frankmarsi

Heavy is the head the wears the crown. I need more time to organize as my vinyl collection is dominating the area. As is visible with my system, when I get into something, I really get into it. Then there’s the possibility of you becoming overly audibly intoxicated, then what, how will you get back home-that is of course if you wanted to leave? You may not, and force yourself into taking the spare bedroom which contains the other system with the AR-9s’s coupled to another PL700 Series II. Or, you may insist I build a lean-to for you on the property. What if you go into home-invasion/squatter mode and won’t leave? There’s also the possibility the deer family that comes by several times a day may see you as a rival invader and attack. Last year there was a six-pointer that went into an aggressive pose towards me from 100 feet away. I was forced to back up and leave the area. Hopefully, in the coming new year, we’ll meet. FM 1.4

Tom, I thank you for posting that article. At the risk of sounding like a wuss, reading this article gave me a warm-fuzzy feeling about the way things once were in this country. Back in the early 1970s I was such a proud owner of my AR-3a’s, I endorsed them to every one I spoke to when the conversation was about stereo. I also had a slight glimpse of that same feeling when I finally bought a pair of AR-9’s in 2014. Certainly I feel it when I listen to my system of stacked AR-LST’s these days. Back in the day similar feelings were common for me as a young person, owning AR speakers was almost a “right of passage’ into quality listening and I felt much pride of ownership. When I was 20 in 1970, I actually started saving any spare change I could with hopes of someday buying AR-3a speakers. Upon discharge from the armed forces, I used some of my “GI” benefits allotted for college and also worked part-time to buy my first pair of AR-3a’s. And by mid 1971, I awarded myself with what I felt at the time was the absolute best speaker on the planet. Coming back from college classes, the first thing I would usually do is turn on my self-built Dynaco PAS-3X and ST-120 amplifier and listen to my brand new AR-3a’s. So, thanks again Tom and here’s to good listening! Cheers! FM Have a listen. https://community.classicspeakerpages.net/topic/10649-do-ar-speakers-really-sound-that-good-more-new-video/ 1.3

I feel the AR 10pi, is a very under-appreciated speaker. Dependent on condition, I would easily give up a set of my AR-3a's for a set of AR-10pi. The use of a transformer the way AR did in the AR-LST and AR-10pi was something I felt was a good thing and I wonder why it was not used to a larger extent. I just had a change of mood, I'm going to look for a pair of good condition AR-10pi and retain all of the sets of AR-3a's. FM 169

This is all I could find: https://community.classicspeakerpages.net/topic/8353-pi-one/ Scroll down to: "iso" mid page. 148

@jurgen59 if you asked me, I looked up some specs for that Denon amplifier and power wise it has the qualifications to handle LSTs, now the consideration is long term use and actual sound-quality. Will they hold up at high volumes and continuous use at 4 ohms? This I can't speak to as I have no experience with these models. In any case, do use the appropriate fuses. Speaking of Denon, it has been around for many years and have generally produce quality products. I'm particularly a fan of their MC cartridges and their entry level DL-301 Mk.II which is excellent and I would endorse it to anyone wanting to dip their toes into the moving-coil cartridge pool. If one has not enjoyed a quality MC cartridge, they don't know what they're missing! I also own their DL-304 MC cartridge which to me although is more costly than the 301 II, oddly comparatively falls short in the excitement-factor department and is rather overly polite compared to most other cartridges though, if one listens exclusively to classical music, it does satisfy in most areas, just not entirely with rock music. In terms of pre-owned moving coil step-up-transformers, I use the Denon models AU-340 and AU-320 for my main system and use two AU-320's in system #2. These two models are excellent transformers if looking to keep costs reasonable. FM 643

Reading this post, I wonder what has changed since? Have most folks switched to higher power or? Or, even if the lower-lumbar area is still intact. 606

