Mighty Mober For My Linn Sondek LP12, Mober SSP 12 Sub Platter

Julien, my friendly Linn LP12 kaki, who is also my hifi COP, a.k.a. Chief Of Poison, introduced me to the world of Mober, an after market parts vendor for the Linn LP12. In fact, Mober's parts catalog is so complete, that you can actually choose to build a whole LP12 out of Mober parts list! However be warned that if you do that, I suspect the actual end product, an LP12 look a like may not sound much a like the Linn version either.........

Also when reading in to Mober's story, I found that Edmund Chan, the Mober man is also the man behind Hercules PS by Stamford Audio, which I use to repleced the Linn Vahalla PS and still loved till date. That already gave me a healthy dose of confidence on Mober's stuff. At one point, Mober was so controversial in the Linn forums, because there were just as many pro Mober fans vs Linn purist, which resulted in a war on almost every topic posted. It got so bad that Linn decided to shut down the forum totally. Edmund and his henchmen were thrown out and denied membership, forever! Yeah, I know how up tight those Linn purist can be!

As I discussed with Julien, my buddy(who denies his poisoning abilities) about the Linn Karousel bearing option, that everyone is hot over heels about, but the high cost factor remained in my doubt and so in one brilliant stroke, Julien suggested I look in to the Mober alternative. Mober's store is on Ebay and he ships out of Hong Kong. After going thru Mober's Ebay store, I ended up not only with Mober's bearing, but also an Mober SSP12(which is Mober's sub plater) and also Mose+ out board casing kit for my Hercules II Gold PS board. You see, before Linn's Karousel, Mober was already selling his bearing of a similar design. And like the Karousel, Mober's bearing mount is much bigger, so much of the original LP12 inner pieces will either have to be changed or modified! The inner brace bar which holds the Cirkus bearing will need to have the bearing fitting hole enlarged, but Mober sent me a replacement to fit with his bearing instead. The Hercules II Gold PS board won't fit either, so it will be moved outboard with the Mose+ casing kit! 

Now you can see, why I was so hesitant in considering the Karousel bearing! With so much changes, the cost was just adding up big time, if I had stuck to the Linn parts bin! With Mober's more reasonable pricing, that move was a whole lot more palatable, financially. Actually, if you scour the www carefully by searching for Linn LP12 parts, you'll find much after market bit's & pieces for your Linn, some very well designed, others down right wacky & possibly rather tweaky by looks. I am just saying this, that in the Linn LP12 universe, there exist a whole lot of other options other than the original. 

Mober box arrived via FedEx

Inside the Mober box

I ordered all the stuff as mentioned above, made my payment and in about 10 days or so, the Mober box arrived by FedEx. As you can see, the box is very well packed. The first item I can easily play with is the Mober SSP12 sub platter, which does not require me to disassemble the turn table just yet. All the other parts will have to wait until the current MCO to finish, when we come out of the lockdown, as I would like to refinish my black ash plinth too, while at it. So will have to wait until my buddy's furniture workshop re-opens for business.

Mober recommends that when using his bearing, to pair with the SSP12 sub platter for best results, however, the Linn Cirkus LP12 sub platter can still be used. Since the SSP12 sub platter is compatible with the existing Cirkus bearing, it will be an easy swap in. 

The difference the Mober SSP12 and the Cirkus sub platter is obvious. Mober's have a pale gold coating in the center of the top spindle. Where it's not so obvious is where the biggest difference lies, at the tip of the bearing shaft! Linn's patented bearing shaft tip is rounded off versus Mober's which is bearing fused, much like those old Thorens sub platter design from the late 50's and early 60's. Otherwise, nearly all other design aspects of both the sub platter looks identical, save for that matt aluminum finishing on the Linn, and shiny surface of the Mober. So how does that Mober sub platter sound comparatively to the Linn?

From left: Linn sub platter, then the shinny Mober sub platter on the right 

Linn sub platter, look at the rounded tip of the bearing shaft 

Mober SSP12, with the bearing fused at the tip as the focused point of the bearing shaft

The swap over was relatively easy, I pulled the Linn sub platter out from the turn table, wipe clean the shaft from the bearing oil with a piece of tissue, then re-lube the bearing and proceed to drop in the Mober sub platter. Allow some time, about 10-15 minutes to let the bearing shaft sink in by gravity, best not to use force. Once the sub platter sits in nicely, time to fit the outer platter on, and record matt, now your're ready to spin LPs!

From the very first moment the LP started spinning again, I heard a distinct, sharp high mid frequency range poking out of the overall frequency spectrum. While this makes vocals pop out and stabilizes imaging better, I much preferred Linn's overall top to bottom frequency coherence and evenness. I also note that the Mober sub platter is subjectively quieter in the musical background too. Otherwise, all other sound quality character remains largely un-changed. The bass is still solidly filled up and gutsy, the mid range comes with the peak as mentioned, and treble remains airy & refined. 

Over a few weeks, that mid range peak started to be reduced to almost un-detectable, except with certain LPs or songs, I could still hear it. That's the problem with audio, once you've heard it, it's very difficult to unhear it. From time to time or song to song that peak high mid just sticks out enough to remind you about the Mober! I actually find this type of sonic character very much like sitting one's hifi equipment on 3 pieces of downward pointer footings, but the Mober being a whole lot more discreet. One of the main reasons I never use those tipsy downward pointing footers on my hifi equipment. 

I am hoping that once I pair this sub platter to the Mober bearing, this anomaly would disappear totally for a perfect & coherent match. I also suspect that with the neutrality of the Benx Micro LP cartridge also pushed the Mober towards this slight peak in the high mids, and I suspect my other cartridge the warmer sounding Koetsu Black which is more sympathetic, may be a better match with the Mober items.  Let's see......

The Linn sub platter just before removal

The well sit in Mober SSP12 after 15 minutes, fits nicely too

With that being said, I believe that Mober sub platter & bearing kit is best used as a set. The Mober SSP12 when used with an existing Cirkus based Linn LP12 turntable, the compatibility may rest on a few other items too, such as cartridge, cable & turn table set up. That makes this so called up grade a small gamble, and YMMV is all I can tell you at this point. Well, at least till I get all the other Mober items in to my Linn Sondek LP12. Not sure when that is possible in the current pandemic & lockdown situation........................... 

My Linn Sondek LP12 is back in action again. For Linn purist, in which this photo I shared on Linn FB group, the LP clamp used here is a crime punishable by crucifixion! For me, as long as it's floating my boat, who cares?

 

Vinyl Candy, Kuetsu Black By Musashino Audio Labo

The Koetsu Black MC cartridge from the 80's it had an output of just 0.25mv, so you'll need a high gain, low noise phono stage to go with it. Weighting in at almost 10 grams, this is a medium compliance cartridge.

