The "JR" has some advantages over the more expensive std Rollerblocks :
They have 1.86" disc plates on both! levels that are both! threaded at the outer side and are also both! curved inward. So, we can permanently fix them in the desired place at the upper level (armpod) and at the lower level (shelf). The disc plates are shelf centered with great precision by gravity as long as the shelf is allready dead leveled on horizontal plane. The 1.86" threaded disc plates can provide further leveling adjustment and their contribution is admirable in contrast to spikes/thin discs. The movements by accident are terrifying indeed, but in normal careful use, the great mass of the armpod impedes any disposition and restrains it to a soft activity. The remaining faint movement is progressively die out very quickly before the cartridge touch the LP. Of course it is a matter of the end user to value the pros & cons of this option, but the disadvantage of the careful operation & handling is an accustomed practice anyway to the parallel tracker's user. If you have a friend by which can borrow a set of 3 Rollerblock JR and see if you can manage to handle their lateral movement, it is definitely worth a try. |
..."in normal careful use, the great mass of the armpod impedes any disposition and restrains it to a soft activity." Geoch, that is beautiful English, worthy of an erudite 19th century scientific journal entry. But what is "soft activity"? Any activity, if activity means movement or motion, is a bad thing if the platter does not move precisely in concert. |
Dear Lewm, sorry about my English it is obvious that I'm using the dictionary mercilessly. This is what I meant :
The forces created by the cartridge and the tonearm during play, cannot cause any motion to the armpod, as they are received & collected like resonances & not like forces that can cause a displacement.
When we push accidentally an armpod that uses spikes as footers, the disposition even if it is slight, it is also permanent. When the footers in use are these Rollerblocks JR, the displacement of the armpod is quickly self-corrected and the whole moving mass is coming back again to it's exact position by smooth & progressively reduced circular move.
This activity is taking place from the moment that we release the arm lift and continues decreasingly so, as the arm tube is falling to LP. But it comes to an end before the cartridge reach the vinyl surface. Any further remaining activity that left, are only the resonances that caused by the usual suspects during the listening session & not by the Rollerblock JR which is way more gifted than spikes in draining these resonances. |
Dear Lew, you are very difficult to satisfy or please. Even
the 'soft activity' is refused on theoretical grounds alone despite this saying about the pudding. Only the argument is changed from 'galleons' to a movement in concert with the platter. As I suggested (03-20-11) in relation to an brass cylinder you will be able to afford
the most exotic 'spikes' imaginable and those Rollerblocks
JR look to me very appealing. You can eventualy also use them to 'soft absorber' those tube amps of yours.
Regards, |
I needed to think about this over night.
I took the soft activity to be any and all the movement that occurs outside of the normal cartridge/stylus retrieval of the signal that needs to occur for us to hear the sound. The tonearm (any type) moves up and down and side to side in normal use. The actual physical movement of the tonearm is itself a soft activity and necessary. Likewise at the other end (arm pod) movement is happening in the armpod with the resonances we just cant see it in the material as the vibrations are either absorbed or passed on. With the symposium jr. you are able to see it more clearly.
The footers of an armpod are like the foundation of the house. They however need to be such that they support the structure but also provide for passing of resonances into the platform below not to return up again or absorption of some of those resonances thereby dissipated. This can be done at least in two different ways from what I have learned.
Hard spikes/disks that allow the resonances to pass through and not go back up. Or they can be of a design soft and hard to absorb some or all of the energy / heat of the resonances and also allow for the remainder of the resonances to pass through. It sounds like the Jrs use this principle.
I have to admit the first time Geoch described this I had visions of a tower shaking during an earthquake. But then if you think about it as it moves as long as returns to position in time before the stylus is on the groove it should be fine. We accept the toearm movement as part of the normal movement why any different at the other end ?
A personal experience (not audio related) but that relates I believe to this bear with me. I have a contractor doing renovations to an old property that uses a large copper drain pipe. Whenever hot water is used it would go down the pipe putting energy into it from the heated water expanding it (causing noise) then when the water was stopped, the pipe would again (make noise) as it went back to its cold form form. We were able to cure this by cutting a couple of inches from a section of the pipe and replacing it with a rubber clamp. Now when the hot water is run the energy does the same thing and goes down the drain pipe but the energy makes its way to the rubber clamp (like the Symposium Jrs.) where the energy is absorbed. Drastically reduced noise. For our hobby this energy in the pipe is like those vibrations and the Jrs. are absorbing and passing it onward.
