Linn Akiva cartridge - another review

Posted by: paul99 on 23 January 2003

Colleagues,

I have just taken delivery of an LP12, EKOS, Akiva, Lingo and Linto from Martin Kleiser. Actually, owing to varoius problems the delivery was made over the period from the beginning of November last year.

It is very likely that the Akiva set-up reviewed by Mike Lacey was mine.

I am glad that he liked my system.

However my opinion is rather different. Here then is my review of the Akiva, in all probability the very same cartridge as that reviewed by Mike Lacey.

Installation used for the review tests:

The installation of the Linn equipment was performed together with a Linn dealer (Colin Macey)and is to the best of our knowledge a satisfactory installation. The sound colouration does not exist with other inputs including other turntable/arm/cartridge arrangements.

Equipment used for the tests were: Linn: Akiva, Ekos, LP12, Lingo, Linto, Quad: 34, 707, ESL63s.

Review´:

This weekend I took delivery of my new LP12 again but with a new EKOS arm and Akiva cartridge. The Akiva replaces the Dynavector cartridge fitted as a temporary measure. Due to manufacturing defects and short-circuits the arm and some other components had also been changed. Here are a few comments on the Akiva as it operates in this set-up.

First point is that the mid-range bloom that I experienced with the previous Dynavector cartridge is much reduced but still present. The Akiva delivers a very hard muscular sound. When listening to rock or jazz music, the effect is very dynamic and involving. Problems set in when the recording has a large mid-range component, such as forward vocals, the mid-range bloom becomes a distracting honk.

The colouration produced by the cartridge/arm/turntable arrangement is such that differences between recordings are masked, everything comes out hard and aggressive.Even relatively gentle classical music (say, RVW Oboe Concerto) becomes aggressive, the deeper stringed instruments come in with a jazz-club-style punch. You don't hear the performance or its subtleties, all you hear is Linn.

It is said that the Akiv, and by inference the Akiva, extracts a large amount of information from the groove, this may well be the case but if so, the colouration obscures all this additional information. So bad is the mid-range bloom that while playing a recording of the "Ode to Joy" finale, I had the impression that I was listening to the music using a cheap pair of boxy loudspeaker rather than ESL63s.

My pre-amplifier features a filter which allows a step in the frequency response to be set. I think that this is intended to overcome room resonances. This filter can be used to reduce the mid-range honk. Listening to the effect of the various filter settings, I would judge that there is a bump, or flattened peak, in the frequency response of the LP12 combination somewhere between about 100Hz and 350Hz. I have since been informed that the "word on the street", so to speak, is that the peak in frequency response is at about 250 Hz.

This non-flat frequency response would explain the, by some people admired, punchy Linn sound. I can quite understand that this bass/mid range bump would lift a, let's say not so good, HiFi out of the doldrums and give an instantly impressive sound with the right kind of music.

It is almost pointless to try to compare the sound of a HiFi system with the "original sound", we don't what it is and even, in a studio or multi-miked set up, if it ever existed. What we can tell though, is do different pieces of music, different musicians, different recording venues sound different, can we hear these subtle, and not so subtle, differences? With the LP12, Akiva and so on, the answer is no. Everything sounds as though it were recorded in a jazz dive and, perhaps exaggerating slightly here, played by a jazz band. The Linn colouration obscures all this information. The LP12 converted my HiFi system (based upon the stunningly clear and neutral ESL63s) into a boom-box.

In conclusion, a cartridge with plenty of punch, good for rock or jazz. However, for listeners with good quality, neutral amplifiers and loudspeakers, the colouration will prove tiring. Particularly worrying is the way that all the different sound textures that can result from different collections of instruments, different scoring, different acoustics, different ways of playing are all lost and replaced with an aggressive punch. The musical and acoustic intentions of the composer, the musicians and the recording engineers are all but lost.

Quite a bit different, isn't it?

I do welcome and, in fact expect, comments. I am as surprised by the LP12/Ekos/Akiva performance as I am fairly sure you are.

