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TJN Analog, 207 Maple Ridge Road, Pakenham, ON (2026)

03/22/2026

Montreal AudioFest 202

03/22/2026

Jean Nantais Mighty Mite

11/23/2025

Here is a better shot from yesterday.

09/02/2024

FINAL BATTLE WITH THE ULTIMATE BEARING, SLIMLINE ULTIMATE VS FULL-SIZED ULTIMATE

As written, the journey started with the new shaft and associated parts with my lower Classic Lenco MKII bearing, on up through the Reference Bearing, then up finally to the Ultimate Bearing on the SlimLine Ultimate Lenco. The results, as described, were, on the SlimLine Ultimate, supernatural levels of bass depth, speed and power similar to adding four large subwoofers in the basement beneath the floor, with an equivalent extension in the high frequencies, transforming my dome tweeters (even if the famed ScanSpeak Revelator) into ribbon tweeters in terms of purity and extension. This was repeated across a large variety of LPs, including Andreas Vollenweider's White Winds (an excellent test LP for fine details and high frequencies) with simultaneous subterranean bass and super extended high frequencies. The bass rumbled beneath the floorboards ominously while the harp strings sparkled and soared into infinity, the tweeters sounding like ribbon tweeters. And so on through a variety of albums with strong bass tracks as this was my biggest worry (i.e. is it accurate or exaggerated?).

Given all this as I wrote I literally could not conceive of what an improvement in sound quality could sound like, my system already surpassing the physically impossible (I will do a final post of all written reports consecutively), to the point where I seriously thought my speakers would self-destruct, and worried as well for my customers!

Once I had set up the Ikeda 407/Dynavector XX-2 MKII on the full-sized Ultimate Lenco I had to head straight to the album with one of the lowest and most powerful bass notes ever recorded, Nine Inch Nails' Pretty Hate Machine, specifically Down In It. This is possibly the best track in existence to test bass, with the extreme low bass explosion I call a Depth Charge at the very bottom (I thought the Ultimate with new bearing would destroy my woofers), with a powerful kick drum added, AND throughout bass riffs at various frequencies. I sat there on the edge of my seat wondering if this time my woofers would actually explode.

But no: with the SlimLine the "depth charge" bass note was a HUGE explosion stretching from speaker to speaker and underneath the floor and then radiating outwards towards the listening chair via the floor which becomes a giant drumskin, VERY dramatic (and worrisome as I watch the woofers for destruction). With the full-sized Ultimate I sat on the listening chair wondering what would happen, would my loudpseakers finally destroy themselves?: NO. On the full-sized Ultimate the "depth charge" actually, seemingly impossibly, went LOWER in the bass, BUT now it had coalesced into a sphere roughly four feet across instead of stretching from speaker to speaker in an indistinct explosion, and the floor radiated like a giant drumskin once again, but this time from a POINT instead of a broad wave, radiating outwards and spreading as it came towards the listening chair. I was flabbergasted. This bass note was in some ways EASIER on the woofers as it was more controlled, even if actually lower in the bass. The impact, now more concentrated, was more like a wrecking ball.

Similarly the kick-drum: it now concentrated itself while at the same time striking with more raw POWER, more distinct and so separated and audible. While this was going on the various bass riffs were more 3-dimensional and lower in frequency, and larger and more concentrated all at the same time, all of these bass elements more clearly differentiated from each other!

In order to test whether or not the bass was being exaggerated I resorted to Colourbox, another excellent album for testing bass, as various tracks have very different bass tracks, as if recorded at different recording studios. Bass includes very tight digital bass tracks as well as explosive kick drums and depth charges like the Nine Inch Nails. On the track You Keep Me Hanging On the synth bass track is very tight and limited in depth, striking at about 40 Hz, and it remains so via the full-sized Ultimate with new beareing. The following track has a depth charge bass explosion throughout similar to Nine Inch Nails which drops in frequency at least an octave immediately, and this is captured perfectly, the bass is accurate! Test again with Joan Armatrading's My Myself I, another excellent test album with excellent bass tracks and filigree detail via her guitar floating above plucked and FAST and perfectly separated, all perfectly balanced.

