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Feedback
Thank you for your purchase. If you like your product, please email me.I very much appreciate your feedback. Good listening!
PolyTable Signature
Hi George:Here is my honest review. The Poly Signature has been a real eye-opener for me. As I said, I had no idea vinyl could sound this good. And I know the main reason it sounds so good is your knowledge that is designed into this thing. Feel free to post my review below.
I am new to vinyl. For a short period, I previously had a tricked-out Garrard 401 with an upgraded bearing and the Long Dog PS. The Garrard sounded great, but there was an inherent level of noise/rumble that bothered me and I knew I could not live with it long-term. After doing some research online, I gave George Merril a call. After the conversation, I immediately knew that the course of action for me was to sell the Garrard and get a Polytable Signature.Working with George was great. He is extremely knowledgeable about all things related to turntable design. After speaking to him over the phone, reading about his philosophy on turntable design and vibration management, and corresponding by email, I quickly realized that the vast majority of tables out there are designed to either (or both) (a) appeal to the eye, and/or (b) built to a given price point. Very few tables out there really pay much attention to vibration control, although their marketing literature often makes unfounded claims that they do. As I learned from George, tables made from mdf, wood, metal, etc., despite all the marketing claims, do not properly dampen vibrations.
I’ve never set up a tonearm before. But with the Polytable Signature, it is relatively easy to do.
The sound is staggeringly good, much better than the Garrard, and leaps and bounds beyond streaming Qobuz. Records sound so vivid and alive. Music has a real presence, dimensionality, and solidity in my room. Stereo separation is incredible, way better than streaming. And just as much slam, if not more, than the Garrard. Operation is dead silent.
I have always been content with streaming my music. I liked the convenience and figured analog was marginally better. The Polytable Signature has completely changed my mindset. I had no idea records could sound this good. Thanks, George for designing and making this amazing product. Jim
I’ve never set up a tonearm before. But with the Polytable Signature, it is relatively easy to do.
The sound is staggeringly good, much better than the Garrard, and leaps and bounds beyond streaming Qobuz. Records sound so vivid and alive. Music has a real presence, dimensionality, and solidity in my room. Stereo separation is incredible, way better than streaming. And just as much slam, if not more, than the Garrard. Operation is dead silent.
I have always been content with streaming my music. I liked the convenience and figured analog was marginally better. The Polytable Signature has completely changed my mindset. I had no idea records could sound this good. Thanks, George for designing and making this amazing product. Jim
PolyTable Upgrade
You hover above the earth and will never need to re-sole your shoes George.
The package arrived and I retrofitted the Polytable with the DMD as per your instructions. Good lord. Wasn’t prepared for the sorts and amounts of improvements.
Better all-round focus, an easing of whatever variations would sometimes intrude when playing solo piano or other sustained instruments, particularly rewarding In jazz combos and with vocals.
Didn’t realize how trashy my so-called 60-Hz power actually was, or how off the 33 or 45 RPM speeds must have been now and then without the DMD.
Many, many thanks.
-Lewis
The package arrived and I retrofitted the Polytable with the DMD as per your instructions. Good lord. Wasn’t prepared for the sorts and amounts of improvements.
Better all-round focus, an easing of whatever variations would sometimes intrude when playing solo piano or other sustained instruments, particularly rewarding In jazz combos and with vocals.
Didn’t realize how trashy my so-called 60-Hz power actually was, or how off the 33 or 45 RPM speeds must have been now and then without the DMD.
Many, many thanks.
