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SOLD: FS: KUZMA Stabi Reference 2, KUZMA Stogi Ref 313 VTA, LYRA Kleos

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Item: KUZMA Stabi Reference 2 Turntable, KUZMA Stogi Ref 313 VTA Tonearm, LYRA Kleos Cartridge

Location: Oak Park, VIC 3046
Price: $10k FOR THE LOT. WILL NOT SPLIT. 
Item Condition: GROUSE
Reason for selling: The twins are coming
Payment Method: Pickup - Cash, Paypal, Bank Deposit Only.
PICK UP ONLY - NO BOXES
Extra Info:

My pride and joy this is an amazing turntable package. I purchased this from Pure Music Group 6 years ago (Kleos 1.5 years)I'm selling this package to make way for my twins that will arrive in 3 months. I won't have time for much critical listening moving forward, so simplifying my system.

 

The Stabi is constructed from two plates, each plate being made from a sandwich construction of two 10 mm aluminium plates, separated by an acrylic plate clamped together with pre-stressed, non-magnetic, stainless steel screws. The turntable chassis (top plate) is suspended by large springs submerged in silicone oil, with a low resonance of 2.2 Hz, which dampens movements of the springs themselves. The main base (bottom plate) is supported by three aluminium and stainless steel spikes. The top plate is easily levelled by four knobs. When this plate is lifted (for transport) the silicone suspension reservoirs are automatically sealed.
Two motors in a diamond drive, power the subplatter, which has an inverted bearing with a ruby ball. Both ball and sliding ring have their own oil bath for lubrication and damping of any vibration within the bearing. The platter is also of a clamped sandwich construction, in order to combine the strength of aluminium (rigidity) and the damping properties of acrylic, which produces an exceptionally stable and no resonant support for records. The mat and special clamp are made in much the same way as the platter and further serve to control all vibration. The armboard also employs the sandwich construction design. In 2009 the new power supply called PS Ref 2. This power supply is the only difference between models Stabi Ref 2 and Stabi Ref .

 

The Stogi REF 313 VTA is the 12 inch version of Stogi Ref 313 tonearm with fully adjustable VTA tower mounting on standard 9 inch position. The Stogi Ref 313 VTA tonearm shares the main features of Stogi Ref and 4 Point tonearm, i.e. precision ball bearings, a conical tube and unique VTA tower.

 

The Kleos features the full fledged Ogura manufactured boron cantilever and coil system with Lyra original line-contact (3 x 70μm) stylus. This is similar to what is employed on even the most expensive Lyra models. Nevertheless, the most important element of the new Kleos is its sound. The Kleos is capable of extracting more information from the vinyl grooves than its predecessors, and that the reproduction of music is both more dynamic, more detailed, and more natural than the models preceding it. 


 
Photos: 

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Superb turntable and arm, and a great deal.

 

@scuzzii

@PKay

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Bargain alert!  Love my Ref2 someone is going to be very happy!

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    • By drdarkfish
      Hi All,

      Further to my post last week, here is some feedback I want to share regarding my new Turntable Rig. I say “Rig” because I changed my turntable, arm and cartridge all in one large 'switch-out'.


      New Rig Details

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      ·         Arm: Kuzma 4Point – 11”

      ·         Cart: Lyra Etna SL


      Rest of the System

      ·         Speakers: Kef Reference 205/2

      ·         Amplifier: AudiaFlight FL-Two (Integrated)

      ·         Phono-Stage: AudiaFlight Phono


      Why change?
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      Did I need to upgrade my setup? Absolutely not.

      Everything about my previous combo was awesome, I was sufficiently far enough up the 'law of diminishing returns curve’ that it would have kept me happy for years.


      However, my Lyra Delos was coming to about the mid-point of it’s useful life and I reached a fork in the road. I was so utterly impressed by the Delos (my first Lyra cart) that It started the cogs turning about an upgrade.  The thing that kept bugging me is: how is it possible that the Delos is only the entry model for Lyra?


      In the end, I upgraded because of pathological curiosity. What does that incremental 10% “better” sound like (albeit at 3x the cost). Note: The outlay for this upgrade was considerable and by no means within normal expenditure for me – some people have a passion for cars, mine is vinyl. Upgrading to the Lyra Etna SL meant an upgrade in everything (the car needed to match the engine and so forth). So in reality it’s really the Lyra Etna that drove the entire upgrade.


      Preface
      I will not make comparisons between my setups because its normally not useful for others and is usually accompanied with too many asterixis, despites, howevers, keep-in-minds… Besides, the minds-ear has bad tricks it plays on your memory (and visa versa), without a direct A/B under perfect conditions any comparison is fairly useless.


      I will also not comment on ‘build-quality’ other than to say the components are as good as you would hope.

      It took a good month in order to get everything setup correctly. This probably would have been quicker but I was getting used to a new arm and turntable. The Lyra design is fairly congruent across the range, so there were no big differences in the geometry between the Delos and Etna (other than the strange asymmetric design – slightly off-putting at first).