I’m wondering what sort of budget is planned for the pre-amp. My past experience is from many years ago in 1974 to be exact when I purchased my first high-power amp, a Phase Linear 400 and using my only pre-amp, a Dynaco PAS-3X it all sounded excellent with my AR-3a’s. That pre-amp was tube and it naturally emitted a fair amount of tube-hiss. Therefore it necessitated I roll back the treble controls a touch past the flat setting more than I already had positioned it. So, because of that, I then had to listen to music to a slightly less realistic degree because of that hiss I had to lose some high frequencies, not cool. I wasn’t able to tolerate the tube noise/hiss I was getting plus, I wanted to experience the ‘NEW’ transistor components that were newly being born in those days. Fast-forward to later that year and I purchased a Phase Linear 4000 pre-amp. Good-bye tube-hiss/noise and hello, quiet backgrounds additional aided by Phase Linear’s noise-reduction circuitry and I was set for years to come. If you’re in the process of deciding which pre-amp to purchase, I’d keep in mind its specs and how it will perform with your input sources before buying. If you intend to regularly use vinyl which is a high-level source then, the quietest pre-amp you’re looking at is the one to consider. Reality sets in when such decisions of money versus performance are made so, do the research before taking the plunge. FM 43

DavidR, sorry I couldn't be of more help, I didn't look at the other posts, I simply jumped into a search. You can imagine the difficult time I had finding stands to hold up the weight of double LST's for each side. I was lucky to locate a vendor on the bay and I bought a few sets of different heights of the same design but, that was back in the early 2000's. They're not perfect and don't offer any lip or edge they rest against but, I relied upon the actual weight of the speakers at 90lbs. each to keep them in place. If you haven't already, I'd suggest doing a search for JBL or any other name that might have similar measurements. I'll keep you in mind as I surf. "Kent's" recommendations pretty much sum it all up. It can be a daunting search, I know, I've done it numerous times through out the years. Height considerations are paramount. Good luck. Worth a look: https://www.etsy.com/listing/800009815/custom-bespoke-made-upon-order-speaker FM

David, I found these. I'm not certain if they're really are 'AR' stands. Speak with seller first of course. check it out. https://www.ebay.com/itm/304608164315?hash=item46ec0fb9db:g:K9MAAOSwPl9jBvKr&amdata=enc%3AAQAHAAAAsPz82WpqnPoaBZawN9FvqRC2b3n6ypo4yv5H65RgtBX90bhmm1FWNPa0fFQHAdwQRChniCgWk8qfo%2FafzN%2FT9%2BeWBl%2BNGe0qkluQru2Cggxx06WQCV9XpI%2BA7ENw4ZusDWQYa2oLPNGd0iNkU%2F33kFL%2FMyxZFpbsNEP9IOObz8p3Gi1t%2FfzxUZWbRUo6YScizSN1Ncv5nK2zVvEyWMXWPV56wyGwlYfJtZo2Glka%2FH8T|tkp%3ABk9SR_rLkdvcYA FM

Depending on the ‘newer’ replacement arm’s weight, and if the new arm is going to sit on the plinth’s surface or mounted lower and sit on the table’s chassis as the AR arm did. Measurements will matter if mounted on TT’s triangular chassis, you certainly want a balance there. As this tables dimensions are compact and smaller than most other tables in many respects, a replacement arm’s length is an important consideration. When I purchased a “Jelco” arm with possible intentions of going on my originally purchased in 1972 AR table I had to ponder the plus and minus aspects. This consideration must also be measured regarding the dust-cover clearance of the tone arm fitting. I believe forum member “Der” did the same modification using the same Jelco arm so, you possibly could benefit by emailing him. I’m assuming once a situation like this is created, one must also do critically attentive listening tests in regards to the results of T.T.'s noise, any acoustic feedback, etc. That is something you could also ask of member Der. In terms of a replacement motor, I have no idea though, I don’t foresee much difficulty in selection though motor mounting might be dicey. My personal experience going back when I first bought the AR table were mixed at best. From the very first moment, I was so pleased. I was thrilled and very impressed by it, especially that shiny platter. Its sound was worlds above anything I had previously owned. Then again, it was replacing a Garrard 40B (my first table purchase in 1967) which was nothing to speak of, much less consider. The AR table was simply beautiful in a spartan-way. It wasn’t until I got-into high power that this sweet little AR table betrayed me with a deafening dose of acoustic-feedback. This problem lasted until 1974 when I first bought a direct-drive table and never had to look back except in a learning curve sense. I proceeded to focus on cartridge selection and listening only. Now that I brought it up, what are your phono-cartridge plans as the original tone arm is rather limiting compared to the Jelco or other arms. Other than that, if this is your first venture into AR restoration, I think you’re doing a beautiful job. Check out Y--T--e: https://www.youtube.com/results?search_query=modifying+the+AR+turntable FM 240

