What stopped Ford from producing the Focus ninety years ago?What stopped Linn from producing a karousel 30 years ago?
What stopped Ford from producing the Focus ninety years ago?
New materials, new techniques, new engineers, new ideas, more money for research.
What stopped Ford from producing the Focus ninety years ago? New materials, new techniques, new engineers, new ideas, more money for research.
The Karusel bearing doesn't employ any technology in materials or construction that was not available decades ago.
I think a significant reason why the Karousel sounds fabulous is down to the way it is fastened onto the sub-chassis. It will be interesting to compare the differences between:There's nothing new about that bearing that couldn't of been machined 60 years ago never mind 30, so it's not down too materials, techniques or ideas.
It will be interesting to compare the differences between:
(1) Cirkus / Cirkus sub vs Karousel / Cirkus sub
(2) Cirkus / Cirkus sub vs Cirkus / Keel sub
(3) Cirkus / Keel sub vs Karousel / Keel sub
No, I don't have a Cirkus bearing or sub to start with. I went straight from Pre-Cirkus / glued steel sub to Pre-Cirkus / GS Klone to Karousel / GS Klone. Both changes brought significant, but different improvements.Are you going to do that??
The most immediate difference was clarity. There is improved incisiveness to the way notes are shaped and portrayed. I'm not talking about starting and stopping, but the manner in which they unfold and decay. It sounds altogether more organic.
I could swear the bottom end is considerably firmer, and more muscular. Now, listening at late-night volumes, it's a fair bit easier to discern basslines. My LP12 never had much of that rose-tinted midbass hump. Now, it's gloriously tuneful and entirely even-handed.
I think resolution has improved too. I'm now hearing more vibrato effects on some pieces whereas previously they sounded like straight notes or chords.
The Karousel has been fitted. First impressions are:
-- I'm hearing textures in bass notes I've never heard before.
-- There seems to be more layering of musical information, where it's easier to hear subtlety amidst loud passages. There is better dynamic contrast.
-- Articulation seems more incisive. the timing and pitch of notes changing are better differentiated instead of blurring together.
-- Background noise is vastly reduced. Clarity is definitely improved.
I'd get a Technics SL-1200G.I'm looking at LP12s just now and the permutations are doing my head in! Whether it's best to get a newer deck with a more basic spec or a higher spec older one. No idea!
For the avoidance of doubt, I'm quite serious. I have progressively invested in my LP12 over a period of almost 35 years, so its cost over time is well spread. But it is irreplaceable in its exact form without buying bits and pieces from the used market. I'd have to buy a fully loaded NEW LP12 to get a similar level of performance at a price I cannot justify. Hence, the sharply priced and well-received 1200G makes economic and musical sense.I'd get a Technics SL-1200G.
I'd get a Technics SL-1200G.
I think you're probably right. I couldn't afford buying my deck new, and I certainly couldn't sell it for what it's cost over the years.For the avoidance of doubt, I'm quite serious. I have progressively invested in my LP12 over a period of almost 35 years, so its cost over time is well spread. But it is irreplaceable in its exact form without buying bits and pieces from the used market. I'd have to buy a fully loaded NEW LP12 to get a similar level of performance at a price I cannot justify. Hence, the sharply priced and well-received 1200G makes economic and musical sense.
I may consider buying one to satisfy my curiosity if I can find one at the right price.
A few years ago I scored a minty SL1200 for a great price to see what all the fuss was about. I popped a Linn MC on it and it sounded good on its own. I made some recordings of it then popped the same cartridge on my similar aged Rega Planar 2. The Rega is more musical.For the avoidance of doubt, I'm quite serious. I have progressively invested in my LP12 over a period of almost 35 years, so its cost over time is well spread. But it is irreplaceable in its exact form without buying bits and pieces from the used market. I'd have to buy a fully loaded NEW LP12 to get a similar level of performance at a price I cannot justify. Hence, the sharply priced and well-received 1200G makes economic and musical sense.
I may consider buying one to satisfy my curiosity if I can find one at the right price.
A few years ago I scored a minty SL1200 for a great price to see what all the fuss was about. I popped a Linn MC on it and it sounded good on its own. I made some recordings of it then popped the same cartridge on my similar aged Rega Planar 2. The Rega is more musical.
@Mr Pig I'm confused. I thought that your Rega RP10 outclassed the Linn in every area?
Nope. It's is better in every objective area.
Noise floor is lower, speed/pitch stability is much better, more neutral, more detailed, in all Hi-Fi respects it is better and not slightly. Many things are different ballgame better. But? What the LP12 does is make you love the music more.
In Hi-Fi terms there is no comparison but I enjoyed the music more on the LP12. Maybe if you put the right cartridge on the Rega but I've tried a lot and most of those worked fine on the Linn. I was thinking about trying an Ania pro but I think I'll just draw a line under it and move on. Can't say I'm all that happy about the prospect but musical involvement is top priority for me and a decent LP12 scores very highly in that regard.
But I'm going to buy a Linn before I sell the Rega just in case I can't go back to it.
I personally wouldn't chase improvements for the Rega; it really ought to sound good with almost any cartridge on it.