LP12MF Listening Test: Tiger Paw Tranquility Magnetic Bearing Support

Since I moved my LP12 out to my garage, my LP12 Modification Frenzy has lost a bit of focus. I have stopped listening on headphones through a stable setup, I have totally stopped using my Schiit Gungnir DAC, and I have devoted most of my energy and attention to building a really excellent loudspeaker setup (which, I’m happy to say, I think I have succeeded in doing!). But I have made time to do some more conventional LP12MF-style tests, including one I’d been looking forward to for many months: the Tiger Paw Tranquility magnetic bearing support system.

tl;dr

I’m afraid you’re going to have to work for this one. This experiment/listening test is so complicated (why do I do this to myself — and to you??) that it will take a lot of setup before my “takeaways” will make any sense. (If you’re truly impatient, and impertinent, you can scroll down to “Takeaways!” wayyyy down there.)

I will say for now that the Tranquility made a substantial difference — a 6.25% improvement on average, by my system — adding clarity, space, and texture. Its sonic signature is to impart a three-dimensional sense of space and textural clarity to vocals — a sound I have come to love dearly in the weeks since I installed it. I will also say that its other major effect seems to be — sensibly enough for a magnetic levitation device — to “take the bearing out of the equation”: if your bearing is in decent shape, the Tranquility makes a nice positive difference; if your bearing worn and is colouring your system, the Tranquility reduces or removes that colouring while also making its usual positive difference.

A brief digression on the Linn Karousel

I’ve received some emails and comments asking why I haven’t tried the Karousel, Linn’s new bearing. There are a few reasons.

First, I can’t find any coherent account of what is supposed to be different about it. At first, Linn claimed a “diamond-like coating” had been applied to the thrust pad. Sensible minds predicted that if that were the case, this “diamond-like coating” would immediately be rubbed off by the single-point contact that the subplatter bearing shaft makes against the thrust pad. Sure enough, that language (and that diamond coating) was quietly removed from Linn marketing materials.

So the main differences are now that (a) the thrust pad is removable (a good thing — you can replace a worn one without throwing out the bearing — but not revolutionary) and (b) the body of the bearing is now threaded, with a big nut tightening on to the bearing, applying more even force than the Cirkus, which attaches with three screws.

Again, (b) is not revolutionary: indeed, it seems straightforwardly just a way of addressing a problem. On AudioFlat, YNWaN has hypothesized that Linn were probably getting complaints about cracks in the Kore and Keel subchassis where they interface with the Cirkus’s three screws. This wouldn’t have been a problem with their previous pressed-steel subchassis, but aluminum is softer and more brittle — so distributing force more evenly (with a bit nut rather than three small screw heads) makes sense given the crazy “Linn-tightness” they recommend for all screw attachments. Since I don’t tighten things to those ridiculous forces anyway, it is hard for me to see this as a big advantage.

What are we left with beyond a removable thrust pad and a nut that allows you to tighten the bearing to the subchassis to ridiculous levels without breaking anything? Just vague language about “technological developments in material science, machining capabilities and mechanical engineering expertise.” Until someone can come up with a plausible reason the Karousel should sound any better than a Cirkus, I’ll stay away from it — especially given how expensive it is.

There’s another problem with the Karousel, too: it’s not compatible with the Tranquility, which sits on the Cirkus’s three screw mounting points. (Note: just as I was writing this, it seemed someone came up with a mod to the Karousel to make it Tranquility-compatible. See this link.)

What is the Tranquility?

The Tiger Paw Tranquility is a device consisting of two pucks, one sitting atop a Cirkus or pre-Cirkus-style bearing and the other mounted on the underside of an LP12 subplatter (I had to use some two-sided tape on my aftermarket SSP12 subplatter to get it to fit right; easily done and no problems since then). Each puck is loaded with neodymium magnets that push against one another, releasing pressure from the point where the tip of the spindle shaft meets the thrust pad. They don’t achieve actual magnetic levitation, but reduce friction by 90%.

Unlike with the Karousel, the advantages are clear to understand, and are twofold. First, less friction at that critical point should result in less noise picked up by the cartridge. Second, less friction should extend bearing life considerably.