-Lewis
PolyTable Turntable Feedback from Switzerland
Good day GeorgeThe Polytable has some more hours in it now and it became even better. I must admit that I couldn’t believe that ‘only’ the turntable can bring such a drastic improvement in any way (details, better in high/medium/low, musicality, more room, black background…) over the Pro-Ject Classic Evo which is not that cheap, selling for around USD 1’900.-. It shouldn’t sound so terrible compared to the PolyTable 😊 !!!!No regrets to have taken the ring right from the beginning as it’s improving the details of the low without any harm on the high tones, this not only on the outer grooves but on the whole record.Somehow, the Sorbothane feet have stopped moving around and I’m happy to keep them as they are because it’s pretty obvious that they are improving the sound even on the rack with magnetic decoupling feet from Levitations. I am reassured to hear that you can stop the engine by hand, the handling (especially with the ring) is getting easier and quicker.
Wishing you a great daySascha
PolyTable Turntable
A study in contrasts:100% function, 0% form.100% Hume, 0% Plato.100% empericism, 0% rationalism.100% substance, 0% fluff.
The PolyTable is a standing triumph of function over form, of substance over fluff. It looks striking, cool even (though it could be argued with some merit that "cool" lies in the eyes of the beholder), but there's more to the story.
Terms like "bouncy" and "punchy" and "dead" often pop up in reviews of turntables. These mean nothing if not tied to a scientifically verifiable correlation that can be measured, observed, repeated. The PolyTable's creator and designer, George Merrill, applied an almost Volvoesque pathology to one singular requirement: pure and unvitiated sound reproduction. Watch his videos and you will see oscilloscopes and hear references to stethoscopes -- scientific instruments in the service of The Goal. The 'table, according to Merrill, "has no personality". Its marriage to the Sorane TA-1L 12.7" tonearm, noted for its probity, its neutrality, for eschewing the "[suggestion of] a sound" and the addition of "special sounds" (source: https://mockingbirddistribution.com/sorane/ta1l/) layered above the signal picked up by the cartridge, therefore comes as no surpise.
A beautiful contraption it is not, unless beauty be defined as critical path engineering in the purest sense. To a certain segment of the population, that is the very epitome of beauty: no-nonsense function over nicety and form. Clearly, the Louis Vuitton set is not its target market -- other manufacturerers cater to that segment in the same price range (I'm looking at you, Vertere). Its half-Goldberg, half-Escher form serves the function of truthful sound reproduction through effective energy management (minimization of vibrations both external and internal/tracing-related), the culmination of evolution of Merrill's long and storied career that began with AR mods in the 1970s, through to the Heirloom and various other products to the PolyTable.
While the PolyTable might appear as a toweing Rube Goldberg contraption, even a cursory examination will show that each facet of the design serves a specific purpose. The frontal protrusion holds the built-in spirit level for easy viewing. The multiple platters sandwiched with RCC mats serve to further dampen vibrations.
Clearly there is a link in design philosophy to Rega, with prevalence given to material science over sheer mass, though the PolyTable weighing in at over 30 lbs. is certainly no lightweight.
In contrast to Thorens and the TD-1600/TD-1601 offerings, there is a clean break with tradition, in the finest tradition of the scientific method, allowing the evidence to dictate the conclusion from a new starting point.
In contrast to Vertere's affordable and quite avant-garde offerings, the DG-1/DG-1S, with their almost sirenline visual appeal -- the polish, the angles -- the PolyTable offers none of that, as its angles and protrusions each serve a specific purpose.
It isn't that any one of these 'tables is "better" -- each is a marvel in its own right and all would make their prospective owners quite proud. It's just that the PolyTable is the table of choice for the engineer, the one who prizes science and physical reality above emotional visual appeal, the one who sees more beauty in a well-run industrial operation than in an avante garde museum of modern art. The 'table is simply a means to an end, not the end itself. That end is the music in as close to its original recorded form as possible for a reasonable price.
The end result: The PolyTable delivers a faithful and astonishingly realistic rendering of the music in the groove that leaves the listener wanting more, itself dead silent, inserting none of its own opinion but transcribing only what it traces.
As George says, "When the lights dim to listen, the music is also in the dark."
Greg HedgerPolyTable Signature ownerMay 2023
The PolyTable is a standing triumph of function over form, of substance over fluff. It looks striking, cool even (though it could be argued with some merit that "cool" lies in the eyes of the beholder), but there's more to the story.