After living with my Kuzma CAR-30 for a few months, I was just itching for a cartridge change to go with my Kuzma Stabi XL turn table set up. I was hoping to find a used Shelter 901 in any incarnation, as there was MKII and MKIII after the original. I know, the Shelter is not the latest & greatest, but it is a comfort cartridge so to speak. It's been around for years, the sound is familiar on the warmer side of tonality, which is what I love. Then along came this Koetsu Black by Musashino Audio Labo.........

Like the Shelter, Koetsu is another familiar brand that has been around for a very long time. The story goes something like this, Sugano-san is a retired automotive engineer at Toyota. Post retirement, he ventured in to the art of hand winding cartridges, as Sugano-san is also a music lover himself. His hand wound cartridges, then called Koetsu Black, due to it's use of a black, powder coated aluminum body, was a hit in the market and by 1985, Sugano-san was unable to cope with the orders that were coming in worldwide. Hence there after he commissioned Musashino Audio Labo to help with the manufacturing of the Koetsu Black. By the 90's Sugano-san was too old to continue with the business and his son took over and expended the empire!(so to speak)

With new management came new ideas, and Koetsu started to introduced new materials such as Rosewood, Vermilion Varnishes, then gemstones such as Jade or Coral stone to the body, to basically add flavor over that classic hand wound over boron cantilever motor since the Black. As a result of using ever more exotic materials, Koetsu prices also start to increase over the years, top that off with hifi inflation, which is never in single digit territories, you get the idea!  Today Koetsu is mostly seen as high end cartridge maker, with the entry level model, still called the Koetsu Black Goldline retailing at a cool USD 2,500 a piece!     

On the top side, where the mount screw holes are, is where you can tell if it's an original Sugano-san hand wound early model, or in this case, the 1985 onwards Muasashino Audio Labo produced unit, with serial number to boot.

As usual, I digressed. Anyway picked up an ol' Koutsu Black by Musashino Audio Labo from a contact who happens to live nearby, and mounted it on to my Kuzma Stogi S12 inch arm. With a square body, the Koetsu was easy to mount and complete alignment to the tone arm.  Once the tracking force was set to 2 grams, I can start to play my LPs. From the first note, I have never felt the serenity that a piece of hifi equipment brought to my audio experience! The sweet highs were rolled off for that soft fluffy, disappearing in to the thing air of nothingness, always to soothing to ear...... The rolled of highs kinda makes the mid range slightly pronounced, which to me ears is always a good thing. Bass is solid, full bodied, but can sometimes sound lumpy too. However, that's only when you start to dissect the sound. When heard as whole, the sound is at once rose tinted hue with lushness, and vocalist centric all rolled in to one homogenously. 

If you're still reading up to this point, you'd conjectured a rather warm and comfortable sound but could be boring in the longer term, question? The answer is NO, with each LP or recording being played, the tonal colors of the music are flushed out in full, never monotonous! I often find my self appreciating all those tonal colors I never heard before in a recording, even if I've heard them a thousand times before the Koetsu, trust me it's that amazing! With the Koetsu, the music always flow with musical foot tapping tune, no doubt about that. Which is why despite it's warm tonality which endears it so well to genre like vocals, especially female(Tsai Chin or Teresa Teng comes to mind), jazz, and simple baroque style classical music, the Koetsu actually surprises me with it's ability to rock too! I some how always play my air guitar when I put on a rock LP. Hmm.............. Last but not least, the Koetsu just wipes out all the LP's surface noise better than most other cartridges, reducing most pops & clicks to nearly undiscernible levels. How ever if an LP is scarred, then then grove rot can still be heard, but much less rude sounding.

Now it can't be all pros with no cons, right? Yes, there are short falls to when it came to resolution. When compared with my Benz Micro LP, a slightly newer MC cartridge design, which have been with me for over 10 years now, mounted on the various turn tables I have played with, the Koetsu would lose out by emitting the finer musical details & tonal shadings so apparent on the Benz. Also when comparing to both the Benz and the Kuzma CAR-30, the band width of the Koetsu is left somewhat wanting as well.  The Koetsu also have a tendency to sound a bit slow in the proceedings if your platter speed is tune to correct 33.3 rpm using the strobo scope. My review is based on the setting of pushed up speed button by 2 notches, on the Kuzma's electronics speed control, both on 33 & 45 rpm. Some times, doing it right technically just sounds wrong!

   

This is the current version of Koetsu Black Goldline, with a gold plate at the bottom and slightly tapered body at the front. However many say it sounds more like a modern interpretation of the older Koetsu Black!  

And here I am, a happy camper at last, and by now, you would have formed the conclusion that I love the Koetsu Black a lot!  However, with that said, my impression of Koetsu was never great to start with, as it always gave me the impression of an ol'man's cartridge. To be honest, I have never heard anyone playing rock music with a Koetsu up till now. My previous brush in with the Koetsu always had me listening to Tasi chin, and other audiophile music only.  Now that I have one, I have new found respect for the Koetsu Black cartridge.

Now, from what I heard is that the current Koetsu Black Goldline has a slightly less rosy hued view on music and come with a slightly more modern(i.e. watered down or flattened) sound signature compared to those 80's originals made by Sugano-san himself, or the Musashino Audio Labo version. Some of those who are lucky enough to have compared, also swear that the Musashindo Audio Labo version is already watered down compared to the original early 80's Sugano-san hand wound version! Personally I have no way to verify those claims unless I go crazy and buy all 3 versions of the Koetsu Black to try. So, now I can understand the mystical journey & the plot twist and turns of the Koetsu Black cartridge, which has come a long way since. And don't you just love hifi brands that have a tradition and story line that lasted more than 40 years & counting? 

All Kuzma Experience, Kuzma CAR-30L MC Cartridge

Now that my Benz Micro LP has been relocated to my Linn Sondek LP12, I have to find another cartridge to go on duty in Kuzma Stabi S12 double plater turn table. After much deliberation, I decided to try the full Monty from Kuzma by going with the CAR-30L cartridge. The Kuzma range cartridge is based on the ZYX motor assembly, but with an added machined aluminum body, bumping the cartridge weight to 17 grams. At this point, not many tone arms can hold this baby steady any more, but my 12 inch Stogi can do so.  

The Kuzma CAR-30L outputs at 0.3mv and is considered the middle child in the Kuzma cartridge range. After mounting, aligning and setting the cartridge up to a tracking force of 2.2grams. I used the built in phono stage section of my Aesthethix Janus Signature pre-amp with a setting of 56 decibels gain & 126 ohms loading. Now, I can start playing some LPs.

