Airtangent vs Kuzma airline

Tubes108,

I am using the Exprissimo The Lift to cue my arm at the end of the record. Very easy to setup & I love not getting up at the end of a record. You won't miss your cueing anymore on the airtangent.

Mike,

A word of advise. The Dynavector needs a long time to break in. Just let it play for at least 100 hours. I would almost say don't listen as you will be dissappointed. After about maybe 200 hours all of a sudden it will just "snap" into place.

Good luck.

Larry,

Now you got me salivating. That might not be a review, but it was very convincing. I have 2 more months to wait.

Karl-Heinz,

What cartridge did you use w. the Davinci arm? I would love to know how it will compare to the Schroder and the Airtangent on the TW Acustic. It is rare to hear you sound so excited about an arm. It truly must be special. In what ways did it excel.

Having spoken w. Thomas Woschnick several times about the differences in tonearms I can state that he will mention what he likes & dislikes. He won't come out & say what is better. I chose the Schroder based on certain design aspects that made it a best choice for me. I already own a 12 inch arm so I opted away from the Davinci which isn't inexpensive. He did mention the Schroder can be difficult to setup if you don't know what you are doing. To that extent he felt if it wasn't setup correctly other arms would outperform it. I am lucky to be purchasing an SQ which from what I have read should have resolved many of the setup problems. In addition I should have some help from Thomas seting it up. All I can say is I remember when I had my SME V w. my Condor perfectly setup & how I have never been able to get there again. At that time it had the most incredible bass. Now I am too focused on the Dynavector & listening to music to perfect the Condor setup.

Thomas is advocating the Tron Seven phono stage. He has mentioned it to be truly special with the XV-1s. He also mentioned other phono stages to benefit the Eminent (which initially prior to break in of the XV-1s I loved above all others) while the Tron was better with the XV-1s. This only goes on to show that it is all about total system synergy as advocated here.

As for the Tron, I am tempted by this phono stage but am confused by many design principles in various phono stages. I have heard great things about Shindo & am also very concerned about using any form of step-up transformer. I have heard some members here know more about this but that should be saved for another thread.

Ebarker2,

I read you review of the Tron Seven. It was very appealing. I owned a Groove that I thought was excellent except for the inability to adjust it for different cartridges. I am also curious about the new VTL phono stage. It will be without a SUT.

I just got an email from Thomas about his latest "great" cartridge combination. It is one of many so realize there are many great combinations. I don't want to quote him directly without his permission but he mentioned that sound is a personal thing & that what he often likes or dislikes might be different from others. He also mentioned that it is system dependant. Thomas does not like sound where bass is sacrificed in the least for midrange or treble. He also refrences "live sound" as his goal.

PS, one of his phono stages aside from the Tron Seven is the Pass Xono.

I am hearing great things about Shindo preamps which include a built in phono stage. I have never listened to it but a few people I know have been giving their preamps specifically very high compliments. In truth a premap with a built in phono stage will save you money on interconnects and the like.