Getting back to “normal” recordings, lately Diana Krall's S'Wonderful has come up in testing both loudspeakers I was interested in as well as a series of integrated amplifiers at an audio shop. Across three integrateds, with a $4000 digital source, the bass went from bloated and indistinct (via both expensive tube integrateds) to being best of all with a well-reviewed solid state integrated, tighter but not as deep as the other two integrateds (and currently being evaluated). The voice was somewhat grainy and sharp as well across all three integrateds. So of course I had to try it in my system, first on the SlimLine then on the full-sized Ultimate. Of course it was MUCH better via the SlimLine Ultimate in my system, the bass being both tight with the audible finger pluck (inaudible with both tube integrateds) and the voice being silky smooth. Of course best of all was on the full-sized Ultimate, with the bass being deeper but also better defined (retracted to normal size) and propulsive with the satisfying finger pluck well audible throughout the track. The detail in the background was better differentiated and separated from the mix, with the voice soaring with perfect focus and no grain.

I recently picked up a copy of Passion Grace & Fire with John McLaughlin, Al Di Meola and Paco de Luca on CBS Records. The guitars on this recording with lesser 'tables sound quite thin and without body (the Dynavector XX-2 MKII is also new and still breaking in and filling out). On the SlimLine Ultimate Lenco it was better, but still audibly digital-sounding and thin. Finally, on the full-sized Ultimate with new bearing the guitars were MUCH more fleshed out, with the missing bass fundamentals removing the digital sound and at the same time making the guitars much more physical and 3D while at the same time increasing and extending the guitar strings ijn the high frequencies so leading to greater attack and impact across the board.

And so it went, testing normal records without spectacular recording and pressing like The Jacques Loussier Trio sounding perfectly normal with normal dynamics and normal bass, but with excellent musicality. Translation: nothing is exaggerated, it is simply fully retrieved. Of course, my Reference system majors in bass, dynamics and loudness (when desired) as it must since I need this to fully evaluate my various idler-wheel-drive rebuilds.

In a “normal” system it shouldn't be so dangerous, but nevertheless, keep the volume low and slowly increase to test the limits of your system plus Ultimate Lenco (either SlimLine or full-sized) before letting 'er rip!

08/29/2024

A quick set of notes on my continuing audio adventures with the new bearing. It greatly raises each one of my models. In testing an '80s Reference Lenco prior to shipping, as I do all my models before shipping, I had set up a more budget system so as not to contaminate my aural memory of the reference system used for the comparison of Ultimate Lencos.

I switched in a push-pulll EL-34 amp and a budget phono stage, the Parasound zPhono XRM, which has balanced outputs as well as RCA, and loading settings done via a volume pot, and Mono, the reason I use it: convenience of use when testing more budget projects. The '80s Reference, being a true Reference, gets my new Reference Grease Bearing. The result was astonishing: the little (but heavy) zPhono XRM produced astonishing detail with amazing transient speed and perfect balance from top to bottom. This is a trick only my Ultimate Lenco previously used to pull off. The new bearing development even seems to increase speed stability, the razor-shar transients and sense of organization off the charts, something usually attributable to speed stability (the whole reason for idler-wheel drive, the better PRaT and dynamics both a result of superior speed stability in practice).

From the zPhono I tried various other phono stages at a lower price but the little zPhono outperformed them all, including pricier ones, once fed a signal as extraordinary of the '80s Reference with new bearing. All my models, previously a great success worldwide from my lowest Classic Lenco to my highest Ultimate Lenco receive a HUGE step up sonically, proving that each step in my development of the idler wheel principle was correct, only hampered by the original shaft and associated parts.

The same holds true of the associated components like the little Zphono XRM. Many more budget components are either at the limit of their performance already when paired with components within their price class, or they are simply waiting to be fed a first class signal, and be matched with high quality components (loudspeakers, amplifiers etc.).

So, as an aside, as with my party trick Shure M97xE on a Durand Kairos tonearm on an Ultimate Lenco which sounds like an expensive MC, the little Parasound Zphono XRM is also one of these components never truly tested, until a Reference Lenco with new Reference Grease Bearing comes along, with high end preamplifier and loudspeakers!

Getting back to the SlimLine Ultimate Lenco the same applies: I am having to reconsider all of my components, some favored tube amps I had previously considered my top amplifiers have now been displaced by unassuming little chip amp monoblocks - the Audio Zone AMP-2! They were VERY well reviewed by the audio press - Hi Fi + and 6moons repeatedly, but until the new bearings came out I had found them enjoyable but no threat to my high end tube amps (Wyetech and Border Patrol).