The Kuzma cartridge range from CAR-20 to CAR-60. Only the top 2 cartridges are marked out by their colored bodies

The Kuzma CAR-30L cartridge, seen here with the stylus protector

What the Kuzma CAR cartridge looks like without the stylus protector. With an over square aluminum body, it makes setting up and cartridge alignment work super easy

From the get go, I found this cartridge to be completely neutral in tonal balance, very similar to the ZYX cartridges in which it is based upon. However, that's where the similarity ends, because the Kuzma CAR-30L will go low in bass and with absolute dynamics to match. This is a fast transient cartridge, very much in the mold of Clearaudio sound signature, but only with bolder and bigger stage scale. Vocals have a big bone quality to them in the flesh. High frequencies are extended, but never ear jarring. Very exciting introduction in to the full Kuzma sound of course!

However over time as the cartridge settles in, I slowly found the CAR-30L lacking in tonal richness, the very kind a person gets in to all the trouble that vinyl presents for. There's no warmth in the music what so ever to speak of. I also found myself wishing for more air, more ambience in the music. I need my analog rig to have some tonal color, rose bud tint if necessary, I also need some soul in my analog rig.

Another issue I found over time was that despite it's 17 grams heft, and a 2.2 grams tracking force, the CAR-30L did not track as well as my Benz Micro LP mounted on the 9 inch  Ittok tone arm. I am starting to think if it's the cartridge it self? Arm length factor, or uni-pivot vs gimbal factor in play here? I never got a straight answer as in most things audio. This was particularly evident when playing badly warp records, which I've got a few. In most cases, the very same LP which would result in the full Kuzma rig skipping a beat, the Linn combo set up would just cruise along, musically un-feathered. With it's weight advantage, I was initially expecting the Kuzma to be the clear winner here, but it wasn't to be. Hifi paradox in all it's un-predictable glory is truly evident here. After months of wondering what happened, I never found the technical explanation to rest my case.   

I know, the choice for a suitable cartridge in any system is a daunting search, made worse by the sea of cartridges available in all forms & prices. It's been a long time since I last did any cartridge shopping. This CAR-30L has shown me about all the things that make a technical argument compelling, but the music when playback trough this cartridge, just never touch my soul, or stirred my emotions. It does so many things right when dissected, yet music as a whole, never sounded full filing in anyways. It has lead me to wonder that if I crave for more tonal color, more warmth, more humanity in vinyl playback? I can only put it to a matter of personal preference. I also know a few others who are very happy with the performance of this cartridge in their analog set up, and it was in one of those systems that I heard, made my jump in to the all Kuzma analog source idea. In my system, this was not to be unfortunately. Overall I still think the Kuzma CAR-30L offered much technical performance, and hence much value for money too, but it just didn't give me the kind of emotional attachment or engagement that I am looking for in my music. 

Just a generic picture to illustrate the Kuzma CAR-30l cartridge mounted to the Stogi S tone arm and Stabi S9 turn table

I'll leave you with a song title by the rock group, The Clash. Shall I stay of shall I go? 

3's The Charm? Rega RP 3 Turn Table, Elys 2 Cartridge & Fono Phono Stage Combo.

The aren't many hifi products as long lived as the Linn Sondek LP12 turn table and perhaps the various evolutions of Rega Planar 3 series?   I remembered clearly that I've always lusted for a Rega P 3 turn table during  my student days, so when I actually chanced upon a P 25 Anniversary Edition with an RB700 arm, a few years back, my school boy's dream finally came through, somewhat 20 years belated! Well, as they say better late then never.

My hifi dreams are insatiable, and I've since moved on, but Rega hasn't stood still either. They have continuously refined the Rega P 3 concept and take the basic design further as we past the a decade on in to the new millennium. The RP 3 is the latest evolution of the concept. I never got a chance to try out the previous version of the Rega P 3-24 series. So my basis for comparison would strictly be based on my experience with the recent RP 1 and my fond old memories of the P 25.

The new Rega RP 3 shown here in cool gray.

The Rega RP 3 looks little different from their previous incarnations at first glance, but spy harder and you'd find a new one piece construction Rega RB 303 tone arm, the new phenolic resin laminated plinth as per the RP 1, and a pair of spindle to tone arm mounting metal braces(called Double Brace Technology), clamping both points on the top and bottom of the plinth. I believe this pair of metal braces, for increased rigidity of the plinth, which allows the tone arm to track record surfaces on the platter more efficiently and quietly. The review sample is a cool gray coloured plinth unit, which makes photograph taking rather un-exciting.

However, setting up is pretty simple. For the sake of simplicity, to quicken plug and play effect, I requested the Asia Sound Equipment guys to supply me a unit pre-fitted with a Rega Elys 2 MM cartridge, accompanied by the Fono MM phono stage. This review conclusion is formed out of this trio of Rega combo, for the beginner just starting his/her journey in to the dark side!

I un-boxed the turn table on my hifi rack, loop the drive belt over the motor stub and sub platter, then top the glass platter and felt mat over. I check the tracking force of the Elys 2 cartridge and confirm that it's tracking at 1.75 grams. Since the Rega tone arm and cartridge uses a 3 point fixing system on it's head shell, no further cartridge geometry adjustment is required. Only setting the magnetic anti skating of the tone arm is required. I then proceeded to wire up the RCA connections and power cords and the Rega was spinning music 25 minutes after un-boxing.

Note the thin metal(DB Tech) brace running running from center of bearing to the tone arm mounting bracket. There are 3 rubber feet below the plinth as before. 

I was shocked by the total silence and a general lack of surface noise, which is very un-Rega like, from the moment the stylus dropped! This level of noise free turn table performance is just un-heard of at this price point just a few years ago, until the Clearaudio Concept came along that is! The totally silent back ground seemed to have wiped away most of that grayish back drop that was a Rega turn table signature, purifying the overall tonal balance of the RP 3. As a result, the highs seemed more extended and clean, while the mid range rendered more open yet still retaining that signature British mid range magic. The bass was clear, articulated and seem to extend lower than before, and driving the musical foundations with more authority. With the grayish back ground muck reduced to a trace, I hear more bandwidth and wider dynamic range. Overall instrument separation within the sound stage was more distinct too. Many used to accuse the older Rega P 3s to run just a little faster than 33 1/3 rpm, as if the turn table is in a hurry to finish the music. That hurried feeling is no more, as today's 24V motors are more tightly regulated than before. In other words, I did not audibly detect any wow and flutter or pitching issues with the RP 3.

Of all the sonic changes described above, one thing remained constant, Rega's signature rhythm and pace in keeping music's sense of timing is never off. I found the RP 3's tune easy to follow and gets my feet tapping infectiously. The RP 3, Elys 2 and Fono combo never let my musical play list down, as it plays every piece of vinyl, what ever the music genre to it's best ability.