This is an excellent video and I'm sure will inspire many deciding to refinish or apply a new veneer. www.youtube.com/watch?v=zJ_jzNNtVQU&t=148s 280

I wish all of us on this forum lived closer to one another so then we'd have listening-sessions just as I did back in the 1970's with many individuals. And David, drooling is only part of it. During listen-sessions, I've had other's actually startled and I'd watch their eyes open up wider and heads turn towards the speakers in disbelief then, turn to me a say a big "WOW"! Moments later letting out a big "Holy-Sh--t" comment after the last crescendo be it rock or classical.* I had one guest get out of their seat, walk over to with 3-4 feet of the speakers and lay down on the floor. And with their hands behind their necks and their angles crossed acting like they were in listening-heaven'. I've had others that were initially doubters walk out after we finished a session with their ears pressurized and wearing a big sh-t eaten grin saying; "we gotta do that again". Interestingly enough, I've had similar moments all through my AR-life. When I first bought my AR-3a's in 1971, I insisted anyone who came over to give me a few minutes so I could give them a sample of my new system. At 20-21 years old was I being too pushy? Perhaps but, I was so impressed myself I just had to share it with everyone. FM * I just purchased a classical disk called; "Mephisto & Co." , Minnesota Orchestra pressed by QRP Reference Recordings, half-speed mastered 45rpm vinyl disk. Maybe some others are familiar with it already? And although I haven't listened to it yet, I'm excited to do so. Click the link below and you can hear a sample of each piece on YouT-be. https://www.google.com/search?client=safari&sa=X&biw=1774&bih=890&q=minnesota+orchestra+mephisto+waltz+no.1:+first+ending&stick=H4sIAAAAAAAAAONgFuLSz9U3MEyvqMhJUoKwk8ws0yy0RLOTrfRzS4szk_UTc5JKc62K8_PSixexmuZm5uWlFueXJCrkFyVnpBaXFCUq5KYWZGQWl-QrlCfmlFQp5OXrGVoppGUWFZcopOalZOalT2BjBAB2ylwlbAAAAA 40

LST's were 1972 till 1976. I was already attempting to influence friends to buy AR's since I was so sure they sounded the most accurate in musical instrument reproduction. Yet, even back then my mind struggled with the sometimes 'not-enough' level of high-frequencies. By 1974 my chill-pill arrived as "Micro-Static" accessory tweeters. I simply could not go on feeling and knowing my system wasn't complete if everything else sounded excellent except that certain AR lacking amount of high frequencies. Once I had all of the other important factors in place all that was left for me to do in 1974 was to buy into the new rage of high-power which I did. I've persisted and never wavered and remained a loyal fan and never felt the need to change. I felt back then as I do today that AR and high-power were foundational to my system and I was set. After that, I only improved input sources, such phono-cartridges and cables. In 1976 a close friend who would contest and doubt me in a playful masculine competitive way had purchased L-100 JBL's, claiming he couldn't handle reticent 'highs'. He changed his mind only after a couple of months and again came to me for info and wanting to buy AR-3a's. I laughed. He went shopping and could not find any AR-3a's and settled for their newest model, the AR-11. They were nice but, a little thin in the upper bass compared to the AR-3a. Similar to some who can't decide, he sold those and bought Allison Ones. A few years later he bought Thiel 3.5 or 6's. They were like bigger sounding AR-2ax's on stands and slightly more forward sounding. Today he's back to AR-11's which he is now content with once more but, I still had to convince him about appropriate stands. Today, as for most of my adult life, I have exclusively owned AR's. One could joke that I've been married to them for over 51 years. Hey isn't that a Golden Anniversary status? FM

