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Epigraph

"…just buy a used Micro Seiki and don’t worry about turntables anymore; built like a tank and sounds better than TTs costing over 30K USD.”
Mr. Ikeda, of Ikeda / Fidelity Research

The Main bitching
 
It amasses me how the preoccupation of the analogs people with their turntables has practically no relation to the actual sonic result that those turntables are capable off and practically entirely depends from the blown up intellectual things that have no or littlie  relation to actual sound of those turntables
 
The reason I write this article is become a see a huge lack of any common scene in turntable universe. Some folks do analog. They buy, turntables, tonearms, cartridges, phonocorrectors, washer machines, records, many other tools, they go over a huge amount of time and effort to get bet sound out of all this ridicules analog gear. Their efforts are perfectly reputed thing to do. Still, an audio a typical Moron can not escape from himself and while perusing better analog Sound the audio Morons submerge myself into the swamp of completely irrational addiction to the sings, that has no relation to better sound and   “better audio”.
 
Any audio person know that a Turntable maters. Different turntables produce different sonic masking inflictions and different performances equalizing colorations. The best of them do not impact (or even highlight) the interpretations of performed peaces and do not inflict sonic limitation to “the sound” that was taken out of LP. Sound simple, doesn’t it? Well, unfortunately the audio industry and the audio cretins who sponsor it (means you, the analog people) do not get it. The market flooded with dozen and dozen different turntables. I’m perfectly fine with a large number of $200-$500 turntables. They do not pretend to sound neutral and they cost accordingly. However, what to do with an army of $1000-$75.000 turntables that sound identically to their $500 counterparts, cost hundred times more and accompanied with all imaginable BS about their irrelevant designs, the BS structured only to convince the gadgets-minded Audio Morons the they “should be” sounding better.

Really, HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND? I know, I know, there is an army of idiots-reviewers who love to writhe this doodles how the different turntables produces the different sounds. Let leave aside that their “sounds evaluation” is as bogus notion that they only is cable to employ in their “incorrect reviewing techniques”. Let leave also aside that the reviewers are juts plain ignorant fools living in complete denial: the Fremer,  reviewing in context of his impotent playback, impotent psycho-balance and in the room with sucked of reverberation time, the Myles who detects on his turntable the seismic movement of continental plates …. playing it in on the ….. smallest Martin Logans and having his turntable sitting atop of his TV set… I can go on … but give me a break! If we leave aside ALL that crap and presume that in the contemporary world there is no way to get a public objective opinion about a turntable’s Sound then what we have left? It is correct we have left with the pure intellectual and semi-technical justifications that you, freaks, convince yourself, while you are anticipating a turntable to reproduce better SOUND. So, HOW YOUR INTELLECTUAL CONVICTION RELATES TO  ACTUAL SOUND? Good luck to answer this question.

Two or 5 motors spinning the same platter, the tension decoupling, the DC supplies for motors, the super sophisticates power sources for the motors, the NASSA’s or defense materials (this always made me to laugh), the complicated player suspensions, the crazy bearings and oiling topologies, the sophisticated allocations of masses in platters, the unimaginable decoupling and suspension ideas, the kinky idea of the vibration propagations and so on and so on and so on … Certainly this all are valid engineering points but again: HOW MUCH ALL OF THIS RELATES TO THE ACTUAL SONIC RESULTS, and particularly not the DIFFERENCES HOW A TURNTABLE PORTRAY THE SOUNDS BUT HOW IT DOES SOUND? (Not to mention that what our analog gurus-reviewers know about Sound and it’s objective assessment worth nothing). So, you the consumers, do not buy the turntables for their sound but for this intelectual justification what was done in those turntables. As the result, we have  the Graveyard sounding Rockport turntables; Rock-&-Rolly but with no bass sounding VPI turntables; ecoy and puffy sounding Thorens turntables; flimsy, capricious and brainless built Walker turntables; farty sounding Garrard turntables; magnanimously-ineffective sounding Linn turntables, digitally sounding Clearadio turntables, zippy  and floaty sounding Rega turntables, rubbery  and chewy  sounding Kuzma turntables, Audiogony sounding Wilson Turntables, granitely sounding Well Tempered turntables … I might go on and on…. You also have the Continuum guys who very egger to convince everyone  that his software know what their turntable needs to Sound “correct” but at the same time they was playing a half of the CES 2005 their turntable at wrong speed and not able to hear that tempi-vise and tonally his $50K turntable was way off… Pathetic? Stupid?  I am not taking about the Continuum’s people but about YOU - THE PEOPLE WHO GIVE A RESPECT TO A TURNTABLE EXPLICITLY FOR THESE INTELLECTUAL DESIGN EFFORTS INSTEAD OF THE ACTUAL SONIC EFFORTS.