Terms like "bouncy" and "punchy" and "dead" often pop up in reviews of turntables. These mean nothing if not tied to a scientifically verifiable correlation that can be measured, observed, repeated. The PolyTable's creator and designer, George Merrill, applied an almost Volvoesque pathology to one singular requirement: pure and unvitiated sound reproduction. Watch his videos and you will see oscilloscopes and hear references to stethoscopes -- scientific instruments in the service of The Goal. The 'table, according to Merrill, "has no personality". Its marriage to the Sorane TA-1L 12.7" tonearm, noted for its probity, its neutrality, for eschewing the "[suggestion of] a sound" and the addition of "special sounds" (source: https://mockingbirddistribution.com/sorane/ta1l/) layered above the signal picked up by the cartridge, therefore comes as no surpise.
A beautiful contraption it is not, unless beauty be defined as critical path engineering in the purest sense. To a certain segment of the population, that is the very epitome of beauty: no-nonsense function over nicety and form. Clearly, the Louis Vuitton set is not its target market -- other manufacturerers cater to that segment in the same price range (I'm looking at you, Vertere). Its half-Goldberg, half-Escher form serves the function of truthful sound reproduction through effective energy management (minimization of vibrations both external and internal/tracing-related), the culmination of evolution of Merrill's long and storied career that began with AR mods in the 1970s, through to the Heirloom and various other products to the PolyTable.
While the PolyTable might appear as a toweing Rube Goldberg contraption, even a cursory examination will show that each facet of the design serves a specific purpose. The frontal protrusion holds the built-in spirit level for easy viewing. The multiple platters sandwiched with RCC mats serve to further dampen vibrations.
Clearly there is a link in design philosophy to Rega, with prevalence given to material science over sheer mass, though the PolyTable weighing in at over 30 lbs. is certainly no lightweight.
In contrast to Thorens and the TD-1600/TD-1601 offerings, there is a clean break with tradition, in the finest tradition of the scientific method, allowing the evidence to dictate the conclusion from a new starting point.
In contrast to Vertere's affordable and quite avant-garde offerings, the DG-1/DG-1S, with their almost sirenline visual appeal -- the polish, the angles -- the PolyTable offers none of that, as its angles and protrusions each serve a specific purpose.
It isn't that any one of these 'tables is "better" -- each is a marvel in its own right and all would make their prospective owners quite proud. It's just that the PolyTable is the table of choice for the engineer, the one who prizes science and physical reality above emotional visual appeal, the one who sees more beauty in a well-run industrial operation than in an avante garde museum of modern art. The 'table is simply a means to an end, not the end itself. That end is the music in as close to its original recorded form as possible for a reasonable price.
The end result: The PolyTable delivers a faithful and astonishingly realistic rendering of the music in the groove that leaves the listener wanting more, itself dead silent, inserting none of its own opinion but transcribing only what it traces.
As George says, "When the lights dim to listen, the music is also in the dark."
Greg HedgerPolyTable Signature ownerMay 2023
George, PolyTable Turntable
Happy New Year. My Poly table is finally up and running. A friend who is quite adept at turntable and cartridge set up has been busy, hence the delay.
The Poly/Sorane is one very impressive combo. It’s an improvement in every manner over my other table/arm, particularly with respect to noise. The Poly/Sorane has a great sense of space with solid, well defined images. I assume that is due, in part, to its amazing quietness. My existing Soundsmith Zephyr cartridge is a great match for the Sorane arm. Detail abounds without be analytical. In short, this is a wonderfully musical system.
A couple friends stopped by for a listening session and were quite impressed. Frank Sinatra’s “All or Nothing at All” in mono stole the show. This LP has a large soundstage that, with the right setup, easily fills the space between the speakers. With Poly/Sorane his voice was almost three dimensional possessing a rock solid, stable image. My friends both thought that was some of the best mono Sinatra they’d ever heard.