      Tracking

      The Etna + 4Point combo tracks exceedingly well. Through difficult passages of music it never seems congested or ‘strained’. Everything is retained in a cohesive image, with no harsh/distorted elements. The impressive thing about the Etna is that it retains its ‘character’ under any conditions (more about character below) – that is to say there is no discernible changes in its ‘response’ with difficult tracking. Some cartridges can sound thin or bloated in complex passages (even good ones), the Etna appears not to.


      On the Hi-fi News Test Record I managed to pass all torture tests except the very last (though this doesn’t mean much).


      For fun, I pulled out my copy of the 1812 Overture pressed by Telarc – the one with REAL(!) canons. The combo breezed through the canon sections like a hot knife through butter. Interestingly, this is the first time I had been able to clearly discern other instruments at the point of explosion when the canons hit (/shortly thereafter). Normally (at least in my experience) the cartridge/arm is so occupied wrangling the 6hz tone modulation that everything else tends to go out the window.


      (Note: those who are thinking of getting a copy of the 1812 Overture by Telarc, I highly recommend doing your research before playing, this vinyl is potentially damaging to your system - I DO NOT play it often, it’s a once-a-year party trick).


      Sonic Character (the really subjective part)

      I will speak of the sonic character of the Etna as a proxy for the entire Rig, this is because I think the job of the Arm and TT is to interfere as little as possible in the sound-reproduction process. (that is not to say the individual elements don’t have a Character – of course they do, but you need to start somewhere).


      If I had to pick one word to describe the sound of the Etna it would be “Solid”. It may sound simplistic but after 2 months of listening, that is the one word that I keep coming back to. The mid-range is dense.


      The Etna has an unwavering solidity that has the effect of sounding like tape. I think this partially relates to how well it tracks: because there is low tracking errors, there is a higher consistency in the sound, and therefore you hear less “vinyl” and more music. I’ve often heard Michael Fremer say that good vinyl systems sound like ‘tape’ and I’m starting to understand more what that means.


      In terms of frequency response, the Etna does not appear to exaggerate anything. Highs are open, airy and fast (like all Lyra carts), without sounding bright. The bass extends low (very low) and is well defined, without being bloated – all ticks here. But you’d expect that from this kind of product.


      What the Etna doesn’t do is make average records sound better (some carts do that but at the expense to too many other elements). What it also doesn’t do (which many high-end cartridges fail at miserably) is that it doesn’t make them sound worse (important if you like listening to music….). You can read many reviews of the Etna where the reviewer states “it just makes you want to listen to more vinyl” - and I couldn’t agree with that statement more.


      However (and this is the exciting part), when you play a truly well mastered and pressed vinyl, hold onto your pants because this is where the Etna really shines. The Etna is so utterly impressive with dynamic slam, even-handed response, solid mid-range, it is out-of-this-world.

      Example One: Is a German press I own of Jimi Hendrix’s posthumous live compilation album ‘Hendrix In the West’: Listening to the iconic recording of Little Wing on Side-B is so utterly real, it left both myself and a friend speechless when we first listened. I’ve listened to this recording more times than I care to remember (mostly because it’s my favorite Hendrix song), when listening with the Etna you feel like your perched in the front row and you can hear everything from the skin of the drums to the buzz of the Marshall Stack 5meters away. Without sounding cheesy, it was like listening to it for the first time.


      Example Two: I picked up a copy of the newly re-released ‘LeGrand Jazz’ pressed by Impex Records (Bernie Grundman Mastering). There really is no ‘good place to start’ with this record, it contains some of the best musicians to ever live and is one of the best recordings I’ve ever heard. Listening to ‘Night in Tunisia’ and ‘Blue and Sentimental’ on SIDE-A is hands-down some of the best Jazz music (from both an audio+music perspective) I’ve heard. The dynamic swings in Night in Tunisia have a scary immediacy about them, in no way does this recording sound like 1958. If you want a good example of how things have potentially ‘gone backwards’ in terms of recording techniques, ‘Night in Tunisia’ is a good place to start. Shifting gears to ‘Blue and Sentimental’, a considerably more ‘laid back’ (“Blue”) track, the instruments have tangible timbre, so intimate you find yourself looking in the direction of the speaker to confirm it’s not right there in front of you!


      Summary

      As I said, this isn’t an upgrade I needed to make, nor was there much rationality in the decision-making process. Having said that, I’m sitting here 2 months later, considerably poorer but a very happy man.


      Sure, a 10% improvement is still only 10%, but I can say without hesitation that what this upgrade does to vinyl in my sound-cave is worth every penny.


      Buyer’s guilt = zero


      If you’re a little unhinged and/or looking at divorcing your partner, the Lyra is a good place to start. If you are single and/or have perfect mental health, don't shy away from giving it a go.




       
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