Review: Walker Audio Proscenium Gold Signature Turntable

Category: Analog

I’ve had the great pleasure of living for about 6-months now with Lloyd Walker’s superb Proscenium Gold Signature Turntable. It’s time to offer some comments. Bear with me, and I’ll tell you my tale.

Great music reproduced well in the home has been a passion of mine for thirty-five years -- a long-term compulsion, if you will. And, I’ve been fortunate to live for most of that time with a spouse who shared my love of music, was indulgent of the equipment and the record collecting and loved the results we were able to enjoy in our living room. Together, we enjoyed the occasional foray into listening to new equipment, but the focus for both of us has always been more about the music than about the equipment. We can safely say that I have fun with the process of building an audio system and a music library, and she enjoys the outcome.

As is so often the case, as much time as I may spend reading about and listening to equipment, my spouse is the more astute listener. In under 60 seconds, she can listen to a system and can tell virtually everything she needs to know about what that system does and whether it meets her priorities. Forty-five minutes later, I am only beginning to come to grips with what she determined in that first minute. She did this to me when we bought a pair of Avalon Eidolon speakers. After an hour of listening first to this LP, then that LP, I turned to her (being pretty pleased with what I was hearing) to get her opinion. She told me she’d decided 45 minutes ago that this was the pair of speakers we needed to buy -- she just wanted to hear them with a tube amplifier to confirm that.

When I first encountered Lloyd and his turntable, I was only casually exploring the possibility of making a “final for the rest of my life” turntable purchase. I was serious about sometime making a new turntable purchase, but was still at least a couple of years away from making the sort of financial commitment I contemplated. After all, we’d just moved to a new city and a new house, our daughter was still in college with the financial obligation that presented, and my wife and I were still trying to manage our finances and be sure our move and new house had not gotten us to a point from which we needed to retreat.

I’d known that Walker Audio was located somewhere within an hour of our new home outside Philadelphia. And, listening to new equipment can be an entertaining activity. So, purely for fun and as a diverting way to spend an afternoon off from work, my wife and I decided I should telephone Walker Audio to see if there was any way we could listen to their turntable. The answer was “Sure. The turntable happens to be up and running this afternoon, why don’t you come over?” Turns out that the turntable we were to listen to is Lloyd’s personal turntable on which he does all of his development work and listening tests. Sometimes he’s in the middle of a project and either the turntable or the rest of his system is not available for outside listening while he’s experimenting with some new development. This day, everything was ready for listening.

Lloyd’s gracious wife and business partner, Felicia, met us at the door and we all spent the next hour visiting, sharing stories and getting to know one another. Then, Lloyd introduced us to his turntable and gave us a tour of the ‘table and the rest of his system. Then, we sat down to listen to some music.

And we were transported.

Never had we heard a system that hit all of our hot buttons the way this system struck us.

Immediately, the sound from our familiar records surrounded us with a “rightness” and musically natural impact we’d never experienced before. Not in the homes of our friends with good sound systems, not in our home, not in any dealer’s show room.

It was clear that Lloyd Walker “had ears” and that his priorities in a sound system matched ours -- to a proverbial “T.”

But what was the turntable, and what was the rest of the system? That is always the challenge listening to an unfamiliar system -- what is contributing what to what you hear? Lloyd’s comment was “Are you hearing the inner detail? Are you hearing the harmonic overtones? Are you hearing the different musical lines and the different instruments carrying each line? You can’t hear what the turntable is not extracting. If you are hearing it, that means the turntable (tonearm/cartridge) is getting the information out of the grooves.” [paraphrasing] And indeed we were hearing all of this, and more.

What began differentiating the table for us was hearing the remarkable differences in sound from one LP to another. Every LP we played was distinctly different in sound (for good or bad or neutral) and the differences were very readily apparent. This ability to resolve differences between records has always been the hallmark for me of a truly highly resolving turntable/tonearm/cartridge combination. And the Walker Proscenium turntable was revealing differences with ease and regularity -- and this was not a “try to count the number of angels on the head of a pin” type of critical listening exercise that we’ve all experienced from time to time. This was an immediately apparent “knock you on the head with a board” type of listening experience -- the turntable made no bones about what was being played back. If it was on the record, the turntable was delivering it to the rest of the system.