Thoughts ? |
Dear Lewn - you can have the most precise and accurate platter/motor assembly - but once you put that crude piece of vinyl on top with all its imperfections - all bets are off.
I have found through this approach that all you want the platter/motor to do is maintain correct speed and drain its own resonances.
Once the isolated (armpod, tonearm, cartridge, stylus) picks up that signal from the vinyl - its on its own merry way and says bye bye to the platter in a continuing cycle.
If your tonearm is mounted on the same platform as your platter/motor, you need to ensure your system is able to deal with the returning vibrations/resonances from the tonearm. Hence we have some very elaborate systems as a ways of doing this.
This is too complicated and cumbersome and $$$ for me and the reason I like the simple isolated armpod approach. Once my armpod gets rid of resonances, the last thing I want is the resonances returning to play havoc.
Sorry for not presenting this in a more scientific way for some of the members here but this is what I understand to be happening.
We break that resonance loop with the isolated armpod.
The members here using this approach have heard the difference between the two. |
Chris,
I failed to notice that the original suggestion was to try the rollerblock "juniors". These should indeed be far more stable under mechanical interactions than the normal rollerblocks (which I use). Nandric is correct that you'll have to suck it and see and I thjink you are right to give them a go. Maybe you could even talk to the people at Symposium first. Anyway, there is a set of juniors for sale on eBay now ($90).
Good luck with your experimentation and do let us know how it goes. |
Chris,
Sorry, just one other brief thought.
If you look at the details and approach of the Equarack people, you'll see there is a major concern about mass loading/weight of component to get the best out of viscoelastic supports. As I mentioned above, I had major problems when trying noted components on one of my Symposium platforms and so you might want to look into this weight compliance factor in making your decision. Athough, at only $90 you might just think it as well to just get them and experiment!?
Either way, I look forward to hearing how it performs in your rig. |
One 16 lb (7.27kgs) Solid Brass Cylinder - 4" x 4"
$152.55 dollars
Brass bolt to secure tonearm to cylinder .15 cents
Steel spikes / discs to couple the arm pod $20 dollars
Drill bit and tap for making threaded holes for 3 spikes and one bolt. $15
Brass Polish $5 dollars
Unbiased, unsolicited, comments and recommendations from Audigon members - PRICELESS
You can see the raw brass piece here.
http://www.canuckaudiomart.com/view_userimages.php?user_id=5181&image_id=41998
I will try it out this weekend and if it sounds promising I will bring it to a machine shop to round it out and take out the fine scratches
Cheers Chris |
Dgob - I have no problem being the guinea pig. Will try to source some locally first. I have found in the past when talking with some of these manufacturers of these products that their experiences with what we are doing is limited.
They can't seem to say yes or no to me and their feedback is very general and ambiquous.
Geoch and his audio community are obviously there already. His comments are based on the Jrs. actual experiences with people so I trust his input as been unbiased. And besides as you say they are not alot of money - again about the price of a tank of gas :)
Geoch - I do have two questions
Are there any guidelines about the weight. Have your members found there is a minimum and maximum weight with the Jrs. and is there a limitation on the height of the object.
Also you mentioned that these are used by the parallel trackers but why not the Pivot arm or any other - since they are balanced as well.
Thinking of the pivot arm I am getting visions of a construction crane on a tower swinging over a job site. |
Dear Chris, the only thing of great concern is how softy you can handle the arm lift. The JR responds quite sharp to an aggressive shock and your fingers must feel only an affectionate touch as like they slip over when queing or lift down the tonearm. If you try them & regret your purchase, I'll be gratefull to exchange them with my Aktyna ARIS every time. A fellow with a Clearaudio arm has the guts to do it first and the other two just have followed. The total weight of the cart/arm is only a small percentage of the 7kgr tower and cannot affect the balance. The height is irrelevant also as one of them uses a tower of over 20cm height for his Gabriel. If you can manage to soften your ET's lift by oiling & handle it with control then I can't see any problem. I guess there are not many TT chassis permitting an independent arm pod & above that most of the people afraid to use the JR's even under their integrated TT's plinth. So, it is normal for most to avoid such an extreme & dangerous option especially when they are used to the convenience of the pivoted tonearms. I don't think there is any guide about the appropriate mass loading of JRs and I have seen them under everything from light weight Tuners to even massive speakers. I realize the difficulty for everyone to accustomed to the swing threat upon every touching of his tonearm, which may cost his precious cartridge. Although one of these fellows trusted his Insider to JRs, I'm sorry but I honestly can't assure you about your stylus safety by first hand. I don't even have an isolated arm pod ... (yet). |
Dear Geoch - and others - everything we do in this hobby is at our own risk. We have all lost precious needles.
