Author: wysahAdmin

We began to sell this more than a year ago as the result of its cleaning is extraordinary.

Nearly all cleaning machines use the “wet brush and vacuum” system and this has been the case for decades. Unfortunately, the filament in a brush doesn’t get deep into the record groove due to its diameter, and probably relies more on the brush pressure on the film of liquid.  I was considering a £4000.00 German machine using traditional “wet brush and vacuum” but after three members of another Linn dealership bought the Audio Desk for their own use, I bought one to try. I’m afraid that having heard records cleaned this way, in my opinion the old-fashioned method has had its day.

The results of any record cleaned on the Audio Desk is stunning and although the machine isn’t cheap, it’s like having a new record collection. An LP either old or new and even previously cleaned on any traditional machine sounds more involving and more natural, clear and tuneful with deeper bass after being cleaned on the Vinyl Pro. We have amazed so many people with the Audio Desk I felt it time to feature here.

One client originally had a American VPI machine and replaced it in 2013 with a £4000.00 Keith Monks, which has been regarded by many as the best machine in the marketplace. He came in to look at LP12 and system upgrades including a Kandid cartridge. When he heard two of his LP’s before and after cleaning on the Audio Desk the Monks was immediately retired and he has since rediscovered his collection again cleaning on the Vinyl Pro.

The Audio Desk is very sophisticated, using ultrasonic cavity agitation which creates bubbles deep in the LP groove. The tiny exploding bubbles scrub deep into the grooves at a microscopic level. Agitation is further enhanced by geared motorised soft fibre cylinders, two each side of the LP. These rotate in opposite directions underwater creating a swirling action which pulls the now loose dirt particles away from the LP removing surface dirt and fingerprints. The liquid is continually circulated through a filter during operation. Once the record finishes the cleaning cycle, a ceramic bearing pump empties the fluid from the top of the machine to a lower chamber. The control system then actuates two powerful fans which blast water from the wet LP leaving it ultra clean, completely dry and static free.

All you do is place the LP in the machine and everything takes place automatically at the touch of a button.  The electronic control system even uses the internal motors and gearing to change the speed of the records rotation during the drying cycle to even greater effect. Both sides of the LP are cleaned simultaneously during this process and the centre label is never near the fluid so stays dry.

A conventional machine generally involves a great deal of physical attention and time from the operator. In the case of the Keith Monks place the LP onto the platter, start the motor. distribute cleaning solution, brush the cleaning solution into the LP , place the suction arm onto the LP, start the vacuum pump, wait for the suction nozzle to traverse the LP,  use a cloth to dry any excess fluid at the edge the suction nozzle misses, then turn the LP over and repeat the process again on the other side.

The Audio Desk cleaning solution is cheap and will clean 100+ records before draining and replacement. The liquid is continually passed through a filter on each clean catching dirt, and even if it eventually becomes less clean toward the end of its use, it makes no difference whatsoever to the end result in our tests due to the blast process of the drying cycle.

The Audio Desk is very compact and because the record is cleaned vertically it has a small footprint making it easy to accommodate. In the photo you can see the Audio Desk next to our clients retired Keith Monks.

It’s funny that everyone who owns an LP12 appreciate upgrades that allow a music lover to get nearer to hearing what’s actually on a vinyl record even though they have met others over decades who don’t understand the astounding qualities of music replay that vinyl replay can bring. This is only understood by listening. However, many LP12 owners dismiss the benefit and efficacy of better record cleaning machines as “they all do the same job”. This is the same as saying a low-cost turntable must be as good as an LP12 as it “measures” the same and just goes round and round so must be as good. Wrong on both counts. Understanding what the Audio Desk Vinyl Pro does over and above any other machine is only appreciated when experienced.

“A revelation” Nick in Suffolk. (Linn Klimax system).

“The best upgrade I have ever made to my LP12″ Julian in Middlesex. (Linn Akurate system).

“We have never heard this record before!”. ABC The lexicon of Love , a favourite album played to a suspicious partner initially unconvinced about buying a Vinyl Pro. Graham, Surrey. (Mark Levinson, Revel system).

“I wanted a machine that took the process from start to finish, with consistent results so I looked at cavitation/ultrasonic machines. I took an LP bought in a charity shop that sounded like Friday night at the fish and chip shop, it was so noisy. After a run through the Audio Desk it had almost no surface noise at all. It has been a pleasure to enjoy my system as never before since I purchased the machine.” Mick C, Surrey. (Linn Klimax system).