In terms of installation instructions, I can do no better than Andrew/flatpopely on AudioFlat, so I will just link to his instructions.

The Tranquility was largely designed by Mark/YNWaN from AudioFlat and produced by Tiger Paw. There are varying reports on this, but it seems that Tiger Paw are now out of business, though a few unopened Tranquilities are still out there. I ordered a new-in-box one from The Audio Alternative when I got my Tiger Paw Javelin.

It’s also a great time to buy one used: lots of people are “upgrading” to Karousels and finding their Tranquility incompatible, so selling them cheaply. I believe Peter Swain at Cymbiosis has a bunch he’s received as trade-ins while installing Karousels. He’s also selling Cirkus bearings really cheap — £100 sans kit. Indeed, that low price gave me an idea…

My bearing experiment

Spending too much time reading audio forums, as I so often do, got me thinking about why people liked their new Karousels so much when there seemed to be no clear difference with a Cirkus. One idea I had was that their previous bearings were just worn (it’s really easy to damage bearings in transport if you don’t know what you’re doing, and they require a lot of care generally), so the thrill they were experiencing was just the thrill of a new bearing, so that a new Cirkus would have had the same effect. Since Cymbiosis were selling brand new Cirkus bearings so cheaply, I decided to buy one and do a bit of experimenting.

The experiment was very simple. If the crucial thing about bearings is how much noise they make — if old, worn bearings sound bad because they’re noisy and new bearings sound better because they’re less noisy; and if the Tranquility is better because it reduces noise — then it follows that one should try to measure the amount of noise in a bearing, old and new, with and without a Tranquility. Thinking about this a bit and discussing it with my friends on AudioFlat, I decided on a strategy that was appealingly simple and also seemed to work: Blu-Tacking a microphone right to the side of the bearing.

I used a cheap “PopVoice” lavalier mic from Amazon, stuck it on the side of the bearings, and hooked it up to my Sony A7 camera. The procedure for getting the record up to speed was pretty simple, too. Using the free True Note app, I used its strobe feature (and printed out its little strobe disc) to get the record up to 33.3rpm manually, then let it run until it stopped.

Here are the videos for my three-year old Cirkus bearing; my brand new Cirkus; and my Mober bearing, for comparison. For each bearing, I record it with and without the Tranquility installed. Here are the videos (the spot on the outer platter is just a bit of sticky tack to help you count the revolutions). Put on some headphones and see how much noise the various bearings make, and what effect adding the Tranquility has…

Old Cirkus

Old Cirkus with Tranquility

New Cirkus

New Cirkus with Tranquility

Mober bearing

Mober bearing with Tranquility

I will let you draw your own conclusions, and I encourage you to share them in the comments below.

Takeaways!

Okay, you’ve earned it. Here is a summary of the the effects that the Tranquility had in my system, in the context of my bearing experiment, which you now know all about!

The below listening notes reveal that the two bearings — Old Cirkus and New Cirkus (OC and NC)— sounded a bit different, with the OC having an obvious bass bloom, and the NC not. The most obvious difference the Tranquility made was making the OC sound like the NC — i.e., removing the bass bloom. This suggests that the bass bloom had its origins in some noise at the spindle/thrust pad interface, and that by removing 90% of the pressure at this point, the Tranquility reduced noise and “remedied” the fault in the OC, making it sound like a new bearing. At times below, you’ll see me saying that I actually missed the bass the OC brought with it, and that I should probably lower my tonearm (VTA) to compensate. In the weeks since, this is exactly what I’ve done — indeed, going to the Tranquility had led to me lowering my tonearm by almost 3mm, which is massive in this context. That’s how much it changed the sound. Anyway, there’s now plenty of bass once again, and my tonearm doesn’t have to be angled awkwardly downward.

Beyond correcting faults in old bearings, I also found that the Tranquility improved the sound of both bearings, new and old, worn or not. This was most evident on Joy Division’s “Atmosphere,” where it brought Ian Curtis’s vocals into an incredible new focus, giving an almost three-dimensional sense of a voice — or of a head, really, from which the voice was emerging. “Atmosphere” is about the most emotionally involving song I can think of; hearing it with this new clarity and focus was a very moving experience.

