There’s plenty of threads here and there on this.
I did it but with a DVXV1t on the ARO and Supercap/ Superline instead of the Solstice phono. The Naim was a better listen IMO and that of my LP12 owner friend. Adding the 300P/S to replace the Solstice one has moved the Naim even further away . But with the top Chord cables that I use it’s an expensive piece of kit !!!
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It seems relevant to me that the brilliant Roy George was pivotal in the design of the deck and arm. They are the only parts of the original package that remain from my original purchase.
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Which Chord cable and where from? tonearm?
I’m plan to switch main, and debating between the Lyra and (maybe) Chord…
I still use the ARO arm cable. Chord can provide two connectors on their Music arm cables but neither can be used if the Solstice sits on a FRAIM due to the inflexibility of the cable and the lack of clearance between the bottom of the Solstice (where the arm cable exits ) and the glass.
That clearance can be (I believe, haven’t tried yet) increased by changing the existing legs under and even upgrade them for better ones.
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Interesting! Which “new legs” are you suggesting would be an improvement?
I think he’s referring to the adjustable feet under plinth. I don’t know how high they extend?
Not high enough for the Music to make that turn.
Yes CrisBell,
There are quiet a few companies out there that specializing in this field…
Curious, do you all tighten down the RCAs or leave them loose (like we do with DIN’s)?
Decoupled like the DIN’s is my preference
Hi Steve!
With the end of Solstice production I’m wondering if you could share with us with some design insight? Since we are discussing the arm lead, why was this particular cable chosen and what benefits do the locking RCA’s provide? I’m also curious about the large platter? How does it and the layered plinth provide isolation?
I’m sure others have questions…
Excuse my ignorance, but what is a locking RCA? Is that one with a rotating barrel that tightens down on the female connector?
I wonder why they just didn’t use locking BNC connectors (as available on Superline) as in days of yore.
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I would have preferred BNC.
I have thought about terminating my Clearaudio Universal arm with BNC connectors, but that uses super-thin lutz wires and my soldering skills aren’t that good. Maybe some day I’ll grab some records and take them to my friend Keith Herron for an expert job. I’d have to get some though. I thought I had a set from the old CB days, but apparently not.
Hi @ChrisBell,
I’m not sure I could do the design ideation justice. The Solstice concepts came from Roy George (now retired technical director) and some others.
I would informally chat with Roy and he’d show me the progression of the suspension system, the new aros, platters, motor drive, motors etc. The platter got bigger and bigger, the suspension got groovier (there is a careful integration between two suspension systems, magnetic bearing and the wood grooves). Roy has a natural affinity of mechanical tuning for audio.
There’s a slim chance I can find some prototypes and show some of the design progression. I’ll have a dig in the R&D vaults and see what I find.
Best
Steve
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Photos of the design evolution would be fascinating. Thanks for the insight!
-Chris
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Interested to hear which alternative cartridges owners may have had success with. I see the supplied Equinox is a 3 point fixing, but is it also similar dimensions and weight (7ish grams) to the Linn 3 point fixers?
Btw, That Lyra cable (as told to me) cost about 2,820 $…not cheap, I guess you pay the same…