Acoustic Signature Turntables

Has anyone else experienced any problems with their Acoustic Signature turntable? In particular, I have had major issues regarding the Alpha power supply and related customer support and so just thought I'd look into these problems more widely.

Thanks for your input
I have a ~ 5 year old Samba tt and the rectifier went bad in the power supply a few months ago. Their customer service was excellent responding to my e-mails helping me track down the problem.

Once I knew what was wrong it was an easy fix.


Thanks. I have had two incidents when my Alpha power supply has gone down and am again experiencing major issues in gaining assistance following the second failure. I am hopeful that this is a unique situation.

I will therefore wait to garner a fuller picture from other owners before going into greater details, so please keep the responses coming.
5 years and been great. I always hooked it into wall and not PS 1000. The power supply was a little of on speed but emailed AC and in 5 MINUTES I got a call from Germany!!!!!!!! Was an easy fix.

I've had some problems with the Alpha power supply of my former Samba. Power switch was broken and took long time to repair. They had problems to find my ps in their stock. I've to say that I didn't dig deeper cause Samba was my third system and was not very important for me. For compensation I got reapair for free. So service is ok for me; had more problems with other stuff.

2002ss335, Blueranger, Heradot,

Thanks for your kind feedback. I should say that my problems relate to the UK (particularly the importer and retailer with whom I have dealings. However, your accounts give me some faith.

Please could you forward the contact details of the people that helped you in Germany or elsewhere as I am still seeking any assistance with my Alpha power supply?

Support must be included in the decision for purchase. The best component in the world is useless if it is not backed up by the manufacturer. These things can't be repaired by the local tv repair shop...if you can even find one of those..

Too true. Sadly, the Mambo might just be the best turn table in the world (I have tried many!) but if it's not playing, it's just a lump of extravagent metal.

I'm now in hope of having this resolved and will keep all informed.

Cheers and more experiences welcomed


I think at this point you would be better of contacting Acoustic Signature directly ( They have an email listed in their website. When I was looking into what tonearms would be a great match for the Mambo, I sent my question to that email address and I got a response from Gunther himself!

I've never had any problems with it, but if I do I feel confident that either my dealer in the US or AS in Germany should be able to take care of it.

Many thanks but I had dealt with Gunther at some length following the first failure of the Alpha power supply. Sadly, his personal problems at the time meant that this discourse was particularly unhelpful. I have now had the actual UK retailer (as opposed to the not-so-helpful UK importer/distributer)sort this out by using a technician from England. My lack of faith in the AS customer service (at least for buyers in the UK market) remains very low. Thankfully, I have however (or, 'consequently') now bought a Technics SP10 MK2 and will transfer to this if/when the Acoustic Signature goes down again.

Despite all this sorry tale, I must stress that when the Mambo is set up correctly (in my case that means using a home made birch wall shelf - see, a Symposium Ultra platform, Boston Audio Mat 1 and an Aluminium record clamp/stabilizer) the quality and realism of its performances is sublime.

I hope this helps others and remain open to dialogue on the related topics

Sorry to hear all the hassle you went through. Here in the U.S., Larry Diaz from High-End Palace has been great. I've never had a problem with mine, but he's always very attentive with any issues.

I totally agree with you in regards to this table's setup. If set up properly on a great platform + record mat + clamp, the sound is very, very realistic. I have the Mambo on an HRS M3 platform, with the Boston Audio Mat 1 and Basis Audio Reflex clamp. This combo gives me a very quiet, fast, articulate, taut and solid sound.

One of the main reasons I went for the Acoustic Signature turntable is that it is based on proven technology. I did some research, and experimented myself with another table, on oil viscosity and its effect on the sound. I've found that the oil used need to be specially formulated for the oil-well and bearing tolerance in order to suppress the resonance generated by the bearing itself. So each turntable/bearing design must have its own oil formulation. The only company that explicitly stresses this fact is Basis Audio. I have not heard any other companies stressing this enough. The AS bearings are self-lubricating, so maintenance is zero. And from what I saw when unpacking mine, it seems that the bearing structure is user replaceable.