Bottom line, my vinyl has never sounded better.
Jim M
Happy New Year. My Poly table is finally up and running. A friend who is quite adept at turntable and cartridge set up has been busy, hence the delay.
The Poly/Sorane is one very impressive combo. It’s an improvement in every manner over my other table/arm, particularly with respect to noise. The Poly/Sorane has a great sense of space with solid, well defined images. I assume that is due, in part, to its amazing quietness. My existing Soundsmith Zephyr cartridge is a great match for the Sorane arm. Detail abounds without be analytical. In short, this is a wonderfully musical system.
A couple friends stopped by for a listening session and were quite impressed. Frank Sinatra’s “All or Nothing at All” in mono stole the show. This LP has a large soundstage that, with the right setup, easily fills the space between the speakers. With Poly/Sorane his voice was almost three dimensional possessing a rock solid, stable image. My friends both thought that was some of the best mono Sinatra they’d ever heard.
Bottom line, my vinyl has never sounded better.
Jim M
Good morning George, PolyTable Turntable
The table continues to break in, but I’m guessing the motor andbearing are done. Mostly, the break-in has to do with recalibrating myexpectations about what’s possible with an all analogue musicreproduction system. The level of detail retrieval, sustain (more onthat later), and the seemingly explosive dynamic presentation this tableand cartridge provides is simply astounding. And based on thetonearm/turntable combo, I’m guessing it would support ANY cartridgeregardless of cost(?). I’m still mulling over the MuTech cart…
My wife was part of an all girls choir at the then all girls School ofNotre Dame in Mankato, MN. The choir director—a nun, ofcourse—trained these girls into a very fine ensemble and ultimatelyproduced a couple of all analogue recordings produced by the DeltaRecords label during the 70’s. The girls were selling thesedoor-to-door and to relatives to pay for the effort as well as to raisemoney for the lil’ monastic community. When we married in the late90’s, I asked a high-end dealer I frequented (Corner Audio inPortland, OR) if I could make a DAT recording of her LP to create a CDwhich I presented to her as a Christmas gift. So, with album and ProAudio DAT in tow, we connected it up to the big QuickSilver preamp (thebig, full faced, and full function one of the time) which was supportinga very fine table and cart that totaled somewhere in the $20K(+/-)range.I made the DAT recording and sent it to a local Pro Audio shop totransfer it to CD. The recording was a hit with my darling wife andthat’s what we listen to every Christmas. Everyone loves it.
Yesterday, the ZOTL40 Reference amp arrived back from Mark Scheider atLinear Tube Audio. (Yeah!) My testing identified that all the NOS tubeswere Ok and Mark confirmed that it was a board level component, which hesaid was, “Very unusual.” After letting things settle in for a bit Istarted listening. All I can say is, WOW! Every album I place on theplatter is a revelation, and that includes my wife’s original albumfrom the 70s. There is absolutely no comparison playing the ripped CDvia the fine Yggdrasil and the PolyTable Signature and HanaML. Mywife’s eye’s (and ears) were transfixed to the“illuminated”—her own words—image coming from the speakers. Shedescribed it as being transported back to the church setting where therecording took place.
And now back to the “sustain” idea in my first paragraph. I’vebeen to the campus at Mankato, MN where my wife attended High School andthe church where the recording was made. The natural reverb in thebuilding is fairly lengthy. In the CD is falls off of a cliff; with thePolySignature it seems to go on, and on, and on, naturally. Remarkable.
I listened to several other records and I just walk away wagging my headat what I’ve been missing.
Thanks again George!
—mark
P.S. The record weight makes a difference. The difference is subtle, butquite perceptible as more focus and solidity. Who knew!?