At this entry/mid level pricing, some thing's gotta give, like if I could make a few more wishes. I'd wish for better detail retrieval, a smoother and more refined mid range, and increased dynamic contrast. But fret not, the Rega RP 3 is pretty up grade able, as I had once experience with my own P 25. When one craves for more audiophile attributes, just up grade the cartridge to any mid price MC offering from Benz Micro(the Glider works very well in my experience), Clearaudio, Dynavector or ZYX, and your vinyl enjoyment will be further heighten by no small margins! Couple that to the plenty of after market tweaks available for the Rega, your upgrade quest may never really come to an end, and the Rega RP 3 may end up as a prospect for potential life time ownership. Believe me, if any hifi equipment is going to last a life time, with some gentle TLC, this Rega is it, going by the thousands sold in the last 30 odd years or so and still in healthy service.

The Rega Fono MM is offers very quiet performance and is an excellent match to the Elys 2 cartridge. There is only a pair of RCA input and output behind. A red LED indicator power ON/OFF switch in the front panel. No loading or gain adjustments of any kind are offered.

The following are the retail price of the above review combo in Malaysian Ringgit:

1) Rega RP 3 turn table $2,500.00
2) Rega Fono MM phono stage $895.00
3) Rega Elys 2 MM cartridge $626.00

When Rega launched the RP 1 turn table, they proclaimed it's performance so good, even the more expensive, but older P 2 model was superseded. What I heard with the RP 3, I thought it's performance so good, it probably rendered the P 5 model obsolete(based on my fond memories with the P 25, predecessor of the P 5). My hunch was correct as I checked the Rega website today, the P 5 model is no more, seemingly replaced by a new, higher spec P 6 model!

The Rega RP 3 offers a toast to hifi equipment, whom one never needs to break the piggy bank to buy!

Rega is sold by Asia Sound Equipment, contact Eddie Tan at 03-79552091.

Best Analogue Gear 2011.

Let us start with some analogue gears! Despite my conversion to CAS as my daily fuss free music source, the black vinyl curse still wears it's spell on me, especially when I am in the mood for some seriously audiophile numbing music, mostly jazz from 50's till the 60's.

Though we did not review much analogue stuff this year, making this three candidates appear by default, they are by no means turd sounding. Not at all. In the vinyl world, this three entries are considered real world enough for the aspiring audiophile and most of all that Rega RP-1 turn table set is likely going to be some newbie's entry point in to the black arts, and still not be ashamed about it's sonic potential, well at least with a cartridge up grade!


VPI Aries 3 & Dynavector Te Kaitora Rua MC cartridge, musically dynamic, with slam dunking bass response.

VPI Aries 3 & Dynavector Te Kaitora Rua Combo.

The VPI Aries 3 is the big brother to the successful Scout model we liked last year. When partnered with the Dynavector Te Kaitora Rua MC cartridge, sonically this mighty combo has what it takes to give the more up market tables from Clearaudio and Oracle a tough run for their money. The sound is highly transparent, with a hint of top end sweetness and slam dunking bass. It is also highly refined and ticks all the right audiophile boxes, performance wise. I have only two reservations about this table, first of which is the lack of an electronic speed change/control box(which is an extra cost option!). Second is the table's oversize plinth, which is great for stability, but will find it hard to fit on to standard sized racks. In my case, I had to review it, by setting it up on the floor. Not ideal, but ............


Parasound JC-3 is the our current RM$10k phono stage choice!

Parasound JC-3.

I was much impressed by the well rounded sonic performance of the Parasound JC-3. It does nothing wrong and everything well. It's strictly neutral tonal balance will allow the table, arm and cartridge's combo up stream to truly shine. The JC-3 is not particularly sensitive to cartridge loading, yet it's gain is high enough for use even with the lowest output of MC cartridges. It is noise free and is one of the quietest phono stage that I've tested, even with full gain setting. This Parasound is made to be partnered with turn table, arm and cartridge combo's a few rungs up it's own price! It's an over achiever and giant killer phono stage all rolled in to one!



Rega RP-1, a vinyl newbie's entry point.

Rega RP-1.

The sub RM$1k priced Rega RP-1 is possibly the cheapest and most cheerful bargain in the vinyl and perhaps the hifi world! It offers people a chance to experience the wonders of vinyl, without having to sell their mother or child! Sound wise, it's truly Rega centric, with it's exciting rhythm and pace, if a little grayish in the back ground. It's band width limited but still offers very decent musical dynamics. Best of all it's mid range is still unsullied yet offers enough body to be image rather convincingly. Which ever way one looks at it, it's still proudly made in England with pride and simplicity of engineering at it's best.

Next, we rate the best digital sources in 2011!

Are You An Aries? VPI Aries 3 Turn Table & Dynavector Te Kaitora Rua MC Cartridge.

The VPI Aries 3, with the JMW 10.5i Memorial tone arm. The white protective cover on the plinth surface has not been lifted yet, on this demo unit. The screw top LP clamp is standard VPI issue.

Ever since I had a spin of the budget, yet excellent VPI Scout II last year, I've always wondered what's in store as one climbs higher up the VPI range of turn tables. The hot selling Classic is not on demo as there's a back ordered queue forming, plus I am told, the line is getting longer too!

Nelson, boss of Center Circle Audio was in the Chinese New Year holidays mood, and agreed to let me have a spin on the RM$21k priced VPI Aries 3 and wait, he also mounted the nearly top dog Dynavector Te Kaitora Rua MC cartridge, priced at RM$9k. Total analog source cost is RM$30k as per reviewed here sans phono stage.

The Aries 3 is a special breed in the VPI stables, look closely and you'll note that it uses an acrylic platter, just like a Clearaudio, rather than the usual stainless steel ones mounted on most other VPI tables. The Aries 3 is a heavy turn table, due to it's solid acrylic - aluminium - acrylic sandwiched plinth construction. The plinth is laser cut for a precision like figure 8 shape and is supported by 4 pointy spikes on each side. The Aries 3 also uses an over sized, high torque out board motor, that parks nicely in to it's own little marina like dock cut out on the left side of the plinth.
Dynavector Te Kaitora Rua MC cartridge. This is a nude design as you can see.

The JMW 10.5i Memorial tone arm is a uni-pivot design with a length of 10.5 inches, as it's name suggest. This tone arm boast a great VTA adjust "on the fly" feature, for those whom it matters. The engineering on the tone arm is exacting and feels very re-assuring in the finger, when in use. The 10.5 inch long arm also produces very little distortion on the extreme ends of an LP while in play, due to it's less dramatic arch when gliding from the outer towards the inner grooves of an LP.