Well,  be advised  that if you freaks buy turntables only as an investment into a MUSEUM OF ABSTRACT MECHANICAL ENGINEERING then you do it juts as an investment into a pure relevant to sound BS. A few days ago a guy that I know bought a big turntable. The guy considers himself a rational person and he perhaps is. The turntable came with a supplemental but demanding engineering feature that I personally consider is quite bogus; means HAVING NO RELATION TO SOUND. When I asked the guy if he intend to use this feature he replied that it is a magnificent feature that has a great implication to sound. Knowing that he did not even set his TT up I asked him why he made such a statement. He replied that whoever used it told him so. Eventually he admitted that he has no one credible person who ever use the feature and that his feeling that this feature might me beneficial he pulled totally out of his own ass. Why? Because he (as well as you) wants to believe that a MORE EXTRAVAGANT ITEM IN A MUSEUM OF ABSTRACT MECHANICAL ENGINEERING PRODUCES BETTER SOUND.

Do you wont evidence that you all analog freaks are in fact are just freaks? Ok, couple months back a guy from Hong Kong, a good and reputed dealer, posted at each audio junkyard his adds that he was selling Micro Seiki RX-5000 and RX-8000 turntables. The prices were moderate but over a course of months no one cared. Then the guy to sell his Micro decreased the prices to a laughable level, giving them practically free for the price of the shipping reimbursement. The Micro Seiki 5000 and 8000 were taken then. How the funny part – why the Morons who love to talk about the turntables, about their turntable’s sound and about the turntable’s features pay their tribute to their inferior sounding $30K-$75K turntables but disregard Micro Seiki, the turntables that for a minute fraction of the price make the “audiophile” $10K-$75K turntables to sound like bogus crap. What I mean: “HOW MUCH “BETTER” AT TURNTABLES SHOULD BE FROM THE LEVEL WHEN IT ALREADY DELIVERS A PERFECTLY NORMAL SOUND?” The beauty of large Micro turntables is that they are simple like hell and it is imposable to make them to sound bad. Whatever you do to them dose not affect their default performance level. What kind level? Well, give me Micro 5000 or 8000 (the 5000 is slightly better sonically but has “support issues”) and I put all my reputation behind that it will SONICALLY OVERPERFORM any turntable out there (probably the .the EMT 927 would have a chance but because of different reasons). So, for the bogus believe system of an average Audio Moron the lagers Micros Seiki are dangers as if person look at the ACTUAL SOUND from Micro Seiki than he recognizes that they deliver so high sonic complexity that the entire pyramid of audio-worth that the audio-moron has pre-built in his sick head is trembling and collapsing down. Why those (some others) better turntables do not sit in the homes of the “industry leader wonna be”? BECAUSE OWNING THE BETTER SOUNDING TURNTABLE DO NOT PROPEL THE BOGUS AUDIO-INDUSTRY ON IT’S ENDLESS “REACHING THE STARS”. In the end, why the average audio hoodlums did not snatched those available Micro Seiki like a God sent gift? BECAUSE NO ONE FROM THE “PUBIC OPINION MAKERS” TOLD THEM TO DO IT.

Frankly speaking, I personally, was looking at the funny things that are going on with turntables and decided to take that reminding Micro Seiki 5000. I do not really need it: I owned and used a couple RX-1500, RX-1500FVG, couple RX-5000 and now I am using the RX-8000. When I saw the RX-5000 that was selling for the price of an elaborated cable elevators I called for some guys who I know who were on the TT market, All of them decided to pass because the cretins who they see in their audio publication did not mention for them that Micro Seiki were the “recommended components” and because the NASSA did not sponsor the Micro Seiki design..  So, the Morons month after month refused to buy them I said that it is not right. I bought this RX-5000 and will repost it at my site for $15K. I am not exactly look forward to make money on it (people who know me personally know that those $3K, $10K, or $15K would not make any difference for me, not because I too wealthy but because I do not play those games) but I look forward to propose the JUSTNESS AND JUSTNESS IN ANALOG JUDGMENT. If Micro-Seiki RX-5000 SOUNDS better then turntables that are being sold for $75K and if there are some idiots out there who scream that the $75K is a justifiable price then HOW MUCH THE BETTER SOUNDING MICRO SEIKI SHOULD COST? You figure out.

Rgs.
Romy the Cat

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