Who's selling their Continuum Table now?
- Thread starter DaveyF
- Start date
BTW, I am hoping that Mosin will introduce himself especially describing his product which will interest all vinylphiles here
Steve,
I will be happy to do that. Let me write it, edit it, write it again, edit it again....
Wait...I've been doing that!
I want to start with my best foot forward.
Win
Saskia Turntables
Hello, jazdoc and duly noted.
Mosin, or as you are referred to by name, Win. Allow me to make a public welcome to the WBF. I look forward to your comments and description of your product. It seems as if your reputation precedes you and we look forward to your participation or observations within the discussions of the forum.
Tom
Hehe...don't forego the schematics, etc.
It would be worth the effort to determine if it can be serviced, domestically...
Ahem -- you know what I mean
Steve,
I will be happy to do that. Let me write it, edit it, write it again, edit it again....
Wait...I've been doing that!
I want to start with my best foot forward.
Win
Saskia Turntables
Glad to see you around Mosin! We talked some months back around the Blue Angel Mantis...
I do remember your call! Mine finally gave up the ghost, so it was replaced with a 2011 model. This one has a Lignum Vitae body along with other improvements, including suspension improvements. I haven't mounted it yet, however.
I'm happy to be here with such good people!
Back on track... I suspect the Continuum will be held in high esteem for long, long time.
After all, who wouldn't like an EMT 927? They haven't been made for years, you know?
Win
Saskia Turntables
Greg, do you recall specifically as to what Mike was "dissing". I always remember him singing the praises of the Continuum and downplaying anything about his accommodation price. Which, LOL, seems fairly common these days.
Hi
My experience with these extravagantly priced tables is scant. I heard the Rockport Sirius and at Walker TT... Have not heard the Continuum or tables of its ilk .. I am asking the question with all sincerity: Do they sound that great compared to more pedestrian TTs like a SME or A Wlaker or Kuzma ,... Say less than $20K TT? Do they really? Can a person walk in a room and say HA! That is the COntinuum paying the way any person wouild come to a room and be overwhelmed with the sound of the Aexandria X-2? Or the MG 20.7 or the Acapella or the genesis 1.1 or the ? Is it the case? I have heard the Rockport, an incredibly silent TT, at the same level with the Goldmund Reference with which I have a good experience.. A good friend of mine had the second from the Reference Studio I believe, Utterly silent and so was the Rockport... I didn't leave, feeling that I needed a Rockport.. I heard the X-2 and my feeling was .. Damn! I need to get my system to that level.. Upon auditioning the MG 20.1 I moved in a heartbeat from the 3.6 to the 20.1 .. it was a clear thing .. No doubt , no sweat .... I have heard in two occasions a modded Technics RS-1500 and the impression was that I have never heard any better analogue .. The experience is the same with other RTR , The Studer A 820 for example is shockingly good and if I have to go analogue I know where the standard is: R2R.. Clear-cut no straining necessary... I haven't had that experience with The Rockport and Walker the only over $50K TTs I have heard ... Am I alone or is the "performance" of these TTs more a mind-construct than an objective reality? The kind of thing that you would like to be great because after all it cost sooo much and all your audiophile friends are raving about but you find yourself deep inside unimpressed?
My experience with these extravagantly priced tables is scant. I heard the Rockport Sirius and at Walker TT... Have not heard the Continuum or tables of its ilk .. I am asking the question with all sincerity: Do they sound that great compared to more pedestrian TTs like a SME or A Wlaker or Kuzma ,... Say less than $20K TT? Do they really? Can a person walk in a room and say HA! That is the COntinuum paying the way any person wouild come to a room and be overwhelmed with the sound of the Aexandria X-2? Or the MG 20.7 or the Acapella or the genesis 1.1 or the ? Is it the case? I have heard the Rockport, an incredibly silent TT, at the same level with the Goldmund Reference with which I have a good experience.. A good friend of mine had the second from the Reference Studio I believe, Utterly silent and so was the Rockport... I didn't leave, feeling that I needed a Rockport.. I heard the X-2 and my feeling was .. Damn! I need to get my system to that level.. Upon auditioning the MG 20.1 I moved in a heartbeat from the 3.6 to the 20.1 .. it was a clear thing .. No doubt , no sweat .... I have heard in two occasions a modded Technics RS-1500 and the impression was that I have never heard any better analogue .. The experience is the same with other RTR , The Studer A 820 for example is shockingly good and if I have to go analogue I know where the standard is: R2R.. Clear-cut no straining necessary... I haven't had that experience with The Rockport and Walker the only over $50K TTs I have heard ... Am I alone or is the "performance" of these TTs more a mind-construct than an objective reality? The kind of thing that you would like to be great because after all it cost sooo much and all your audiophile friends are raving about but you find yourself deep inside unimpressed?