Are you certain the two very small allen-type set-screws are tight on the brass shaft? With use over the years the knob may slip because the set-screws become loose. I've had it happen with my AR-LST's on occasion and when they get loose, I simply tighten the two hex-screws with no further difficulty. Don't go too tight as you may strip the hex-screw head and then you'll really be in trouble. Off hand, I don't recall the size but, I know it's 'SAE' and not metric or imperial type. It's more like 1/8 or slightly larger. If this doesn't do the job, let's hope that the brass shaft that is used to turn to different settings isn't screwed or broken. Use Deoxit or similar down the shaft. It will be easier if the speaker cabinet is on its back for all repairs. If all else fails, the best way to a remedy this is to pull the control from the inside and double check. In the unlikely possibility that the shaft or its mounting is broke or stripped, you'll have to replace or repair. If entire control is damaged it will be a job for Super-Man or RoyC. either will do. If the entire control spins, do not use it as you'll be twisting and possibly destroying the wire connections. In the event the securing 'nuts' are loose, simply tighten while holding assembly from the back. In either case, anything to do with this control will require removing the woofer. P.S. for new knobs with the hex-screws included, check out "Vintage-AR' on the auction site. FM 8

Good and helpful reading here, click on link: 260

Yes, and at one point I switched in another two PL-400*, sorry if I was confusing. I still wasn't completely happy with the sound I heard beyond the first couple of amp breaking down. Listened to that set-up again with working PL-400's yet, not fully happy. Shortly there after I removed the two PL-400's and placed a PL-700 in their place and things were sounding better. What I didn't receive with the double PL-400's was what I had expected from them. After all the AR-9's had a large amount of power with the double/bi-amp set-up but, the sound didn't impress me. Once the single PL-700 was in line, the over all sound was as good as expected. Again, the room placement of the speakers wasn't optimum so my testing was not entirely proper or accurately done. *The PL-400 amps used had been sitting dormant un-used since 2006-7. This in of itself may have attributed to my dismal results. The newer PL-700 had newly been refreshed. So my results are not scientific in any way and should not be referred to as quantifying. FM

Pete B., Nothing actually went wrong in bi-amping the AR-9 other than an amp failure but, it was more a matter of sound quality or at least how I perceived it at the time once I installed operating amps. I felt the speakers sounded better when I installed the single larger amp. It was a while ago and I may have been biased concerning the newer larger amp being installed. I also think back to 2009 before I installed double 700's feeling the double 400's came across with a touch more tonal sweetness but, that was using the afore mentioned amps with the double AR-LST's per-side. Comparatively speaking the PL-700's simply out-power the smaller PL-400's and it can be discerned at higher volumes. Another consideration is the PL-700's have been 85%+ rebuilt, whereas the PL-400's where all original. I also felt the PL-700's displayed a more effortlessness overall, especially at higher levels. Which is as little odd as essentially both amps are virtually identical except for the power rating and transistor complement, maybe slight circuit changes. It may be something as you mentioned earlier but, an amp is work horse and should and does amplify what is before it in the chain. Whether or not the upper amp was not happy by only running the highs and mids shouldn't be a problem anymore than an amp running only the lows. In terms of a Zobel network, I wouldn't know what component values of resistance or capacitance to assign. Then again, my knowledge only goes so far. Some one like yourself or Ed Blackwood would know better. P.S. I have a video running a single set of LST's powered by a single PL-400 and as a team I felt the sound was really impressive. I'll try to locate that video, but my allotted space is mostly used up already and it may be too big on this site. But it wouldn't explain the matter at hand. I'll go search for that video now. I do recall it being "ELO"'s song 'Mr. Blue Sky' on a wonderfully good condition vinyl disk I had bought used and cleaned on a VPI 16.5 machine. That's why I recall it as I was very pleased I had found a good condition copy of that albumin ai was just newly setting-up my present system in 2013. As a person made insane by vinyl, I sometimes have a few copies of a disk due to varying states of condition. If I've purchased a used copy and after cleaning it fails my audio requirements, I continue my search for a better condition copy until I find what I'm looking for. The stupid present day virus has curtailed my vinyl hunting safari's since it began 2 years ago but, I'm slowly starting to feel the desire coming back though. FM

