15 years back at 1995, I decide to upgrade from the Simon's "Zarathustra S4" to the just available "System 7". I was so much dissapointed with the empty, lifeless, flat & tin sound of his new S7, that I end-up buying the megabuck Symphonic Line RG6 in a desparate decision for a more involving & sensual source that can move my senses to an emotional & not just the usual Hi-Fi level.
Unfortunately my set-up those days (top Goldmund pre & monos) was based on different priorities : (extreme speed, delicacy & merciless accuracy) & so, the absolute rejection of my new gigantic turntable was painful & terrifing. Then I put back my "S4" & my Denon DP80 & so, everything went great in a perfectly balanced match. Instead, in disregard, I've went for selling my precious Goldmund stuff & replaced it with SET 'cause I've just discover my detestation of the emotionless monitoring listening.
What I've learn from this bitter experience, is that everything has a flavor to match & I believe that it's not right to make a purchase if we were not in a position to clear our requirements first, defining the direction our system we want to take, in order to satisfy our taste & justify our expence.
What was happened then, was that the "System 7" was even more accurate than the "Zarathustra S4" & so, my conclusion of buying the Symphonic Line RG6 was a reflection of my priorities & taste but in no way characterise the Simon's creativity as limited or incapable to satisfy the demanding listener. My other 3 friends that purchase the "S4" have keep it till today with no regrets & are still very reluctand to upgrade, while their systems are among the finest & most sophisticated I've ever heard. That the "S4" is capable to bring forth all the tiny differences of each of the revewed components, is the unmistakable indication of the critical & inventive Simon's mind.
Above that, I must testify my experience with him as a refreshing & unexpected relief as I witness a true artisan that it's ethos & honesty drives him away of the sponsor's demands, ( I read with my own eyes a note in a paper tissue that left to our previous local distributor when he leave those year's Audio Show : "I WILL NOT PROSTITUDE MY ART FOR MONEY". Can you imagine, if only we have a handfull like him in the industry, what integrity & progression could we possibly may reach ?
Today, I can honestly say with confidence that my Symphonic Line RG6 is inferior as a truthful source & it doesn't have the qualities that I was looking back then, only an overplethoric personality that can no longer fool me. It's imposing sight, mirrors it's bold & always big sound no matter what LP is playing & in this regard, I don't trust this stable performance as I feel it is permanently spreading it's flavour everywhere, giving a faulty impression of robustness even in the most sensitive & delicate signals. I would have trust my Goldmunds back then, but it was so difficult to recognise & accept that my new, expensive & highly praised by TAS turntable was a cheater.
My advice is to find a well keeped "Zarathustra S4". Mark Levinson has choose it as the Cello turntable back then (if this has any meaning for you), the British magazines were highly praised it as the only class A turntable when matched with the "Pluto 5A" & this may be the only problem ... you can not match it with an "SME V".
I once ask Simon why he abandoned the suspension in his tables & he told me that it is more difficult to integrate but also restrictive for it's ZEN perspective. Unfortunatelly his latest creations demands extra deep pockets to purchase & extra care to properly set on the right foundation. But those turntables are not for the usual inexperienced & clueless fashion victim. They made exclusively for the dedicated connoisseur that knows exactly how & precisely where he guides it's utterly accurate system.
I apologise for this unecessary reply, but I have to do it as a confession & expiation for my ignorance, giving back the credit to where it deserves to be.
George
Unfortunately my set-up those days (top Goldmund pre & monos) was based on different priorities : (extreme speed, delicacy & merciless accuracy) & so, the absolute rejection of my new gigantic turntable was painful & terrifing. Then I put back my "S4" & my Denon DP80 & so, everything went great in a perfectly balanced match. Instead, in disregard, I've went for selling my precious Goldmund stuff & replaced it with SET 'cause I've just discover my detestation of the emotionless monitoring listening.
What I've learn from this bitter experience, is that everything has a flavor to match & I believe that it's not right to make a purchase if we were not in a position to clear our requirements first, defining the direction our system we want to take, in order to satisfy our taste & justify our expence.
What was happened then, was that the "System 7" was even more accurate than the "Zarathustra S4" & so, my conclusion of buying the Symphonic Line RG6 was a reflection of my priorities & taste but in no way characterise the Simon's creativity as limited or incapable to satisfy the demanding listener. My other 3 friends that purchase the "S4" have keep it till today with no regrets & are still very reluctand to upgrade, while their systems are among the finest & most sophisticated I've ever heard. That the "S4" is capable to bring forth all the tiny differences of each of the revewed components, is the unmistakable indication of the critical & inventive Simon's mind.
Above that, I must testify my experience with him as a refreshing & unexpected relief as I witness a true artisan that it's ethos & honesty drives him away of the sponsor's demands, ( I read with my own eyes a note in a paper tissue that left to our previous local distributor when he leave those year's Audio Show : "I WILL NOT PROSTITUDE MY ART FOR MONEY". Can you imagine, if only we have a handfull like him in the industry, what integrity & progression could we possibly may reach ?
Today, I can honestly say with confidence that my Symphonic Line RG6 is inferior as a truthful source & it doesn't have the qualities that I was looking back then, only an overplethoric personality that can no longer fool me. It's imposing sight, mirrors it's bold & always big sound no matter what LP is playing & in this regard, I don't trust this stable performance as I feel it is permanently spreading it's flavour everywhere, giving a faulty impression of robustness even in the most sensitive & delicate signals. I would have trust my Goldmunds back then, but it was so difficult to recognise & accept that my new, expensive & highly praised by TAS turntable was a cheater.
My advice is to find a well keeped "Zarathustra S4". Mark Levinson has choose it as the Cello turntable back then (if this has any meaning for you), the British magazines were highly praised it as the only class A turntable when matched with the "Pluto 5A" & this may be the only problem ... you can not match it with an "SME V".
I once ask Simon why he abandoned the suspension in his tables & he told me that it is more difficult to integrate but also restrictive for it's ZEN perspective. Unfortunatelly his latest creations demands extra deep pockets to purchase & extra care to properly set on the right foundation. But those turntables are not for the usual inexperienced & clueless fashion victim. They made exclusively for the dedicated connoisseur that knows exactly how & precisely where he guides it's utterly accurate system.
I apologise for this unecessary reply, but I have to do it as a confession & expiation for my ignorance, giving back the credit to where it deserves to be.
George