And the turntable was doing this with a musical naturalness and grace that was amazing to hear. This was not an exercise in “knock your socks off, wow ‘em with power” audiophile extravaganza. This experience was about delicacy, grace and nuance, the capturing of subtle harmonic overtones, the capturing of the flow of the music, and, where appropriate, the demonstration of all of the power contained in a symphonic orchestra playing for all it is worth. The soundstage was solid, layered and dimensional. Instruments were focused, tangible, with body, weight and texture. I’ve had an occasional opportunity over the years to listen to second-generation tapes on a good playback system. Listening to the Walker Proscenium turntable was more like listening to those tapes than like any other LP playback I’d ever heard.

My spouse and I have never been convinced by any sound system we’ve ever heard when it comes to trying to reproduce a full orchestra play at full tilt. Every LP playback system we’ve ever heard has tended to compress and congeal the sound at some point. At some point, the ability to differentiate the instruments, to differentiate the various musical lines, gets lost as the sound becomes congested. As much as we love full orchestral music, we’d given up ever hoping to experience any facsimile of that through a playback system in our home.

Well, today was the day a new paradigm was set for us.

Playing two large orchestral LPs on the Walker Proscenium was an enlightening and paradigm-shifting experience for us. The two LPs were Stravinsky’s “Firebird” on the Mercury recording reissued by Classic Records and Malcolm Arnold’s “English Dances” on an EMI recording. At the point where each record would begin to become congested on other turntables, the Walker Proscenium just continued to open up the sound and let it sail forth. Never did the sound become congested; never did the musical lines become confused. The sound soared in a way we’ve never before experienced from a playback system. At the end of the Stravinsky, we just sat there, stunned. What had just happened? Simple, we’d just listened to an LP playback system unlike any other in our experience. A superb, and, in many ways, simply sublime experience.

To a lesser, but still very revealing, degree, another differentiator for us in that day’s listening experience with Lloyd was to hear the dramatic differences the turntable resolved with very minor adjustments to VTA or to damping. Lloyd’s air bearing linear tracking tonearm has a simple to operate VTA adjustment that allows for an infinitely variable adjustment in VTA in very small increments. In listening to several different LPs, dramatic changes in image focus and reproduction of harmonic overtones were achieved with minor VTA adjustments. Additionally, the tonearm allows for variable damping, from none to a bunch, via a trough that runs beneath the back of the tonearm. (Raising the level of the damping fluid in the trough allows the fluid to come into contact with a point on the bottom rear of the tonearm, thereby damping the tonearm.) We primarily listened to high quality classical recordings, and on those we used no damping. But, on one particularly abrasive sounding rock recording Lloyd added just a bit of damping, and the record became much more listenable. My take-away from this experience was that this table was clearly extracting every bit of sonic nuance and detail that was available in the records.

And so, at the end of the afternoon we parted from the Walkers and headed home, thinking that this was definitely the turntable that finally met our expectations for superb playback -- truly a “final in our lifetime” turntable purchase should we get to the point of making that financial commitment.

Or so I thought. Because as we drove home, my spouse commented “We have never heard anything like we heard this afternoon. I never thought I’d hear in a home playback system an orchestral recording that didn’t become congested. We’re not getting any younger, we need to be enjoying our system now, and we’re crazy if we don’t go ahead and buy this turntable.” And she was right, of course. And by the next day, we committed to purchasing the turntable that Lloyd and his partner, Fred Law, would deliver and set up for us six weeks later.

This turntable has been doing remarkable things for our listening pleasure over these past six months. As I write this, I’m listening to Benjamin Britten’s performance of Bach’s “Brandenburg Concertos” on a London LP, and just marveling at the sound quality of the recording and what the Walker turntable is extracting from that record. This has always been for me a lovely performance. As I listen to it today, it continues to be lovely, but now is revealed with added depth, delicacy of tone, separation of musical line, inner detail and dynamic nuance than I’ve ever heard in this recording before. For six months now, I’ve reveled in that same experience with record after record that I’ve pulled from my collection to hear for the first time on this system. A cliché? Yes. But no less true for it.

A small listening group flourishes here in the Philadelphia area. When I had the group over for the first time after having the Walker Proscenium turntable in our system we listened together to that same recording of the Stravinsky “Firebird” that had so overwhelmed me at Lloyd’s. We’d been listening to jazz up to that point; had delighted in Louis Armstrong playing “St. James Infirmary” (Classic Records 45 rpm reissue) and other records. With the Firebird, I told my friends I wanted to share with them the experience that caused us to buy the Walker turntable -- that ability to extract and play large-scale complex orchestral music without congestion. We played through the second side.

