Mike said:
"That said, the Monaco stomped all over the Merrill (and most suspended 'tables I've heard) in the bottom octaves."
I am having a philosophical struggle as to how a table can play the bottom octaves exceptionally and not the rest of the spectrum.
Two things occur to me: 1) the Monaco is really not playing the bottom octaves correctly but is coloring them in a desirable manner for bass. If this is true then the coloration may also be affecting the middle and upper octaves.
2) On the other hand, one could say the exact same things about the Merrill: it is not reproducing the middle and upper octaves correctly but coloring them in a desirable manner.
A turntable, among other things, has to spin accurately through groove modulations and drain external and internal vibrations. How does a Monaco do this correctly for bass but not for the mids and highs? And how does a Merrill does this correctly for the mids and highs but not for the bass?
Or could this have nothing to do with the turntables which are both reproducing very accurately but the downstream components? I know Mike did a lot component matching but maybe at this level the components have to be exquisitely matched for balanced results. I know that when I tweak something on my table/arm/cartridge it can take many hours to dial it in to where I feel I have maximized that tweak.
"That said, the Monaco stomped all over the Merrill (and most suspended 'tables I've heard) in the bottom octaves."
I am having a philosophical struggle as to how a table can play the bottom octaves exceptionally and not the rest of the spectrum.
Two things occur to me: 1) the Monaco is really not playing the bottom octaves correctly but is coloring them in a desirable manner for bass. If this is true then the coloration may also be affecting the middle and upper octaves.
2) On the other hand, one could say the exact same things about the Merrill: it is not reproducing the middle and upper octaves correctly but coloring them in a desirable manner.
A turntable, among other things, has to spin accurately through groove modulations and drain external and internal vibrations. How does a Monaco do this correctly for bass but not for the mids and highs? And how does a Merrill does this correctly for the mids and highs but not for the bass?
Or could this have nothing to do with the turntables which are both reproducing very accurately but the downstream components? I know Mike did a lot component matching but maybe at this level the components have to be exquisitely matched for balanced results. I know that when I tweak something on my table/arm/cartridge it can take many hours to dial it in to where I feel I have maximized that tweak.