Again, in the weeks since installing the Tranquility, I’ve made another series of upgrades (most notably to the Paradise phono stage) that have been able to further capitalize upon this new vocal clarity that the Tranquility has provided — its “signature” tone, one I am absolutely in love with.

Another thing worth insisting on: even if it didn’t make an audible improvement, the Tranquility would be worth the money, since it extends bearing life. In three years of very careful handling, my bearing has audibly worn. Removing 90% of friction during revolution should help my next Cirkus immensely…

Listening notes

Since there were so many variables, and since it’s a LOT of work to change bearings, I wasn’t going to listen to all twelve of my test tracks. So I listened to four of the most revealing ones and made notes on various steps. (Very annoyingly, I somehow deleted some of my notes.) I didn’t include the Mober bearing in these tests, because I wasn’t able to fit it through the hole in my cross-brace (Edmund is sending one with a bigger opening.)

1. The Beach Boys, “I Know There’s an Answer,” Pet Sounds (1966)

Old Cirkus

Full digital. Well, after another thrilling week with the loudspeaker setup, headphones are again sounding a little lackluster — but that’s not what I’m focusing on here! Reading back to my notes on the last time I listened with the Javelin/Troika. I was underwhelmed then, too — okay. Bass is indistinct, shakers are fuzzy, there’s a glassiness to everything. 

Full vinyl. Yep, way nicer bass, much more distinct, super nice precise shakers. Much, much, much better. Timpani are rich but without much snap. Brian’s vocals are nice and metallic. Shakers have that Troika/Javelin snap I like so much. Bass harmonica is fuzzy and brimming with texture. Sounds terrific, no doubt.

Slight delay. AM/FM experience, 40% difference at least. So much more bass on vinyl, with so much more clarity and definition on the bass. Snap, extension, detail — yep. I called this 50% last time in this combination, and that’s no exaggeration.

S-2-s. The timpani disappear on digital. Flat, awful, tinny, nasty. Well I guess this isn’t the greatest track for comparisons, because vinyl is so comprehensively better. But maybe the Tranquility will make it betterer?

Verdict: Vinyl is 50% better.

Old Cirkus with Tranquility

Full digital. Okay, Tranquility’s in, that took about 10 minutes. Just refreshing my memory from a couple of hours ago and time to get going…

Full vinyl. Hmm, well, immediately sense that this sounds better. More precise, deeper bass, a bit sharper, more direct? Wow, space is the main thing, Brian’s double-tracked vocals are both locatable very precisely in space. Bass has tightened up a bit, is even more distinct. Clarity, texture — definite sense of a big improvement. The only question is if it’s maybe a bit too “direct,” snappy? But even asking that question suggests that the Tranquility, if anything, is making my setup sound more like itself. I’m getting more of the Javelin/Troika qualities here…

Slight delay. Obviously 50% was already a massive difference, but this is definitely even better. Simply one of the nicest tracks I’ve ever heard on headphones — astounding, I love it. Timpani in particularly are definitely richer, ringier than I’ve heard them. I think there is a bit less quantity of bass here — less “bloom.” I no longer have the sense that there is maybe too much bass. But I’m hearing more space, mainly, and more texture detail. Space is the biggest one, though. Definite, immediately appreciable difference. Never heard those shakers so sharp. 

S-2-s. So clear in direct comparison. It’s the space and the texture detail. Some “bloom” is gone but it doesn’t hurt this song — the space and width are all to the good. The only question I have is about whether it’s too “direct.” On this track, it really works, especially in direct comparison, where the digital sounds just hopeless. Do I know what 55% means? Well, not entirely, but I know this is better than it sounded a minute ago, so and it was 50% then. So 55%! Wow, the space and echo on the “A doobey dopey dah” is something I’ve never heard before. And I have listened to this song a million times. This is a big upgrade.

Verdict: vinyl is 55% better (5% improvement with Tranquility)

New Cirkus

Full digital. Yep, indistinct, vague, glassy, nothing special. 