The motor is just dead quiet. I cannot tell whether it is on or off buy touching it. I put my ear as close to it as I can and I hear nothing. I'll get a stethoscope when I get a chance to see if anything reaches the outer surface of the motor case.

I've listened to a few very high-end turntables, from Brinkmann Balance to Continuum Criterion. I find the sound of the AS Mambo to be more articulate, with more space between the instruments and better dynamic contrast, while at the same time being as quiet as those turntables. Those systems were much more expensive than mine, so I don't think there was any issue with the rest of their audio equipment. I'm also confident that all the parameters were set up properly. It might be that the Coperhead tonearm was one of early units, which had some issues, but I don't know either.

I like to read turntable reviews and tend to get excited from what they describe. But I always get much more excited by the sound I get right here at home. So I haven't even contemplated changing the AS Mambo. Judging from its sound performance, and assuming that it sits on a top notch platform or shelf, and with the right mat and clamp, the sound is simply magical.



Wholly agree and am pleased to see that we find ourselves to the nearly same place just by trial and error and our own listening. I've been doing a bit of research myself about clamps etc. I contrasted my mat and clamp option with some notable options (all of which I still own). Key coparitors were the Audio Technica AT666 pneumatic mat and the SAEC SS300 metal mat. All three mats (including the Mat1) were tested in combination with three different clamps (Basis Reflex clamp, Jeweltone Crystal stablizer and Acousitic Signature Grip clamp).

The two best combinations were the Mat1/AS Grip and Mat1/Basis. That led me to do a little research, given the ridiculously lower cost of the first option than of all the combinations that tested.

It seems that the fact that the Mambo is made of aluminium favours the resonance matching of an aluminium clamp or stablizer. Both the Basis and AS Grip share this characteristic. However, the lack of any rubber in the AS gives it the edge in my set-up. You do need to use it as a stabilizer rather than a clamp though. This has led me to experiment with one more stabilizer that is designed to just drop on the spindle and is made of aluminium. I've order the Bren1 stabilizer as this meets these criteria and offers additional weight coming in at 368g. I'm hoping that this will be the final piece of the jigsaw with the additional weight and convenience it should bring.

However, this all depends on the use of a wall shelf. Until I recently set my turntable up on this I was compensating for floor-borne vibrations by adding the threat of airborne vibrations in my isolation. The shelf gives one the platform (pun intended) to find the best set up for the Mambo and, maybe, any other know turntable.


Thanks for sharing your findings with mats, clamps and stabilizers. I also experimented as much as I could for some time. I tried these mats on the Mambo:

- Ringmat XLR
- Ringmat Anniversary
- Funk Firm Achromat Universal Record Mat 3mm & 5mm
- Rega Colored Turntable Mat
- Rega Turntable Felt Mat
- Herbie's Audio Lab Way Excellent II Turntable Mat
- Speed Carbon Graphite Turntable Mat
- Extreme Phono Donut None Felt Mat
- Boston Audio Mat 1
- Micro Seiki CU-180 Copper Turntable Mat
- SAEC SS-300 Solid Turntable Mat
- Audio-Technica AT600 Ceramic Mat

And the following clamps:

- Thorens Stabilizer
- Clearaudio Twister
- JA Michell Record Clamp
- ClearAudio Clever Record Clamp
- Acoustic Signature Record Clamp
- Micro Seiki ST-10 Gun Metal Disc Stabilizer
- Basis Audio Reflex Clamp
- Brass Stabilizer (don't remember the brand)

I ultimately settled on the Mat1+Basis clamp. I had to add a little tweak though. The O-ring that the Basis clamp comes with is 1.98mm in width, which is not enough to flatten some records. I use a Viton O-ring, 3 MM width, 6 MM inner diam. This O-ring flattens all the very dished records I have. The use of the Basis clamp also means that I have to turn off the turntable to flip the records, which doesn't bother me. I thought that this routine would put too much stress on the motor or Alpha power supply, but so far no problems.