Only when this happens do people do one of three things. Get out of vinyl altogether, buy cheaper cartridges or be VERY careful.
I will source some Jrs. and try them. This will give me some time to get used to the sound of the new arm pod. I finally added a system page and posted a couple of pictures for those reading this thread.
For those of you thinking we are doing something complicated here - I walked through my house at 1 pm est today with the piece of raw brass and no holes for bolts or threads in it. It is about 5pm now and I have listened to 2 lps already. I let the system warm up while I put it together.
But this is my 3rd version really so give yourself one day to setup.
I can say with the ET tuned to about 75% right now it is sounding very very good.
Cheers Chris
|
Geoch and Nandric, Despite whatever you both may think, my remark about Geoch's phraseology was totally sincere. I really did think it was beautiful prose, but I needed that clarification provided later by Geoch.
I cannot help but note that this discussion is evolving in a direction with which I can agree. Notice that you guys are talking about ever heavier and more stable arm pods that do not move with respect to the tt. This is beginning to be OK with me and to be consonant with my galleon analogy, which Nandric continues to throw back at me. If you take the two boats out of the water (the net effect of putting both the tonearm and the turntable on very sturdy supports and subject to the same forces), then there is no problem. There is even some coupling going on, whether you like it or not. |
Dear Lew, Glad to have you on board because you was at first very skeptical about this arm pod undertaking. But
you also provided the info about the obtainable meterials,
brass cylinders included. The further development is obvious:a. the direction of Halcro's 'exclusive' arm pod with 'universal' applications qua tonearm type as well as
lenght b. the direction of the cheap solutions and c.
something in between. My preference is for the brass cylinder with 3 holes + thread on each side but there are
obvious limitations: 9'' tonearms are problematic and tonearms with a collar also. However the price is +/-$200. For the adaptation of the brass cylinder for a more universal use one will need the help of one craftsman with
unknown costs.
Regards, |
Nandric,
If you go down the route of Halcro (which I am more or less planning to do) with the arm tower design, you can offset your mounting hole to be nearer to any desired edge. This removes all concerns about tonearm length. This will also apply for arms with collars. Remember that I have experimented very successfully with a Morch DP6 and an Audio Craft AC3300 - both of which have collars and are 9" or less in length.
Apart from the unspecified and potential costs in needing professional help in drilling the holes, there really appears to be no limits to the arm tower approach and its applications. |
Dear Dgob, I really hope that anyone will be able to 'go
down the route of Halcro' but I already mentioned Picasso in this context. To accomodate,say, a brass cylinder for
all the purposes (aka 'universal arm pod') the crafstman
need to cut a supstantial part from the cylinder and consequently reduce the weight. Then one will also need the plates ,etc. which add to the unknown costs. One needs some good idea about the cost in advance I should think.
What is possible and what is advisable may contradict each
other. I myself somehow fancy this sturdy brass cylinder and would never polish the thing.
Regards, |
To paraphrase the bandit in "The Treasure of the Sierra Madre", you don' need no stinkin' viscoelastic support.
(He said, "Badg-es? We don' need no stinkin' badg-es.")
This is only my opinion, of course.
At least try it both ways, turntable and armpod both mounted on the same inert STABLE shelf with no viscoelastic mounts vs with viscoelastic mounts. |
I have asked some folks who have gone down this path using various metals in an isolated arm pod to post their comments here. I hope they will be able to provide their input.
To me if I had a tonearm with collar - just preliminary thoughts - but anyway to be DIY - You would need to drill collar diameter holes through both the brass cylinder and the top plate and set the spikes high enough to allow the wires to clear. Drilling the holes is easy for a machine shop. The top plate (aluminum?) just needs to be thick enough to allow the tonearm collar to grip and be tightened - then it can be set down on top of the brass cylinder and secured. This could be done by the DIY. Anything more would obviously require a machine shop.
Dear Nandric - I am growing fond of the brass cylinder "as is" and based on what I am hearing am reluctant now to have it taken apart and changed at all.
Cheers
|
Nandric,
If you buy some aluminium plate (eBay often has various thickness of these at very reasonable prices!) you can make a variety of interchangeable arm plates for the top of your tower(s). The carftsman is therefore only challenged with drilling a hole down the length of the cylinder (55mm in Halcro's and my intended case) and a 30-40mm hole running lower across the cylinder and into the vertical 55mm hole (for the phono cable to run through). That's two holes in total and the weight will be the same as Halcro's.
