Sadly you won't be able to assess the difference the KDS/2 change alone makes, as you got the mono 2s while it was away.

This thread has me looking forward in anticipation and excitement to June & our planned trip to Ann Arbor to get TMs & SMs upgraded to 2 & 1.1 by Thomas, along with some other system tweaks - it will be about 2 months before we're back home and can hear what all the fuss is about.
That seems like an age given the rave reviews, but I'd rather drive the 1100 miles round-trip than trust all my musical investment to FedEx in one go. From all these positive comments it sounds like it's more than worth the wait.

macrotech2 » 2015-04-20 20:03

Sadly you won't be able to assess the difference the KDS/2 change alone makes, as you got the mono 2s while it was away.

Yes -that is true.

The timing of both upgrades was taken out of my hands to a large extent.

I would have preferred to have a longer gap between the two but with the Easter bank holidays and Fredrik's trip to Belgium, missed the overlap between TM2s and KDS/1 by 6 days.

At least, I know for sure that the TM2 upgrade was worth the wait!

macrotech2 wrote:Thomas, great write up, your experiences mirror many of my own feelings. I think you're getting me confused with u252agz though, he already has Sagatuns, and I made the comment about female vocals. I also notice previously unheard information on so many tracks. For example, extra multitracked voices on Emily Barker's Letters and many subtle keyboard swirls in the Stranglers Golden Brown. I find it difficult to put into words how much more musically communicative the system is now. Everything is just there to be heard, quiet parts are not overshadowed by louder instruments, and the depth of texture in each voice or note is remarkable. I have never heard a Chopin piano piece sounding so realistic.

As for the Sagatuns, I have heard them once, in a KDSM/1, passive Akubarik system if I remember correctly. My main memory is of an staggering transformation in realism of the female vocals at the start of an XX track. If I have this level of improvement yet to come, I will be left speechless!

Sorry about that. That's what happens when I am looking back at the replies while I'm editing my post and confuse the original poster on some comments. I have corrected it now.

Hopefully when you are left speechless buy the Sagatun Monos you will still be able to type to let us know how much they rock your world!

Don't worry I will ( if they do of course!)

Mr macrotech, you'll be blown away, mono sagatun is really very special indeed.

That's very formal Ozzy! We have met and PMed in the past!

Sorry kev, just thought I'd poke my nose in for a minute, how's things?
Got my gear in a new house with dedicated mains, new microconnect cat 6 and can't wait to get monos in to hear how good they really are, my system is so much better in this room and house than my last place, the difference is staggering.

No worries. Sounds like you should enjoy this improvement for a while, then get another one with the Mono 2s.

I have had an opportunity to listen to KDS/2 now with TM2 and can only echo what Macrotech and Thomas have posted. A significant improvement from what was already a very high level.

There is clearly more power, more control and more fluency; and even more impressive is the improvement in the delicate and subtle parts of the music.

As usual with this type of improvement the bass just continues to get better and I think this in itself exerts a significant influence on the whole listening experience.

This is a big upgrade from KDS/1-Tundra Mono 1s, and anyone in two minds about upgrading the Tundra Monos should give it some serious thought.

TM2s with KDS/2 continues to improve - really very good at the moment.

Sublime and enchanting are just two descriptions which come to mind.

These two upgrades have improved upon all the analogue / passive fundamentals such as musicality/ flow / coherency and engagement, whilst simultaneously enhancing all the HI FI parameters, such as clarity,bass, treble, soundstage etc .

Its as if the the good bits have been taken out of a good Exact system and seamlessly transplanted into the analogue domain.

I think the bar has just been set much higher for Exact, and any installation will have to be spot on to match this Linn/ Lejonklou combination.

Which kind of begs the question...... Why go through the expense and hassle of exakt when fantastic results can be achieved for much less and with less hassle? I appreciate exakt can sound good, but it's never connected with me, given me goosebumps or made my feet tap like the Freddie boxes do.
Just my thoughts for what they're worth.

100% agree with you there Ozzy.

My Mono 2s have also continued to improve, now retaining all the initial qualities, but with additional oomph. I continue to be amazed that a power amp upgrade can make such a huge difference.

It would be interesting to hear Mono 2s instead of Solos in a full blown Exakt system. Perhaps Flatcoat is considering it?

What is quite interesting / ironic is that KDS/2 has Exact terminals ( ? a trojan horse of sorts, winking from the rear panel and tempting us down the Exact route ) :

But with TM2s and Sagatun Monos in a single passive system, the analogue sound is so good that Exact has receded even further away in my thoughts .

And I have not gone to Sag Mono 1.1s yet!

Keep up the good work Fredrik.

... and the thing with the Exakt outs on the KDS/2 is that they could only ever be used in a single source system, so they're pretty pointless unless Linn have an intermediate box up their sleeves.

Since hearing the magical Monos 2 a few weeks after a decidedly underwhelming Exakt Akubarik dem, I have also written Exakt off for the moment.

Website has now been updated and a few minor errors corrected.

All three manuals have also been updated.

http://www.lejonklou.com/products/tundra-mono/

lejonklou wrote:The upgrade of Tundra Mono to Tundra Mono 2 [includes one] of the following changes:

A new Thermal Interface Material (TIM) between electronic components and cooling block is used. The old material was Swedish and it was really good. The new one is just released, undoubtedly the best in the world and made in Japan. Thermal resistance through these interfaces is now one fourth of what it used to be. When heat moves fast, the music (in particular the bass) sounds Rock Solid.

Fredrik,
If it's not a proprietary secret, could you tell what the made in Japan TIM brand and type is? "Undoubtedly the best in the world" is a pretty bold statement. Do you still believe that?

Thanks,
Ron The Mon

Ron The Mon wrote:Fredrik,
If it's not a proprietary secret, could you tell what the made in Japan TIM brand and type is? "Undoubtedly the best in the world" is a pretty bold statement. Do you still believe that?

Hi Ron!

You are right, it's a bold statement. Perhaps even a dumb one. To start with, there is the question of what "best" means. It depends on temperatures, the materials the TIM joins, the mechanical situation, pressure etc. I should probably have written: I am pretty sure this is currently the best TIM in the world for my application. Thanks for pointing that out!

There are many TIM's available these days and new variations are continually released. I try keeping up to date with all the major and reliable companies and am practically testing the products that have the best measured data. They all sound different and the one I use on Tundra 2 and Tundra Mono 2 is still the best by far. But the heat sink also has its "sound signature" and the pressure is often critical, so the testing becomes a bit complicated.

I'd rather not reveal what I currently use, but when anyone asks for a recommendation I tell them to check out Bergquist (now bought by Henkel). On Tundra 1.0, 1.1 and 1.2, I used Sil-Pad K-10. That's a Kapton film with silicone rubber surfaces. On Tundra Mono 1.0, I used Sil-Pad 1500ST. It's fiberglass with a sticky goo that sounds more damped than any Kapton film I've tried. The electrical component, heatsink and pressure used can determine which model performs best.

Why did you ask, Ron?