In my setup, the Micro Seiki ST-10 Gun Metal Disc Stabilizer (1kg) comes close to the Basis clamp, but the Basis has an edge IMO. My guess is the the O-ring at the under edge of the clamp really helps to absorb the energy generated by the stylus.

I contemplated a wall shelf as well. The issued is that all the walls where I live are constructed with studs and thin sheet-rock. I've seen the internals of these walls, and they are not built very sturdy. I would have to reinforce the wall in order to have a wall shelf. I then discovered that my wood floors have a cork layer between the wood slats and the concrete slab, which dampen vibrations pretty well. This is not uncommon for new buildings nowadays. I can jump on this floor and nothing shakes. The floor still resonates when I played loud music. The HRS platform takes care of it in my setup. The sound overall is very taut and clean.

Other items I use to set up and tune-up the Mambo:

- Pro 3600 Digital Protractor: this is a calibrated digital protractor to measure all angled surfaces with accuracy of 1/100th of a degree. I tried the Cartridge Man Digital Level Gauge, but that device didn't work. Once the turntable had been zeroed for both perpendicular axes, rotating the gauge around it own center, still on the table, would display a non-leveled reading. This was confirmed by the retailer I bought it from, so I returned it. Recently, a mechanical engineer colleague of mine recommended the Pro 3600 to me. I find this tool indispensable now.

- Mint Tractor: It takes a good hour or two to set up the cartridge, but it is definitely worthwhile. I've tried other protractors, but this one by far allows for the most accurate cartridge set up.

-K.A.B. Speed Strobe: genius.

- Cartridge Man Digital Stylus Force Gauge: the only one I've found where the stylus is placed a the same level as the record.



Fantastic. The testing of mats is a rewarding pastime when you notice the differences they offer. I remember my time with several of those illustriate mats. I do wonder though (technically naively) if the aluminium stabilizer (as opposed to gunmetal, cork/natural fabrics, alloys or steel)has that something extra due to its and the Mambo's material and sound propogation obviously being matched in speed and density. At least that seems to partially explain what I get when it comes to producing a vivid and vital performance with the Mat1/AS Grip - and hopefully more so with the Mat1/Bren1 (just sounds right!:~). Fingers crossed!

Have you tried any of the pneumatic mats? The Audio Technica AT666 has had a major impact on other audiophiles. It works well with the Jeweltone Crystal stabilizer and I might have missed a trick here. However, when I say I am trying to reproduce 'live music' I have certain performances in certain venues in mind (particularly, The Birmingham Symphonic Hall, The Barbican and Royal Albert Hall) and the Mat1/aluminium clamp or stabilizer really gets me there on so many levels. I would recommend them as a great combination.

I use Dr. Feikert's protractor and it really works wonders for me. I've never used a Pro 3600 but would be fascinated to. How much would this set me back and how notable a difference would you say you hear when set up using this compared to the likes of the DB Protractor, Geodisc etc? What are the strengths and how important do you find it?

Fantastic. The testing of mats is a rewarding pastime when you notice the differences they offer. I remember my time with several of those illustriate mats. I do wonder though (technically naively) if the aluminium stabilizer (as opposed to gunmetal, cork/natural fabrics, alloys or steel)has that something extra due to its and the Mambo's material and sound propogation obviously being matched in speed and density. At least that seems to partially explain what I get when it comes to producing a vivid and vital performance with the Mat1/AS Grip - and hopefully more so with the Mat1/Bren1 (just sounds right!:~). Fingers crossed!

IMO, the Mambo material has something to do with it. I know that the aluminum used for the platter is different than the aluminum used for the plinth. My understanding is that the aluminum at the base is "softer" than the one on the platter, so it can handle better vibrations coming from the shelf where it sits on. Also, the use of the brass inserts (silencers) in the platter may be affecting its resonance frequency for the better. This may explain why the difference between different clamps/stabilizers is not as pronounced as the differences between mats. The mat material, in the case of the Mambo design, should mostly interface with the record/stylus relation.