I want to stress that I have been very careful in ensuring that the performance noted was due to the addition of the LP12 to my system and not the uncovering of other latent problems.
Posted on: 23 January 2003 by seagull
Welcome to the Forum Paul,

Very honest review.

I wasn't at the demo that Mike Lacey and Malcolm Davey had at Martin Kliesner but I spoke to Malcolm soon afterwards. He was very impressed with the cartridge and its on his wish list. I'm sure Mike will let us know soon how he's getting on with his in a Naim set up soon (and invites us round soon TW Rider style to upset his neighbours Wink)

I hope Mike and Malcolm both respond with their views.

If I'd spent as much as you have on a top spec TT I would be totally gutted if I were not 100% satisfied with it. Its difficult to know where you can go from where you are.
Posted on: 23 January 2003 by Dave J
Paul

This seems very odd and something of a disappointment. I've not yet heard the Akiva myself (I'm due to hear one tomorrow) but the comments from people who's tastes and opinions I know and trust are very different to your assessment. To be fair they are using very different amps and speakers to you, perhaps more in line with what you might expect of this forum. Maybe there's some conflict between the Linto and the 33?

Be that as it may, clearly all is not right with the combination in your set up and, given the amount of money you have spent, it should be perfect. As a matter of interest, what t/t were you using before?

Hope you manage to resolve the problem.

Dave
Posted on: 23 January 2003 by paul99
Seagull, Dave,

Mr. Segull, you may rest assured I am suitably gutted.

The pre-amp in this particular set up is a QUAD 34 not a 33, although I do have a 33/303 as a back-up amp.

I cannot think of any compatibilty problems which would explain the problem. I have the circuit for the QUAD 34 and can see nothing that would affect the frequency response in this way. There are slight differences in the input circuits, and I did try several inputs. Apart from the expected level differences, there was no change in the colouration.

I asked Linn for technical help, this was for my original mains hum problems (arm and lead short-circuits), but it is not their policy to give technical help to customers (at least not directly).

I have exhausted all the options known to me. I have no proposals for the resolution of the problem save returning the equipment.

I am hoping that some-one will say, "I know what that is", and tell me how to solve the problem.

My old turntable/arm/cartridge is a Rega Planar 3, SME 3009 and Ortofon VMS20E. On the face it, a humble set-up. It delivers crystal clear sound but just a little thin. I wanted the same crystal clarity but with a more extended bass response - I certainly got the bass!

Regards,

Paul.
Posted on: 23 January 2003 by Malcolm Davey
Paul

I'm sorry to hear of your disappointment, as Seagull said I felt the opposite BUT our sistems (systems) are very different.

I have heard a Linn with a Quad setup (many moons ago) and I was impressed, certainly by comparison with my then very basic setup.

One thought.... the Linn is very stand sensitive and it may be worth you trying a couple depending upon what you are currently using. I'm not suggesting this to encourage you to spend more - simply hoping that it will help.

Try a simple coffee table first if you haven't done so already. If I can come up with any suggestions I'll contact you
Posted on: 23 January 2003 by paul99
Alan, Mark,

Thanks for the suggestions.

Alan - I expect that the LP12 is causing the colouration. However, it is still a fair review as all these components are supposed to work together.

Mark - I understand that placement is an issue. The dealer has approved the location of the LP12, although it does set on a heavy but rigid equipment stand (nothing fancy).

I may try adjusting the tracking weight.

I know that the dealer has run my LP12 and cartridge for some time, how long I don't know. I have run it for about 10 hours. I have no plans to play any more records, except for test purposes.

Regards,

Paul.
Posted on: 23 January 2003 by jonni
I wonder if the tonearm cable is too tight , because that is exactly the type of sound that it causes.To be honest there are many possible reasons for a bass heavey midrangey sound .
Have you tried moving your speakers further out to compensate for the deeper bass?If you havent this could be your problem.You can not just substitute one piece of hifi for another in a system and expect a balanced sound to result , theres a big feed back chain to consider.
A well set up linn will sound fast , crisp and smooth with tight deep bass, with little surface noise or mistraking , if those are not the results you get there is a problem somewhere.
Posted on: 23 January 2003 by Tarquin Maynard - Portly
Paul.