The table continues to break in, but I’m guessing the motor andbearing are done. Mostly, the break-in has to do with recalibrating myexpectations about what’s possible with an all analogue musicreproduction system. The level of detail retrieval, sustain (more onthat later), and the seemingly explosive dynamic presentation this tableand cartridge provides is simply astounding. And based on thetonearm/turntable combo, I’m guessing it would support ANY cartridgeregardless of cost(?). I’m still mulling over the MuTech cart…
My wife was part of an all girls choir at the then all girls School ofNotre Dame in Mankato, MN. The choir director—a nun, ofcourse—trained these girls into a very fine ensemble and ultimatelyproduced a couple of all analogue recordings produced by the DeltaRecords label during the 70’s. The girls were selling thesedoor-to-door and to relatives to pay for the effort as well as to raisemoney for the lil’ monastic community. When we married in the late90’s, I asked a high-end dealer I frequented (Corner Audio inPortland, OR) if I could make a DAT recording of her LP to create a CDwhich I presented to her as a Christmas gift. So, with album and ProAudio DAT in tow, we connected it up to the big QuickSilver preamp (thebig, full faced, and full function one of the time) which was supportinga very fine table and cart that totaled somewhere in the $20K(+/-)range.I made the DAT recording and sent it to a local Pro Audio shop totransfer it to CD. The recording was a hit with my darling wife andthat’s what we listen to every Christmas. Everyone loves it.
Yesterday, the ZOTL40 Reference amp arrived back from Mark Scheider atLinear Tube Audio. (Yeah!) My testing identified that all the NOS tubeswere Ok and Mark confirmed that it was a board level component, which hesaid was, “Very unusual.” After letting things settle in for a bit Istarted listening. All I can say is, WOW! Every album I place on theplatter is a revelation, and that includes my wife’s original albumfrom the 70s. There is absolutely no comparison playing the ripped CDvia the fine Yggdrasil and the PolyTable Signature and HanaML. Mywife’s eye’s (and ears) were transfixed to the“illuminated”—her own words—image coming from the speakers. Shedescribed it as being transported back to the church setting where therecording took place.
And now back to the “sustain” idea in my first paragraph. I’vebeen to the campus at Mankato, MN where my wife attended High School andthe church where the recording was made. The natural reverb in thebuilding is fairly lengthy. In the CD is falls off of a cliff; with thePolySignature it seems to go on, and on, and on, naturally. Remarkable.
I listened to several other records and I just walk away wagging my headat what I’ve been missing.
Thanks again George!
—mark
P.S. The record weight makes a difference. The difference is subtle, butquite perceptible as more focus and solidity. Who knew!?
George, AR ModificationsI attempted tonight to post on Vinyl Engine the DMD stuff I mentioned today. Here are links to the two different threads. One for the new tables and one for Controlling the Motor. Please feel free to use any of this in any manner you think beneficial. I don’t have any pride in authorship. I only want to spread the word.New Built Tables- Vinyl EngineControl and the AR Motor- Vinyl EngineFrom a business stand point, I know you made substantial investment to design the DMD, but the fact that I don’t see it discussed anywhere tells me the marketing needs help. And you can read what I’m writing, this DMD needs to get a lot more visibility…. It’s just too good at what it does. And look at all the Linn stuff, which I don’t think actually solves the problem… just generates a lot of electronics to fail and then drive repairs or replacements.And maybe with more orders the pricing could come down and drive more orders. I don’t have a good idea of how many AR tables are out there as market source but I think it’s significant. And also, consider international… I know a PITA to deal with but a 50 Hz version will likely drive orders too. Seems to me the only issue is a different wall wort to bring the proper DC voltage to the DMD.One Very Happy Customer,
TJ
TJ
LP 33 1/3 Examples: PolyTable Turntable
Hank Mobley - Workout -
voices and sounds coming out the musicians I've never heard before. Wide soundstage and dynamic range.
Iron Butterfly - Ball -
Bass from Lee Dorman's Bass, Ron Bushy's voice placement was just right on and various guitar fuss, drum set made me feel I was right in there.