I haven't been able to acquire the Audio Technica AT-666, nor the Jeweltone Crystal stabilizer. I actively tried to find the AT-666 about a year ago without success.

I also use concert halls and live music (mostly classical) as a reference, and not other audio systems so much. Over the years, I've been lucky enough to listened to many cost-no-object systems. Some of them were close to real music in a good acoustic space, but most miss to render the pitch and texture that real performances provide.

I also have the Dr. Feickert's protractor, Geodisc and Turntable Basics alignment tool. With the Dr. Feickert's protractor, the metal piece fits loosely on the spindle of the Mambo, but some electrical tape folded on four points in the hole solved this issue. The Mint Tractor is much more accurate since it is built for each turntable/tonearm combination and it takes the diameter of the spindle into account. The only drawback is that it probably cannot be used on a different turntable/tonearm combination. One will need a 10x loupe for the set up since the arc line is very thin and it's practically impossible to get the tip of the stylus on the line with just normal vision.

I find that a 25lb platter produces a more stable speed and sound when it's completely leveled. One has to imagine how stable of a speed a 25lb rotating mass can produce if it is leaning just a bit in one direction. The Pro 3600 Digital Protractor is really great at leveling anything. I use the 45 RPM adapter that came with the Avid bubble level on the spindle and then the Pro 3600 on top of it. According to the Pro 3600 documentation, it uses a liquid-filled angle sensor. As the liquid moves, a microprocessor then analyzes the changes and calculates the angle. The speed of the Mambo is spot on when it is leveled with this tool. The sound is then very articulate, taut and clean. Timing and pitch of the musical notes sound spot on, at least to my ears.

I have about 7 or 8 different bubble levels. When I set them up on the same surface, and in close proximity to one another, each one has a different reading of the angle of the surface. This puzzled me for a while until I asked a colleague of mine about it. He then suggested the Pro 3600, or one with the same precision, if I wanted to level any precision instrument that needs to be absolutely flat in order to perform at its best. Since I consider a turntable like the AS Mambo a precision instrument, it was very easy to make the decision to get one.



Excellent, the Pro 3600 cetainly seems a worthy addition and - assuming I can find some way to try it out first - I will pursue this in the future. I might be able to locate a spare AT666 (with automatic pump) and Jeweltone Crystal Stabilizer. If you're interested please contact me offline.

For now, back to more sound
As some of you might know AS closed down a few months ago due to financial problems. Since I don't have any 1st hand information and don't want to spread rumours, I won't go into details. But all that is irrelevant, since AS has a new owner - as stated on their website. I called them yesterday and they told me everything is up and running again. That includes support and warranty. In addition, my dealer told me that Mr. Frohnhofer is still part of the staff. I just thought this great news should be posted here. Enjoy your fantastic turntables!

Excellent news and thanks for this vital information. It probably explains a lot of the hassle that I have had in correcting faults with the Alpha.

Now we can hopefully all get back to enjoying the detailed bliss that the AS turntable can offer!


If you get a chance, run the Mambo with the Mat1 on it and look at the horisontal profile of the platter, Mat1 and record both with the AS Grip and then the Basis clamp on it. When I do this the contact between the AS Grip combination gives far better area contact (ie, no gap between Mat1 and platter nor record and Mat1. I also think that the different diametres of the two clamps affects this. I'm still experimenting but the AS Grip/Mat1 is currently holding its own.
Dear Auditor: Very good news, thank you for that. Could you give us the current AS email?, thank you in advance.

regards and enjoy the music.
I would try info[at]

I tend to get a gap sometimes at the edge between the platter and the Mat1. I correct this by applying the appropriate pressure to the Basis clamp so that when it is locked in place it doesn't dish up the record and the Mat1 with it.

