2. analog
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Are there other Artisan Fidelity TT owners aorund?

So after being an audio hobbyist since my uncle got me going down this demented path some 17 years ago I finally purchased a TT. I had flirted with the idea for a very long time but honestly I've heard a number of TT's at shows and at buddies homes and none of them moved me. Now obviously many many variables are involved. Lets start with, was their TT setup correctly (superlatively).., I don't know. Was the arm/cartridge combination simpatico.., again, I don't know. Was the phono preamp just so-so or great and if it was great was the cartridge loaded correctly.., you get my drift.

So with my digital down through the years easily besting (to my ears) the analog I'd been privy to, I found no reason to spend the money required to involve myself with analog. My former Bidat easily dispatched a SOTA Cosmos Vacuum TT in a head to head listening session. Ditto for my former Dynavox Dynastation.., same with my AMR DP777...etc.

At Axpona last year I listened to the $170K Clearaudio TT along with about $85K worth of Pass Amplification and perhaps $200K worth of JM Labs speaker and cabling only to be more moved by the sound from the Playback Design MPD-5 in the same room.

Finally I realized the only way I would ever find out for myself would be to purchase my OWN TT and make sure it was expertly setup and dialed-in. I had a rare chance to purchase a latest-revision-pristine example of a Graaf GM70 Phono Preamplifier. I have a soft spot for Graaf as Mr. Mariani simply builds the finest gear I have laid ears on. So now I have this phono pre sitting in the box for a few months when I see a SP 10 MK III come up for sale in Agon. So, I threw caution to the wind and contacted Chris at Artisan Fidelity; after some conversation I hung up having just commissioned the building of a SP10 MKIII Next Gen TT.

I was happy for about a month then the fear started to creep in, "what have I done?". What if this thing SUCKS!!!! and my digital system which is very very very good if I do say so myself stomps it!

During the build I researched and read tons of user reviews (I don't really pay attention to so-called pro reviewers) on arms and cartridges. I finally settled (with a lot of talking to Chris and other friends and a lot of late night web searching) on the Kuzma 4 Point and the Ortofon MC Anna.

So, here we are today and I have had my TT for a little over 3 weeks now and I have about 150 - 160 hours on the rig. Early on it sounded ok, you know.., good but nothing special. I liked it but my digital was fully up to the task and in some cases much better :) (now I'm scared)

Ok, so fast forward to 100 hours.., ok, I think I'm starting to understand all this analog hype :) better and better. now we are at 150 hours.., the word SUBLIME comes to mind. The spaciousness, openness and natural continuity of the analog is addictive. The dynamics seem to go on forever along with a naturalness that is very difficult to put into words. I did purchase the Furutech Demag, the Destat II, a scale..., all the toys to go along with it :) Again, I wanted to know for myself and the only way to do that was to take the plunge.

So how does my digital hold up? Well, my well run-in long time AMR DP777 has NOTHING to be ashamed of. It sounds great and I can easily go from the TT to the DP without too much shock (the AMR guys are big vinyl heads and use vinyl as a reference when designing) BUT... when I have two equally well recorded pieces of music (Best of Eva Cassidy comes to mind or Diana Krall Live in Paris 24/96 vs 180g/45) as good as my digital sounds the SP10MK III simply walks away. Again the digital is not trodden underfoot and indeed 20 seconds of the digital and you will be into it fully, but the analog rig beguiles with its effervescent ease and infinite continuity of musical flow.

Ok, so to end this long synopses.., I am now deeply into analog and have been going to local used record stores and burning up my cc on Music Direct and Acoustic Sounds...etc.

The folks at Artisan Fidelity are the real deal and they built me a museum quality +180 pound Porsche Basalt Black TT/piece of art that sounds AMAZING!!!!

I also ordered a Bassocontinuo Apogeo rack for the table which should arrive in about 2 weeks. I am enjoying my foray into the land of analog!!!

THANKS CHRIS!!!!!!!
audiofun
dover
2,243 posts
 
Audiofun,
I do agree with you on the need to take care on modifications to collectible equipment.
When Technics SP10 owners are contemplating the krebsupgrade they should be aware that there are legal exclusions of liability for any breakages incurred during the modification and that the modifications are irreversible.
I quote from the krebsupgrade website -
Some Legal Items:
All due care will be taken with your precious motor, however there is a remote possibility that a fragile or previously damaged but still functioning part could fail. In the unlikely event of this happening. We will do our best to repair or replace this part but we cannot guarantee a fix and cannot be held accountable for this failure.