I already have M6 and M8 taps, drills and footers so no cost there. If not already in possession then, anyone can find these (as I think Chris has suggested) for a very reasonable price from their local hardware store. Three holes tapped for the base spikes; three holes tapped for the attaching armplate. I don't think this is too large a challenge for most on this site. Worth considering I think. |
i have been speaking with chris about this thread. he had seen pics of my armpod. you guys are very passonite about this. that's great to see.
my design requirements were to have adjust-ability for azimuth, vta (sra) and flexibility for different arms. the pics show a breuer, but i have already replaced that with a davinci.
i have mounted arms to the armpod that have the wiring come through the pivot point and out the bottom, so a surface mount would not work. i had to use an armboard mounted on a post, on the armpod, to offset the arm. this allows the wiring to exit through the bottom.
pics here:
http://www.canuckaudiomart.com/view_userimages.php?user_id=600
and here :
http://cgim.audiogon.com/cgi-bin/vs.pl?vaslt&1245187375&viewitem&o5
don |
Nice solution Corby.
Can you explain how the VTA adjustment and arm height works via the vertical rod? |
Corby, That's quite beautiful work. Do you mean to imply that you adjust azimuth by tilting the whole apparatus via the screw-threaded spikes at the base? Don't you think it's important to have the arm base (=the outboard pod) in a plane parallel to the platter? |
halcro, the vta is adjusted using the micrometer ath the top of the post, there is a thumbscrew on the side that you would loosen first, adjust the height and then retighten the screw to lock everything solid. the micrometer has a long rod attached to it that extends to the bottom of the pod. this enables the 1" shaft to be raised and lowered as required.
lewm, i use the 3 thumbscrews at the bottom to adjust for azimuth. it doesn't matter how the armboardor pod ultimately seats, level or not, the azimuth is measured at the stylus using a fozgometer.
don |
Corby, what is the source for the threaded spikes you use on your armpod? |
Corby, are the tonearm wires on your arms the same aa they were stock or have some of the arms been rewired with custom wiring? |
Dear Corby, I did not at all mean to imply that you cannot adjust azimuth in the manner you have chosen, using the Foz or any other method. But if you do it that way, leaving aside the argument about whether or not the base of the tonearm should ideally be in a plane parallel with the platter, at least you need to position the inner one of those thumb screws very carefully so that it lies in a straight line drawn from the pivot to the spindle (I think). Then, you could adjust that one thumb screw to tilt the top of the cartridge toward or away from the spindle, i.e., to adjust azimuth. (It's still imperfect because of the offset angle of the headshell, but many tonearms with adjustable azimuth live with the same source of error. Changing azimuth with Triplanar and Talea, for example, has a slight effect on VTA.) It seems to me that the location of the adjusting thumbscrew is critical in your system, otherwise the 3-dimensional location of the cartridge body wrt the LP (azimuth, VTA, possibly VTF, etc.) will be inconstant as the stylus traverses the LP, even moreso than with Triplanar, Talea, etc.
Also, I have to disagree with your argument about the primacy of removing "resonances" via the arm pod. True, the cartridge puts out some mechanical energy into the tonearm. In the best case, this energy is transmitted via the headshell and arm wand into the tonearm base, into the mounting board, into the chassis of a conventional turntable. But do you really think the energy is of such a magnitude that it is not dissipated in all these structures long before it could disturb the bearing and platter in any way? I think it is the job of the tonearm/headshell to take away the mechanical energy from the cartridge and that this energy is probably completely dissipated as heat before it even gets into the plinth. If the tonearm does not do that job, if the energy of the cartridge is reflected back to the cartridge rather than transmitted, then you do have problems with mechanical resonance, etc.