The Dynavector Te Kaitora Rua MC cartridge is of the nude design variety, which I always find them to be very sexy to look at. I marvelled at the miniature, delicate build, of artisan quality. Nude design cartridges tend to have an open, un coloured, yet airy quality about their sound.

I did not put the VPI Aries 3 on my usual FE Spider clone rack, due to it's much bigger size than the usual 17 inch width of most hifi equipment. So I left the turn table sitting on the carpet lined floor, which is not ideal by the way. I leveled the turn table by adjusting the adjustable pointy spikes on all four corners, park the out board motor in to it's cut out dock, and set up the arm. The Dynavector Te Kaitora cartridge came pre-mounted and optimised for the turn table, which make my job a whole lot easier. As a pre-caution, I still checked the tracking force of the cartridge which was measured at 2.3 grams, by the use of my resident Ortofon DS-1 electronic tracking force gauge. I also set the impedance loading of 300 ohms on my Pass Labs X-Ono phono stage. Since this Dynavector outputs at 0.25 mv, I left the gain at maximum of 76 db on my phono stage. About 25 minutes in all, I am ready to spin my first LP!
Note the black knob with markings on the tone arm tower? That's the VTA adjust able "on the fly" feature, which I did not test, as I felt the original setting performed by the dealer is good enough for all the LPs I spun on the VPI.

From the very first LP I played, Illinois Jacquet's recently re-issued Birthday Party Blues, I was spell bounded by the very open, transparent window to the musical event. It was like as if, the band was in my room kinda pseudo reality. The breathing/finger techniques and the burnish tonal quality of Jacquet's horn was just totally un-real. The drum kit located just behind the stage yet still startling clear if set further away. The whole experience of the performance has that intoxicated quality of the tittle track suggest. How's that for a taste to come?

Let's dissect the juicy audiophile sound description a little more. The tonal quality of the VPI Aries 3 /Dynavector Te Kaitora Rua is near faultlessly neutral, but not in the analytical sense, rather it's so neutral, it never left any signature of it's own in the final musical experience, and just let the music speak for it self. The highs can be refined to the point of being cultured when handling delicate high hats/cymbals on Jazz music, but will never fail to bite when the Rock music ask of it to. The mids has an articulated texture of body mass which serves vocals well. The bass however, is where this acrylic platter ed VPI/Dynavector combo falls a little short, compared to the stainless steel platter ed VPI Scout II. While the Aries 3 is no slouch in the bass department, but should it be compared to the cheaper model, it just lacks the slam jamming, balls out kinda bass performance of the Scout II that so rocked my world. A buddy so graciously reminded me that the bass performance might have been even better, should the VPI not sat on the carpeted floor. And the funny thing is, he might be right too!

However, as one move upwards in the high end audio food chain, other things such as transparency, resolution, low noise floor and band width will certainly take priority. On all these aspects, the VPI Aries 3 certainly is one of the best performing example in the high end turn table market today. The credit must some how go to the Dynavector Te Kaitora Rua cartridge, which will dig out all the finest information in the record grooves, in the most noise free manner. Needless to say, with clean condition LP, surface noise is very nearly non-existent during playback. While this VPI/Dynavector combo will reproduce micro dynamics with great transient response, it does however, lose out a little in terms of macro dynamics, compared to my Linn/Benz combo. Again, perhaps the VPI sitting on the carpeted floor an influencing factor here?

The over sized, high torque motor gets up to speed in no time at all, and maintains speed stability very well, as I could not detect any wow and flutter or pitch issues during the VPI's time with me. The only area I have a small problem with this VPI is that electronic speed adjustment is optional, something which I feel should be part of the standard package, considering it's price, and market position. However, I've also found speed change to be a very un demanding job of just sliding the rubber belt up or down the motor pulley to switch speed. The 10.5 inch JMW tone arm tracks brilliantly and never mis tracked, even on some pretty warped LPs. I actually like the evenness of tonality as it tracks from the outer to the inner grooves of the LP, compared to my standard 9 inch Linn Ittok, which always will sound subtly fuller on the middle tracks of the LP.
The acrylic - aluminium - acrylic sandwiched plinth. Note the adjustable spike feet.

In summary, I felt the VPI Aries 3/Dynavector Te Kaitora Rua combo to be an American built turn table with much Euro style sound qualities. It's certainly a very practical, if slightly over sized turntable, that marries a highly transparent, and refined sound qualities. It gets out of the way, and just let music speak for it self. I can't think of any higher accolade for any high end hifi product.
The high torque, over sized, out board motor unit, to change speed, simply slip the rubber belt downwards to the larger diameter pulley for 45 rpm.

VPI is sold by Center Circle Audio, contact Nelson or Sky at 03-77282686

Best Analog Gear 2010.

Here's my first instalment(Odiosleuth has listed his own personal favorites) for the best hifi gears of 2010 that came our way. The main criteria for selection is that we must have reviewed them from the period of Jan-Dec 2010. However, we'd have to make an exception for speakers as we don't get enough to play with, due to room accommodation size and logistics factor. Finally, where possible, sound vs price performance factor will always be a consideration for us, unless a superior product totally sweeps us off our feet, regardless of price. Music and hifi is after all, are matters of emotion that concerns the heart more than our left brain cells!

Agree with me or not, we have to admit that 2010 is the year the analog revival goes full steam in Malaysia. Admittedly, the market for turn tables and vinyl as a music format is still relatively small but growing at a rapid rate. I see much vinyl newbies going for the highly affordable Rega P-1(now RP-1, which we are currently spinning), and surprising enough, an industry veteran tells me that there's been a few ladies picking up on vinyl and turn tables too!(I've yet to meet one personally)

Here goes our list of top analog gear for the year 2010.

Congratulations to Clearaudio for making the superb Concept turn table package at near budget pricing. There's a lot of clever thinking and advance design technology in the Concept, and the sound is just totally reflective of the effort, this time!

It was a hard choice between the Clearaudio Concept package or the VPI Scout II. Both are stupendously good sounding, but with their own personalities, and targeted at different market segments. However, I chose the Clearaudio Concept for the best, based on it's completeness in design technology and execution of functionality, rarely seen on this near entry level price range of just a little over RM$6k. The exacting factory setting is an absolute bonus for newbies too! The sound is smooth, highly transparent and utterly musical. Best of all, it may be one's first, or last turn table purchase, depending if one is a newbie or just coming off the up grade go round.
The VPI Scout II may be entry level in the VPI turn table range. The sound is anything but entry level! Spend a bit more for the VPI Classic? You bet!

