Gingko vibration isolation products tested with a Linn Sondek LP12 turntable System in use: Turntable: Linn Sondek LP12 (circa early 1980s) Tonearm: Jelco 750D, tonearm cable Audio Sensibility Impact SE Cartridge: Dynavector 17D3 Phono stage: Dynavector P75mkii Preamp: Musical Concepts Chameleon Elite Amplification: Musical Design D150 (custom build) Speakers: Acoustic Zen Adagio Gingko vibration isolation products: Gingko semi cloud Gingko mini clouds Gingko mini-ARCH Setup: My turntable shelf is mounted to the front wall of my listening room. I placed a Gingko cloud product on the turntable shelf with an mdf platform on top of the cloud product and the Linn Sondek LP12 setting on the mdf platform. I alternated between both of my cloud products (semi-cloud or mini clouds). Only after I had a good handle on this setup did I then introduce the Gingko mini-ARCH product (more info on the mini-ARCH product in the Listening section). Listening: The Linn Sondek LP12/Jelco 750D arm combination is a very nice sounding turntable system. The Dynavector cartridge/phono stage combo has very good synergy. I could live with this analog front end for a long time (and that’s the plan). Listening to the system using the setup described above provides for a very enjoyable listening experience every time I sit down to listen. The sound is clear with good imaging (width and depth of soundstage) and transparency, frequency balance is very even across all frequencies. I listened to this initial setup for at least a month during which I settled in on the semi-cloud as the foundation of choice under the mdf platform with Linn LP12 perched on top. I thoroughly enjoyed the system with this setup. Enter the Gingko Acoustic Resolution Clarifier enHancer (ARCH) isolators. I used the mini-ARCH product in the ARCH family of products. I placed five of mini-ARCH isolators at various locations between the edge of the turntable plinth and the mdf platform upon which the turntable rests. Everything I had enjoyed up to the insertion of the mini-ARCHs was now elevated. Individual instruments and voices in the music were easier to follow, existed in their own space and had improved tonal characteristics. This translates into better attach and more natural, extended decay (for example the strike of a cymbal and its shimmering tone as it fades off). Bass notes have better tone and are much clearer. It was immediately obvious that any bloat or muddiness in the bass region was removed. Acoustic piano was amazing as you could actually hear the soundboard vibrating and clearly hear the foot pedals being used. The dynamic contrasts created with the piano by the force of the hammers on the strings came through like I had not experienced from recordings previously. Horns were easily discernible as they each occupied their own space in the soundstage and the distinct character of a trumpet, trombone, saxophone etc. came through remarkably. Drums were real fun to listen to. In addition to cymbals previously described the tone of different drums was clearly portrayed and technique used with sticks, brushes etc. was as realistic as I have ever heard. I could continue to elaborate on sonic attributes, however, what all of this equates to is the listening experience became much more involving and emotional. The enjoyment in the listening experience was quite profound. I then removed the mini-ARCHs. The sound was still good as originally reported but the added clarity and emotional involvement was gone. There was now some muddiness present and the soundstage was not as open and transparent compared to how it sounded while the mini-ARCHs were in place.