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Jazz Kisaten

Newbie Wammer
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About Jazz Kisaten

  • Rank
    New Wammer

Wigwam Info

  • Turn Table
  • Tone Arm & Cartridge
    Ittok, Orto 2M Black
  • SUT / Phono Stage
    Herron VTPH
  • Digital Source 1
    Benchmark DAC III
  • Pre-Amp
    Benchmark DAC III
  • Power Amp/s
  • My Speakers
    Klipsch Heresy III
  • Trade Status
    I am not in the Hi-Fi trade

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  1. I can relate. Over time I have acquired several family record collections resulting in duplicate versions of LPs. I began cataloging the combined collection at the start of the pandemic (time on my hands). I listened to the duplicates to determine which ones went into the main collection. Some pairs/triplets were different pressings made around the same time, some were original pressings versus reissues, some were original mono versus later stereo. The LP12 always revealed differences and clear winners - earlier pressings>later ones, original stereo>original mono, original mono>lat
  2. Thanks for sharing your thoughts and experiences. The variety helped counteracted my tendency to get stuck searching for the one "right" of "best" approach. In truth, there is no wrong approach as long as I stay within budget. For the curious, I will upgrade to a Karousel/Majik, try to sell my near new Cirkus parts (know anyone who might be interested?), look into recapping the Lingo and start putting pennies away for a Radikal (know anyone looking to upgrade from Akurate to Klimax?)
  3. I'm in the US where the LP12 dealers don't have multiple tables set up for comparison. My early 80s LP12: Lingo 1, 12 month old Cirkus bearing and subchassis, Ittok LVII, Ortofon 2M Black. Do you recommend (a) replacing the Cirkus with a Karousel and save for an Akurate Radikal 2 years from now; (b) get a Karousel and Lingo 4 now and forget about the Radikal; (c) doing nothing now in order to move up the Radikal purchase by a year and keep the Cirkus for the foreseeable future or; (d) something else? I mostly listen to acoustic jazz (1950s and 60s) with strong rhythmic foundation.
  4. Got me there. You are correct. But things start getting weird fast. I will buy used records completely unheard if I admire the recording engineer.
  5. I can counter your unsatisfictory experience with $$$ speakers and $ sources with my own unsatisfactory experience with a previous system of mine that allocated differently to prioritize the source at the expense of the speakers. In that case the great detail, dynamics and "breath of life" extracted from the turntable were muffled or eliminated at the back end. I agree that poor speakers cannot "improve" the signal they are being given but they can render it lifeless. I think we are debating where and how to allocate finite resources. In other words, where does one get the 'biggest b
  6. I subscribe to the "source first" philosophy (or else I wouldn't be here :)) with 2 caveats: AC power is the first "source" and transducers have more audible effect all other things kept relatively even. This is based on many years/decades of expensive trial and error. It's only an N=1 and subjective experience. So take it as one person's opinion not a declaration of absolute truth. Were I advising someone how to prioritize building a quality sound system I would urge them to begin by cleaning up the energy that flows through the entire musical reproductive process. My experience is t
  7. This is how I've always arranged my collection (about 2000 LPs) with the addendum that I separately organize by 2 genres; jazz and everything else. Anyone do it differently?
  8. 2020: Made a few musically beneficial and cost effective (within the context of Linn $) moves. Replaced pre-Cirkus bearing and sub-chassis with Cirkus and Majik Replaced very old and too stiff Cardas cable with new T-Kable Replaced an aging Grado Reference with an Ortofon 2M Black Moved the table from atop a heavy stereo console to an Ikea Lack 2021: Replace Lingo 1 with Lingo 4 Would love to get a Karousel but can't bring myself to do it as the Cirkus is not even a year old.
  9. Like Thomas OK, I started with an AR turntable with a Sure cartridge playing into a HH Scott tube preamp feeding a Dynakit 70 tube amp driving a pair of Electro Voice 12trxb 2-way coaxials in a home built bass reflex cabinet. Heavy, hot and a bear to transport back and forth between home and college. But never worried about them being stolen from my dorm rooms or apartment. Everybody wanted a record changer, new solid state stuff and the cool looking waffle-front JBLs.
  10. Confession: I have owned an LP12/Ittok for 20+ years and in that time I have never heard any other Linn product. Interesting to me that so many here use Linn phono stages and entire Linn systems. I greatly respect Linn's mechanical engineering and obviously have no basis for an opinion on their electronics. However, as to electronics I'm biased in the other direction-tubes pushing high efficiency horn speakers. Herron VTPH MM phono (1 AT7 and 4 AX7s) for an Ortofon 2M Black or Grado Reference.
  11. I'll be damned. The sonic difference between Linn mat sides is exactly as ThomasOK described. Can construct a hypothesis why there would be a difference but can't get my head around why it would be of the magnitude I hear. Must be magic. Apologies for hijacking this thread. I'll be on my way now.
  12. Not surprised. Thank you, Thomas, for the listening guide. Seems like A/B-ing comes with the territory. Just finished doing a lot of that (partly a function of Covid-19 isolation boredom) - - dialing-in VTA on a new cart, comparing the Mogami T.Kable to what it replaced (a too stiff Cardas cable and BTW the T.Kable is much more musical and balanced) and comparing a variety of table supports (sorbothane footers, solid steel balls and cups, multi-layer sandwich approaches)-each improved some aspect of the sound but at too high a cost otherwise.) Signing off to start flipping the mat.
  13. How does one determine which side of the (old) Linn mat to have face up? Hoping there is a way other than tiresome A/B listening. If not, what have heard to be the differences?
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