Lampi B7 and Turntables

joaovieira said:

I got the B7 and an Aurender, that's all I have now.

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Geardaddy said:

I guess the Lampi crowd does not do the dual ownership thing. I have a GG but I still want to experiment with tables when the time is right. My paternal grandmother was a classically trained pianist and had a fairly sizable vinyl collection which I will be inheriting soon from my Dad. I want to spin vinyl in honor of her.

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Audiocrack said:

Well some of Lampi crowd do. Digital nowadays is really very good but believe me good vinyl reply is ... well very, very special. Get a good turntable, arm and cartridge and you will find out how fantastic those old records will sound.

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joaovieira said:

I sold all my system last year. My small room was not allowing me to have what I wanted.
Now I will use my living room, with plenty of area but less privacy.
I got the B7 and an Aurender, that's all I have now. Waiting until the end of April for the Audiopax Maggiore M50 and L50 and just ordered a pair of Tidal Contriva G2.

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Geardaddy said:

Ha! I was speaking in generalities, but you, Audiocrack, are an outlier in more ways than one... Have you been following the Audioexotics feedback on their recent show? Lunatic fringe audio. Love it.

Yes, I am morally obligated to get a good TT as much of my love of music comes from her. My dad spend his some of his formative years as a teen in Geneva (his father was with the WHO) and they attended the symphony there constantly. Much of her vinyl collection was derived from those years. Based on Miguel's feedback, I am looking at the Triangle stuff....

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Audiocrack said:

So did he had a chance to listen to the (Geneva based) conductor Ansermet? Some of his Decca sxl recordings are pretty amazing. As regards the AE show, don't you think there might be some hype involved?

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Geardaddy said:

I am not sure. I will have to ask. What's wrong with hype or adverbials?

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marslo said:

"Well some of Lampi crowd do."

Audiocrack,
I am one of them. My TT is not SOTA one but is a fairly good with SME V series tonearm adjusted by Transrotor and Phase Tech P3G cartrigde which was considered in Japan as one of the best regardless the price . My phono stage is Tom Evans Groove + mk2 with the separate power supply. I use also Acoustic Revive demagnatizer for vinyls and Acoustic Revive anti vibration clamp . I have also a VPI cleanning machine and antivabration platform for my TT, just to present my analog setup in details.
As I started my hifi road with turntable I have vinyl collection since 70' and some modern high quality pressings but I buy vinyl only on very rare occasions.
Why? Because I consider the convenience and the SQ of my digital setup to be better than analog part. I hate clicks and pops , I like the analog for its coherence but I miss resolution and dynamics of hirez and native dsd . Plus of course convenience to browse the collection with Ipad and outsanding quality of DSD classical music by such brands like channelclasscis or Fone who use for recording analog microphones. I have heard some SOTA TT during shows in Munich and Warsaw but I do not find them better than best digital, just different.
I play PCM mainly with La Fontaine DAC and DSD files with Lampi Big 7 , both fed by Aurender W20.

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marslo said:

"Well some of Lampi crowd do."

Audiocrack,
I am one of them. My TT is not SOTA but is a fairly good one with SME V series tonearm adjusted by Transrotor and Phase Tech P3G cartrigde which was considered in Japan as one of the best regardless the price . My phono stage is Tom Evans Groove + mk2 with the separate power supply. I use also Acoustic Revive demagnatizer for vinyls and Acoustic Revive anti vibration clamp . I have also a VPI cleaning machine and antivibration platform for my TT, just to present my analog setup in details.
As I started my hifi road with turntable I have vinyl collection since 70' and some modern high quality pressings but I buy vinyl only on very rare occasions.
Why? Because I consider the convenience and the SQ of my digital setup to be better than analog part. I hate clicks and pops , I like the analog for its coherence but I miss resolution and dynamics of hirez and native dsd . Plus of course convenience to browse the collection with Ipad and outsanding quality of DSD classical music by such brands like channelclasscis or Fone who use for recording analog microphones. I have heard some SOTA TT during shows in Munich and Warsaw but I do not find them better than best digital, just different.
I play PCM mainly with La Fontaine DAC and DSD files with Lampi Big 7 , both fed by Aurender W20.

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Geardaddy said:

Jaoviera, is your system completed? How is the Aurender?

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Geardaddy said:

Nice system. So Lampi PCM not up to snuff?

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marslo said:

Thank you Geardaddy.
Well, I have La Fontaine already for few years and spent many hours on "fine tunning" especially of the timbral aspects of the sound. Now I am happy with micro and macrodynamics and the balance between resolution and timbre. Altough PCM from Lampi seems to be very good, the attack of notes is a bit softened and the timbre is less organic compared to La Fontaine. I guess that is the limitation of the amanero board in Lampi design. On the other hand the PCM from lampi is more lifelike , probably due to very good power supply and the possibility to switch off the power in usb on aurender side when connected with B7.
I would give 10 points for DSD from Lampi, , 9 to PCM from La Fontaine and 8-8,5 to PCM from Lampi but it has potential and tube rolling may change that in the future. I will give my analog setup 6-9 points depending on quality of recording and 6-8 points for cd/sacd playback from La Fontaine as player. Of course as always , it's a matter of personal preferences.

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