Well the little AMP-2s - once fed a signal via my top phono preamp (Wyetech Ruby P-1 won the competition vs my VERY serious phono six-tube phono stage with large outboard power supply, for this particular tonearm/cartridge combination), proved to be across-the-board superior. Does this mean they are absolutely better? No, simply that they are a better match to my Coincident Total Eclipses than the tube amps were (which could go no further in controlling the speakers, already taxed to their limits). Prior to the new bearing development my Wyetech monoblocks were superior to all comers in the bass, including the AMP-2s. Now with the supernatural bass and high frequencies of the Ultimate with the new bearing, the little AMP-2s prove they had further reserves. While the Wyetechs were better at both frequency extremes with the old Ultimate, it turns out they had reached their limits; while the enjoyable AMP-2s had potential just waiting.

I am currently building myself a pair of Bastanis Mandalas which will allow my Wyetech amps, not to mention my other SET amps, to once again stretch their capabilities and we'll have to re-evaluate once again!

Now the reference system is cemented, the next step is to install the 100-pound full-sized version of the Ultimate Lenco with new bearing, and using the precise same components as is currently set up on the SlimLine Ultimate - tonearm (Ikeda 407), cartridge (Dynavector XX-2 MKII) and phono stage (Ruby P-1) - to do the final evaluation! Since the performance of the SlimLine Ultimate Lenco is ALREADY in the realm of the physically impossible, then what can the increased mass - already long ago proven to be vastly superior to lesser mass - do to further increase the sound quality??? Literally inconceivable, watch this space!!

08/12/2024

Hello all, I hope you're enjoying this great summer! Over here I've been continuing experiments with the new redesigned Grease Bearing, refer to my earlier post for details below.

After the astonishing revelations from the redesign of first my budget Classic Lenco MKII bearing which raised one of my budget models to Reference levels of performance, and the ensuing redesign of my Reference Grease Bearing to accommodate the new shaft and other elements to a similar astonishing improvement (including supernatural levels of high frequency extension, delicacy and purity) I then spent the last few weeks testing the new elements in my Ultimate Bearing (Ultimate Lenco, Reference Lenco MKIII) in an Ultimate Lenco.

Now the Ultimate Lenco is so good it was hard to imagine what could possibly improve, so I had to do the experiment the hard way, I had to ensure that all elements save the Ultimate Bearing itself were identical, and the only way to do this would be to use the same machine, with the same tonearm and cartridge and wiring, in other words, I had to have the original Ultimate Bearing installed, and the new Ultimate Bearing with the new shaft and other elements standing by. I would listen intently to an album side or song, take apart the turntable, swap in the other bearing, reassemble and relisten and keep repeating night after night for weeks.

At the very first it was not as easy to detect as it was for the lower machines, due to the extreme performance of the Ultimate Lenco. My ear also had to become accustomed to this highest level of performance. The key in identifying the sound of the breakthrough new Ultimate Bearing MKII - after which it was easy to hear the differences in others, acclimatizing my ear - was "Down In It" on the Nine Inch Nails LP Pretty Hate Machine, perhaps the best recording ever made to test the abilities of a system in the bass. There's a lot going on throughout in UNBELIEVABLE low bass, "normal" low bass, mid bass and upper bass, not to mention midrange and high frequency details. A must have in system set-up!

My Reference system includes a six-tube preamp (6SN7s) with massive power supply which excels in every area, but particularly the limitless bass and dynamics, a variety of amps (my preferred being Wyetech Onxys) and a pair of Coincident Total Eclipse loudspeakers with the famed Scanspeak Revelator tweeters and superb bass. These speakers, which I have often thought of replacing, time after time have been shown to have no upper limit, no matter what I do, they keep showing a new upper ceiling in terms of highs, bass, imaging, detail, dynamics, and speed while being immensely entertaining!

Playing Down In It via the original bearing on the Ultimate was as always an amazing roller-coaster ride of unbelievable lowest frequency bass, dynamics, bass lines at several different frequencies and the midrange vocals and high frequency details, the Coincidents apparently stretched to their limits: where else could it go 🤔?