I heard the Caliburn only once. It was fitted with an Airtight PC-1 and mated with Vitus Electronics and German Physic loudspeakers. Unfortunately this system was at one of the conference rooms at the Venetian with some of the worst acoustics I've ever experienced at a show anywhere. While the very poor sound was most likely due to the acoustics, the stratospheric price had me looking at the turntable and almost telling myself that for that price it should still sound great poor acoustics be damned. Definitely not fair I know but it shows what a double edged sword a high price brings. Mechanically however I do think it is a tour de force particularly the bearing. I wish I had been able to hear it under more favorable conditions. The first impressions were poor and you know how that goes....first impressions tend to stick.
I certainly experienced better sound when moving up from SME 10 to 20 to 30 with the same arm and cartridge (SME IV-VI) and then again on the SME 30 moving to the 10 inch Da Vinci Grandezza arm.
Vinyl is a physical medium, turntables are vibration detectors. Larger, more expensive tables increase the weightiness of the presentation, the image size, the internal details and the dynamics, and give the kind of textured, colorful bass that seems exclusive to vinyl playback. They also seem to reduce the noise perception of playback and allow deeper recognition into the noise floor of many records.
I think I heard the same Rockport Sirius III that you did, Frantz, at Grellberg's BAAS get togethers. I have heard it a couple of times. Great sound, but not enough of an improvement to pay bigger bucks from the SME 30 in my estimate.
I think that the owners of Audio Federation in Colorado said it best, when you go above the 20K level in turntables, you are talking about a couple of tweaks worth of improvement. You can get a less expensive turntable to sound probably close to a more expensive turntable by improving the amplification chain in various ways or by using various and sundry bases, plinths etc., which to me is saying that you are really in the long run for a short slide territory when you buy the most expensive tables above a certain price point.
One must also ask, since even modest turntable sound good to me, what increases in musical appreciation and enjoyment ensue as you go up the price chain, a question that can only be answered by the individual.
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I'm not surprised that the Caliburn sounded awful under show conditions. Most of the more expensive turntables and tonearms are akin to Forumula I cars in that you are always close to the edge performance wise. It requires meticulous attention to detail to get these high end analog systems optimized and oft times, the magic lies in the final miniscule adjustment. Certainly true of my Durand Telos arm which has take me a few months to get my arms around. I heard several high end cartridges behave the same way.
c
I think you read me clearly. My last TT before the Technics I jam just getting this week, was a Basis TT with Graham arm and a variety of carts: Miyabi, Koetsu, Lyra, tend to go back to Lyra and it was on a Vibraplane to boot on a concrete floor ... There wasn't anything that you could do to disturb it .. footfalls Dafos-type of bass .. Dancing around it .. Impervious ... Indeed I heard the Rockport and though that it was silent, precise and tuneful .. and a beautiful piece of machinery ... I liked what it did but nothing to start saving then I heard the X-2.. I am not a Wilson fan ... The speaker had the subtlety of electrostatics and the might that only big cones can conjure and it did the best thing this side of a horn to JUMP at you in term of all the dynamics elements from pppp to ffff ... No sweat , it explodes if needs be ... I could tell that my highs from the MG 20.1 were better and that the sense of Hall the MG 20.1 would project was better but it was clearly in a different league ... I have yet to feel the same about a TT ... even when I was an analogue die-hard and however hard it is to believe, I was...
... I will leave it at that and we can discuss how great the Continuum Caliburn ... at 185,000 the price of a superlative system with a superb table like the SME 30 r some Kuzma or some Aviid or VPI or even an NVS, superb Electronics like Burmester , Spectral LAMM, CJ, even Gryphon, ARC, Superb Speakers from Magico, Rockport, Wilson, VR, Magnepan or whomever, even super Cable from ...belden
and of course a R2R is .. I wonder people .. I , more than wonder, I have my doubts...
Don't worry, I listened to the big Continuum multiple times. Also to Rockport Sirius III, Goldmund Reference with T3F (latest version) and when I left the room I thanked God that I don't have it.
But, everyone has his own "Reference".
But, everyone has his own "Reference".
I read everyone's comments wrt show conditions (especially acoustics) affecting the TT performance with great interest, but I have to admit I don't really understand how a room would affect the TT's actual performance. Are we saying that vibrations are fed back to the turntable that would not otherwise in another room???
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