not very thick and sticky on one side. It is about 2.5mm wide. Some people apply it to the plinth instead of to the Urika/Trampolin. You should be able to get some from Linn.