Down came the Ultimate Lenco after removal of the tonearm, out came the original Ultimate Bearing and in went the Ultimate Bearing MKII. Nothing else in the system was touched including the volume which was precisely as I left it. Down came the needle to the start of Down In it, and IMMEDIATELY the difference in the lowest bass was APPARENT: the unbelievably low bass of the original bearing was there, but now even lower and LARGER and DEEPER, as if four giant subwoofers had been installed IN THE BASEMENT. The floor itself became a giant drumskin vibrating to each note. Details in the form of a previously inaudible growl/tremolo in this lowest bass note was now clear, the room was shaking and I wasn't sure if it was in the recording or due to the vibrating house (to each note), it later became clear it was in the recording. In fact my thought at the time was THIS IS PHYSICALLY IMPOSSIBLE, I wasn't sure if the speakers would survive, but in repeated experiments it was clear they did survive, though the reaction remained THIS IS PHYSICALLY IMPOSSIBLE. I had no idea previous to this my Coincidents could go anywhere near this low, with this much IMPACT, the shaking of the room hard to distinguish from the possibility that what I was hearing/feeling, like THX at a theater with the shaking in the chairs, wasn't in fact the woofers tearing themselves apart!

Going up the bass frequency range the detail, impact and three-dimensionality/physicality of the bass was also apparent, all while the midrange and upper frequencies all stood out more from the literally subterranean lowest bass. Once all these things became apparent - and my speakers indeed were undamaged (for which I have no explanation) - it all became easily audible on all other tracks from a variety of albums and music styles: three-dimensionality (perhaps most of all), detail and separation, high frequency extension and of course BASS all improved.

I invited a customer of mine over to hear it, owns my Reference Lenco MKIII with Reference Platter, has heard my Ultimate Lenco many times in my system, who had also owned the same Coincidents. Upon the first new notes his reaction was precisely the same as mine, and with the exact same words: "THIS IS PHYSICALLY IMPOSSIBLE!" He literally could not believe the bass, in track after track, though he owned the Concidents for decades with the top Wyetech Topaz monoblocks (famed for their bass and SLAM). He just shook his head and paid immediately to have his bearing rebuilt to the new specs, report coming after it's installed.

There's a lot to unpack still from this literally REVELATORY change, I spent weeks testing its effect on equipment (specifically the bass: does it make amp A do impossible thigs, YES!), and this continues. It's obvious that the original shaft was blocking the abilities of both my plinths and the Lenco as rebuilt and modified by me (and who could know this considering the extreme high levels of performance at all price levels, and reported worldwide???). The new shaft and related elements removes this roadblock, realizing all that potential, so my Classics become References in terms of performance (and will be relaunched for reviews), my References become Ultimates (and beyond) in terms of performance, and my Ultimates now accomplish the PHYSICALLY IMPOSSIBLE.

More coming!

07/05/2024

ANNOUNCING THE FIRST MAJOR UPGRADE SINCE I DESIGNED THE ULTIMATE LENCO, A NEW GAME-CHANGING SHAFT FOR ALL MY BEARINGS. All my customers over the years can expect a MAJOR increase in sound quality, contact me for further details on price (different prices for Classic Lenco Bearings; Reference Bearings; and Ultimate Bearings).

Much of my work is based on the sound of materials, which includes obviously the sounds of wood and wood materials alone and in combination; in metals expressed of course in the main bearing and various metal parts and again alone and in combination; and even in plastics and the sound of particular greases used!

Work on the shaft has been a long journey due to the basic infinity of alloys alone and in combination (thrust plate, ball bearing, sleeve, bushings) and the consequent time, effort and money.

I finally cracked the code and the first ones are astonishing! Now a turntable is basically a very simple machine, the 'table (platter) turning on a thrust plate via a shaft driven by a motor. I was first to modify the Lenco's main bearings back in early days on the Audiogon thread Building high-end 'tables cheap at Home Despot, by replacing the cheap stamped and very FUNDAMENTAL (the entire turntable spins on this) thrust plate of the Lenco with a much better alloy, which GREATLY improved the sound, as it should have.

The drive system I've already proven hundreds of times is superior to all others, PROVIDED YOU ELIMINATE THE NOISE, which again I've proven hundreds of times via Direct Coupling to a high mass and other techniques. Put away your various speed stability tests and simply use the most effective test of a record player's speed stability there is: a good piano recording. The sustains, decays especially reveal any deviance from speed stability perfection via warbling and other effects which are audibly OBVIOUS.