Coming in a close runner up is the VPI Scout II, a turntable of traditional design but exceptionally well executed by Harry Westfield. This turn table is for intermediate level enthusiast and would most likely find a home in mid range systems. The imaging and sound stage are first rate, and the best part is the bass, which strike a happy balance between quality and volume. I only have a small problem for this more than RM$8k turn table, add another RM$3k more and one can get the superb and latest VPI Classic, which I've yet to spin, but I know more than a few who have already given it their thumbs up!
The PS Audio GCPH phono stage is highly versatile, with XLR balanced out puts too, if one likes that, and sound very respectable. Can't go wrong with this!

Now that you've got any one of the two great turn tables above and have selected your cartridge to mate(if VPI Scout II is your choice), than you'll need a good phono stage to partner. For RM$6k or so, I can't think of another better example than this PS Audio CGPH phono stage. It's got all the right buttons like mono and phase invert(both are important for fussy analog audiophiles, I am told) and best of all it will match most(except very low out put) cartridges, plus all the gain and loading adjustments are easily done on the back panel. The icing on the cake is that the PS Audio GCPH actually sounds very respectable too!

A special mention must go to the Dynavector DV-20XL cartridge, which retails for just a little below RM$2k. I've not experienced a better sounding and all round well balanced cartridge at this price range before, nuff said!

We've got more Best Of 2010 to come, stay tuned.

My Benz! Benz Micro LP MC Cartridge.

The Benz Micro LP, not to be confused with the American LP-S. The American version is much heavier at 16 grams or so, and have more bass response to suit American taste. However Albert Lukaschek(Benz designer) still have much to recommend for the LP model.

As I've written earlier in an earlier article, "Is Your Vinyl Playback Optimised? Clearaudio Azimuth Optimizer." I have a new cartridge in the form of the Benz Micro LP. I have detailed my cartridge set up on the Linn Sondek LP12's Ittok arm in the earlier article and will just touch on the sound quality.

The Benz LP flagship cartridge has been around for a long, long time, hence it could be easily forgotten or taken for granted. However, I am one of those guys who likes a proven product, and feel that the Benz LP must be doing something very right to with stand the test of time. Now that I've logged nearly 200 hours of play, it's sound has stabilised considerably and I can report more confidently.

The Benz LP seems to have very similar chassis construction as per my old Benz flame, the Benz Glider L, but adds on a black Ebony wood body, for a warmer sound presentation. Also differing from the Glider is the micro polished, ruby stylus tip and cross coil windings in the signal generator. The Benz LP is also quite a heavy cartridge, weighting in at 10.6 grams.
The Benz Micro LP will accommodate more expensive turn table arm combos, over the Linn LP12. Hmmm..... the Clearaudio Innovation turn table sure looks nice with it!

The sound of the Benz LP is classy to say the least. It does not quite have the ultimate micro detail and dynamics resolving power, so obvious as with the latest Clearaudio Stradivari V2 cartridge(it's most natural price range competitor). The Benz however, makes up for it on the tone colour department. It's clearly the richer(not to the point of lushness though), and fuller sounding of the two cartridge.

The Benz LP is still considered neutral in tonal balance, despite the presence of a slight warmness, just enough to prevent it from sounding cold, and analytical at least. The highs are extended and smooth yet will bite when the recording demands it so. The mids has a slightly rich presence range that always puts the vocals in front of the staging. The bass is not particularly outstanding(this is perhaps, more of a Linn LP12 characteristic?), but is firm and tight enough, yet can remain supple should the recording ask of it.

I love the way this cartridge proves it self to be utterly transparent because it picks up so little of the LP's surface noise. It responds well to dynamics contrast and transient speed, but only to lose out to the above mentioned Clearaudio, obviously. If anything however, it's the way the Benz LP puts everything above together, so cohesively, that not one particular aspect of it's hifi performance stands out in any way. I find it to disappear from the audio chain, mostly except for the slight tinge of warmness, that the Benz LP will always allow the music and the recording to speak for it self. There is also an element of forgiveness, not found on the Clearaudio, is that when playing poorly recorded or re-mastered LPs, the Benz does not really punish you for doing so, but merely let it be known. In other words, it's less pain full to hear poorly pressed LPs on the Benz, of which I have many. Some of my high end analogue buddies have argued that I am shooting the messenger, rather than the source of my problem, and the only reason that the Benz does better in this respect is because it's less transparent!

Good or bad? The matter of forgiveness, in hifi equipment, I leave for you to ponder over. In the mean time, I'd like to summarize this review by saying that the Benz Micro LP, retailing at RM$8,200/pc, is quite possibly a bargain of a cartridge at the sub RM$10k price range. It does pretty much most of what the current flagship of other more costly brands of cartridges does at more than double the out lay, and punches way above it's weight in the context of my Linn Sondek LP12. The Benz will probably survive up grades to turn table and arm combos that cost more than 3 times it's own price, yet will certainly make no fool of it self. This much I am confident. As a fellow audio reviewer and Benz buddy said to me the other day, "Once a Benz man, always a Benz man!"

Benz Micro is sold by Audio Image, contact Adrian at 03-79563077.

It's A Very Powerful Impression! VPI Scout II Turn Table, Dynavector DV-20XL Cartridge.

VPI Scout II turn table, and Dynavector DV20XL is one musically powerful analog combo. Note the powerful out board motor unit!

VPI Industries has been making turn tables for a long, long, time. I regret that I never truly heard them at their full performance potential, until now that is. The VPI Scout II, featured here with the JMW Memorial 9 inch tone arm mounted with Dynavector DV-20XL cartridge, is the entry level of VPI turn tables. It's performance, however is anything but entry level!

It took me a little more than 2 hours of assembling the turn table and tone arm, mount plus align the cartridge, before the first tunes are being played. Before we get to the sound, I must say that the VPI is quite a heavy and solidly built turn table. There's an industrial like feel to the finishing of the whole package. The VPI Scout has four pointed isolation cone feet which are easily adjustable to keep the turn table level. The JMW Memorial tone arm is of uni pivot design, and feels right to these pair of hands and fingers. The cartridge alignment is simple to set with the VPI supplied protractor. I set the cartridge's tracking force to 2.1gsm, which is on the heavier side. I tried the anti skating device setting, but ended up preferring the sound with the device dis-engaged(this was a tip I got from Jim Smith's book, "Get Better Sound", which I'll share later). As the cartridge is low output type at 0.34mv, I set my phono stage to 72db gain setting and loaded it with 120 ohms setting. The signal from the turn table to phono stage is via a pair of VdH D-300 MKII shielded interconnects. This was the final setting which all sonic description is based on.
Cartridge alignment is easy with the VPI supplied single point protractor.

Tracking force is set at 2.1gsm, checked using Ortofon cartridge digital scale model DS-1.

