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Randy, Just be aware that this is a tricky beast to dial in. And, it doesn't like AC* turntable motors. That's why I did the Origin Live motor/power supply upgrade on the Linn. OTOH, I have used this in a SME III tone arm with pretty good results. But the SME III also allows you to change the arm mass, and it also has a silicone damping tray/paddles. The Decca (London) Jubilee & Reference are quite heavy. Earlier models like Plum & Super Gold have a metal "can" body and are much lighter. The Jubilee & Reference models are on a different level - substantially better in every way. EDIT: I said DC initially. That's wrong. It doesn't like AC motors - it will pickup the AC 60Hz line noise.

My NAD M32 has both MM and MC phono inputs. Out of convenience I usually just use that and it sounds very excellent. Honestly, I don't play records that much anymore. But if I want to get that vintage sweet sound I'll use my Audio Research SP-6B as the phono preamp with the line level out going to a line in on the M32.

1) it has pretty high output. 2) the "cantilever" is almost vertical. There is a coil around the "cantilever" at the stylus tip which makes for extremely accurate - they called it - positive scanning. The lateral movements of the stylus are being picked up right above the stylus tip/record surface. 3) the vertical coils pickup the vertical movement of the stylus/cantilever with the same accuracy - looking at the up/down "cantilever" movements directly above the stylus. I don't know about replacing the stylus. I had to send mine back the U.K (Presence Audio) to have it serviced. Cost me $100. Many people claim a love/hate relationship with this pickup. It's not without it's caveats. It really needs to be in a damped arm. Preferably uni-pivot. Mine is on a Moerch UP-4 with a medium mass arm wand, on a Linn LP-12 with Origin Live motor & power supply upgrade. A real pain-in-the-arse to setup and dial-in. But, if you know how to do that................................. 😇

This has been my favorite for many years. I guess "technically" it sort of fits in the moving iron category, but no "cantilever" in the traditional sense. I use the Decca Jubilee.

I decided to go with an NAD M32. I compared it to the MA5300 head to head for 2 weeks. Quite honestly, I could probably live with either one, except if it weren't for the low end. That Y adapter splitting the preamp out/power amp in was a real deal breaker sound wise. The lower it went (think Peter Gabriel, UP or Insane Clown Posse or 1812 Overture or even Emmy Lou Harris SPYBOY) the worse it got - as in almost nothing. The midrange and treble were pretty much equal. I don't think I could tell them apart in a blind comparison. The M32 has everything. Plenty of inputs/outputs, digital and analog, including HDMI and HDMI video pass thru for a 2.1 HT if I ever go that route. But yeah, all those "features" seem to be disappearing from most components. But why? I mean, how much would it cost to add a couple of analog RCA outputs on a $5500 amp?

Back to the original topic.............................. I recently had a McIntosh MA5300 stereo integrated amp in my system for a couple weeks. I have to admit, I was completely astonished - and not in a good way. Nothing wrong with the sound (per se')**. But when I started hooking it up, that's when I was astonished. Yeah, I have a lot of equipment. And some of it is older vintage stuff, and some of it isn't. The first rack of equipment, the one the MA5300 would be sitting in was fine. Then I (was) going to start hooking up the second rack of gear which is mostly a bunch of tape decks, analog and digital, as well as a SACD player. I'm looking at the MA5300 back panel and thinking WTF? No outputs! NONE. z e r o. I can't even hook up half of my equipment! $5500 and no outputs, digital or analog. And what was even more "troubling" is that in order to stream Tidal, I had to buy an outboard device, a NAD Bluesound 2i Node in order to get the streamed content into the MA5300. The guy at Magnolia Audio tries to explain to me how the MA5300 is an "end point", not a central component. Excuse me? No, the speakers are an end point (actually the room is). I had to use a cheap Y-adaptor just to get the subs connected. What's the point in that? And to make matters worse, as I looked at the more expensive Mac integrated amps, things actually got worse as it went up in price! (like no remote control tone controls). Sheesh. After doing more research I've found that this (lack of inter-connectivity) seems to be an issue with most more recent amplifiers/receivers with maybe the exception of home theater A/V components which I don't need nor want. ** the sound was fine - except for the lowest bass & subs. That Y adapter the McIntosh manual said to use is highly not recommended.

I love GOO. It's a semi-flexible adhesive. I'm familiar with from model railroading. Walthers (Milwaukee) is the main purveyor. Should be available at any hobby shop. I've fixed everything from speaker cone tears to a large outdoor plexiglass store sign (4'x20') that cracked in half.