Full vinyl. Lots more life here — LOTS more. Lots of zing, lots of snap, lots of soundstage — timpani are really nicely focused. I think we’re maybe a notch up on my old Cirkus here?

Slight delay. When one track is sounding 50% better than another, it’s definitely hard to hear those fine differences. So hard to say if this is any better than the old Cirkus. If it is, it’s not by much. But it definitely sounds amazing!

S-2-s. I’d say this is about like last night. Amazing. Not obviously more amazing that with the Old Cirkus.

Verdict: vinyl is 50% better

New Cirkus with Tranquility

Full digital. Very quick change this time. Like 10 minutes. So it’s been 45 minutes since I heard this. Noting shakers, noting bass, noting timpani…

Ful vinyl. Haha, yes, exactly what I said last time: the double-tracking accuracy is crazy. Oddly, I don’t feel like the bass has been lessened here, though. Possibly because the OC was responsible for that “bass bloom”?

Slight delay. Just like last time with the Tranquility — astoundingly good — but I really don’t feel the reduction in bass this time.

S-2-s. Wow, It’s truly awful listening to this on digital. Like a bee buzzing right in my ear. Definite jump compared with non-Tranquility, though not better that Old Cirkus + Tranquility.

Verdict: vinyl is 55% better (5% improvement with Tranquility)

5. Joy Division, “Atmosphere,” 12″ single (1980)

Old Cirkus

Full digital. Okay, yep, fine, nothing special. Maybe a little better than usual lately? Hand drum isn’t too bad, really…

Full vinyl. Completely different league, absolutely huge, with incredible snap and remarkable slam. Incredible. It’s so nice to have the Javelin and Troika back in the system!

Slight delay. Detail, resolution, crispness, FORCE, DEPTH, kick drum and hand drum are equally stunning here. Fuzzy, bland, distant, sloppy, blunted on digital. Very hard to switch from one to the other. Definitely 40%.

S-2-s. In addition to all that, the space comes across really clearly on second-to-second. Again, it’s going to be hard for the Tranquility (or the other bearings) to best this…

Verdict: vinyl is 40% better.

Old Cirkus with Tranquility

Argh, looks like I lost my notes for this?I had it at 45% better, maybe 50%?

New Cirkus

Full digital. Yeah, the usual. Okay, a bit thuddy and nothing particularly special…

Full vinyl. Exciting, rich, full of slam — very, very nice. I’m currently very annoyed that I seem to have my notes from the Old Cirkus + Tranquility round for this track, but I know that was all about hearing new textures in his voice. I’m not having that experience here — it’s more the usual “amazed by the slam of the drums” experience.

Slight delay. No improvement from OC to NC that I can see. Same difference.

S-2-s. Oooh, got the sync just perfect, and so the comparison is really easy. Classic 40% difference. Life and space in the drums, the little echoes around them. But the vocal texture thing I’m not getting. 

Verdict: vinyl is 40% better.

New Cirkus with Tranquility

Full digital. Yep, got it.

Full vinyl. The magic is there, definitely. I wish I had my notes on OC+T. But hey, yes, it’s the vocals that are standing out this time: the texture and the position in space. SO weird, it’s really not what I’ve heard in any other rounds. I think what the Tranquility does — and this makes perfect sense — is just take the bearing out of the equation. The OC had bass bloom. The NC does not. Both +T sound the same and really excellent.

Slight delay. Good lord, that lead that vinyl always has on drums is massive, and maybe even better than ever here. But oh man it’s the three-dimensionality of the vocals that stand out here, and they are absolutely a Tranquility artifact. Definitely didn’t hear them like this in either round minus the Tranquility. 

S-2-s. Total goosebumps in the synth shower. So maybe this IS a little better than last time? Astounding. Very comfortable calling this a +50%. Just wish I knew what I rated it last time. +50% too, I think…

Verdict: vinyl is 50% better (10% improvement with Tranquility)

7. Yo La Tengo, “Stockholm Syndrome,” I Can Feel the Heart Beating as One (1997)

Old Cirkus

Full digital. Well, really, not THAT bad. But it’s thuddy and fuzzy and there’s no snap to the acoustic guitars. Some kind of gross midrange hump here makes it kind of uncomfortable to listen to. 