From the very first LP, I knew I was in for a vinyl treat of the black arts! This turn table rocks! Literally. I found my self spinning all the rock albums in my collection dating from the 70's and 80's. This turntable has the energy and vitality to play rock albums convincingly. The treble, while not the most extended is airy and quite refined, yet never lacking in attack, should the music called for. The mids is on the rich side, rendering vocals and especially male voices a throaty quality. The female voice is not short changed either, Tsai Qin still sounds like very much her usual self on Lou Ge, rendering classic love songs very emotionally. The bass is loud, proud, but does not stand out like a sore thumb. The bass guitar is fat, full, and weighty, yet agile. It plumbs as deep as my speakers will go, and rock my listening chair gently. NOW, THIS IS WHAT I CALL BASS! Period.

With this kinda bass, how can I pass on this turn table without playing some soul and R&B LPs? I pulled out Alexander O'Neal's 1988 Christmas album, "My Gift To You", and was rewarded with sweet, sweet soul sound, especially the ever classic "Merry Christmas To You" track. I know, I know, it's not Christmas yet, but the mood's there, the music's there, and the VPI Scout just blows my mind, listening to the strong, manly vocal of Alex, harmonising with the ghostly back up guy slightly back in to the left side of the stage! Santa, I've being a very good boy this year too! Please, please make my Christmas wishes come true??? He! He!
The Dynavector jewel box like packaging.

I'm sorry, I got carried away back there. But that's just what the VPI/Dynavector combo did so, well, carry me away in to the music, all night long, every night! The sound staging properties are good, rather than great, there's width but depth perception is some what lacking. Solid imaging makes up for the short fall though. This turn table combo is also very dynamic and excitingly exuberant. It's also eerily quiet, with an extremely dark back ground and low noise. I did not find any problems with speed stability of the turn table. A special praise must go to the Dynavector DV-20XL cartridge, that for the price, this is probably the most transparent, dynamic and tonally well balanced available.
The JMW Memorial 9 inch tone arm is of uni pivoted design, providing excellent finger and hand feel.

Note the VPI provided screw on clamp, which helps to flatten out warp disc effectively and lowers back ground noise too, making a quieter turn table. All the review sonic description is done with clamp in use.

So what price would you pay for this analog set up? Price break down is as follows:
1) VPI Scout II turn table(with tone arm included): RM$9900.00
2) Dynavector DV20XL cartridge: RM$1700.00

I am now looking forward towards more VPI turn tables to play with, and I've just heard the latest Classic model has a long waiting list. I can't wait to lay my hands on one of those too. He!He!

VPI is sold by Centre Circle Audio, contact Sky or Nelson at 03-77282686.

Now Spining, It's a VPI Scout II Turn Table.

Folks, the turn table market is certainly heating up with fever. I now have a VPI Scout II complete with JMW Memorial tone arm, mated with Dynavector DV20XL spining in my music cave.

I believe we have a new standard setting turn table.

Stay tuned to find out more.

VPI turn tables is sold by Centre Circle Audio, contact Sky at 012-3371787.

Clearaudio Stradivari MC Cartridge.

The Clearaudio Stradivari MC cartridge. Made from sustain able grade ebony wood, according to Robert Suchy.

The Clearaudio Stradivari MC cartridge was launched in year 2005 with much fanfare, winning numerous industry awards and garnering glowing reviews. My experience with this Clearaudio cartridge started sometime in year 2007. Many of my high end vinyl kakis have this cartridge mounted on their turn tables.

The impression that I always get when listening to a turn table set up mounted with this cartridge is of powerful dynamics and transient response, neutral tonal balance plus a totally quiet back ground.

So when a buddy of mine decided to upgrade to the Clearaudio Goldfinger V2 earlier this year, I took over this cartridge from him. This is an early model Stradivari, we are talking about, not the current V2 designated version. It's a very light cartridge, weighting just 4.4 grams. Clearaudio provides an additional weight attachment if one requires a heavier cartridge. I mounted the cartridge on to my Linn Ittok tone arm with the weight attachment. I had the tracking force set to 2.8 grams as recommended in the manual(this was before I had a chat with Robert Suchy!). It's a medium output MC cartridge rated at 0.6 mv(Millivolt) and recommended loading setting is 300 ohms. I used the 62db gain setting on my Pass X-Ono phono stage, but felt it sounded best balanced when I loaded the cartridge at 249 ohms.

The Clearaudio Stradivari is an excellent tracker. During it's time with me, no LP has managed to upset it, even the most warped, but still play able in my collection. As with my experience earlier, the sound of the Stradivari is strictly neutral in tonal balance. The high frequencies are extended, with good attack on high hats, and very realistic sounding, if only shows up some what dry in my set up(this was not the case with others I've heard). The mids are open and vocals rendered with absolute clarity, but my preference is to have a bit more density here. The bass is highly extended and articulated, but possibly needs to have more tracking force to show more weight. Dynamics and transient response is hugely bold and fast. It is also capable of generating a 3D like sound stage, if the recording captures it in it's vinyl groove. I must also mention the Stradivari's extra ordinary ability to dig up all, even the tiniest musical information from the LP's groove, which results in it's excellent transparency that is most true to source. In the context of my system, I've found this cartridge to have exciting and explosive thrill ride qualities, yet ultimately, I also found my mind wondering away from the music after playing a few tracks.
My Stradivari, mounted on the Linn Ittok with the extra weight attachment. The latest V2 versions have the extra weight plates built in to the resonance star crown, on top of the cartridge body.

Another buddy had offered me a set of Oyaide HSR-AG cartridge leads for a small, tidy sum. It seemed that this 5N pure silver cable is just the antidote I needed for the Clearaudio Stradivari. The Oyaide leads offered a certain sweet warmness and organics in the sound which offset the naturally analytical, if accurate behavior of the Clearaudio cartridge. The main sonic difference is in the high frequency reproduction. The highs reproduced with the Oyaide in the line of signal, is slightly sweet, attractively airy, yet trading nothing away from the realistic attack of high hats. The high mids are also smoothed out some what and some recordings with sibilance which the Stradivari will certainly let you know is now less piercing to these ears.

Is the any down side to the Oyaide cartridge leads? Yes! I found them rather stiff and hard to dress from head shell to cartridge. The leads are also quite brittle in feel, that they may snap if one twist too hard, or agresive an angle.They are also much heavier than the normal grade cartridge leads, so cartridge tracking force will have to be re-calibrated to suit.
Oyaide HSR-AG, mate this to the Clearaudio Stradivari for even more excellent sound.

In comparison with today's V2 designated Stradivari, the latest version offers a slightly warmer tonal balance, but one can never call it rich or lush just yet. The sibilance on the high mids are naturally lessened with the latest model too. As a very experience Clearaudio cartridge user tells me, the V2 version is easier to set up, but the earlier version loses little in terms of performance, if one's experience and set up skills is good enough. With many previous Stradivari users trading up to the newer V2 versions of the Clearaudio super class cartridge, there are quite a few to choose from now days. I see prices varying from RM$4000.00-$4800.00, depending on age and condition of use, the Clearaudio Stradivari is clearly very good value when bought used, compared to the latest price of RM$9800.00 for the brand new latest V2 version.