I don't mean to sound critical. These are just armchair discussions, as far as I am concerned. If it sounds good, it is good. |
kbell
the spikes are stock brass thumbscrews from spaenaur and they were turned to a point on a lathe,
the wiring on my breuer and on my davinci are both stock, no mods there. |
lewm
you are correct in your assessment of the positioning of the adjustment screws. it is not a perfect adjustment, but it is better than nothing, which is what most arms have, nothing.
i have mounted the breuer directly on the raven via an armboard, on the back of the table now. i have installed 3 thumbscrews in the armboard where it meets the plinth in order to get some azimuth adjustment. i mounted a van den hul colibri on the breuer and am having a heck of a time getting the azimuth good. i think i need another armpod!
as far as your second statement, i really don't know why isolation is a better sound, removing resonance was an educated guess. something changed for the better, whatever it is. |
Dear all,
I asked my carpenter if he could produce a plinth for my SP10 MK II. I know when starting this i left the path of wisdom, at least to most of the supporters of a naked solution. The plinth is 140 mm high. Does anybody know how long the screws should be to fix the motor? the holes for the screws are going to the bottom of the plinth (140 mm). I guess among us are some experts who have gained much more experience with the Technics SP 10 MK II than me.
Best & Fun Only. -Thuchan |
Sometimes we have a good and interesting result and an attractive explanation for it, but they don't always really go together. This happens all the time in science. |
Deat Thuchan - a suggestion while searching for your screws, that you have a glorious opportunity to test out the sp10 on 3 nice footers.
I am sure you must have many lying around ?
Your ET arm :) would require one bolt for it to be mounted for test purposes on a basic arm pod.
Just a thought.
Cheers Chris |
Dear Chris,
you are right, many footers are lying around here. Maybe need to clear a bit. Which arm do you mean? EMT 997?
Best & Fun Only - Thuchan |
Dear Thuchan
I selfishly meant your Eminent Technology arm.
But any other surface mount tonearm would make this very simple and quick to try out.
Chris |
thuchan
the screws can be 140mm long. if you counterbore the 5 holes in the bottom to fit the screw heads to a depth of appx 3/8" that will allow 3/8" penetration into the sp10 thread sockets, which is more than enough. c/b the holes to allow for a washer as well, so 3/8 deep x 3/4 to 1" dia. should work fine.
don |
Dear Ct0517, got it, sorry i did not think of my ET-2 cause this is such a perfect installation on the Naka I will not change it anyway. My plinth at the moment is not designed for a linear tracker and I do have so many other tonearms lying around - also need some clearance now...
of course this could be agood match!!!
Best & Fun Only - Thuchan |
Dear Corby, many thanks for this good hint. Will follow your suggestion
Best & Fun Only - Thuchan |
Thuchan, I assume you know this, but in case not, thread size is M5. What material(s) are you using to build your plinth? |
Dear Lewm, yes - I bought a very good MK II motor unit in a very modest plinth. I would not say it is a master piece. I will let build a new one made of plywood, not a very extravagant solution but carefully handcrafted.
Best & Fun Only - Thuchan |
Dear Thuchan, If you find that you enjoy the SP10 MkII but would like to get more out of it, you might consider the Panzerholz plinth made by Albert Porter, the Steve Dobbins treatment (removes the motor assembly from the chassis, etc) or a slate plinth. All 3 are above the rest of the plinth crowd, apart from some homebrews possibly. And then too, since you posted here on this thread, there is the no-plinth option. |
Dear Thuchan: +++++ " And then too, since you posted here on this thread, there is the no-plinth option. " ++++++
yes, do you already thinked about?, one alternative does not preclude try the other.
regards and enjoy the msuic,
Raul. |
Dear Lewm, Dear Raul - this thread is not about the naked guys only! look in the middle of the thread, also implying the philosophical implications...
but thanks, yes I am aware of the option but I do not regard it as the best possible option as I stated before.
What I am doing here is an experiment and I am not sure where it will end. Of course there are better solutions as Lewm mentioned. I will find out.
Best & Fun Only - Thuchan |
No matter how you set it up, it will be of great interest to me to learn what you think of the SP10, in light of the pantheon of great turntables you have at your disposal. |
|
Mass loading is very good at least that is what my ears are telling me.
Version one aluminum armpod was only a few lbs lighter than the brass - but the weight was dispersed over a longer armboard. The increased force provided by the brass is a positive thing that can be heard. I am not going to provide a lovely description like Dgob provided us with. Lets just say last weekend I found myself reaching for more lps some I had not heard in a while if this is not positive behavior for this hobby I dont know what is.
Recommendations.
How high is your platter? The higher the platter the more material you will be able to use to get more weight (either a bigger diameter or higher armpod). I have the AT 616s adjusted now to their highest point and my tonearm is adjusted to its lowest point. Any higher and it will not work in my setup. I came close and actually had fears when I brought the brass home that I had miscalculated. After analyzing - I breathed a sigh of relief - thank u Bruce Thigpen for all the adjustments u put on that ET arm :)
Symposium Jrs.