Full vinyl. Much more clarity, nicer bass drive. But yeah, as in my last notes, not an overhwhelming experience. Maybe a bit more point on the snare, definitely more texture on the acoustic guitar. As with last time, I am indeed picking up some “congestion” around James’s voice… Bass is nice during the solo. 

Slight delay. Yep, lots more resolution and clarity on vinyl. I am still hearing a bit of that “hardness” on James’s vocals on vinyl, though (not more than on digital, but holding it back from being totally satisfying on vinyl.) Lots of nice snap on the acoustic guitar during the solo, which is totally absent on digital.

S-2-s. So nice on vinyl. Snap, bounce, pace, momentum. Very foggy and distant on digital. But yeah, let’s see if we can get more clarity on James’s vocals. Vinyl is much better, and it’s definitely subjectively “good,” but it’s not astounding (like the Joy Division, for instance.)

Verdict: vinyl is 30% better.

Old Cirkus with Tranquility

Full digital. Wow, after that, this sounds really awful. Flat, dead, wooly, distant.

Full vinyl. Less of an immediate wow, but I think I’m getting the bounce of the bass and the snap of the acoustic guitar a little more clearly, and, yes, James’s voice in a bit better focus — definitely. That little bit of congestion hasn’t totally gone away — it’s got to be in the recording — but I do think we’ve won a little bit of clarity, width, separation, precision here. Oh definitely more clarity on the acoustic guitar and the snare at the end of the song — really clear there.

Slight delay. Not the reveleation that the first two tracks have been, but the “fog lifting” effect is definitely clearer here. Definitely makes the digital sound just terrible. Georgia’s voice in the chorus is really clearly placed — more so than before. The cymbals and acoustic guitars are clear but maybe a bit too clear during the solo. Digital is super foggy. Eek, really nasty. Vinyl is making seem much worse than earlier today.

S-2-s. Wow, the clarity and width that the Tranquility are just crystal clear on second-to-second. The hardness of James’s voice hasn’t gone away, the Tranquility hasn’t smoothed it. But everything not the recoding is just in absolute laser focus. Two notches!

Verdict: vinyl is 40% better (10% improvement with Tranquility)

New Cirkus

Full digital. Flat, especially James’s vocals. A bit of zing on those acoustic guitars tonight, though?

Full vinyl. Kick drum is the thing that jumps out first — much rounder. Really nice bass guitar too. Less congestion on James’s voice than with the Old Cirkus, I think. 

Slight delay. Feels more like 35% to me this time. Lots more texture everywhere, lots more bounce.

S-2-s. I’m really starting to think that the Old Cirkus was somehow adding lots of bass and that now I need to lower my VTA, because there’s maybe just a bit too much treble emphasis here. But the clarity is great, and there’s nonetheless lots more and nicer bass than on digital. 

Verdict: vinyl is 35% better

New Cirkus with Tranquility

Full digital. Not good. Confused and muffled. 

Full vinyl. This is clearly better than a moment ago, with way more snap and drive and life. James’s vocals are the clearest I’ve heard them, or at least as good as Old Cirkus +Tranquility. 

Slight delay. Man this is sounding nice now. It’s the full spectrum, kick drum to acoustic snap. I do think the VTA could come down a little. But this is great. Separation of backing and lead vocals superb on vinyl, not noticeable at all on digital.

S-2-s. Just another world of resolution and snap on vinyl here. For sure we’re in 40% territory. Bass guitar is maybe the most impressive individual piece here — you really can’t hear it on digital, and it’s so nice and bouncy and clear on vinyl. VTA comes down and we’re in uncharted waters here! (But I can’t fiddle with VTA until this bearing round is over… for science.)

Verdict: vinyl is 40% better (5% improvement with Tranquility)

11. Can, “Halleluwah,” Tago Mago (1971)

Old Cirkus

Full digital. Fun, obviously, but I think a bit bright, lacking roundness, dimension, heft, slam. Definitely a little harsh, not involving me with any kind of slam or bounce — which, obviously, it should…

Full vinyl. Immediately, way more bass — very nice, amazing drive. Textures coming through much better — audio thrills to be had in terms of texture, slam, and spatial effects. Totally agree with my previous comments: crazy slam on the low end, amazing definition and detail on the top. Really, really excellent. 

