Challenges to Stereophile's Art Dudley re LP12?

Anyone out there with an Lingo'd Linn LP12 with Naim Aro arm?
What do you think of Art's view as below?

"Heard on its own, so to speak, on an Armageddon'd LP12, the Ekos sounded competent, okay, decently musical—but no more. Heard on a Lingo'd LP12, the Naim Aro was about the same: pretty good. But when I put the Ekos on the Lingo'd Linn, the player opened up into a big-sounding, wildly dynamic, faultlessly tuneful player that held me utterly rapt. Likewise, when I combined the Naim Aro with the Naim Armageddon on the same platform, the player was, again, magical—but different: tuneful, but with more momentum and flow. It sounded smaller and less dramatic, but more natural and organic, and a shade less mechanical."

Thanks for responses.
I would answer the same as the responses to your identical post on Vinyl Asylum.
Hi Viridian,
Forgive me for spreading the net wide but I'm about to make a major investment in a Lingo'd LP12 with a Naim Aro tonearm and I was looking for some help/input from those with experience with this combo. Did not think many people have this.
2 different views so far...which one's yours? Do you own this set up?
I'd love to hear from those with Lingo/Aro.
Many thanks for your time.
I have to remember to ask Art what he uses for a stylus force gauge.

Having heard the differences that .05 g can make in terms of all sorts of subtle effects (including perceived pace and timing), much of what he's writing about could easily be randomized if his tracking force gauge has only .1g accuracy (as well as repeatability). Perhaps I can get him to comment in this thread for you.

His primary observation that the Ekos/Lingo as well as the ARO/Armegeddon combos are the best of the four possible permutations is not in the least bit surprising to me.

Remember that we are dealing with highly tuned, resonant systems. All drive systems are resonant by nature, as are all tonearms.

So, it makes sense that the pairings developed by the same company would have the best mojo ... assuming a basic level of competence as well as a musical sensibility, which both Linn and Naim have ... even if neither is my cup of tea (or rather espresso in my case).

I would stick with the matched combinations from the same manufacturer. This doesn't mean that there aren't mix and match combos that work. Heck! My 'tables sound great with Schröders, Triplanars, Micro Seikis, and a host of other tonearms.

Ideal combinations are difficult to predict however, and when you add the variable of a suspended turntable architecture into the mix, you're asking for trouble if you stray too far from components that a manufacturer has control of.

When you try to second guess what someone else is doing (and attempt to design for these conditions), you can get into deep doo-doo.

Thom @ Galibier
Hi Clarets,

Since an hour or three I have an Aro arm on my LP12 . My LP12 has the lingo 1 attached. I had the Linn Ittok LVIII/2 installed before which sounded good. The Aro however makes a difference in that it exposes more detail and more body to instruments and voices. The Aro seems to make a different translation of what to highlight. It is in a way a "modest" but complete and fluid arm with beautiful and honest dynamics without exgaterating in any way. My cartridge is the Clearaudio Titanium, Phono preamp Linn Linto. Would be glad to provide you with more details.