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Fitter Stoke

Wammer
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Everything posted by Fitter Stoke

  1. Amazingly, I’ve just read your post in front of the very spot the Bay Hotel was situated (now a block of flats) - very much my neck of the woods both then and now. I wasn’t old enough to attend the gigs you mention, but enjoyed Geoff Docherty’s tome on the ‘Fillmore North’ as it was jokingly termed.
  2. Can I have a wide wheelbase LP12 with a 12” Ekos SE please?
  3. I’m with Akamatsu. Maybe it reflects my sad old collector tendencies (and the fact that I’ve no missus to nag my clutter) that I’m automatically inclined to want a physical format - usually CD because of its relative cost - of an album I like. Tidal is invaluable as an audition source, but I could never be satisfied with just a stream.
  4. I’ve just been watching Gary Kemp’s 2016 tribute to Mick Ronson on Sky Arts. Apologies if this has been noted here before, but I couldn’t help but notice that the deck Gary used to play his Bowie LPs was a Majik LP12, complete with Project arm and Adikt cartridge. I’d’ve thought Mr Kemp could have stretched to Akurate level at least from his royalties but hey, hats off anyway!
  5. What he said. The 530’s offer maximum bang for buck in Linn’s active speaker range, and look great too. Note, though, that they’re equipped with neither Katalyst nor Organik chips and seem unlikely to ever be otherwise, so they’re something of a “dead end” if you ever decide to upgrade.
  6. Agreed. IF it’s available, the Dynamik Solo upgrade will offer you the most bang for your buck. Otherwise, I’d go with Paul and “source first”.
  7. Well, I’ll be listening to - and watching - a bit of footy tonight, so the Linn’ll get a bit of a rest. But earlier on I played Haydn’s String Quartet Op.50 no.4 played by the Aeolian Quartet, followed by XTC’s ‘Go 2’. Loved ‘em both. Variety is the spice of life!
  8. It depends. With a few exceptions, I’m a big advocate of LP for analogue recordings, and digital for digital - if the hardware is good enough, and the LP is clean (that last element a big ask). As I get older I get increasingly frustrated by LP surface noise, to the extent that I get a much more stress-free, if less musical, experience from CD or CD rips (I rarely do downloads due to ripoff prices). Yeah, I could lash out on a record cleaner but that won’t resolve scratches, worn or off-centre pressings. So whatever the sonic implications, the practical advantages of digital formats are starting to predominate over vinyl for me.
  9. I’ve stuck a “like” on Paul’s original post out of interest (thanks Paul) but not out of any initial aesthetic liking. Put simply, it looks like an ugly SOB, and that’s coming from a SME owner. What’s the sonic advantage of a foot high platter, I ask myself? But hey, let’s not judge before we’ve heard it
  10. I can’t attest to most of Linn’s passive speaker hierarchy, having only been on the Linn wagon for ten years. However, in that time I’ve either auditioned, or owned, passive Akudoriks, Akubariks and 350s. Of those, it’s the 350s that give me the most even, musical experience across the whole frequency range. The Akudoriks (which I still own, now driven by a Quad Classic II valve amp in my second system) are just as fine in the smaller room where they now reside. I couldn’t get on with the Akubariks as the isobaric bass just didn’t sound natural to my ears. But that’s just me.
  11. My Melco M1 died after less than four years of careful and infrequent use. My Zoneripper, though annoyingly temperamental (it won’t rip Warner CDs without creating white noise) is otherwise going strong after a decade. However better the Melco may have been from a sound quality perspective (marginal at best) there’s no way I could recommend it based upon my own sorry experience.
  12. What Nestor said, especially the BJH album. A good additional one track recommendation would be Led Zep’s ‘Kashmir’ (from ‘Physical Graffiti’) which is the near-ideal rock/classical epic to my ears. I’d add Rainbow’s ‘Stargazer’ but I’ve yet to hear a decent sounding digital version of the great ‘Rising’ LP I first heard it from back in 1976.
  13. Paul’s bang on with his comments about the 3k arrays, but I find they sound even better if the tweeters are roughly the same height as my ears when sat down. That’s how I like to listen anyway.
  14. There’d seem no valid reason for its existence then, at least at an identical price point. Who would pay the same for a product with less functionality if there was no commensurate sonic advantage?