..... And at the end there was silence.

..... Sixteen people and total, stunned silence.

After a bit, I commented that I’d not heard such quiet from this group, and one responded, “I’m just deciding whether to stand and applaud.” That, my friends, is impact. That, for me, sums up the Walker turntable.

Others have written about the Walker Proscenium Gold Signature Turntable with great eloquence and with detailed description of its construction and its sound. I’ve added some links at the end for you to explore if you chose. For me, the point in sharing my story is to give you some sense of the impact this incredible creation by Lloyd Walker has had on our enjoyment of music in our home. This remarkable turntable and tonearm reveals every delicate detail on an LP, occasionally with brutal honesty, but it does so with a musical truthfulness and naturalness that is unmatched. In over thirty years, I have never experienced an audio component that so “re-calibrated” my enjoyment of and expectations for listening to music in the home.

Postscript -- construction, setup, maintenance and reliability…

I’m convinced that Lloyd Walker is a genius when it comes to audio. And he is a perfectionist second to none. Nothing Loyd makes is done is by chance. It is all based on listening. Every component, every design element, is chosen based on listening. And, every part is of the highest quality available. The Proscenium turntable epitomizes Lloyd’s fanatical approach to build quality. It is beautifully made. The lover of design and well-executed engineering in me loves that.

I’ve used the turntable for six months now. It has been absolutely, rock solid stable. I have had zero problems. Can you just pull it out the box (in this case multiple well constructed wooden crates) and plop it on your rack and have it play? No. Its various components do need to be assembled. And, you do have to dial it in and adjust it for optimal performance.

Unlike some competitive turntables, the Walker Proscenium IS adjustable – almost every aspect of the table can be fine tuned in one way or another. And I say HURRAY for that.

I’ve had retailers tout to me the virtues of competitive turntables that work straight out of the box and don’t have any adjustment to fiddle with. I’ve read comments about the virtues of the “simplicity” of set up for some of these other tables. That this could be thought a “virtue” seems strange to me. A table that works straight out of the box and with minimal adjustments will always at least play, but how can its performance ever be optimal? Beats me. I know from experience that small changes, sometimes from LP to LP, sometimes from season to season (fall to winter to spring to summer), can make material differences in the sound. That ability to be adjusted is, for me, a great strength of the Walker turntable. You have to be prepared to LISTEN, though. And you have to be prepared to make adjustments from time to time to reach the maximum potential this turntable has to offer. If you don’t do this, will the Walker continue to play? Absolutely. And it will give great performance. You just will not have maximized its potential. You will be settling for the high average quality of its competitors, not the highest quality of which this table is capable.

Some regular maintenance is required, but it is remarkably minimal. Once a month, check the air supply system’s moisture recovery bottle (which holds water collected from filtering the air) and empty it as needed. Also check the oil level in the air compressor and top off as needed. Every six months, clean and re-oil the centering pin under the platter. This is all reasonably simple maintenance, but it is required. Not dialing in the table by fine tuning the available adjustments is one thing, but failing to do the minor routine maintenance is simply not an acceptable plan. Don’t buy this turntable if the maintenance routine is not for you.

I am personally convinced of this turntable’s long term reliability. It’s built like a battleship and, as I’ve said before, the parts quality is superb. More to the point is that, complex as the full turntable and associated air supply system may appear, there is very little that can go wrong with this turntable. Given some modicum of care in handling (and in disassembling and packing if you ever have to move it), there is nothing that is delicate enough to break. Carbon fiber, brass, lead, and molded epoxy resin are all very tough materials from which to construct the specially manufactured, specially machined components of this table. Most of the other parts are readily available commercial grade components, including the air compressor. Just be prepared to buy the best. (smile)

Stability of adjustments over time is outstanding. I waited for six months to offer some comments because I wanted to be able to discuss this from experience. Well, my experience has been that that adjustments, once made, stay rock solidly in place until I change them again. Nothing on this turntable drifts over time. (The one minor exception is the silk belt that turns the platter. The silk is somewhat subject to temperature and humidity changes, as is any natural material. A simple turn of the adjustment screw adjusts the belt tension when needed.)

Postscript -- listening biases and priorities...

