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Everything posted by mskaye

  1. And from this pic, it does look like the major nitpick of the Aro - no overhang adjustment - has been resolved. @ThomasOK is going to have to keep us posted w sub-chassis and armboard compatibility issues w the new Aro and the LP12.
  2. The degree to which an audio engineer designs their products to resonate with some degree of control or to be completely inert, seems to be the secret sauce that determines the house sound of a particular manufacturer/engineer. Let's keep things to UK turntables. On the extreme ends of warmth and euphony you have a Palmer or a Nottingham/Fletcher. On the other hand, you have a Rega. An LP12 falls somewhere in between here. The fact that Naim is using their new Aro tonearm as opposed to commissioning an ultra rigid gimbaled arm for it says more about how they have voiced this turntable than almost any other design principle. Thoughts ?
  3. Methinks Pear Audio and Well Tempered use Baltic Birch in the construction of some of their turntables.
  4. I was just writing this when Thomas replied. " I'm going to let Thomas add his thoughts here but I thought from an engineering standpoint, what vibrates and how much things isolate, vibrate, resonate or dampen on a turntable varies from turntable to turntable, arm to arm, cartridge to cartridge, etc. "
  5. Yes, Clearaudio has their "Panzerholz" wood material (which sort of sounds like something mentioned on the History Channel about the Germans and WW2.) I think they are qualified to make something that won't buckle in humidity. Not sure how it would hold up in Saigon though. https://www.lessloss.com/page.html?id=80 PS - I have no idea if the Solstice is made from the panzerholz. The plinth could just be made from a nice dense slab of real wood. I thought it was a proprietary Clearaudio product - like Corinthian leather, ha - but it seems to be something that is available for others to use. https://en.wikipedia.org/wiki/Corinthian_leather
  6. Agreed. Other thoughts. It's been a long time since I've heard Naim equipment in a home setting. I'm not sure what their "house sound" is anymore. It used to have a unique quality and their amps sounded like no others on the market when paired with Linn speakers (not Naim speakers which always sounded just plain weird to me.). Based on the size of the platter and the unipivot tonearm, I bet it sounds BIG and smooth. Maybe like a more incisive Palmer or perhaps like the Direct Drive VPI HW-40. Whether it's a magical and organic component like an LP12 remains to be seen. "...it's origin and purpose still a total mystery." - from 2001 A Space Odyssey.
  7. This may be one of the most psychologically transparent posts on this forum in a while! Sheesh (to quote Ed Norton from The Honeymooners) - you make a lot of assumptions about another company's motives in introducing a product. Don't take things so personally. It's just a turntable from a competitor. It shouldn't be an existential blow to your ego. And PS - a lot of us, are thrilled that Naim is again producing the Aro, which is arguably one of the most beautiful audio components ever made from a sonic and an industrial design standpoint
  8. Nice take on things. PS - Was there this much derision and skepticism about a turntable when the £25,000 Whiskey barrel plinth Linn LP12 was announced ?
  9. So funny you mention the stray radio signals. I loved my Nait 2 but when I upgraded to a 140/72 I started getting a little FM radio as a faint background annoyance (pre tinnitus so it really annoyed me.) Never had that problem with any other amplification components.
  10. How many LP12s does Linn sell annually worldwide these days? In the US, I don't think it's over one hundred annually and that may be an overestimation.
  11. The platter is even thicker than the Palmer's! But a new Aro - will it be adjustable for overhang? - is a tantalizing item. Can't wait until there is more information on all of this (just for the gossip and speculation. I'm not buying one of these giant contraptions.).
  12. 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?
  13. 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!
  14. 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!
  15. 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.
  16. 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 Linn Basik and Spica TC-50 speakers with a California Audio Labs Icon CD player! A revelation! In some ways it was my fave system of all. Though the Nait and the 4ohm Tc-50s played only at moderate volume levels before audio chaos ensued. I upgraded to an LP12 and a Naim Aro and then to NAP 90, 72 and hi-cap, Naim CD etc. Eventually went for more euphonic equipment but still have great memories of those systems.
  17. 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.
  18. 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.
  19. 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 - not unlike the Radikal etc. - and be something very special (and expensive.) That's the only way people will dig into their bank accounts to upgrade. Thoughts? https://www.stereophile.com/tonearms/1007linn/index.html a good piece on the new Ekos albeit from 13 yrs ago (maybe it is time for a new tonearm.).
  20. 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.
  21. 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.
  22. 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.
  23. 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.
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