With that a source came through and I now have symposium jrs. on their way to me. I understand that they are 1 ½ inches high so my current armpod will not be able to be used for this experiment - as stated my tonearm is set at its lowest adjustment. If anyone can suggest a way of doing this without propping another layer under the sp10 let me know.
So I will get another armpod made a lower one for this - probably about 3 inches high and maybe try it out on my 12" pivot arm as well. I had plans for another armpod anyways
Cheers Chris |
Hey Chris,
You can always elevate your turntable by putting some big tall feet under it, to enable you to use a more massive pod. How about that Vyger turntable? The pod would be 4 feet high or so, judging from photos. In brass, that would be significant mass, I'd say.
You made me think of this, because I have just recently elevated my Lenco in its slate plinth, not so I could use a massive arm pod but in order to accommodate some "feet" that I made out of cans of Mandarin Orange slices in water, sitting on tiptoes. In my rationale, the closed system of Orange slices floating in water helps to dissipate energy (by sloshing of the water damped by orange slices) going from the floor up into the shelf and hence into the slate. For $6 plus the tiptoes, which I had on hand already, it "works a treat", as the Brits like to say, and if you don't like it you can eat the Mandarin Orange slices, for another kind of treat. |
Lewn - I disagree - I think that cantaloupe slices would work better than the orange as they are not as acidic, they are in season right now, and studies have shown when talking to workers from their place of origin that they resonate the least : >)
I am having a hoot with this and looking forward to making another arm pod for my other pivot arm and also testing out the jrs on alternate equipment first.
|
Just a short follow up on my experience with the footers used under the platter/motor.
First I believe it is more important that you have a good solid level isolated platform. I dont think footers should be used as a bandaid for fix platform problems. Fix the platform first.
I have experimented with footers 1) when necessary to up hold a DIY project like this or 2) to change the sound of manufacturers feet.
This applies to one above.
I tried different feet and they all worked. I would still be using the maple shade heavy footers but the at616 came along and they are adjustable. That was my only reason with the different armpods. Its very subjective we all have different gear and even more different - stands and shelves holding the gear. Experiment with them.
As to weight of the armpod I dont know how much weight will work best. My footprint weight changed substantially with the brass - and I believe for the better it certainly did not get worse common sense says more is better but as Lewn pointed out with Vyger some people get carried away. At least I think so. If you have ever picked up 10 lbs of steel or brass with one hand it is substantial its not going anywhere when coupled with spikes. The next armpod for my other tonearm will again be out of brass, slightly shorter (to accomodate a test witht the jrs. eventually) and will cost $116.
Some people spend this much on an lp :). |
Cantaloupe? Where do you ever see canned cantaloupe? I toyed with the idea of stewed tomatoes, peas, corn, etc. Anything that is sloshing around but has some substance. Cantaloupe might work if the water content is high enough. Note that I am taking your response seriously. Not.
Soon I will mount photos of my anti-no-plinth, made to my design and then assembled by me for my SP10 Mk3, using a huge slab of slate bolted to a substantial wood base made from solid cherry and baltic birch and with a brass billet imbedded under the table to dampen any bearing vibrations via connection of the bearing housing to a brass rod which screws into the brass billet, a la the Albert Porter idea. It weighs about 90 lbs without the SP10 installed. The wood base really adds substantial further dampening to the slate. You guys would hate it. |
Dear Lewm: ++++ " You guys would hate it .... " ++++
well not really, because we don't need it we even don't have to think on it ( half true half joke. ).
Btw, nice to see you own the MK3. Now I understand why I see your add saling the MK2. Congratulations for that, obviously your feedback on the MK3 will be appreciate.
Regards and enjoy the music,
Raul. |
Dear Lewn - I would never hate anything that makes great sounds and music. Music is music. How you get there doesnt matter. As long as each of us gets to what makes us happy if that is possible in this hobby. It is a hobby right?
There are complicated and simple solutions to our audio goals. I find as I get older - I turned 50 in February - I much prefer the simpler ones and the ones that get me more involved.
I echo what Raul said - I look forward to hearing your impressions of the MKIII and Thuchan's impressions of his MkII.
FWIW - I knew something was off with my brass armpod. I got home tonight after being away, measured it and it is actually 4.25 tall. I was so like a little kid setting it up last weekend I never bothered to measure. Anyone ordering from Metal Supermarkets better make sure they give you the size you need especially if the little extra will make a difference.
Cheers Chris |