I've also tried with good success placing a 1.9mm O-ring in between the platter and the Mat1. When the clamp is off the record, the Mat1 will float a bit. But when you apply force with the clamp, the Mat1 makes an even contact with the platter, while at the same time having a uniform contact between the Mat1 and the record.




Have you included one of the 1.9mm o-rings in the package. It sounds interesting and I'll definitely give it a go.

As always
Just another brief update but the Bren1 did not perform as well as the other options in my particular set-up and for my particular tastes. However, it does come with a 30 days money back guarantee and might obviously still be worth trying in other systems.
I have had my system down for awhile for a home renovation and having resurrected it last night and began catching up here on Audiogon only to come across the new about AS, power supply issues, customer support etc. When I checked their site it seems everything is fine. Can anyone add anything? Obviously as an owner I am concerned.
Nothing to be concerned about apart from the fact that it's always a risk to buy expensive gear from a one man manufacturer. But it seems that with AS everything worked out fine (as far as my information goes).
I can't believe this thread! I paid Gunther directly several hundred dollars through PayPal (so it's traceable) early 2007 for a second armboard and a record clamp for my Final Tool. He conversed with Thom Mackris briefly about making sure the new armboard would match the TriPlanar tonearm Thom was selling me, then - BAMMM! - NOTHING SINCE! I emailed the guys at High-End Palace once about Gunther taking my cash and scramming, but they never replied (fair enough, they're not his daddy). As a strange coincidence, within the last month I thought my motor had broken, but now I wonder if it's the power supply. I'm so over Gunther stiffing me, I've about decided to move on to another table, but it's a shame, it's a very good machine when it works.

Sadly, your tale is not unfamiliar to me. I have no end of trouble sorting out my third and, spare, fourth armboards from Gunther. Story is that he has had serious personal problems, including a divorce to contend with.

On the bright side, the rumour is that he has been bought out and so the business side should now hopefully run as well as the engineering side. If anyone (Audotor) knows anything new, please share.
I just received a tt from them. No troubles at all. Gunther was facing the discussion and their service/support was top notch, althought sometimes they don't reply fast as a lightstorm. To make it explicit, over 10 mails we exchanged 80% of them was responded in 1 hour time and the other two with one day timeframe. This sounds quick to me.
Hy guys,

let me introduce myself. I am the new owner of Acoustic Signature Otto Hanak. Beside the problems we had in the past i would like the opportunity to offer you a quick and reliable solution to your pending problems. Send me an email to with a brief description of your problem and i will do my best to solve it. I will put AS back to the old strength using the old staff and new ideas and i hope for your support as most of the owners of an A table are more than happy with it.
best regards
Hi Otto,

And many thanks for this very useful update. I am sure that more minds than mine alone have been set to rest and look forward to a long and rewarding relationship with all at Acoustic Signature.

Wishing you every success in the coming years
I did some research, and experimented myself with another table, on oil viscosity and its effect on the sound. I've found that the oil used need to be specially formulated for the oil-well and bearing tolerance in order to suppress the resonance generated by the bearing itself. So each turntable/bearing design must have its own oil formulation. The only company that explicitly stresses this fact is Basis Audio.

I've been saying this for at least 7 years:

You are correct that the issue involves matching the viscosity to the bearing tolerance, but it also takes into consideration the belt (or other drive system), motor torque, and platter mass. In other words - everything that makes up this resonant system.

Given that for most products, all of these components are fixed (pre-chosen for you), the only thing you are likely to change is the lubrication, so it's understandable that folks would think primarily in terms of bearing tolerance.

The Micro Seiki guys have been hip to this for years as well, and have (as with us chez Galibier Design) advocated thin oil.

Thom @ Galibier
Thom mackris,

I am a little lost. Where does the quote come from and how does it relate?

Many thanks
I 2nd that emotion, rather question.

Thom's quote is from my post on 11-02-08.



Many thanks for clarifying and other things.