Wow.

Sounds like two different pieces of Hi Fi kit. What I heard at the original dem, and what I gear through my home system are fundamentally opposed to what you hear. At the dem I listened through a high end Linn system, loudspeakers by B & W. My home set up is Naim amps - 82/hicap/135s, Linn Kaber speakers. I will be posting a fuller review probably saturday, but find it hard not be very surprised by your findings. However, it is what you think that counts. Some thoughts spring straght to mind; I have listened to pure vocal - Vivian Stanshall's "Sir Henry at Rawlinson End". The Akiva is clear enough to enable me to tell when a new recording session commenced - the voice sounds nearer / further away with different takes.
Emotion is communicated in a manner I could not believe possible - on "Paris, Texas" by Ry Cooder, the sheer passion of the vocal delivery on "Cancion Mixteca" actually bought a tear to my eye. I can tell which drummers have been recorded with a single stero pair mike, against having each drum miked individually. I can hear guitar strings ABOVE the fingers on the fretboard; to me it sounds sublime.

You did mention that the dealer approved the positioning of the LP12; I have known Colin for many years and am surprised that he agreed to place it on a heavy stand. IMO the LP12 requires light and rigid.

A point alluded to above springs to mind - surely you liked the sound you heard in the shop? The kind of set up you have purchased does not come cheap. It may be that Linn and Quad do not sit well together; from what I know of ESLs in particular they are exceptionally good at portraying orchestral and classical work, but if driven too hard may wilt under a bass onslought. I am at a loss to explain the loss of texture; that is one of the things I love about this cartridge.

Aggresive punch? Not heard by me - but what you hear is what counts.

Give the suggestions made by others a go. It would be a dreadful shame for you not to get as much enjoyment from your system as most of us on this Forum seem to.

Regards

Mike
Posted on: 23 January 2003 by Justin
Am I to undertand that you bought all of this Linn equipment new just recently?

Anyway, may I suggest that remove the Akiva and try your old cartridge in its place. That way you can get a really good feel for what part of the system is messing things up for you. My guess is that you know the sound of your old cartridge well. This test will permit you to see what contribution the table and arm are making.

Judd
Posted on: 23 January 2003 by Tarquin Maynard - Portly
quote:
Originally posted by Justin:
Am I to undertand that you bought all of this Linn equipment new just recently?

Anyway, may I suggest that remove the Akiva and try your old cartridge in its place. That way you can get a really good feel for what part of the system is messing things up for you. My guess is that you know the sound of your old cartridge well. This test will permit you to see what contribution the table and arm are making.

Judd


Hi Judd

I would differ here - cartridge set up is at least part art - get it wrong and all is lost. Wrong tools can break hearts as well as bank accounts! Plus Linn carts work best in Linn arms. A marriage made in Glasgow, as it where. ( well, designed there, anyway.)

Regards

Mike
Posted on: 23 January 2003 by paul99
Mike and others,

Once again thanks for all the comments. To answer Mike's point about did I like the sound at the demo when I decided to buy this lot:

I based my decision upon listening to the Akiv.
I took my Rega to MK and compared it with the LP12/Akiv.

The demo was, in my opinion, somewhat inconclusive. My purchase was based mainly upon Linn's reputation.

The Linn speakers used for the demo were in my opinion rather coloured, boom-tish, you might say.

Naturally the mid-range bloom from the LP12 made a more impressive sound than my old Rega. The mid-range bloom compensated (to some extent) for the colouration of the speakers.

I understand that now, but at the time of the demo, I thought that I was hearing something genuinely better.

Now that I can hear the LP12 etc on my neutral ESL63s, I can hear the colouration in all its horror.