Surprisingly enough, he called me today, though I was out. He left a message and mentioned he met with you and for some ungodly reason my name popped up. Good 'vibes' nonetheless. And, thanks again for those manuals. That was very kind of you. Below is the third PL-700 I bought specifically for my AR-9's. You can easily see the remarkably excellent condition it is in, and it arrived to my house in the same condition. It's also provides excellent service powering the AR-9's it lives with in system #2. Photo below is as it appeared in the ad when I first spotted it. And I agree in many ways when it comes to system-building 'to each his own' but, when all is said and done there is nothing like using AR speakers with the absolute control and finesse afforded by the copious iron-fisted power this amplifier renders. There's no wondering if that bass note you just enjoyed was lacking in volume, size or degree of realism. There's no second guessing if you're getting all you feel you should be hearing out of a quality recording or not. When this much power is on tap, a sense of total soundcomtrol is always there when summoned by your program-source. And certainly just like any seasoned listener would provide for his thoroughbreds, all of my amps are fully adjustably fan cooled to add to that pleasurable degree of listening confidence. In the near future I will be purchasing a temperature programable fan controller to give me even more certainty that my system is always running at peak performance. I already use adjustable fan speed controllers as I've said but, having speeds change automatically will be a joy. FM Below: Elegance in beauty of simple design lines, monstrous in its brutal power reserves.

Pete, I've been in contact with Ed Blackwood since 2009. That was how we met when I purchased two Phase Linear Series II 700's he rebuilt. We've had a number of long phone discussions about Phase Linear and that whole related world. We recently messaged about another PL-700 I was interested in and consequently he advised against my purchase of it because he's such a perfectionist. He is a totally excellent rebuilder and everything is done by the book, to the 'T'. His work ethic is impeccable in terms of neatness, completeness and precision. The second Series II PL-700 I bought from him was almost custom in that he waited for a cosmetically almost perfect face-plate as I required that any purchase I'd be making of an amp would have to be 'perfect'. He delivered on the first one in spades and as soon as I had for a couple of weeks I ordered the second PL-700 Series II. We've spoken different times since and he has consulted and advised me on other possible purchases of amps. His level of related knowledge is vast! FM 16.3

Here we go again.......... Look up almost any of my posts where I'm sure I fervently endorsed the higher the better when it comes to wattage. And, much like money, the more you have the better everything is. Your 36lb. Mitsubishi DA-A10 amp is sufficient enough for AR-2ax's and I can say that because I've been involve with high power since I became aware of the Crown DC300 @ 150WPC when it was first offered and then again when Phase Linear kicked everything to the curb and introduced real high power back in 1972. Luckily for me I was all ready to embrace the common sense those early power wars made and in 1974 purchased my first PL-400. Now and as I've said countless times, I enjoy very-high power watts and concentrate on the music only and laugh at the knowledge that a couple of late-bloomers who contested my experiences now strut around 'A.K.' and other forums like peacocks telling the world about the epiphany they've had only in the last few years and have only recently done an about face from their B.S. low power amps to higher watts. Though there are a few screw balls who go from low power, rant all over the net about low watt virtues then switch to high power and rant all over again about high power's virtues. My first 400WPC amp I was still in my family's house and the room I was in was 10X11. Of course I didn't blast away for fear of tweeter blow-outs and it could be quite overbearing however, I heard ever detail the program material had to offer at any level I listened to. Again, another virtue of high watts, detail. My suggestion to Norman is to delve into reading what the 'big-boys' know, check out the reviews contained in the 'High-End' world and use and judge your needs from there. I've watched the paths some non-cognoscenti have taken while I hold on strongly to everything I've learned and low and behold it's always the wrong path others take. Oddly enough some have gone from low power to high power (good) and then back again to low power (bad). Now, that's nuts and clearly indicates a lacking of the fundamental knowledge and also shows how much they know (nil). Roller-coasting like that in Hi-Fi is saturated with indecision and ultimately disappointment. And in that case it's the ole' horse to water answer. For some, I believe that sometimes this not so old world of posting online has created more problems than it has cured. Generally speaking over 50% of most posters are 'parroting' information they've read but sadly, don't really have a body of quality experience and in no time start posting everywhere spreading...wait for it.......mis-information. Oh my, what a trendy word I better run along before the usual suspects and detractors come along besides, I must go count my pennies as last week I put $40. of gasoline in my car and received just over 7 gals., for next week I ordered 200gals. of heating oil and it's going to cost me $5.90 a gal. gee, how does that happen? Hey, if I don't have a warm house, how can I sit and listen to the sweet and warm sounds that I enjoy? Vintage baby, vintage. FM 56