Sorry and point taken.


I was wondering myself about the origin of that quote. It sounded very familiar from the moment I read it.

BTW, I ordered the new Mat2 from Boston Audio. I'll post my impressions here once I set it up.




How's it going with the Mat2?


Hello Dgob,

For me, this is the mat the rules them all. In my system, the Mat2 works way better than the Mat1. The lower treble was an area that the Mat1, in my opinion, was a bit fuzzy. the Mat2 renders the lower treble with increased clarity and focus.

The biggest improvement is in bass slam, texture and definition. For some reason, the Mat2 manages to go lower in the bass, while at the same time tightening the bass. I went back and forth several times between the Mat1, SAEC SS-300 and the Mat2. The marked increase in bass depth and definition was a constant that the Mat2 was able to accomplish everytime I put it back on the Mambo.

I'm very impressed about the Mat2 being able to offer a very dramatic improvement over the Mat1. It has much better sound definition than the Mat1. All this came as a surprise to me since I was just expecting a minor improvement overall.

The Mat2 is in a much higher league than the Mat1. Boston Audio should have called it the Mat5, since it sounds about 5 times better than the Mat1, at least to my ears.

A few more notes:

- The Mat2 is as quiet as the Mat1.
- The Mat2 offers better balance and definition from top to bottom.
- The Mat2 is very rigid. It won't bow when using a thick O-ring with a reflex clamp, which was always a problem with the Mat1.
- The Mat2 is 5.11mm, measured with a calibrated Mitutoyo coolant-proof caliper. The Boston Audio website states that it is 5mm thick. The original Mat1 is 3mm thick.
- The weight is 564 grams (this is not dead accurate since I don't have a calibrated scale). The Boston Audio website says it weights 540 grams. The original Mat1 weights 360 grams.


Hi Isanchez,

Many thanks for your very helpful review. On the issue of frequency response, I believe that the Mat1 raises the pitch: meaning that a contralto might sound like a mezzo or even a soprano. Similar tonal shifts seem to occur with bass notes.

Have you noticed this feature and how does the Mat2 perform in this regard?


Hi Dgob,

It seems that there is a frequency shift with the Mat1, but at least in my system, it was not toward a higher pitch. So a contralto sounded like a contralto in my particular case.

There was though some sort of compression in the lower treble and the bass was not as deep, fast, and tight as it is with the Mat2. The Mat2 is closer to using no mat at all with the Mambo, while being more quiet than the Mambo platter with the Silencer inserts.

I don't notice a frequency shift with the Mat2, but I still need to listen more to be 100% sure about this. I haven't had the Mat2 for much time since there was a bit of a delay with the shipment due to the relocation of the Boston Audio factory.


Hi Isanchez,

I will wait to hear your final verdict before making any purchase then.

All the best and I look forward to hearing back when you're 100% sure.

All the best

Hi Dgob,

I'm sending my Mat2 back to the factory for an exchange because mine had a little dent that looks like a gap in the graphite. It'll probably take about 10 days for the exchange process.

At the moment, I have the Audio Technica AT-600 Ceramic TT Mat on the Mambo. This is a mat that I haven't spend much time with. I haven't done A/B comparisons with the Mat2, but at least in my system, it compares vavorably to the SAEC SS-300 mat.

I listened to Diana Krall today and there is no shift in her voice that I could detect. I've been to one of her concerts and her voice via the Mat2 seems to have the same pitch as with her voice in the live concert I went to few years ago. The same I could say about the Mat1, as far as I can remember.

There seems to be an emphasis on the mid-range with either the Mat1 or the Mat2, when compared to the SAEC and the Audio Technica mats.


Hi Isanchez,

Sorry to hear about the fault. I look forward to hearing your feedback after you've received the new one and had time to audition it fully.


Hi dgob,

The Mat2 replacement should be arriving soon. In the meantime, I decided to give the Silencer platter another try. To my surprise, it is remarkably great. For some reason, the sound is quieter with more detail and more definition and extension a both ends of the audio band.