A demonstration on my own system, in retrospect, would have been useful. That is a lesson to be learnt, although, apart from a replacement turntable, I do not expect to be buying any more high-end HiFi kit ever.

The truth of the matter is, I think that most HiFi systems sound terrible. Most are nothing like being at a concert, the opera or in a jazz club. I am always aware that the sound is coming from a couple of boxes. That also goes for the high-end Linn equipment used to demonstrate the LP12 etc.

However, I expected that the Linn speakers used would be un-coloured and good enough to compare my old Rega and the LP12. As it turns out both the Linn speakers and LP12 are coloured, highly coloured in my opinion.

I think that the ESL63s cope with bass quite well and have a surprising bass extension. The LP12/Akiva does not tax them. The LP12 combination produces high amplitude bass but does not have much bass extension (to really low frequencies).

I ought to say what I look for in a HiFi system. Nothing. Nothing at all. I do not want to hear the system, just the music. No colouration, no noise, total clarity.

My system sounds rather unimpressive, no-one ever says wow! fantastic bass, super treble forward this or that. All you hear is what was recorded. Standard comments are:

"I didn't know that kind of clarity was possible", "sublime" and sometimes "what was that piece of music?".

It is clear that the Linn equipment I have just bought does not seem to fit with this philosophy, or at least not with my system.

Anyway, it's time to own up.

Before placing my review yesterday I had already decided and agreed with the dealer to return the LP12. I was hoping that some-one would have something really new to say which might explain the problem. (I could always change my mind.) Furthermore I have no desire to fiddle about that much with the LP12 etc. It has been back to the dealer several times and he set it up at my home. If the dealer says that it is working as best it can, that is good enough for me.

I have, however, decided to retain the Akiva, Ekos and Linto and use them with a different turntable. This is a great risk on my part as the evidence of my ears is that these components are also unsatisfactory.

All the comments received, from this site and from other correspondence, confirm my analysis of the problem, that the LP12 itself is responsible for the colouration.

It is my hope that replacing the LP12/Lingo will remove the colouration problem.

I expect to have effected this replacement in about a month's time. Another review of the Akiva in a non-LP12 environment could be interesting.

I have already decided what other turntable to use, but, again I am interested in any comments or suggestions.

Regards,

Paul.
Posted on: 24 January 2003 by Malcolm Davey
Paul,

many years ago I ran a demonstration for a customer of ELS 63, Quad amps and 3 t/tables (not Linn). The better balance was with a more clinical t/t (I've forgooen the cartridge).

The Rega 9 would be a good choice, personnally I'd look at a Gyrodeck or the SME.

I'm not nuts about the choice of arm with your speakers but you pay your money etc.

Listen to the t/t etc with your system!!
Posted on: 24 January 2003 by paul99
Patrick, Malcolm,

Interesting comments.

Why is the Ekos arm not a good choice bearing in mind my loudspeakers and what exactly is the Ekos arm good at?

My opinion regrding the sound of the LP12 and Rega in comparison to a CD is exactly the opposite of Patrick's.

I think that the Rega/SME/Ortofon arrangement sounds far better CD although with less bass extension. I think that my CD player is fairly good (A Cyrus something with an external power-supply) but it cannot deliver the clarity of the Rega.

The LP12, however, sounds just like my first- ever 12 bit Phillips CD player but with the bass turned up. A heavy, congested, syrupy, undetailed sound.

As I said earlier, I quite understand why people could like the Linn sound, provided that the rest of the system is not too revealing.

Anyway, I would be very interested to have a bit more information about why use of the Ekos might not be such a good idea.

(By the way, although I seem to be disagreeing with almost everything that people say, I do appreciate the comments, especially if they can help me avoid another mistake.)

Regards,

Paul.
Posted on: 24 January 2003 by seagull
Paul,

I think that the LP12 and Naim amplifiers was a match made in heaven. Many others here would agree with that, the LP12 (in all its various permutations of psu/arm/cartridge) is the turntable most commonly owned by people here.