A couple came to visit me, both professional musicians with the Ottawa Symphony Orchestra, so with very well trained ears when it comes to the sound of actual instruments. They had been to all the high end audio shops in the area shopping in the $6000 area, listening mainly to various belt-drives. They arrived with a small collection of piano recordings mainly, and the wife was quite hostile to the idea of a rebuilt "old Lenco".

I placed the first piano recording on the turntable, they sat in the listening seat, and within a minute big smiles appeared on both their faces, the wife from hostile switched instantly to enthusiasm and wanting to up the budget (she accepted the evidence of her ears). The idler wheel drive system. once the noise eliminated, is THAT effective and OBVIOUS. And with true speed stability comes much clearer separation of instruments, soundstage, detail etc.

Now TRUE speed stability attended to, the importance of the thrust plate was further developed: much more developed and impressive in both my Reference and Ultimate models. I the development stage several prototypes were made of different alloys and compared before settling on the ideal alloy, thickness and size. See photos of the ascending models: Classic Bearing MKII, being an original bearing with new bushings and new thrust plate and pad; Reference Bearing and the largest being the Ultimate Bearing.

The first modification, the simple trust plate replacement in an original bearing assembly was shocking in its intensity, which shouldn't be surprising given the entire turntable spins on this small piece.

The development of the Reference Bearing with a completely new sleeve machined of a special alloy and much more substantial thrust plate of a differing metal allow (always following the principle of Constrained layer damping which ensures tonal accuracy) was also shocking and my customers, which at that time had simple improved original bearings, could scarcely believe their ears in extreme high end systems one I recall having the $100,000+ Audio Note Kondo from Japan with massive silver would transformers in separate massive cases.

The Ultimate Bearing, depending on a different engineering solution, was also a revelation and top of the food chain!

Time here to insert my experience with grease. I have been rebuilding Garrards including 301 grease bearings for 20 years now. Since the original grease is no longer available I used a variety of solutions which yielded good results, the aim being to equal the consistency of the original. Then recently a new grease came under my hand which greatly improved the Garrard 301 grease bearing sonically, I was shocked, and so at this point started producing Classic and Reference grease bearings, which most obviously greatly extended and improved the high frequencies. Yes even the grease makes a great sonic difference!

Given all this it makes sense that a critical part of the bearing assembly like the shaft would also have a profound unfluence. I eventually settled on a particular alloy done a particular way, for beginning prototype purposes (first testing) in my lowest cost base model, the Classic Grease Bearing, wanting to simply get the ball rolling quickly.

I was not prepared for what I heard: vast improvement to the point it was an utter transformation, when comparing an original Classic Grease Being with the Classic Grease bearing with the new shaft. I could not believe my ears. The change was SO profound - bass far more controlled, deeper and with much more detail, all the way up to the vastly improved high frequencies and detail retrieval - I sat in shock night after night.

When I compared this with a current Reference Grease bearing which previously had utterly outclassed the Classic version, the new Classic Grease Bearing was STILL greatly superior to even the Reference Grease Bearing.

Now it was time to make a Reference Grease Bearing with the new shaft (different diameter requires new bushings): would the new shaft have the same positive transformative effect on this completely different bearing assembly as it did on the Classic? The sound which greeted me was unimaginable in its profundity, the high freqencies sublime, the increase in detail difficult to believe, the separation the best I've ever heard, the bass detail and impact supernatural, the imaging now so OBVIOUS once again difficult to credit. I also carried out further experiments to cement the overall design, and yes indeed Constrained Layer damping, being the introduction of a third metal, was superior to all other prototypes.

You can understand I stop my experiments with this alloy for the shaft and this mix of materials, parts and techniques 😊

The first new Ultimate Bearing is currently being made, but the Reference Bearing made of the same materials guarantees the effect will be similar with no negatives (if unimaginable at this point).

While waiting for results on the Ultimate Bearing, to all those with Classic and Reference Lenco MKIIs, this improvement equates to roughly doubling of the already-excellent sound quality of the entire machine, this is a HUGE jump upwards, redefining what is possible from my idler rebuilds. Yes, this will eventually be applied to my Garrard rebuilds (Garrard 401 Grease Bearing Incoming ;))!

