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If this sounds like YOUR Turntable story, please share your final chapter

You had a nice budget ($2k-$4K) table, which you enjoyed for years. It always served up the analog goods, and you always felt as if you were in a good place. However, like many of us, you have audiophilia nervosa. Having succumbed to this mystical force that commanded you to upgrade, you took the leap to the next plateau. You immediately heard the advantages of what your new, well designed table was offering up. It was quieter, music emerged from a blacker background. It had tighter, more articulate bass.....mids were clear, layered, involving, yet organized.... Highs were more extended,  filling your listening area with a more believable, 3D presence. You were in awe, for a while! Fast forward to the middle of the story. Even though the table was more substantial, and did many things better than your baby boomer table, you soon realized it appealed more to the brain than your heart. It could tend toward the drier side with many of your go-to vinyl treasures. You ultimately realized that while the new table received more check marks on the audiophile checklist, it was not as engaging on an emotional level. Let me cut to the chase. So you took one or two wrong exits, but you found your way back. In doing so, you once again found that engaging, special something, analog is capable of delivering. Which table brought you back to the analog promise land?
fjn04
lewm
13,437 posts
 
fjn, Do you perceive an internal contradiction in your lament?  On the one hand you think there is something special about the WT, and on the other hand you also think it is the weak link.  Can you say how these two positions are both tenable? 

I can only give you my own private opinion on the WT turntables I have heard.  I generally keep this opinion private, because I know that WT has a lot of fans out there, and I do not wish to offend anyone, because after all, it's only my opinion.  Anyway, I don't care for the tonearms one little bit.  They are a classic example of a novel idea that is in the end not a good idea.  They are unstable as to azimuth, and I hate the golf ball bearing. And the combination of the tt and the tonearm (I don't know for sure which is more to blame) makes all LPs sound pretty much the same.  Always "nice"; always smooth.  Usually lacking in detail and seeming to flatten transients.  No offense meant to aficionados.
nkonor
635 posts
 
bdp24, bought my LP12 in 88'. Five months later, armed w/ setup jig, strobe & disc, setup manual; I moved to Alaska. The LP12 really started  my "High End" addiction!" Played the Music! Even though I had an audio addiction since 70'. Did well at "Tuning" and upgrading the LP12.

 Has only been "Tuned" by a Linn "Master" twice (2). Most recently by Tom at "Ovature Audio " in Ann Arbor, MI. At (28) yrs; It plays the Music! I bought a Kuzma rig at Axpona this past April. It plays the the Music too! Two very different TTs, arms,cartridges. Both play the Music, but I like the ergonomics of the Kuzma better and the azimuth adjust of the Kuzma arm brings better soundstage and imaging! The 12" Kuzma arm unravels the most complex passages. Have to admit that the LP12 with "Tom's" tuneup, "Plays the Tune!" My maintenance was always been audiophile good and so is the 
Kuzma.
Thinking about the future; I wonder if upgrading to a Kore and Radical on the Linn starts making the Linn more audiophile? Or does it retain the "toe tapping " Music? All Linn owners that have made these changes; Please comment. Thanks in advance!
fjn04 OP
1,561 posts
 
lewm- I'm going to take a stab at that, without referring to Websters to look up tenable. (-:  With regard to the GTA, no offense taken.... In fact, I appreciate your candidness. That is exactly what I'm looking for.  I won't debate your specific comments regarding the WT, although my LP's sure don't sound the same. I just went to audition a table/arm in a store, that had my cartridge. With this table, I heard a sameness from LP to LP. Everything sounded slow, lacked pace, and was dark and lifeless. I won't mention the table because it's irrelevant, and as we all know, there are always variables involved with setup and all.  I believe the Amadeus is good at it's price point, but if I hear something in the 5-12K price range (with arm) that beats it, without losing the soul, I will be doing a victory dance. The table I heard last week certainly didn't, and it retailed for over 11K. I should be hearing another table next week, and that will be in the 6K range. bdp24- Indeed, the LINN tables have that reputation for serving the music first. I haven't had the opportunity to hear one. I do want to mention the REED tonearms have my attention. Woodsong is one of many dealers, and he pairs them with his vintage tables and hand made plinths. But I'm trying to get out there and hear what I can first.
noromance's avatar
noromance
10,042 posts
 
Many years ago a friend who was an opera buff and decent tenor swapped his LP12/VDH Grasshopper for the new Well Tempered TT and arm. I popped over for a listen. While he was pointing out the black backgrounds, I couldn’t help noticing that this was a step back. Gone was the sparkling clarity of the Sondek -replaced with a muted veiled grey coloration. He tried lots of cartridges, levels of silicone and even replaced his stacked 57s with 6’ Acustats. He eventually got rid of it and admitted it was not for him. He ended up with a 401 and Ortofon SPU.
fjn04 OP
1,561 posts
 
Sounds like he made a very nice choice. I did hear a 401 in a Slate Plinth, but in a system a whole lot different than mine. I've already gone vintage with speakers....Bought a pair of Altec Valencia 846A's last year. Running a Shindo pre and amp in to the 16 Ohm Valencias. Many people in similar situations have gone vintage with a table. I'm just a serviceable setup and maintenance guy, so thus far, I've been reluctant.
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