Mason Williams - Phonograph Record -
Everything was more expansive and separation was at a maximum. Classical Gas...well the best sound performance I've ever experienced.
Golden Earing -
Moontan A real gem of an album came over like the musicians were live and right there. Punch. Just like the Portland State University live concert of 1985. (without the crowd)I know it's early on.... but your table is impressing the hell out of me.Tears of Joy.Can it get any better?- Jon
Name: James Jackson Equipment Purchase
Hi George, You are the best! I love my Quad pre-amp, my Jolida Glass DAC and the turntable mat and record cleaners. All work superbly! Best wishes on all your innovations! James (Jed) Jackson
Hi George, You are the best! I love my Quad pre-amp, my Jolida Glass DAC and the turntable mat and record cleaners. All work superbly! Best wishes on all your innovations! James (Jed) Jackson
GroOove Lube
Hi George
I have OCD when it comes to making vinyl the quietest in the groove that I can.I have a studio and have recorded many different types of before and after cleaning tests etc.I listen primarily on headphones as this is ultimately the most revealing for me, especially with most headphones having a high frequency bump.Back to topic.I purchased from you the Hydraulic cleaner.Recently I have been testing Ultrasonic cleaners and have also a Keith Monks point suction cleaner (new one without the thread).Anyway, after cleaning I applied the Grooove Lube to clean the stylus but also as a finishing product to the record.I was amazed by how much quieter the record is after the application of Grooove Lube!Why is this?Ticks and pops that were there before application are now gone or have diminished in severity.Do you make a larger bottle as I am currently working my way through over 1000 LP's cleaning and re-sleeving.
Kindest Regards
Paul
I have OCD when it comes to making vinyl the quietest in the groove that I can.I have a studio and have recorded many different types of before and after cleaning tests etc.I listen primarily on headphones as this is ultimately the most revealing for me, especially with most headphones having a high frequency bump.Back to topic.I purchased from you the Hydraulic cleaner.Recently I have been testing Ultrasonic cleaners and have also a Keith Monks point suction cleaner (new one without the thread).Anyway, after cleaning I applied the Grooove Lube to clean the stylus but also as a finishing product to the record.I was amazed by how much quieter the record is after the application of Grooove Lube!Why is this?Ticks and pops that were there before application are now gone or have diminished in severity.Do you make a larger bottle as I am currently working my way through over 1000 LP's cleaning and re-sleeving.
Kindest Regards
Paul
PolyTable Signature
Mark Wadelich Good morning George,
The table continues to break in, but I’m guessing the motor andbearing are done. Mostly, the break-in has to do with recalibrating myexpectations about what’s possible with an all analogue musicreproduction system. The level of detail retrieval, sustain (more onthat later), and the seemingly explosive dynamic presentation this tableand cartridge provides is simply astounding. And based on thetonearm/turntable combo, I’m guessing it would support ANY cartridgeregardless of cost(?). I’m still mulling over the MuTech cart…
My wife was part of an all girls choir at the then all girls School ofNotre Dame in Mankato, MN. The choir director—a nun, ofcourse—trained these girls into a very fine ensemble and ultimatelyproduced a couple of all analogue recordings produced by the DeltaRecords label during the 70’s. The girls were selling thesedoor-to-door and to relatives to pay for the effort as well as to raisemoney for the lil’ monastic community. When we married in the late90’s, I asked a high-end dealer I frequented (Corner Audio inPortland, OR) if I could make a DAT recording of her LP to create a CDwhich I presented to her as a Christmas gift. So, with album and ProAudio DAT in tow, we connected it up to the big QuickSilver preamp (thebig, full faced, and full function one of the time) which was supportinga very fine table and cart that totaled somewhere in the $20K(+/-)range.I made the DAT recording and sent it to a local Pro Audio shop totransfer it to CD. The recording was a hit with my darling wife andthat’s what we listen to every Christmas. Everyone loves it.
