Gingko vibration isolation products tested with a Linn
Sondek LP12 turntable
Sondek LP12 (circa early 1980s)
Tonearm: Jelco 750D,
tonearm cable Audio Sensibility Impact
Cartridge: Dynavector 17D3
Phono stage: Dynavector P75mkii
Concepts Chameleon Elite
Amplification: Musical Design D150 (custom build)
Speakers: Acoustic Zen Adagio
Gingko vibration isolation
My turntable shelf is mounted to
the front wall of my listening room. I placed a Gingko cloud product on the
turntable shelf with an mdf platform on top of the cloud product and the Linn
Sondek LP12 setting on the mdf platform.
I alternated between both of my cloud products (semi-cloud or mini
clouds). Only after I had a good handle
on this setup did I then introduce the Gingko mini-ARCH product (more info on
the mini-ARCH product in the Listening
The Linn Sondek LP12/Jelco 750D
arm combination is a very nice sounding turntable system. The Dynavector cartridge/phono stage combo
has very good synergy. I could live with this analog front end for a
long time (and that’s the plan).
Listening to the system using the
setup described above provides for a very enjoyable listening experience every
time I sit down to listen. The sound is
clear with good imaging (width and depth of soundstage) and transparency, frequency
balance is very even across all frequencies.
I listened to this initial setup
for at least a month during which I settled in on the semi-cloud as the foundation
of choice under the mdf platform with Linn LP12 perched on top. I thoroughly enjoyed the system with this
Enter the Gingko Acoustic
Resolution Clarifier enHancer (ARCH) isolators.
I used the mini-ARCH product in the ARCH family of products. I placed five of mini-ARCH isolators at
various locations between the edge of the turntable plinth and the mdf platform
upon which the turntable rests.
Everything I had enjoyed up to the insertion of the mini-ARCHs was now
elevated. Individual instruments and
voices in the music were easier to follow, existed in their own space and had
improved tonal characteristics. This translates into better attach and more
natural, extended decay (for example the strike of a cymbal and its shimmering
tone as it fades off). Bass notes have
better tone and are much clearer. It was
immediately obvious that any bloat or muddiness in the bass region was
removed. Acoustic piano was amazing as
you could actually hear the soundboard vibrating and clearly hear the foot
pedals being used. The dynamic contrasts
created with the piano by the force of the hammers on the strings came through
like I had not experienced from recordings previously. Horns were easily discernible as they each
occupied their own space in the soundstage and the distinct character of a
trumpet, trombone, saxophone etc. came through remarkably. Drums
were real fun to listen to. In addition
to cymbals previously described the tone of different drums was clearly
portrayed and technique used with sticks, brushes etc. was as realistic as I
have ever heard.
I could continue to elaborate on
sonic attributes, however, what all of this equates to is the listening
experience became much more involving and emotional. The enjoyment in the listening experience
was quite profound.
I then removed the
mini-ARCHs. The sound was still good as
originally reported but the added clarity and emotional involvement was
gone. There was now some muddiness present
and the soundstage was not as open and transparent compared to how it sounded while
the mini-ARCHs were in place.