Maybe its the wrong one for you. I was a little surprised when you stated that you were keeping the arm as I'm not sure it would be so well matched with other turntables.

As said before, if you liked the P3 try the higher spec Rega player.

Do try it at home and consider using a dedicated turntable stand or wall shelf. They do make a difference.

Keep us posted on what you decide upon. It is always interesting to hear from people with a different viewpoint to ours with respect to hi-fi. Also check out the Music Room, whatever your taste in music you will get many recomendations and ideas to try.
Posted on: 24 January 2003 by paul99
Patrick, Seagull,

Again, interesting comments.

Patrick, to paraphrase somebody else's clever words:

Trying to describe a sound in words is like trying to describe a book in dance.

Following the comments received, the dealer may be getting another shock should I decide to return the arm and cartridge as well.

You are correct, the dealer has been tolerant and the offer to take the equipment back is appreciated.

Regards,

Paul.
Posted on: 24 January 2003 by Rockingdoc
If your dealer will allow you to return, I would not retain the Ekos for use in a non-Linn deck. The LP12 and Ekos have good synergy, but flaws when used separately which make other options better. I tried to make an LP12/Ekos fit with my old Quad system and it never worked. I found that the Quads favoued non-suspended turntables.
If you are keeping the Quads, I would listen to Rega P9 or SME.

malcolm

p.s.
Or a Loricraft refurbish thing
Posted on: 24 January 2003 by paul99
Malcolm,

Do you know why QUAD systems do not work well with suspended turntables?

I must say, I wish that I had known about forums like this before I rushed out and bought something!

Regards,

Paul.
Posted on: 24 January 2003 by domfjbrown
I am a relative newbie here (read REAL newbie), but I'm not a troll...

I think I know where Paul99 is coming from re presentation and why he doesn't like the LP12...

I've heard only 1 example of an LP12 I'd put my vinyl on, and that was in Audio-T in Reading into a full-on Naim rig - it sounded awesome...

Unfortunately, all the other LP12s I've heard seem to be sludgy and thumpy in the bass. I have heard 2 at Linn demos in shows (not a yardstick for performance, but hey, they're SUPPOSED to be showcasing their Rolls Royce product here!), and my friend also had one (a very low end, Basic PSU/Akito/Grado (I think probably there was an arm/cart mismatch).

I spent the most time with my friend's one - into (at the time) an Audiolab pre and ATC SCM50A speakers. The sound was great on brand new vinyl (bass hump aside), but it never seemed to break free of that syrupy bass - it was like it was wallowing and just wasn't fun - it sounded bad put simply - music just didn't flow... I told him to get a Michell when he got the Linn, but he didn't. He now runs an Orbe with much better results...

I own a lowly Planar 3/RB300/Dynavector 10x4Gold High, running into a Mira 2000 (I SOOO wanted the NAIT 5 but couldn't stretch - it was an emergency)/mk1 Rega Elas (hey, it does have Naim NACA5 though), but I digress... When I bought the deck second hand, the guy I bought it from had a full-spec Linn LP12 (Lingo, Ekos, Arkiv Boron, Linto) some kind of Linn pre/(active?) monoblocks, and, I think, Isobariks. We dem'd the Rega first and I thought it sounded excellent (it had a Linn K5 on it at the time) - it even tracked some of my more worn 2nd hand purchases well. When he moved over to the Linn (to show me what the rig could do), I noticed much more detail, but this really annoying bass hump. It wasn't as coloured as the Linns from the show or my mate's, but there it was - a flabby great fold of bass that was quite annoying. I remember him saying 'You can hear how close the Rega gets to this for a tenth of the price' and I was thinking to myself 'I would rather have the Rega thanks'.

Don't get me wrong, I know full well people like me are in the minority (and yes, I do prefer vinyl to CD - at least vinyl does cymbols properly for starters!) but I felt I had to speak up here.

It must be stressed though that that Linn/Naim rig in Audio-T sounded fantastic - so obviously good Linns do exist - and the majority can't be wrong (unless it's about things like Hear'Say or Lame Academy for example!).