I must dispense with this caveat when shopping for used cartridges, and this applies to all used ones. Buying a used cartridge can be an excellent value up grade proposition or the most horribly wrong hifi purchase experience known. Cartridges are very delicate instruments, which demand a certain level of care and respect when in use. They are easily damaged and abused, or in the case of an old, highly used cartridge, just simply worn out. When buying used cartridges, do make sure you know the owner habits or history. If possible, request for a test play if it's still mounted. Otherwise, if buying from a trusty retailer, make sure to negotiate for a limited warranty of some sort, just in case if the worst should happen. You'll never know, after all.

A Solution For My Vinyl Blues? It's a Clearaudio Solution.

The impressive looking Clearaudio Solution turn table package placed on my FE Spider clone rack.

Now that you've read about my adventures of putting together an LP play back system, a.k.a. a turn table, tone arm and cartridge, let's see what this Clearaudio package has to offer?

And before we go further, I must stress that I am totally awed and marvelled at the level of mechanical engineering, and meticulous finishing. The review sample of the Solution turn table is the AMG wood variety. According to Clearaudio specs, the Panzerholtz wood is laminated from 72 layers of wood of varying density. The said result is that the wood becomes so though it can with stand a speeding bullet! a.k.a. "bullet proof wood". By the way, there's a small premium in price for the wood version over the standard acrylic version.

It took me a few hours to assemble the package and it now ready for it's final set up procedure, the cartridge alignment and set up. I used the Clearaudio provided protractor as seen below to align the cartridge then followed by the tracking force, VTA and anti skate settings. I used an Ortofon DS-1 digital cartridge scale to set the tracking force at 3.0gsm as per recommended by Clearaudio, VTA is set up by sight, straight balanced on both ends and anti skate is set to minimal.
I used the Clearaudio provided protractor to align the Concerto V2 cartridge. The protractor is very well marked and made the alignment job easier than usual.

Now, I turn my attention to the Pass Labs X-ono phono stage set up. I used the usual 56db gain setting and loaded the Concerto V2 MC cartridge at 249 ohm. That was easy.

This setting proved to be a little bass light, and then I remembered during my chat with Robert Suchy that 3.2gsm was his preferred tracking force setting for the super class range of Clearaudio MC cartridges, which the Concerto V2 is clearly a member. I used this setting for the rest of my sound description.

I thought the Clearaudio Solution, Unify and Concerto V2 package to have a flat neutral balance, never put emphasis in to any particular frequency range. The high frequencies are exact, realistic with great attack qualities. The mids are a bit lean but otherwise have good clarity and detail retrieval. Bass is a bit lite, but have enough articulation to form the musical foundation. In other words, this package is free from colouration that many have mistakenly interpreted as "warm" sounding.

I found this Clearaudio package to be amongst the most transparent, true to source turn table I've played in my system to date. It is also the most quiet, mainly free from back ground noise like hiss or hum, especially LP surface noise. The low noise floor allows the low level resolution to be exposed in all it's full glory. Take for example, Illinios Jacquet's recently reissued, Birthday Party album(a blues/jazz musical genre), I could hear every breath, moisted mouth piece, finger work, that burnish and golden brass tone of the horn and the hamonic and timbre differentiation of the all the various horn instruments used, like the flugel, baritone sax and trumpet, plus flute and tenor, each floating solidly in their own acoustic space of the sound stage. At this point stage width and depth perception is no longer an issue, because it's almost like you're there! This kind of sonic experience is priceless.

Equipped with an over sized out board motor, speed stability is first rate. Solo piano tracks that upset the Concept and all other budget turn tables sailed through beatifully this time. There were no rude awakening that one was listening to a less then perfect musical presentation.

I must however, add that all that transparency is a double edge sword too, only because the Clearaudio package is so very true to source. Put on a poorly recorded pop or rock LP, and the Clearaudio turn table will surely reveal it's inadequacies. It does not suffer for fools. Only the very best recordings guarantees a truly satisfying experience. It's no fault of the Clearaudio package as it's only the messenger, not the source. One of my analog sifus who owns a very high end Clearaudio turn table always tell me, "Don't shoot the messenger if you don't like what you hear".
Illnois Jacquet plays Birthday Party Blues, along with another out standing track called The Shadow Of Your Smile, makes up this excellent 5 track blues/jazz album on LP, recently remastered by Bernie Grundman and re-issued by Groove Note label. The recording still has high levels of tapes hiss but when played at an appropriate level, the feeling of being intoxicated with blues will certainly overwhelm.

With a little familiarisation, this turn table package is fairly easy to set up, tune and will reward with it's honesty. In the scheme of things, it is at this point of the Clearaudio turn table range where things start to get serious. The Solution turn table can be up graded later to the higher range Master Solution spec, if required. One can even go all the way and add a Synchro power supply to that out board motor. It has the family DNA of the all conquering Clearaudio Master Reference, only built to a lower price level. Some compromises are therefore, un avoidable. When compared to it's bigger brothers higher up in the range, I thought the Solution gives up some what in the area of bass weight extension and out right extreme dynamics. It is however, a clearly superior audiophile pleasing turn table, when compared to the entry level Concept I reviewed earlier.
The Unify uni-pivot tone arm is very well made, and comes with carbon arm tube. This arm is very easy to set up but the signal wires are very fragile, and one has to be very careful not to break/or bend them during installation. Shaky hands and fingers need not apply here!

As I mentioned earlier, the level of engineering and manufacturing quality borders on level of fanaticism. I can assure that if taken cared for, this turn table can serve it's owner for a long, long, time to come. There's even a pre planned up grade route in the form of the Master Solution with a price top up, when one aspires more. One can even add the Clearaudio Synchro power supply for better bass response and dynamics, according to a buddy of mine who has gone thru the Clearaudio Master Solution up grading path. I find this Solution path makes a lot of practical sense.
Another look at the Solution AMG Wood turn table. Note the little black wire below is used to ground the turn table to the phono stage.

Here's the break down of the package price for each item:

1) Clearaudio Solution AMG Wood turn table - RM$19,500.00(standard acrylic finish unit available for RM$16,500.00)

2) Clearaudio Unify tone arm - RM$10,875.00

3) Clearaudio Concerto V2 cartridge - RM$11,985.00

Do you want a Solution for your vinyl blues?

If your answer is "YES" then head on to your nearest CMY Audio & Visual showroom right away.

Clearaudio is sold by CMY Audio & Visual, contact John, tel: 03-21439406.