For those who would like a bit more background with which to consider my comments… I’ve been listening to high-end audio for 35 years. I listen primarily to classical music (both live and recorded, of every period and genre), and have a strong bias for acoustic music. I’m committed to vinyl and tube electronics because they make the magic happen for me. My goal for home listening has always been first to get the mid-range right, then to capture the timbre, harmonic overtones and subtle shadings that allow you to easily differentiate one instrument from another, and then to reproduce the soundstaging and ambiance clues (left to right, front to rear). I want to create a window on the original performance, or bring the performers into my listening space (to the extent permitted by the recording). If I can get these items, I’m then interested in reproducing the micro-dynamics because at low listening levels, these are critical to trying to create those moments where one can suspend disbelief for a time and totally immerse in the music. Only after these requirements are met do I get concerned about macro-dynamics, frequency extension into the deep bass and extreme high frequencies, transparency, detail and speed. My record collection reflects these priorities, with a preponderance of extremely well recorded performances because I’ve always traded-off in favor of sound quality when performance factors are fairly equal. Lots of representation from the Argo, Decca, EMI, Harmonia Mundi, Hyperion, and Astree labels, to name a few.

At this point, my audio system consists of components that well compliment the Walker turntable in overall performance quality. I think you could say fairly that we are well along down our list of sonic “like to haves” in our system. I’m not inclined to list equipment in a single space on the Internet, but I’ve posted regularly on Audiogon with references to specific components here and there, and I’m happy to discuss further in private email correspondence.


Walker Audio web site

Some extended comments by others…
(A very detailed description of the turntable, setup, operation and sound – to which I add “I concur, I concur”)

And some background on Lloyd Walker…

Associated gear
Complimentary to the quality of the Walker Proscenium turntable

Similar products
SME 30
SME 20
Clearaudio Master Reference
C3cff576 49d6 495b 86c3 a61fa2d07520rushton
The best review i have ever read.
Could you please let me know what was your previous table/arm/cartridge?

Great review, thanks for sharing. JA, you need to read this!
Thank you for sharing that Rush. I have heard Rush's Walker TT playing back jazz as well as classical music. Not one ounce of hyberbole in the above review. As a member of the listening group Rush is refering to I can only say that the Walker is the finest LP playback I have ever witnessed. Lloyd Walker is a genius and a craftsman. The execution of every one of his products is done with the highest quality of parts, fit and finish. I use Lloyd's Precision Motor Controller as part of my playback system, and it has taken the performance of my VPI to a new level as well. Lloyd is a gentleman and a lot of fun to talk to and work with. The first time my wife heard the Walker, as we were driving home from Rush and Anns house, She said: "that is the finest sounding recorded music I have ever heard". My wife is very tolerant of this insane hobby of ours but is not afflicted with Audiophilia Nervousa. She will freely admit that she has heard the be-all-and-end-all of vinyl reproduction (I hope enough so that a Walker TT will one day find a way into our listening room)
What a wonderful report. I enjoyed every detail.
you need to be reviewing audio equipment for a publication somewhere Rushton .
Thanks for your kind comments about the posting. Some of you have asked for additional information about the rest of my system, or previous turntable. For the next few days, I am replying to specific requests offline when requested, as I indicated I would do in the original posting.

Audio999 - I've sent you an email with the information your asked about.
Excellent review Rush. You are fortunate to have such an angel for a wife. Seldom is a man is lucky enough to marry a woman with which he can share love and a mutual passion for music. You appear to have it all.

Your review should help people understand why I've raved about my Walker Proscenium so many times and why digital is so difficult for me. I agree with everything you have put in print. It is the finest LP reproduction device I have ever heard and possibly (aside from master tape) the ultimate reproduction device for music available.

I've had mine for five years, returned the arm for upgrades but other than that, it has never seen service outside of regular maintenance.

How about your Walker motor controller? Did you buy the standard, Black Gate or point to point version? I ask because I did a test between the three in my system and they represent three distinct levels of performance.

Again, great review. Loyd is a wonderful person and this will make him proud!

I am delighted that you added your comments to this thread. I'd hoped you'd be able to corroborate my experience with your own.

For the motor controller, I purchased the version with the teflon board, nude resistors and Blackgate caps. Lloyd and I discussed the point-to-point wired version, but he convinced me it was something I could always explore later and trade-up to if it made sense at that time. So far, I've been very pleased with it, but have not compared it to either of the other versions.