Changing the subject followers may recall my analysis of various idler weel drives, culminating in the rebuilding of a Presto into a Reference plinth. Without any replacement of parts the sonic results were stunning, but there was indeed rumble, though quite low thanks to Direct Coupling to a high mass. In MONO there is no rumble, so likely this Presto record player is the finest MONO player on the planet. I ordered parts to reduce noise, and will now be sending the wheels in for new rubber. The mission is to gradually reduce the noise floor until it disappears. The wheels are a BIG part of reducing noise, I'll be sending the wheels in from a large variety of idler-wheel drives and gradually be working through them.

Thanks for listening, more news coming as it arrives!

05/25/2024

Hello All, summer weather has started and canoeing along with it and I hope you're enjoying it all! I've been very busy with all sorts of projects, among them the Rega Planar 4 (won't be called that officially as I doubt Rega will be amused 😉) I had always wanted to do!

I've been saying forever that Rega tonearms are very synergistic with Lencos, and that they are highly underrated! Back in the '80s when the Rega RB-300 first came out, it was being favourably compared with The Best Tonearm in the World at the time, the SME V, and it was instrumental in dethroning the famed Linn LP-12/Linn Ittok which at the time reigned supreme, being the first tonearm offered with the famed Roksan Xerxes! Without the "humble" Rega RB-300 the Roksan could not have done it.

I discovered this synergy back at the very beginning, mounting the Rega to my very first Lenco rebuilds in Helsinki in 1992/3! Later, once the Audiogon thread Building high-end 'tables cheap at Home Despot was rolling along (2004) and we got past the cheap Decca International tonearm phase the Rega was once again first to be mounted. The sound was stunning then, and I regularly ran Kiseki and Koetsu cartridges on the combination.

Recently a customer wanted to mount a modified Rega tonearm to my TJN Standard Lenco (with various tonearm which can fit in the original tonearm hole, 210 mm mounting distance, in the chassis like the various Linns), and I informed him it was not possible, and offered to design the first "specifically for the Rega tonearms" (222 mm mounting distance) plinth (the one in maple). Another customer came along with a similar request so the first two came off the assembly line, viewable in the photos.

The tonearm board is round, the plinth of similar dimensions to the TJN Standard to make it look as close to a Rega Planar 3 as possible with a (relatively) high mass plinth. The round tonearm board is pretty but impractical: this 'table is suitable only for tonearms with 222 mm mounting distance, literally dedicated to the Rega tonearms (though Clearaudio tonearms also mount at this distance). To mitigate this, Rega has several very serious tonearms in its range, and several companies offer modifications/variants.

It is built to be budget, though it can be upgraded by various means. This means no repainting of the chassis/platter or filling in with epoxy-resin bodywork (which has like everything else become very expensive), the original platter mat is glued on (the bonding VASTLY superior to simply sitting it on the platter), Classic plinth recipe, no new parts other than the TJN Mod and a new thrust plate. Also, the idler wheels are measured for perfect concentricity (only 50% pass this test) to ensure perfect speed stability, and along with this the motor is rebuilt for the same aims: lower noise floor, improved speed stability.

The end result of all those years of steady improvement is greatly superior to those early rebuilds which swept the world! Even with a humble Ortofon MC-1 Turbo HOMC purchased by this particular client ($300 or so) this combination has stunning detail, separation of instruments, deep and detailed bass, and imaging. I set up a high quality more budget system to suit the likely customer: Audio Zone Pre-T1 (quasi passive and extremely transparent) and matching chip amps and Chario Constellation Lynx mini-monitors (which are superb and produce truly astonishing bass for their size).

The punch and dynamics are truly off the charts, likely a combination of the HOMC and Charios, I wish I had time to delve deeper but I have two Ultimate Lencos to set up! This is also due to the highly underrated Rega RB-300 tonearm, the reason the Roksan - known for its dynamics and pace - outperformed the Linn/Ittok combination. I may set up a more staid and even Hana ML see what happens if I have the time.

In the meantime, I have no doubt this will outperform the Linn turntables, the Regas and the Roksans, due to the inherent superiority of the idler-wheel-drive system once rebuilt correctly. Introductory price of $1500 USD provided a Lenco and Rega tonearm is sent to me (I do have a few older Rega RB-250s slated for upgrades).

In the meantime, I introduce the TJN Rega Tonearm Tribute for now, until I can come up with a better name 😅

TJN Analog

03/22/2026

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