@ AR surround, this looks very nice and I'd no doubt enjoy checking out the sound you receive but, my curiosity is drawing me to the right hand side of the foto. Is that an elaborate 'HO' set-up of trains there? If so, I can tell you that in and around the same early years of constructing my AR-3a set-up, I also was into HO trains. I lost interest when I made a decision and delved into another hobby which led to something else longer term. At the time of the 'HO' days I was stock piling rolling stock and buildings, switches, etc. When I was clearing out my family's home for sale, I learned that my father had cleaned out most of my collection of cars, buildings, and track. I was left very little of that hobby but, luckily I retained my 'hi-fi' stock as I moved that into Manhattan where he couldn't get to it. He considered music equipment valuable but, certainly not what he considered the toys of my train collection. Luckily, my "Lionel", "Berkshire" steam 'O' gauge set from 1962 was spared because it was safely hidden but, 90% of the H.O. stuff was tossed. What's this thread about? All I know is I'm glad that I grew up in the years that I did as in my opinion current culture, music, etc. these days is pretty much directionless. ""(One day, I'm going to replace all of the speakers with AR9's, including the five in the ceiling...🤣)"" Maybe I'll wait as I feel AR-9's in the ceiling might require a hard hat? FM 745

Henceforth, the AR-LST. Quoted from: Posted May 17, 2019 Click on this photo below. AR-Pro said: But if you sit facing your equipment, isn't your left ear turned away from your LSTs? FM) said: My sweet-spot is not necessarily facing my speakers but, I sit at a right-angle to the speakers as I prefer to be enveloped by the sound almost like being in a music-hall so, I record from where I usually sit facing the equipment. FM Said: The room is rectangular therefore with the speakers at one end, and my 'sweet-spot' placing me sitting almost three-quarters in the room away from the speakers, the resultant bounced sound does afford me enough separation to enjoy signals from both the left and right speakers. Typically I'm not the sort of listener that insists equal amounts of sound exactly being a 'left-right', or 'right-left' listening proposition. Nor is that what one hears at a live concert as hall reflections and ambient sound typically comes from many directions. In my set-up, if a bass is recorded and intended to come from the left speaker, I will hear it from the left speaker and ditto for the inverse. AR-LST"s have angled side panels that radiate to the sides as so designed. In my set-up the left and right speakers are a least two feet from the room corners and the right speaker's wall being only slightly different because of a window but, that's 6 feet away, what I'm trying to say is the left side of the room gets a little bit more wall support. In fact, because of the left speaker's side corner wall support, it also radiates a bit more than the right side. I have no issue with separation as the stereo image is intact. Case in point when listening to mono-disks I don't sit there and analyze how much signal is coming from which speaker nor do I do that with stereo disks unless it's obviously recorded that way. Besides, 'stereo' is not defined as 'left-right' or 'right-left', it is actually a blend of both unless a recording defines a larger degree of separation for a particular affect, it's typically a blended support of sound from both sides. While using the phono cartridge shown above which has 36db of separation being one that has more separation than most. What matters most to me is the separation of each individual instrument's placement, sound and amount of detail in the mix, not being reliant exactly on what's coming from the left or right sides. But, to your point, yes dependent on how much I turn my head the left-right stereo separation can and does vary somewhat but naturally so. The days of 'Stereo-Separation Thrills and Special Effects' is long gone and not like it was in the early 1960's and '70s. Admittedly, as desirable as a rectangular room is for listening, no room is perfect as furnishings, curtains, couches, chairs and rugs will absorb and reflect sound differently and will contribute to the over-all sound perceived and heard. Nor am I the sort of listener that insists tone controls being in their 'flat' position, especially when using AR speakers. I learned long ago in 1971-72 while using the kit-built (I built in 1967) tube Dynaco PAS-3X pre-amp that in order to have sound pleasingly realistic it necessitated a slight increase of both the bass and treble controls to avoid the proverbial 'wet-blanket' sound that AR's reputation was garnering as compared to say 'JBLs' sound character. That in of itself was another reason AR devised the AR-LST speaker, in affect, more highs and more reflected radiation of sound. AR also modified their tweeters to permit a larger amount of high frequencies as time went on, the LST and to a lesser extent the 10pi remedied that issue long ago. And not to besmirch AR but, as an example in affect so did the Bose 901 as did Allison and a few others with supporting the concept of reflected sound as being more realistic and typical of a live performance. Then, if you haven't noticed, I use a S.A.E. parametric-equalizer and have seasoned aka 'tuned' to my tastes and needless to say I go for accuracy and realism. I use the cartridges I've chosen in like manner. As a user of AR products for 48 years to date, it's always been about making/allowing them to sound the best I can. 390 FM