Additionally, I had Lloyd build for me a Prologue top shelf and three-shelf Prologue rack. He'd done all of the design and development work with the turntable sitting on this platform, and since I needed an appropriate rack for the turntable in any event (250+ lbs doesn't just sit anywhere), it made sense to go this next step as well. Now I've got over 450lbs sitting in one place, and I couldn't be more pleased with the outcome. Plus, my three chassis phonostage now sits neatly beneath the TT. (Descriptions and pictures at

Thanks for adding your comments to this thread.
There is no accounting for taste. For everyone that praises the Walker table there is one person who dislikes it. Personally I wouldn't own a ANY belt drive tables. Idler/puck drive is the best and always has been. There is no comparison.
I'd like to know who it is that dislikes the Walker. You do have names, articles or a McCarthy folder to substantiate your bravado. No? Also, do you mean, hockey puck?

You are right, there is no accounting for taste.

I own a idler wheel turntable and your right, it is EXCELLENT. However the Walker is excellent too. There are degrees of everything and Walker is at the top of the belt drive food chain.

You should listen to one. Much of the effortless that you hear with idler or direct drive is there, held to proper speed by a solid lead platter that weighs more than most tables with arm.

I would agree the Walker is an expensive way to obtain excellence and agree the Garrard and Lenco idler wheel designs are a better value, but for ABSOLUTE quality and those who's budgets permit, the Walker is among the best two or three turntables ever manufactured.

That's a very nice and thorough review of the Walker and I commend you for your good work in describing the Walker's virtues.

That said, there is one area where I feel you copped out for whatever reason. Is there some mysterious reason why you can't post your associated equipment as every reputable reviewer does? The phrase: "Complimentary to the quality of the Walker Proscenium turntable," doesn't really tell us anything.

You claim such incredible detail for the Walker and yet, with your preference for tube gear, my feeling is that you may not be hearing the detail you claim or that you paid for. And what about your cabling? Surely you could list that. You don't seem shy, so what gives???

In a way, I have to scoff at folks who praise ultra-expensive (unaffordable to 99% of those who would want to own it) gear; trying to justify their purchase price...

At a live concert, there is no way that one hears all this audiophile minutae that supposedly make the expensive products worth the purchase price. I think folks are mostly impressed by natural musical sound, wide dynamic range, and extension at the frequency extremes, and not so much "hyper-detail".

And at a live concert, the sound quality is often inferior, in some ways (expecially any electronic or amplified event) to an audiophile's home system experience. Yet, if given the choice, most folks would prefer to attend the live concert. People seem to overlook various types of distortions as long as the sound is engaging and musical. They don't appear to be suffering or cringing. In fact some concert goers seem to be enjoying the experience immensely.

What does this tell you about musical priorities? And what makes one musical sound "better" than another similar sound in the grand scheme of the ear-brain capsule?

So I could buy a relatively inexpensive VPI, for example, and realistically experience 98 percent of what you are hearing with the Walker (if you've spent a ton of time to set up your Walker to it's ultimate potential). And I could still enjoy my favorite recordings and not have to take out a second mortgage on my home to do it.

So is it worth a kid's college fund to hear a little extra detail from your records? Maybe for some, but probably not for many.

I admire craftamen like Walker for pushing the state-of-the-art. Yet in my heart I know there are still a lot of starving souls on this planet crying out for a scrap of bread.
Plato: If you read through many of Rushton's posts, you will learn the configuration of his system: the phono stage, the amps, the speakers, etc. He has his own reasons for not posting his system in one place which he recently explained to another member here.

As for the issue of how much we spend to achieve a level of performance in a product or the overall system, this is something we all must decide for ourselves. Many of us own one or more very expensive audio products because they stand out from the rest of the products we considered; this is immediately evident upon first audition.

I think many of us look for that last (or at least long-term purchase) that saves money in the long run and allows us to focus more on the music and not on the next "what needs to be upgraded now" issue. There are benchmark products that clearly are a cut above the rest. And from reading much about the Walker TT by a number of its owners, I have no doubt it is such a product.

Concerning the purchase of the less expensive VPI TT, yes, your comment makes sense. But you also do not have such a TT. I see that you run with a Michel Orbe which I heard a few times -I was mightily impressed with this. But I also felt that for dramatically less in cost, the Gyrodec was really the great value. Was the $2k cost increase of the Orbe worth it? Each of us would need to decide on that for ourself.