  15. Excellent review, Neil - thanks. I doubt I’ll ever be able to afford the new KDSM but I’d still love to hear one in a head-to-head comparison with my KDS/3. I’d also like to know if the Music version outperforms the identically priced AV model that both Paul and yourself have auditioned.
  16. Always been an N gauge man myself. Bigger layout in a smaller space and all that...
  17. The 27% “improvement” of SME’s 12” tonearms relates to end of side distortion, which I can confirm is far less prevalent from the V-12 than the standard Series V. This really makes a difference to me and is the reason why I chose my turntable (a SME 20/12) over an LP12. As for the lack of musicality claimed by so many, I simply don’t hear it, especially through my otherwise wholly Linn system. Much as l love my KDS/3 and CD12, the SME remains the most involving source I’ve ever heard. I’m a big admirer of the LP12 too but, while Linn remains bonded to 9” tonearms, I’ll stick with my SME.
  18. All I remember from today’s trip to Morrison’s was Elton’s overplayed ‘I’m Still Standing’ and the Eurythmics’ godawful ‘Sweet Dreams Are Made Of This’ (the store opened in the 80s and has seemingly stayed there). How I’d love to shop to Yes and Led Zep instead!
  19. What you said. With only a few exceptions I can think of, pre-digital recordings always sound better on vinyl, clicks and pops or not. Digital recordings generally (but not always) sound better on a digital format. Since the majority of my listening consists of pre-digital material there seems little point in my investing any further on Linn’s digital road, particularly given the ludicrous cost now involved. My system sounds great as it is. Time to sit back and enjoy it!
  20. I wouldn’t worry too much about Katalyst, fine as it is. Linn themselves seem to have moved on from Katalyst with their latest DAC revelations. To me, these things seem to be so transitory that I’m starting to question their validity, particularly given the ludicrous prices asked for them. I heard 530s at Linn’s factory shortly after their introduction, and they sounded excellent. They still will. If they suit your needs from all other perspectives (as they seem to from your own analysis) then why hesitate? By Linn’s standards they’re bargains, and my experience of Linn’s digital products tells me that they’ve never compromised on DACs going right back to the CD12 which, incidentally, still sounds magnificent to me, even up against my Katalysted KDS.
  21. It’s only four and a half years since Katalyst was introduced and marketed as the last word in DAC technology. It would seem that it’s now a (rather expensive) memory - or at least that’s how Linn wants us to consider it at Klimax level. Well, sorry, but I’m not playing. I expect several more years of enjoyment from what remains a superb product and, if I’m no longer the owner of the flagship DAC, so be it. Doubtless Organik will itself be defunct in another five years or so, when Linn’s next generation DSM will cost £50k! Seriously, how much further can this go?
  22. Fair enough but, as you mention it, what is all this bilge about "noise floor" anyway? Granted, I'm an old(ish) man with reducing hearing facility, but I don't register a load of extraneous noise coming from my KDS/3. How much less "noise" do we need? And is it worth £30K not to hear it?
  23. Despite my initial reservations over the new DSM's appearance (biased as they'd always be by my love for the original), what I can't get over is that the new model costs nearly TWICE AS MUCH as the old one. Whatever the merits of the new DAC (and I should add that I can't wait to hear it), I can't see how Linn can possibly justify a DSM that costs as much as a major house extension. Jeez, we're talking thirty grand here! How many of us who aren't rock stars or Premiership footballers can afford one?
  24. Well, it’d have to perform twice as well as the present Klimax DS(M) fo justify a £30k price tag which, let’s face it, it won’t. My lugs are 60 years old now so I doubt I’ll ever notice a difference anyway! As for the look of the new DSM, well, I’m afraid I’m distinctly underwhelmed - at least compared to the outgoing model which I consider one of the most beautiful inanimate objects on Earth. Sorry Linn, but my journey has ended.
  25. Most of my Linn gear was bought from Peter Tyson (and its forebear Newcastle Hifi) in Newcastle, aside from my Uphorik from Cymbiosis of Leicester and my 350Ps which were Hidden Systems’ ex-demos. As my Tyson contact (Mark Benson) has now left to work at Kudos, and my Hidden Systems’ contact (Chris) is sadly unwell, I’m not really sure who to contact for any future Linn business. That said, I’m very happy with what I’ve got anyway, helped by the sterling service and advice from all of the aforesaid dealers.
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