“Seriously impressed with the results and so easy to use. No problem finding a space as it’s so compact and love the fact that all happens automatically once the start button is pressed”. Dave in Herts. (Naim 500 system).

Being at home over the next couple of months is an opportunity to rediscover your own record collection. The Audio Desk Vinyl Pro is available mail order from us with a subsequent personal phone instruction of use and tips by Colin. He will also direct you in advance to his choice of distilled water and LP inner sleeves.

The Audio Desk Vinyl Pro cleans 12″ LP’s but there is an accessory available to order allowing 7″ singles to be cleaned.

The machine is £2545.00 including VAT and carriage.

Colin is currently at the showroom Tues-Sat. For more information or any questions please contact Colin at the showroom on 01494 681300 or email colin@wysah.com

Due to the current situation and there being no informed opinion out there yet, I decided to give the Karousel my own review here in Beaconsfield.

I used two LP12’s of the same Akurate specification with Lingo 4, Akito 3B and Krystal cartridge. Those who know me also know how fastidious I am with making sure that a comparison is absolutely fair. Both decks have to be “spot on” and set up to my standard rather than  “half hearted”.” Failure to ensure an accurate set up can result in an unfair comparison. One deck has been changed from an unworn Cirkus bearing to Karousel and both sit on identical supports sharing the same system. In this case I chose the system last used here in the demonstration room.

This was the Q Acoustics Concept 500 loudspeaker which then were ordered and delivered direct to the client 10 days ago. As the buyer used older Naim amplification we used an amplifier I purchased with a system from our village postman 12 years ago as I collect things. This is a Naim NAC 42.5 pre-amp with Hi-Cap power supply and a 160 power power amplifier all from about 1986 which was the 160’s last year of production and all recently fully serviced including the phono-boards at Naim in Salisbury. This was chosen as “why not” as it approximates in quality many systems out there fronted by an LP12 that are not necessarily top spec or new.

All LP’s standard and most second-hand. I don’t use “special” pressings and prefer old records that are nearer to the original master tape. All LP’s previously cleaned on our Audiodesk Vinyl Pro machine. The LP’s used were not pre-planned and just came to hand on the day.

 “Counceltation” by Curtis Counce. Contemporary records 1957. Jazz.

First track on the album called “Complete” It actually made me giggle as it wasn’t a subtle difference. Starts with a struck cymbal followed by a languid Counce bass intro and then muted trumpet. This is when the “bell” is stopped with a “mute” resulting in a pinched and squeezed sound. On this album Jack Sheldon on trumpet but a mute was commonly used by Miles Davis. For me it was a seriously wow! moment. The struck cymbal having more harmonic structure and a longer decay with more “sheen”and the whole track was more “cheeky”, fun and better put together, The trumpet and everything else much more real and “there”, shining from a recording made 62 years ago.

St Germain “Boulevarde” 2002.  House/Jazz. Give by a customer trimming his collection.

Track 2 side 1 “Thank U Mom”. Starts with a sort of “click clack” tapped percussion leading to a big, round succulent low synth bass and later some echoplex electric guitar. The intro on the Karousel has much more precision, tune and meaning, and when the bass comes in the power made me look right as it made the door vibrate. More energy, clearer, precise and more fun.

Steely Dan. “Black Cow” from “AJa” 1977.

Karousel deck. Clean and meaningful with a lovely sort of “stop and start” quality with little echoes in the mix from the keyboard. Vocals wonderful as one would expect as they were obsessed with making good recordings. Going to the Cirkus bearing it sounded a bit soft ,muddy and “sat on”. Back to the Karousel again. lovely. Once heard I didn’t want to go back to Cirkus.

Paganini Violin Concerto No1 . Side 2. 3rd movement Ithzak Perlman. EMI 1972.

Wonderful record and Perman was only 25 when recorded. On the Karousel richer, more harmonic information from the violin , better played, more delicate and cheeky. (You can tell he had fun playing it) More together with a better and richer Orchestral sound. More “Majesty”.

“Be cool” from “Wild Things Run Fast”. Joni Mitchell 1981.

Again the Karousel made the Cirkus sound “shut in” and less real. The busy “pitter patter” skiffle on the Karousel is much more “on the button” and tuneful and you are more aware of the drummers other input. More weight to the sound and more powerful. Wayne Shorter’s little Sax blips more interesting and real. More music. A  track that only Joni Mitchell could put together and very cool.

