Micro Seiki, or TW AC-1

After purchasing the Raven One/TW Acustic 10.5 combo, having
Tom Tutay restore my Air Tight ATM-3 amps while providing iec
capability for changing power cords, and also re-discovering
some extremely fine power tubes, I've found a level of
musical enjoyment never experienced before. For me, the TW
front end has proven to be nothing short of fantastic.
Listening is fatigue free, exciting, and always something to
look forward to.

Pani's take on the Raven TT : "BUT, to me it had an artificiality/coloration in the flow of music. The notes did not naturally bloom, hold and decay the way we know it should. There is a "rush", a little too much leading edge and not enough time to bloom. There was also a colouration in the timbre of the instruments as if to artificially make it sound "rich"."

I hear things differently with the TW Raven One partnered with the 10.5 tonearm in my system. Varieties of strings, horns and woodwinds do not sound artificial, but very much like I hear them in live concerts. Double basses and cellos especially resound with marvelous tones. I've also never heard percussion instruments like piano and cymbals reproduced with as much accuracy as I presently do. There is richness and bloom as well, with neither of those characteristics sounding artificial to my ears. Regarding the assertion, "...there's a little too much leading edge...", that is an interesting point. Before I learned to make the proper kinds of adjustments to the 10.5 tonearm, I was indeed hearing too much leading edge. That arm is quite sensitive to very slight movements. I don't know if Pani had the opportunity to hear it coupled with any of the Raven tables he auditioned. Even if he did, it's possible it was not ideally adjusted for lps of various thicknesses. My experiences making adjustments with this arm, aided by markings I have affixed on pieces of painter's tape have enabled me to "dial in sounds" that run the gamut from too much leading edge to dull edge. Yes, I can get lps to display the kind of balance that to me is indeed accurate AND musical, UNLESS a particular record was simply recorded badly one way or another to begin with.

Jaspert's statement above bears repeating because it rings with an air of truth: "Seriously how can one tease out different turntables performance from the whole chain which involves different cartridges, arm,phono stage, pre/amp, speakers/room from listening to different setups at different times?" I would also re-iterate the need for experimenting with and making adjustments.

Maril...I'd like to make a few points in response to your concern with the "leading edge" issue. I've already indicated I use the Raven One, and like Pani, initally heard what he did. In fact, a short while ago I posted a thread seeking some assistance in acquiring a cartridge with less leading edge and more trailing end information. That was prior to having my monoblock amps restored to their original status after previously having them modified quite a few years ago, newly inserting them with iec capability enabling choice in power cord selection, changing their 12ax7 and EL34 tubes with different brands and making vta adjusments to my TW Acustic 10.5 tonearm. Collectively, these measures enabled me to effectively eliminate the excessive edge issue without even changing my Dynavector XX2 cartridge. Incidentally, I have not used nor do I presently use any mat with the Raven One platter. I also have not modified either the feet or the foundation or stand on which the table rests. So yes, I initially experienced a bit too much leading edge, but was successful in achieving system synergy and overcoming it. Obviously, I cannot speak for others regarding whether they have faced the same issue, and if so, whether they have managed to optimize their systems to their own satisfaction.

Pani, with no ill will or bad feelings intended, I don't hear certain things the same way you do with Raven. At least you indicate "...somewhat dark but not overtly." I've read comments from a few others on Agon where the description they have given has simply been "dark", as in a blanket sense. Perhaps that is exactly what they've heard in a particular system configuration. Frankly, I've not heard any significant degree of darkness in my system. Maybe a touch, but that's all. And a touch is okay with me since I slightly prefer that. Some call dark romantic, but to me the Raven sound tends more toward "neutral", a term I've never been particularly fond of in audio, because I hear coloration not just in reproduced but live music.

Otherwise, you say,"It feels that there is less time for the note to get properly constructed, so before you could enjoy the note, it has passed." I hear the opposite, and for what it's worth, so do a number of others who have reviewed the Raven in various configurations. Just offering a different view here. In any event, I do wish you the best of luck and enjoyment with your personal choice of table[s].

Suteetat...I give the speed control switch on my Raven One just a very quick flip up or down as many times as I need to(I've found the push button control of little or no help)while simultaneously checking the rotational speed of the platter with the excellent K-A-B SpeedStrobe disc and Quartz lock strobe light. I've had no real problem setting the platter speed dead on. I then flip the other toggle switch to lock it in. I've also had virtually no or extremely miniscule issues with any platter speed drift over a considerable period of time.

"...[I] wonder if some of the diverging views have to do with what else is in the system and its overall sonic character?"

I certainly wouldn't be surprised.

Is it possible that those Raven owners who have not been able to maintain stable platter speed have not correctly used the "STORE" mechanism on the speed control box? Some of the instructions on the sheet of paper that came with my Raven One, giving instructions about setting and maintaining speed, are poorly worded and/or confusing. For example,the paper says this: To storing the revolutions press "STORE". But here is what one actually has to do: Once proper rotational speed has been determined(see my explanation above from 10/17), one has to flip up and release the toggle switch that says STORE(locking in the speed). To unstore(unlocking the speed)and re-set the rotational speed, one must flip down and release that toggle switch. In the event anyone has not been aware of these things, I hope this helps. These particular instructions were not provided in the paper designed to make these procedures clear. Should any issues arise, Jeff Catalano can be of service. He has supplied me with valuable assistance and insight on several occasions.

Certainly not the first nor last time regarding differences in views over a component. Seems to be true for an overwhelming number of them on Audiogon. Doubtless, the "meat grinder" will never wear out.