Your system is quite impressive as well. I have no doubt the sound quality is first rate. But even your system is unaffordable to 99% of the people out there....maybe not other audiophiles, but the population at large. We all have our priorities in what we enjoy. And if other members in our family enjoy the same, then we put even more of our resources into such interests.

I think we all enjoy attending live concerts if for no other reason than to see the performers whose music we have enjoyed for many years. Sometimes these performances are excellent and other times they are downright dreadful due to poor acoustics or because the artist(s) were just not "with it" that night. For these latter cases, I much prefer to go home and hear the recording because it was made at a time when all the participants were at their "best". And a highly resolving system allows me to appreciate these talents more than in systems previously owned. I suspect that Walker TT owners have purchased this product for much the same reasons.

Your final comment applies to virtually any craft or industry manufacturing homes, automobiles, boats, photographic gear, furniture, etc. It's a bit unfair to use the Walker TT as an examble to make an indirect statement of those who can afford and enjoy the finer things in life that their money could be better used elsewhere. This is true for virtually anyone not living in a third-world country. For those of us who regularly travel to such places, we do indeed know how fortunate we are. And many of us do indeed share much with the less fortunate.

Hi Plato,

Thanks for your comments on the review, and thanks for the taking the time to read it and then share your further thoughts.

As to posting a system description, I'm sorry it's not on Audiogon for everyone but there is a reason. Six or seven years ago I made a promise to my wife to ease her concerns after a friend's complete system was stolen: I'd continue participating in discussions on the Internet, but I would not post in any single place a complete listing of our system. I've honored that commitment, but I'm happy to share our system information in private emails and I do so whenever asked by folks who are Audiogon regulars, such as yourself. If you'd care to email me privately through Audiogon, I'd be happy to reply with details. Same is true for any other registered member who contributes regularly.

Many of your other comments track a theme I've seen you express before, and they are fair thoughts for each of us to consider. Jafox has offered some thoughts that largely mirror my own, and he has expressed them with greater clarity than could I, so I'll not belabor the issues.

I'll just comment that my wife's and my investment in our audio system reflects a life long love of music reproduction in our home, and I recognize that I'm very fortunate to be able to do what we've done. Our system hasn't always been close to this level of the audio art. For most of our lives, we maintained a relatively modest system which at various times still felt like more than we should be doing given our financial resources. For almost 20 years we lived with one of those VPI turntables you mention and we enjoyed it immensely (a friend is now getting similar enjoyment from it). And for 25+ years, we enjoyed a pair of classic Marantz 9 amps that we bought used on an impoverished graduate student's income and we finally (but reluctantly) sold in connection with our system upgrades.

Today, my wife and I are fortunate to enjoy both lots of live acoustic music (unamplified, please) and some of the best in-home audio reproduction we've ever had. The audio system still doesn't begin to match the reality of a live acoustic performance in a great acoustic environment, but it can be a pretty engaging substitute with an excellent recording. Is it substantially better than any earlier system we've lived with? Hmmm, yes. Even a bit more than the 2% you hypothesize.

With regards,
Jafox and Rushton,

Your points are well-taken and I thank you both for sharing your opinions. We are fortunate to live in this great country and enjoy the many privileges and luxuries that characterize the American way of life. I'm stepping off the soapbox now so we can all get back to some serious listening, while counting our many blessings. Best regards, Frank :)
"Evolution of Source" is a history of my experience with (mostly) analog, but touches on digital.

My experience with the Walker is much like Rushton's. If you wish to read the PFO article, the link is below.

PFO Review

Thank you for the link to your article. I enjoyed it very much. I find it interesting the paths we all take -- where we start and where we end up. I'd like to see more of such articles in the audio press.
Thank you Plato.

Did you see my review of the Dali Megaline? It's written in much the same manor. Part two of the Dali Megaline review should be ready in the next 30 to 60 days,
SIXTY DAYS!!!!!C'mon,Albert!Let's get the show on the road!!Are you sure you aren't really H.P.,with all the promises of follow ups?
Sirspeedy, interesting question. All along I have wondered if Albert was really J. Gordon Holt! Remember back in the late 80s when JGH just loved the Sound-Labs and then a couple years later, the Versa Dynamics TT? Hmmmmmm, sure sounds fishy to me! 8-)

And I too am so eager to learn how the custom tube crossover works with the Megalines. For this to be THE musical nirvana that Albert has been seeking with these speakers would be wonderful to hear.