 “Expresso Love”. Dire Straits “Making Movies” 1980.

On the Cirkus it’s hard to hear Mark Knopfler’s singing as it’s placed back in the mix. The intro strumming on top of the “Stones” riff is far better on the Karousel, and as well at the track being more powerful when the band comes in you can also hear his words much more clearly. I stopped listening to Dire Straits many years ago and this album is part of a collection gifted to the showroom and it’s been refreshing to hear them again.

Everything I have compared is significantly better and like looking through a higher resolution lens.

I recall when the Cirkus bearing came out in 1993 people saying it would mean they would never have to upgrade their Valhalla power supply to Lingo or Ittok arm to Ekos as the deck would be so good. Not true then or now as these things are cumulative. If you want to hear more LP and less turntable other Linn upgrades like Lingo 4, Radikal, Keel, Kore and Ekos SE are no less valid than they were before. However this new bearing has seriously impressed me and is to my ears a huge sonic and musicaI upgrade in its own right.

Congratulations to Cameron and the team at Linn who developed the Karousel.  I think it’s possibly the single biggest musical upgrade have heard in the 40+ years since I bought my first Sondek in the 1970’s.

 It’s worth noting that despite current circumstances, the Karousel promotion is still on, running until the 22^nd May. You’ll receive the Karousel bearing free of charge if you spend £3000 (inc VAT) or more on Linn*. (terms and conditions apply).

For those who have already placed orders for equipment we will fulfil when the time is right, and thank you for your patience and support.

I am not seeing clients but as we are a consultancy and not a shop I am busy here Tues-Sat between 11.00-5.00 taking deliveries for stores and catching up. There is still much to be getting on with.

Any questions please phone 01494 681300 or email colin@wysah.com

 Colin Macey.

WYSAH Beaconsfield.

We’re extremely excited to announce Linn’s new precision-engineered single-point bearing for the Sondek LP12, the Karousel. Offering smoother rotation and greater stability for even more immaculate sound.

Back in 1973, this unique single-point bearing, combined with the acoustic isolation of the turntable, were the foundations on which Linn was established; with the bearing design even providing inspiration for the Linn logo.

Testament to its ground-breaking design, the basic principles of the bearing have remained the same and Karousel is only the third evolution of this design in almost 50 years.

This innovative new take on their original bearing design has been made possible by technological developments in material science, machining capabilities and mechanical engineering expertise gained from almost half a century of designing and manufacturing the world’s best turntable. That vital union between the platter, spindle, bearing and sub-chassis is now the strongest they’ve ever achieved.

A new diamond-like carbon coating inside the bearing reduces friction between the tip of the spindle and the base of the bearing itself. This reduces the ‘noise floor’ of the turntable, so improves musical reproduction.

The substantial locknut fastening on the stainless-steel housing increases rigidity at the critical point where bearing and sub-chassis come together. Enhancements to the base of the bearing include a stronger housing for the thrust pad, combined with a smaller, stiffer coated form, to improve the critical area that supports the platter rotation and mass, meaning your vinyl reproduction is more accurate and detailed than ever before.

Call Colin Macey, our showroom Manager, on 01494681300 or email colin@wysah.com to find out more about the Karousel, the LP12 and everything Linn.

We have a lot of exciting news coming this month, so stay tuned!

Kind regards,

The new Q Acoustics Concept 300 Loudspeaker.

We’ve represented the exceptional floor-standing Concept 500 for a couple of years, a speaker that redefined musical performance at the price. Q Acoustics have now done it again with entirely new technology, in the smaller Concept 300.

This new loudspeaker has alarming clarity and transparency. The brilliant Tensegrity stand and the new isolation base system is part of the reason. The triple layer, heavy and inert “Gelcore” cabinet is allied to the Concept 300’s innovative “floating” internal suspension.

Both this and the Tensegrity tripod stand allows the Concept 300 to “speak clearly“, unfettered by the sonic compromise conventional stands introduce; the result of which is truly special.

You can experience the new Concept 300 loudspeakers at our relaxed studios in the picturesque old town of Beaconsfield, tucked back off the main high street in our own private courtyard, complete with parking.

Contact our showroom on 01494 681300 or email colin@wysah.com

Kind regards,