FREQUENTLY ASKED QUESTIONS
If I dont like the upgrade can it be removed?
Due to the nature of some of the materials used the complete upgrade cannot be reversed.

It is also of concern that no measurements or objective tests have been provided to support the krebsupgrade claims.

I have auditioned a Technics SP10mk2 before and after the krebs modifications. The SP10mk2 sounded smoother but gluggy after the modifications. According to krebs this "gluggy" goes away after several months, but owners should be aware that if they do not like the changes, the mods are irreversible. In my view the modified SP10mk2 is miles away in performance from a standard SP10mk3. In audio as is true in life there are no free lunches.

Comparing the krebs Technics SP10mk2 to a standard Kenwood L07D and replinthed and blueprinted Garrard 401; to my ears the Garrard 401 was superior to either the L07D or the krebs modified SP10. In particular the Garrard was more coherent and presented a more integrated sound through the whole musical spectrum.

I have also heard krebs own SP10mk3 on numerous occasions from when he first purchased it in the late 80's. I last heard krebs SP10mk3 about 5 yrs ago, certainly since 1995 when he first used the oil.
The krebs modified SP10mk3 to my ears has always lacked resolution, transparency and musical coherency compared to my Final Audio VTT1.
04-05-14: Richardkrebs
The SP 10 range in standard from is noisy, not in the conventional sense but noise which is a function of the music being played. There is also a tension, stress if you will, to the presentation and a greyness that over time is downright irritating.

I could not live with a standard SP10 MK 2 or 3. I don't have to, but I very happily live with my worked SP10 Mk 3.

Apparently there have been further "claimed improvements" that remove the grey gunge, but I cannot attest to the veracity of these claims.

It is noteworthy that Artisan Fidelity in contrast to the Krebsupgrade has a complete list of modifications and test procedures for their SP10 refurbishment and enhancements on their website.

richardkrebs
422 posts
 
Audiofun and Dover.

Firstly I will leave it to the growing number of industry leaders who are using my upgrade in their MK2 and Mk3 motors, to attest to the efficacy of my work. These audio manufacturers are using my worked motors as their analogue LP reference to evaluate their own equipment.
Further while measurements are of great importance, we cannot listen to them. See my web site for unedited customer reviews.

It is an interesting irony that the use of an excellent plinth like the Artisan Fidelity, actually exposes more, the greyness to which I refer. This because the plinth removes so much of the coloration that lesser plinths introduce. The intrinsic coloration of the motor itself is then laid bare. Once this greyness is heard it cannot be forgotten.


audiofun OP
799 posts
 
I can only speak for my ears, eyes and nostrils. I hear no grey-ness whatsoever with my SP10MK 3 and I have listened to a fully sorted Artisan 301 with the statement bearing and also my excellent AMR DP777 with hi resolution files as well as some truly superb redbook. Also some outstanding Reel to Reel (and to many other world class sources to name) and I can honestly say my SP10 MK3 had none of the grey-ness mentioned. The MK3 I beheld had the mod performed more than a year ago and oil was all over the inner housing and it was not dry except in places where it had hardened like a glue and it certainly smelled bad I would say rancid and this after more than a year.

Matsushita had literally tens of millions of dollars at their disposal when they designed the SP10/MK2/MK3 as this was at the height of the great TT wars of Japan. I would think that if spreading an organic oil on the inner parts of this deck would have been better.., it would have been done.

Again, I am not here to bemoan the point (Dover I do find your views very interesting). I simply wanted the community to beware of what is really happening to your prized SP10 MK3 and I know that should I ever purchase another MK3 (spare) it could NOT have a Krebs Mod. I would not buy a table subjected to that type of modification, but again, that is ok.., that is my choice and others may differ with my opinion; and they have EVERY right to do so.
audiofun OP
799 posts
 
Correction: I meant to write "I simply wanted the community to be aware", NOT "beware".., my bad.
richardkrebs
422 posts
 
Audiofun

"Matsushita had literally tens of millions of dollars at their disposal when they designed the SP10/MK2/MK3..."

I absolutely agree, they did. Why then is the excellent Artisan Fidelity plinth an improvement over the original Matsushita designed plinth?

I mean no malice. We all have our individual opinions and biases, but I know that we share a common love of music. I trust that you will thoroughly enjoy your Mk3 for years to come and that is the great joy of our hobby.

Cheers.
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