Yesterday, the ZOTL40 Reference amp arrived back from Mark Scheider atLinear Tube Audio. (Yeah!) My testing identified that all the NOS tubeswere Ok and Mark confirmed that it was a board level component, which hesaid was, “Very unusual.” After letting things settle in for a bit Istarted listening. All I can say is, WOW! Every album I place on theplatter is a revelation, and that includes my wife’s original albumfrom the 70s. There is absolutely no comparison playing the ripped CDvia the fine Yggdrasil and the PolyTable Signature and HanaML. Mywife’s eye’s (and ears) were transfixed to the“illuminated”—her own words—image coming from the speakers. Shedescribed it as being transported back to the church setting where therecording took place.
And now back to the “sustain” idea in my first paragraph. I’vebeen to the campus at Mankato, MN where my wife attended High School andthe church where the recording was made. The natural reverb in thebuilding is fairly lengthy. In the CD is falls off of a cliff; with thePolySignature it seems to go on, and on, and on, naturally. Remarkable.
I listened to several other records and I just walk away wagging my headat what I’ve been missing.
Thanks again George!
—mark
P.S. The record weight makes a difference. The difference is subtle, butquite perceptible as more focus and solidity. Who knew!?
The table continues to break in, but I’m guessing the motor andbearing are done. Mostly, the break-in has to do with recalibrating myexpectations about what’s possible with an all analogue musicreproduction system. The level of detail retrieval, sustain (more onthat later), and the seemingly explosive dynamic presentation this tableand cartridge provides is simply astounding. And based on thetonearm/turntable combo, I’m guessing it would support ANY cartridgeregardless of cost(?). I’m still mulling over the MuTech cart…
My wife was part of an all girls choir at the then all girls School ofNotre Dame in Mankato, MN. The choir director—a nun, ofcourse—trained these girls into a very fine ensemble and ultimatelyproduced a couple of all analogue recordings produced by the DeltaRecords label during the 70’s. The girls were selling thesedoor-to-door and to relatives to pay for the effort as well as to raisemoney for the lil’ monastic community. When we married in the late90’s, I asked a high-end dealer I frequented (Corner Audio inPortland, OR) if I could make a DAT recording of her LP to create a CDwhich I presented to her as a Christmas gift. So, with album and ProAudio DAT in tow, we connected it up to the big QuickSilver preamp (thebig, full faced, and full function one of the time) which was supportinga very fine table and cart that totaled somewhere in the $20K(+/-)range.I made the DAT recording and sent it to a local Pro Audio shop totransfer it to CD. The recording was a hit with my darling wife andthat’s what we listen to every Christmas. Everyone loves it.
Yesterday, the ZOTL40 Reference amp arrived back from Mark Scheider atLinear Tube Audio. (Yeah!) My testing identified that all the NOS tubeswere Ok and Mark confirmed that it was a board level component, which hesaid was, “Very unusual.” After letting things settle in for a bit Istarted listening. All I can say is, WOW! Every album I place on theplatter is a revelation, and that includes my wife’s original albumfrom the 70s. There is absolutely no comparison playing the ripped CDvia the fine Yggdrasil and the PolyTable Signature and HanaML. Mywife’s eye’s (and ears) were transfixed to the“illuminated”—her own words—image coming from the speakers. Shedescribed it as being transported back to the church setting where therecording took place.
And now back to the “sustain” idea in my first paragraph. I’vebeen to the campus at Mankato, MN where my wife attended High School andthe church where the recording was made. The natural reverb in thebuilding is fairly lengthy. In the CD is falls off of a cliff; with thePolySignature it seems to go on, and on, and on, naturally. Remarkable.
I listened to several other records and I just walk away wagging my headat what I’ve been missing.
Thanks again George!
—mark
P.S. The record weight makes a difference. The difference is subtle, butquite perceptible as more focus and solidity. Who knew!?