I understand now your pitch difference perception. The naked Silencer platter on the Mambo is spot on when it comes to pitch definition. I achieved this by using the Grip MKII clamp. I found this clamp to be the best match for the platter without a mat.

I have to yet do the A/B comparison between the naked Silencer platter and the Mat2. I shall find out when I get the Mat2 back.



Hi Isanchez,

Excellent news. I was blown away (after all the money I have spent on the numerous mats) to find what the naked Silencer platter of the Mambo can do. I'll be really keen to see how it holds up against the Mat2. Look forward to hearing your review.


Hi Dgob,

The new replacement Boston Audio Mat2 came in a few days ago. After testing the Mat1, SAEC SS-300 mat, Audio Technica AT-600 Ceramic TT Mat and the Mat2, I still hold to my impressions posted earlier. The Mat2 manages to accomplish a more balanced sound, which means that the lower frequencies are in proportion to the mid-range and the higher frequencies. The Audio Technica mat comes in close, but it sounds a bit thin by comparison.

Now, between the Mat2 and the Silencer platter. In each case, the Acoustic Signature Grip MKII was used with a 2mm thick O-ring. The AS Silcencer platter has much more extension at both ends of the audio frequency. The bass is deeper with more definition and power with the Silencer platter. The highs tend to be a tad cleaner with the Mat2.

I paid very close attention to the mid-range. I used Diana Krall records since I've been to one of her concerts. Singing live, she has a more powerful and effortless voice than what her records portray. Her voice pitch definition with the Silencer mat was spot on. Her voice has more presence as well with the Silencer platter. I woudln't say more forward, but just more air and definition. With the Mat2 her voice has a bit less dimensionality.

I still say that the Mat2 is the best mat out of all the mats I own. The fact that with the Silencer platter there is more power, detail and presence is quite a pleasant surprise. If you'll be using a mat, then I highly recommend the Mat2.

I first decided to try out as many mats as I could for my own personal education. I wanted to know how important the record/platter/mat interface was in analogue playback. During 3+ years trying quite a few, I had no idea that the best record interface is the Silencer platter/Grip MKII clamp combo.

Thanks a lot for the suggestion. I tried the Silencer platter with no mat in the early days after I got the Mambo, but I did not use a reflex clamp with it. I also tried the Silencer platter with the Basis Audio reflex clamp and the Michell reflex clamp. The Silencer platter/Grip MKII clamp pair is what really brings the power, speed, definition and solidity of the bass and the rest of the goodies I mentioned above.


Hi Isanchez,

Great stuff and I know what you mean about the greater presence: almost an etched quality at times. Funny to think that on AS turntables (with Silencer platters), the best mat might be a 1.9mm or 2.0mm vitton O-ring!:~)

Just a thought but if you can find the Jeweltone Crystal Stabilzer it might be worth comparing that with the Grip in the same set up. I think the slight differences that I hear most here relate to 'staging' and 'midrange' and I think this gives the Jeweltone set up that teeny bit more concerning presence and "actually being t/here".


Acoustic Signature is really back in business!

I contacted Acoustic Signature asking them where I can get replacement belts for my Mambo. After two years, the belt seemed still fine, but I thought it was time to replace it. I got a response the same day. During this process, I had emails contact with both Gunther and Otto.

Even thought this was just a simple belt inquiry, I got as much attention as if I was asking to buy a turntable! Overall, I'm very glad that they are offering top-notch customer service to match their top-notch turntables.


Thanks Isanchez,

That is excellent news and I hope others experience the same level of support.



Isanchez. What belt do you have. I have silk thread as supplied with my Final Tool and notice AS TTs on their site have something else. Mike

I have the rubber square-section belt. It's the same one as the one included with the Mambo. I'm not sure about this, but I think all AS turntables now ship with the square-section belt. The motor pulley I have on the Mambo has a groove that fits the rubber belt.