BTW - the first Philips CDPs were 14 bit oversampled, the first Sony was 16 bit - I don't think there's ever been a 12 bit machine per se, although my first (a Sony midi system component - uuuugh) probably got close to what a 12 bit machine would have sounded like Smile

When the music's over turn out the lights
Posted on: 24 January 2003 by paul99
Domfjbrown,

You are right - 14 bits.

Thanks very much. What a relief. Someone of more-or-less the same opinion.

So - we are in a minority of two now!

Regards,

Paul.
Posted on: 24 January 2003 by Malcolm Davey
Paul

It will be a minority view on a forum where on the whole people like the way in which music is presented to them by Naim and Linn.

You have been given much advice ......

To summarise

Linn Arms are not a match in heaven with T/T other than suspended types
Experience suggests that the presentation of music via a Quad setup reuires a 'solid' t/t
You must listen to T/T where possible with your kit OR something with which you are familiar
You may have to travel for this... maybe Oxford Audio Consultants could help htink they offer Quad and Mitchell etc
You have been lucky this far with your dealer - another may not be as tolerant

You have provided a lesson for us all, I heard great things about both the Audi A4 and BMW 318, had test drives and simply disliked both..... a reputation does not mean it is right for you.


Find, purchase, 'switch off' to the system and simply enjoy the music
Posted on: 24 January 2003 by Rockingdoc
I am wary of analysis as I think hi-fi is riddled with pseudo-science. I can only describe my own findings, but even then I strongly believe that the listening room has much the greatest effect on the final sound.
After many years of costly mistakes, I now restrict purchases to items that I can try at home first. The one advantage of my expensive path is that I now have several dealers willing to indulge me.

malcolm
Posted on: 24 January 2003 by Eric Barry
Paul, your conclusions worry me.

First, though the LP12 does have a bit of a mid-bass hump, the extremely thick, syrupy sound you describe sounds like a deck that is sitting on something heavy instead of light and rigid, and/or has a fouled suspension. The LP12 is not a mismatch with the Quads--many have used an LP12 with Quads successfully. However, if you do not want to properly site it or deal with getting it properly tuned, you should certainly return it.

The book on the Aro vs. Ekos is that the Ekos has more bass and is more dynamic, while the Aro has better flow and texture. Since you object to the bass, it would seem dumb to keep the Ekos, whose raison d'etre is bass. Furthermore, if you are not using an LP12 but want a rigid fixed bearing arm (like the Ekos), the SME and Rega R1000 are likely to be better built, more durable, and better value. Ekoses with fouled bearings are fairly common, but I've never heard of a fouled SME 309/IV/V. And in general, unipivots are supposed to have neutral to light-sounding bass, so you could look at a Morch or Graham in addition to Aro.

The cartridge, provided you are using the Linto, may be worth keeping, since it was optimized for that stage. However, you are likely to get better value from a Lyra (they make the Akiva, but obviously Linn must mark it up too). Again, though, if bass heavy is your problem, perhaps you should try something like a Dynavector DV17 or Audio Technica OC9. And the Linto itself is reputed to have very strong bass.

If the problem with your Linn is not setup-related (and you describe a very exagerrated version of the inherent colorations of the deck), then you should look at a Rega P9 or Roksan (if you are willing to use a light and rigid mounting), or a Michell Gyro or Orbe, SME 10, VPI Scout (may be overpriced in England, here it's a tad more than a Rega P25).

Note, I haven't heard any of the above in familiar circumstances bar the LP12 and OC9, but you seem to be ill-advised with regard to the basic reputations and rules of thumb about turntables.

--Eric
Posted on: 24 January 2003 by jonni
"The LP12, however, sounds just like my first- ever 12 bit Phillips CD player but with the bass turned up. A heavy, congested, syrupy, undetailed sound."

If the Linn sounds like this there IS something wrong.Simple as that.I cant believe these things would not sort out the problem...