Hey guys, I'm not J. Gordon Holt, I promise :^).

The hold up is making sure the crossover is right before putting it into my system.

The guy building my crossover called Tuesday and told me the circuit needed a very high transconductance 9 pin miniature tube as a feed forward in the circuit, as a suppliment to the octals.

This caused some delay as he has to punch another hole in the chassis and rewire some circuitry. The crossover point was not the issue, but rather the EQ circuit that Dali had implemented into the crossover. Done with OP amps it was (I assume) easier than with tubes so we hit a small snag. Bottom line is my crossover WILL be able to exactly duplicate what the original Dali crossover does AND have adjustable volume and bass EQ.

I think the crossover will be worth the wait, sorry it's taking me so long. I don't want to be guilty of make comments, particularly in print, that are premature or incorrect. There is enough of that in reviews already :-).
Rushton: Thanks for the superbly crafted review!

As you may recall, via this forum, you helped me renew a record collection that was mothballed for over 20 years, by recommending the purchase of Stravinsky’s “Firebird”, and indeed it was a find.

My experiences after recently re-entering the wonderful world of vinyl have been the best since I began this crazy hobby in 1973. Beginning in the ‘80’s, I chased that elusive silver disc far too long. While my recent Galibier and Tri-Planar purchases weren't fiscally on a par with yours; sonically, I'm enjoying the best reproduction of my life.

Like you, I feel fortunate to be living in a country that enables me to feed this hobby, and I do so guilt free. This country provides the opportunities, but one has to be willing to obtain an education, or work hard, or both. As you and your wife, my wife and I didn't begin with what we have today. After we were married, I fondly recall going to Sears and purchasing the least expensive non-color TV they had. It was 9”. The upgraded 9” set had a built-in antenna. I opted for ours, because purchasing add-on rabbit ears was a few bucks less than the set with built-in’s. We watched that set for over a year. What a hoot when we had friends over. Here the four of us were, huddled around this 9” “behemoth” watching shows like Kung Foo. Never once did I begrudge those with 25” color consoles, the ability to buy a car less than 10 years old, or the funds to live in more than a ¼ of a double. We had the necessities, a 10-gallon aquarium, hand me down furniture, and each other. We were still better than lots of other folks in this world, but freedom to express, choose, and capitalism have a propensity of providing those results.

Until recently, we couldn't afford to spend what we recently have on audio. I'm thankful every day of that ability, but more importantly, I'm thankful that my Grandparents made the trek to this country, and of my Dad’s hard work, and dedication to family.

I’m sure many folks in this forum, have similar stories. Funny, I’ve never held any malice or hard feelings towards those who have had the ability to purchase whatever. I’m happy that they’re happy, and enjoyed sharing in your turntable acquisition, and life long audio adventure…..Cheers…..
Mrmb, I'm delighted you've found so much enjoyment in your rediscovery of vinyl. The Galibier and Tri-Planar are a wonderful turntable and arm, in my estimation.

Thank you for sharing some of the story of your journey. Sounds like we've been pursuing this crazy hobby of ours for very similar lengths of time over very similar periods of our lives.
Mrmb, Very well put. While many people may shake their heads in wonder, anger, jelousy, or bemusement in what some of us have invested in this hobby, most of us (myself included) have gotten where we are in our lives and our hobby by the very path you descibed above.

I echo Rushton's comments in your choice of arm and table...
Mrmb,my God,what a wonderfully expressed and thought provoking post.I'm truly humbled,and moved by your sentiments.Your grandparents not only did the right thing,coming to the U.S.,but did a more honorable thing,by infusing your family with such a wonderful sense of humility and character.This you seem to have inherited,in SPADES.Best of luck!
The Absolute Sound, March 2010: it's a pleasure to see the Walker Audio turntable gracing the front cover of the March 2010 issue of The Absolute Sound. Kudo's to Lloyd and Felicia Walker and to Fred Law for over decade and a half of brilliant engineering.
Good for Lloyd, he deserves credit for all his hard work and years of evolving the Walker Proscenium.
I have been fortunate enough to have a few sessions with this Walker turntable and the associated equipment. While I can not offer any further information regarding performance of this rig, as my friend Ruston has already provided an extremely detailed review, I would just share that this is by far the most resolving reproduction of vinyl I have ever had the opportunity to hear. I find the performers are often in the room with us. Timbre is spot on, dynamics are breathtaking and most importantly environmental cues of recording venues are audibly within reach.
Walker Audio turntable is recognized as one of the "Ten Most Significant Turntables of All Time" by The Absolute Sound in it's October 2011 issue.

