Jump to content


  • Content Count

  • Joined

  • Last visited

Community Reputation

168 Excellent

About mskaye

  • Rank

Personal Info

  • Location

Wigwam Info

  • Turn Table
    LP12 Lingo4 Karousel
  • Tone Arm & Cartridge
    NaimAro/Linn Krystal
  • SUT / Phono Stage
    EAR 834P
  • Digital Source 1
    Lector CDP 0.6t
  • DAC
    AQ Dragonfly Red
  • Integrated Amp
    Lector ZXT-60/70
  • My Speakers
    JMR Cantabile
  • Trade Status
    I am not in the Hi-Fi trade

Recent Profile Visitors

548 profile views
  1. ok. I need to maybe split the difference between mat on/mat off readings? Aro owners (I cant be the only one) what do u do?
  2. My anti-skate was off and re-measured the VTF (was off by .05!) Saw a Linn video where they were measuring w an electronic gauge. Had been doing it for years w the mat off. But now sounds great! Celebrated with a record that I was the first in Brooklyn NY to buy!
  3. He loved Linn Saras which were discontinued before I ever had a chance to hear them. PS - Bev Hills Audio sold the Linn and Naim and Christopher Hansen the Spicas and the California Audio Lab equipment. Sigh. This is like 1989 or so!
  4. Some non Linn alternatives being written about out there in audiophile land...https://parttimeaudiophile.com/2021/05/16/the-best-tonearms-and-phono-cartridges-buyers-guide-summer-2021/ Links to Linn? yes, the Goldring Ethos aka the Linn Krystal and always a Lyra shout out or two.
  5. The great Neil Levenson, was the audio (and occasionally music) critic for the classical music review magazine Fanfare in the mid to late 80s and the early 90s, and he wrote eloquently and convincingly of British hifi equipment, most notably, Linn and Naim, w a little Creek, Royd, Rega and Revolver mixed in. He extolled the musical virtues of their minimalist circuitry and was especially vocal about musical timing which is still the foundation of the Linn/Naim/Rega/Exposure crowd. I was intrigued and auditioned equipment at Beverly Hills Audio. My first high end system was a Naim Nait 2, a L
  6. Yes most of the "superarms" seem to be mega metal beasts. Or carbon fiber beasts (VPI.) Hence Linn's reliance on titanium, which is very pricey to work with.
  7. 14 or so years! I really wonder how many Ekos SEs are being sold annually to justify any new designs. Like you said, they may outsource this. Or do nothing, thinking that the current Ekos is as good as it gets (for the LP12.) With Linn upgrades, the needs of the many outweigh the needs of the few. Now more than ever, most businesses are intent on preserving their margins.
  8. I guess it is a little odd that Linn feels that they can't improve on the Ekos after all these years. Linn will make an Ekos SE version 2 or something new with a "K" when their R&D department feels that they can improve upon the SE and their marketing and sales departments feel they can sell enough of them to make up for the steep manufacturing and R&D costs! Linn's hierarchy philosophy has their best turntable "extras" - the Keel, the Kandid and the Ekos SE/1 - at the $5k US price point. I have a feeling a new arm would have to be a substantial evolution of a pre-existing component
  9. Well said ! I keep forgetting about the two Roksan unipivots - the NIMA and the SARA. The NIMA's performance has been well documented (based on what I've read, maybe its like 80% of the Aro's performance.). Intrigued about the SARA and its compatibility with the LP12. I'm going to poke around some forums now.
  10. Bass "slam" as a virtue is so overrated -especially as a knock against the Aro and other unipivots or less traditional arms (the Well Tempered etc.) There are million other sonic attributes that are more essential in the reproduction and appreciation of music. Bass slam is for the hi fi demonstration crowd or if you like to listen to Yello (yes, it was used really well in Ferris Bueller's Day Off.) I'll take the harmonic texture of a beautifully reproduced cello, acoustic guitar or human voice and the organic quality of the sound from a unipivot etc. over super rigid "bass slam" any time.
  11. That's great to know about the AMG 9W2. I had thought that apart from a top condition used Aro or a used Javelin (ha!-do they even exist?) that my only alternative for tonearm replacement would be an Ekos SE.
  12. Agree w mmntroll - its impressive and I wish I had the patience and time and $$ to care for them that way. I'm sure it makes a huge difference.
  13. Totally with you here. Some things are better automated and record cleaning is one. I've been using a Nitty Gritty automatic dispensing fluid machine on and off for 30 years. It works great and isn't too big. It is a little loud. Bose noise cancelling headphones or ear plugs are a must for extended cleaning sessions. But it's easy and makes a huge, huge difference. I use Audio Intelligent fluid - the One Step Formula No. 6. I know that multi-fluid processes yield exceptional results but out of time and energy (and tinnitus concerns) I'll keep on with the single fluid cleaning.
  14. I have lived in 6 (!) different homes/apartments with my LP12 since 1989 - #1-poured concrete floor - no issues #2-poured concrete - no issues #3-tile floor - wood underneath - footfalls a minor issue (tile floor an issue too sigh) #4 - concrete floor - no issues #5 - hardwood floors - and a very "springy" one at that - major footfall problems - could make it skip by walking 10 feet away - a wall mounted Target VW shelf eradicated the issue and the add'l isolation made it sound better than ever. Would my footfall problems been lessened if the LP12 was on a Q
  • Create New...