1.Move speaker further from the walls.If you put any componant with a deeper bass capability into a optimised system you WILL need to move the speakers.
2.Proper support .I once heared my own Linn on a sound style supprt full of equipment ,Frankly it sounded crap.We moved it to a wall shelf and it sounded awsome.Sounds great on my sound stand too.
3.The turntable is not set up properly.Either or all these are happening .Arm cable too tight,tracking force too high, VTA too low .
A high end system requires a degree of effort to work properly, and dealers do ,and often do get set up wrong.
Linn require knowledge and effort, a good dealer is not enought.If you're not prepeared for this go for a P9 or other turntable that requires less effort.VPI's ittle new deck got a Rave review in Stereophile , supposedly nearly as good as a full Linn rig and only costs £1100 without cart, check it out.
Posted on: 24 January 2003 by domfjbrown
quote:
Originally posted by Malcolm Davey:
Paul

It will be a minority view on a forum where on the whole people like the way in which music is presented to them by Naim and Linn.


He he he - I stuck my neck out, but as I say, the one time a Linn did really 'do' it for me was in a Naim rig - so a lot of synergy there Smile Just remembered - the deck also had a Naim Aro - and it made Forever Changes rock the house!

When the music's over turn out the lights
Posted on: 24 January 2003 by Roy Rogers
Paul,

A few days ago I removed the old Linn interconnect armcable and installed Linns new T.Kable. The sound was quite different. Now I had more details but with a significant more powerfull bass. It was a bit too much. However, after about 7-10 hours of playing the bass peak has gradually vanished leaving me with a fantastic sound.

So if your cable is the new Linn T.Kable give it a few hours before judging it with regards to the bass.

My LP12 has Circus, Lingo II, Ekos II, Arkiv B, four phase Mana (three sound stages and a mini table).

Roy
Posted on: 24 January 2003 by Don Atkinson
Paul99,

I have only just read your review of the Akiva and all the subsequent advice and your responses. I am not sure whether to laugh or cry.

You have no doubt learned a lot of lessons these past two weeks. Unfortunately, most of them seem to have been learned the hard way. I am not going to reiterate all of the lessons, but I think the following issues are worth considering.

1. You don't like the sound of the equipment you bought.

2. Your dealer is willing to take the kit back. Take it ALL back and start again with a clean slate. This way there will be no unnecessary constraints or compromises. If you subsequently decide that an Ecos is the right arm, you can still buy another one.

3. Dealers, even the best ones, can't be expected to intimately know how kit will sound in ALL combinations of other equipment. It's therefore best to find one that knows both the kit you have and the kit you are thinking about buying. Bloody difficult, I know, be prepared to travel.

4. Listening to kit in the shop is JUST THE START but important. This is where you decide whether you prefer Naim or Krell or whatever. There is bugger all point in listening to a £5k front end in the shop with an amp and speakers that are different to the ones you have at home, or are thinking of buying. Even if the shop dem IS in a system identical to your home equipment, a home demo is very helpful.

5. A good dealer WILL install for you. Offer to pay if the travelling is excessive. He will also make absolutely sure that the kit sounds right. NOTE this is NOT the same as making it sound nice for you (otherwise some dealers would be trying to get Krell to sound like Naim and vice-versa). Now this is the bit you need to take care over....If you liked the sound in the shop, it should sound similar, and at least as good at home, unless you have a dreadful house, in which case your dealer should tell you, and offer to swap or refund.

6. Supports, cables and other bits and pieces are important and your dealer should explain this and get it right for you.

7. NEVER go for a discount. Pay the full price and make full use of the specialist service in return.

On balance, I feel I should cry for you. You dipped your toe in the hifi water. You have received, IMHO, mediocre service, the main defence against bad service being the offer to refund your hard earned cash. You might have been put off investing in good hifi, which would be a shame. Take care, find a good dealer (one who convinces you he can do better than my humble offerings above) and hopefully you will enjoy the music of your hard-earned investment.

Cheers

Don