Slight delay. The first thing you notice is the bass drive, but the timbres and tones of everything is much, much better: especially noticing the amazing electric guitar tones on vinyl. But whoa, the kick of the low end! It’s amazing. The Javelin/Troika combo is truly an enormous amount of fun. Can I find anything to criticize? Geez, not really. If this sounds better with the Tranquility, it will be by breaking through into a new level of amazingness, not by correcting any faults.

S-2-s. As often, what you hear in direct, second-to-second comparison is width, soundstage. Twice as wide on vinyl. And of course with the massive increase in slam, impact, fun. (I’m typing these notes standing up at a high desk, and I’m totally unable to resist dancing along a bit here.) I’m sure these differences would all be even clearer on the loudspeaker setup…

Verdict: vinyl is 40% better

Old Cirkus with Tranquility

Full digital. Yep, glassy, glarey, uninviting, too brightly lit. I hope the Tranquility still lets this track have fun…

Full vinyl. No, the character hasn’t changed fundamentally, still tons more bass here. The beautiful clear textures on electric guitar are even clearer, more energetic here I think — texture detail! Spatial positioning is incredibly precise. Oh wow, bass slam is massive — that hasn’t gone anywhere, just come into greater focus. Hmm, well, maybe a bit of quantity has gone, and in some parts where I miss it, like the mega loud drum part about three minutes in. But then I’m hearing the details, the atmosphere way more clearly. I can’t wait to listen to Future Days with the Tranquility… 

Slight delay. Wowzers, Quantity of bass, slam, definitely. Clarity of textures, for sure. Clarity of soundstage, massively. Amazing difference, definite improvement on this track — though, yes, a bit of the fun euphonic bass is lessened. In the drum breakdown, way “trippier” on vinyl, more a sense of being in a magical landscape, with surprising sounds jumping out from everywhere. Loving that! And it’s richer, deeper, more impact. A fundamental win.

S-2-s. Again super clear: texture detail, width, slam. I know that bass slam, it’s just the way the Javelin does bass. So yes, the Tranquility is giving me more of what I love about my setup. Wow. So beautifully sharp and precise, quick and brilliant. One of the bigger differences. I’m impressed.

Verdict: vinyl is 45% better (5% improvement with Tranquility)

New Cirkus

Full digital. A little harsh, nothing quite ringing true tonally.

Full vinyl. Same experience as with the Old Cirkus: more bass, much better tones, especially from the electric guitar. On this one, I’m not feeling the treble overemphasis. Really fun, sounds great. 

Slight delay. Bass, quantity and quality — in the slam sections, the advantage in force of vinyl over digital is towering. And on top of that, the quick, lively treble. Definitely 40%.

S-2-s. In the “trippy breakdown part” (you know you know what I mean — loud drums, spacey synths, around 2:30), vinyl is miles ahead on resolution, detail, and soundstage. Anything I choose to focus on is massively more satisfying on vinyl. For instance, I chose cymbals — and they were detailed, delicate, take up lots of room in space (width) and in time (decay).

Verdict: vinyl is 40% better

New Cirkus with Tranquility 

Full digital. Yeppp.

Full vinyl. Just NO QUESTION that the textures and timbres are coming through better here. Really stunning. The Tranquility is making a great big difference and I’m really enjoying it.

Sight delay. JUST SO GOOD ON VINYL. Wow. The slam, but then also everything else in such amazing focus, and with such beautiful tones and timbres. Tonight totally replicates last night, and the Tranquility effect is so clear: clarity of soundstage, textural detail, rightness of tonal. 

S-2-s. Mostly just enjoying the sounds behind the sounds on vinyl — not that they’re not they’re on digital, but you’d never think to listen for them if not for the vinyl pointing them out, and they’re certainly not nearly as enjoyable..

Verdict: vinyl is 45% better (5% improvement with Tranquility)