And a well-deserved recognition in my opinion!

Congratulations to Walker Audio.
Rushton, I just read/enjoyed this review of yours this morning, before this last posting of yours. I would have to fully agree with AS tho I've not had the privilege to hear one. I had just searched for your mentioned article to find the PDF file is for download sale (!) ARRGHHH. I would close with an "enjoy", but it would go without saying:)
I am curious as to what are the other 9... Can you share?
I bet your SX-8000 is on the list. I was hoping to see if my TT possibly was as well.
I haven't seen the full TAS article yet, either. I'm also interested to see the list!

Isochronism, thanks for your kind comments about my original review posting. The Walker turntable is a marvelous tool for getting the most from my vinyl.
For those with an interest in this remarkable turntable... David Robinson, editor of Positive Feedback Online and owner of a Walker Audio Proscenium Turntable, commented on the most recent upgrade to the air suspension following a recent visit to his system by Lloyd Walker. His experience results in a 2011 Brutus Award:
The results have been nothing less than spectacular. The noise floor was further improved, transparency heightened, and detail retrieval enhanced. The dynamics are noticeably even better than before (and "before" was exceptional). I also note that the soundstaging was somewhat deeper than before, further out through the wall than before. I found the overall effect to be a unique combination of resolution and an organic harmonic structure. Sounds strange, but there it is. Apparently, the use of the radically different suspension pressure brings out more detail from the grooves, and yet does so without drifting over into an analytical sound.


No doubt about it, the Walker Audio Proscenium Black Diamond Level III turntable system is more of everything that it has excelled in; this major upgrade has upped the reference standard at the very tip-top in the world of fine audio turntables once again.
See 6moons review of suspension upgrade to the Walker Audio Proscenium Turntable:
I came upon your review and really enjoyed reading it. You mention under "similar products" the SME 20 and 30. Could you please describe the differences you heard between the SME 30 and the Walker? Thanks.
Hi Peterayer,

Thank you for reading and following up. Both the SME 20 and SME 30 were on my short list of outstanding turntables to consider at the time I first heard the Walker. As is the case so many times, I was never able to hear the SME 30 in the same system as the Walker.

Nonetheless, my observations are that the SME 30 is an exceptionally neutral and refined turntable with a dead silent background. Yet, to my ear, music is simply more alive and dynamic with the Walker, which I have now heard in many different systems. Moreover, the Walker has an ability to resolve all the musical detail in complex symphonic passages without a hint of congestion; I have not heard any other turntable match this ability.

Hope this helps a bit.
Thank you for this very well written review! Keep Analog alive as no digital source can match it. It's a wonder what a beautifully crafted system can do. Obviously this beautifully crafted Walker system is first rate...something you can live with for a long time. Enjoy the music!
As one who occasionally makes a contribution to the Audiogon forums via a review or by providing some information from my experiences, it’s interesting to see how many fellow members view a posting over time. The recent change in format prompted me to explore what is new or different and I stumbled across the listing of number of views for this equipment review I originally posted in April 2004.

While only 38 comments have been added, the data shows over 250,000 views!

Amazing. I hope this reflects some continuing interest in vinyl and pushing the envelope of what is possible with this medium. 

By the way, the Walker Proscenium turntable continues at the heart of my music listening and continues to perform flawlessly over the 11 years since I wrote this review.

Your review is as pertinent today as it was in 2004.  It still stands as one of the best reviews I’ve read and certainly a stand out achievement for an Audiogon post.

LP reproduction is equally important today.   Many fine titles have been reissued and a surprising number of new artists have decided to release on LP and CD at the same time.

One thing that’s changed, my digital playback has finally achieved performance level where I can enjoy it.  Back in 2004 it was only good for warming up the system before switching to LP.

I’ve also gone through an evolution with my LP playback gear but have zero regret for purchasing any of the twenty two turntables I can count since I was a teen.

Vinyl records still  remain my most frequently enjoyed format with master dub open reel tape being the only format equal or better than LPs.