For ME............. It's when I've finally heard so many, many, many systems that are immensely more expensive, and don't reproduce any more of a convincing "image" that "I am there" than what my system does. At that point, the only thing "better" is the live performance itself - sometimes - you know what I'm talkin' about 😉

What I like most is this guy is from the U.K - his "reference" speakers used to be Quad electrostatics. He never heard a Klipschorn - until recently. And now this is the best he's ever heard. Well Mr. Rob...............there's more to come. And it's better than the original Klipschorn. And IMHO he really needs to do something about that room!!!!!!! Then he'll really hear what they sound like!

What do you call a person who always wants to hang around with musicians? A DRUMMER 👍

How many drummers does it take to screw in a light bulb? TWO One to to hold the bulb. And one to drink until the room spins................ 🤭

(stock market) You know what they say about brokers....................... THEY MAKE YOU BROKER

I'd avoid anything with foam suspension/surrounds. They all rot relatively quickly.

DITTO DON'T YOU DO IT!!!!!!!! 😉

As far as I know, there's no such thing as Pizza outside a 75 mile radius of Chicago. 👅

I'm an architect/landscape architect by education/profession (although left the profession 15+ years ago). I was also one of the first in my profession to use computer-aided graphics (1980) and later CADD & video imaging systems. Consequently I was sort of inadvertently drawn into writing articles on the subject. I've had articles published in everything from the local newspapers to professional magazines to the Wall Street Journal. What usually happens is, especially with a subject the publication editors know very little about is I would write something, and send it to the editor for review. The first time I did this I was really pissed off when I read what the editor had edited. But after a while I came to realize that the editor had simply removed a lot of words I didn't need. The size of the document was often significantly reduced, but more importantly, it added clarity. It was more understandable to those who don't know, to who the subject is new & unfamiliar. As I got better at writing I found that editors didn't make as many changes to my text. Less is more. Keep it simple. The (professional) editor is your friend. Learn from them. That's their line of work.

Another thing I did - long ago - was put up curtain rods. I used floor to ceiling curtains, fairly heavy. You can then simply slide the curtains around for absorption until you find what works best. Curtains don't have to be used only for windows!!!

1) IMHO, Melody Gardot, Frank Sinatra, or whoever, shouldn't sound like they are five feet from you. Ultimately, for me at least, the idea of an excellent playback system is one that can "take you there", more so than put the singer/orchestra/band in your room. So, to me, what you appear to feel is a good thing is something I try to avoid, or at least take to another level. A lot of that is somewhat dependent on the recording. But, to each his own. 2) I went to a department store rug/carpet section and asked if they had any rug remnants I could have - for free. The first thing you need to do is determine the early reflection points as they relate to both the speaker and your listening location. Have someone hold a small mirror against the wall & ceiling & move it around. When you can see the speaker in the mirror from your listening location, mark that location with a pencil. That is were you need to start experimenting with absorption or diffusion materials. You can hang the rugs (or blankets or whatever) with small finishing nails or tacks as this will not be permanent yet. You could also make some cheap stands or panels that can be moved around - simply lay then against the wall for now. 3) You've mentioned the cost of "hundreds of dollars" for acoustical materials. In my experience, especially with Klipschorns, acoustical room treatments are one of the cheapest improvements you can make to improve the sound. And don't forget bass traps. Auralex makes something called MegaLNRD, large, triangular, fit in the corners - right on top of the Khorns if you like. EDIT: And get those caps or networks replaced!!!!!!!!!!!! I have the same year and model Khorns. My networks/caps don't look anywhere near that bad - but the Khorns are being used in my model railroad room now, not the listening room.

When I got my Reference 7iii & RC64 same thing you described - sound was a little tight & bright. I previously had Chorus I and RC7 doing the same duties. Mine get used the most for just plain old background music (FM) and TV. Only occasionally for full-throttle movies. After many weeks of playing them relatively quietly, and a few (sound) blockbuster movies like Skyfall they sounded more natural and relaxed.

As usual............................ See you at that great gig in the sky, man

Mother, should I run for President?

Unfortunately too much shade for me. So mostly flowers and some herbs - chives, basil, oregano, rosemary, nasturtium

"My First Attempt at Jazz (kind of...)" Give me a break. No one plays Jazz like that on their first attempt. You have to learn the music. You have to KNOW the music. And by then it's clearly not a "first attempt". And as I previously stated, let's see her play that song all by herself instead of with the recording which she has obviously practiced along with many, many times.

The first time I saw Joanna Conner was at a Chicago Blues Fest WAY back (80's?). She took about 20 years off the music scene to attend to her family life/kids. She's been back a couple years now. Doesn't seem to have lost anything and better than ever. But it's kind of funny. Just looking at her you would never suspect that gramda smokes the guitar like that.