Reza, nice table and tonearm. My first entry into 'Direct-Drive' turntables was in 1974 when I decided that belt and idler drive were simply too noisy and newer design tables were coming in vogue. The table was "Tannoy/Micro-Seiki TM55 which looks similar to yours however, was the two company's first joint effort into "DD". Ultimately, there's really no other way to go. In fact "Thoren's" new '124' table is now a direct-drive also. That alone is a major statement. If you want a lower priced cartridge, consider the Denon DL301II as it is an excellent performer. Of course you'll need a set-up-transfrormer to go with it and there again, I would suggest used Denon AU-320 which is an excellent unit. Those two components had launched my system to new heights when I first purchased them in 2012-13. It also led me to exclusively use 'moving-coil' cartridges from that point on. In fact I'm so firmly entrenched in the use of this type of cartridge, I use a different one in each of my tables. Surely, it raised the cost of listening but, it also raised my listening pleasure over-all. FM

To be honest as I always am, no. Though I have often thought I'd replace the driver-board on all of my Phase Linear amplifiers and not the front-planes that mount all of the power transistors first, as always, laziness took over. If and when I start to replace those components, I'd also want to add the "Watts-Abundant" DC cut-off relay while I'm in there. Costs add up when talking about nine actual amps so, that further set me back. The Phase Linear PL-400 is a very sweet sounding amp and with 400WPC at 4 ohms are pretty much all one would need. When I bought into the main two PL-700's for the AR-LST's I did so to reach the ultimate levels those speakers were able to handle. When I bought the two AR-9's in 2014 and attempted 'bi-amping' with double PL-400's I wasn't all that pleased as I stated earlier. Upon switching the 400's out and placing a single PL-700 inline I enjoyed the 9's much more. How much, I'm not certain as the room they're in is not properly set-up just yet. Numbers would be 700WPC with the PL-700. With 400WPC split for mids & highs using two PL-400's and 400WPC X's two for the low frequencies. . So on paper the PL-400's actually were performing with a higher total of 800WPC total for highs and mids and bass combined. Whether or not there was a loading problem with the PL-400's, I don't know. On another note, I'm considering purchasing those absurdly priced fuses, and although the cost is crazy for the amount of fuses I'd require one must consider the actual element normal fuses are made with. That in of itself would convince more people to use better quality fuses. However, in actuality, I don't think those costlier fuses would sound better than a straight copper lead from the amplifier, how could they, it's just about better or neutral sounding protection. Fifty years ago, I was never concerned about fuse construction., who would've thunk? Nonetheless, I've operated with fuses inline with all of my AR speakers since I first bought a pair of 3a's in 1971. It wasn't only out of practicing better judgement to use fuses. Rather in reality it was because I was blowing-out so many AR tweeters. In retrospect knowing that presently the tweeters can be rebuilt and, when I think about the number of AR tweeters I threw out, I become angry. FM

Hello Pete B, long time no speak but, to answer your question, no I don't have any copies of service bulletins or any other documents from the factory. Though now, you've made me wonder if such information would be included in such docs. I would imagine they'd highlight simple items of possible different loads that may be used but, the likelihood of any further info would be interesting. I really don't know. I doubt I have any info from my first purchase of Phase Linear amp back in 1974. If you're kind enough to send me file, that would splendid and I would be gratful. FM