Tonearm Reviews

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Art Dudley Posted: Oct 20, 2007 0 comments
Visit and look at the Vote Results for June 17, 2007: You'll see that when we asked our readers to name the one audio product that's spent the greatest amount of time in their systems, the most common answer by far was the Linn Sondek LP12 turntable (footnote 1). Little wonder that Scotland's most famous record player endures as an object of attention for various and sundry commercial tweaks.
Michael Fremer Posted: Apr 22, 2007 0 comments
Almost immediately on entering the analog marketplace in 1982, Franc Kuzma, a mechanical engineer based in Slovenia, then part of the former Yugoslavia, established a reputation for manufacturing finely engineered, high-performance products that sold at reasonable prices. Kuzma's early industrial designs, however, while serviceable, looked less than distinguished.
J. Gordon Holt Various Posted: Sep 09, 2006 Published: Apr 09, 1985 0 comments
Remember Rube Goldberg? He was a cartoonist during the late 1920s to early 1950s who specialized in devising the most outlandish and ingenious devices ever conceived by man, before or since. A Rube Goldberg mousetrap, for example, would occupy an entire small room. In taking the bait, the mouse would tip a balance beam, dropping a steel ball into a gutter, down which the ball would roll to strike a paddle whose spin would wind up a string that hoisted a weight into the air until it reached a trigger at the top, which would then release the weight to drop onto the unsuspecting mouse. Splat!
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Michael Fremer Posted: Aug 27, 2006 Published: Sep 27, 2005 0 comments
The Graham Engineering 1.5 tonearm, originally introduced in 1990, was a thoughtfully executed design that logically addressed all of the basics of good tonearm performance—geometry, resonance control, rigidity, dynamic stability—with effective, sometimes ingenious ideas, while providing exceptional ease and flexibility of setup. Over time, designer Bob Graham came up with ways to significantly improve the 1.5's performance, including the replacement of its brass side weights with heavier ones of tungsten, an improved bearing with a more massive cap, various changes in internal wiring, a far more rigid and better-grounded mounting platform, and a new, sophisticated ceramic armwand. (The original wand had hardly been an afterthought: its heat-bonded, constrained-layer-damped design consisted of an inner tube of stainless steel and an outer tube of aluminum.) The arm's name changed from the 1.5 to the 1.5t (tungsten), then the 1.5t/c (ceramic), and on to the 2.0, 2.1, and 2.2.
Michael Fremer Posted: Aug 06, 2006 Published: Nov 06, 1998 0 comments
"Hello, I'd like to apply for a Federal Grant? For what? Oh, to design and build a new, high-tech, very expensive turntable. What's that? It plays records. Yes, that kind of turntable. Of course they still make records. Why? How much time do you have? Oh, I forgot—you're a federal employee, you have all day! Well, I didn't mean to insult you. It was a joke....No, I'm serious about the turntable. You do? What kind of music? When are they from? RCA Record Club? Classical Music? 1950s and '60s? Yes. I'll give you $5 each. I know it's generous, but... How much money do I want for the grant? Coupla hundred thousand dollars. No, our turntables will never be used to play Marilyn Manson records—Marilyn doesn't do vinyl. It's in the mail? Thank you. I'll come get the LPs tonight."
Jonathan Scull Posted: Aug 06, 2006 Published: Oct 06, 1998 0 comments
The La Luce turntable's elegant form usually stops audiophiles dead in their tracks. Then comes a long, low "Wow." I'm hardly immune myself. And that's not even considering the sound, which has always been wonderful, as it was in the Joseph Audio/Cardas room at CES '98.
Brian Damkroger Posted: May 28, 2006 0 comments
VPI Industries' TNT turntable and JMW Memorial tonearm have evolved through several iterations over the last two decades. Some changes have been large, such as the deletion of the three-pulley subchassis and the introduction of the SDS motor controller. Others have been invisible—a change in bearing or spindle material, for example, or the way the bearing attaches to the plinth. And, as longtime Stereophile readers know, I've been upgrading and evolving along with VPI, most recently reporting on the TNT V-HR turntable (Stereophile, December 2001).
Michael Fremer Posted: Jan 14, 2006 0 comments
Part New Jersey diner, part Wurlitzer jukebox, with a snakelike tonearm that at certain angles looks vaguely lewd, this boxy, man-sized creation from Australia seems to have been built around its distinctive looks rather than for any functional purpose. Combine that with its sky-high price—itself almost obscene—and the result is apparently the sort of product that envious, cynical, self-loathing audiophiles love to hate, and reviewers love to write about.
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Michael Fremer Posted: Oct 03, 2004 Published: May 01, 1997 0 comments
If the sole criterion for choosing a winner in today's hotly contested premium arms race was original thinking, the Immedia RPM-2 might well come out on top. While some of its design details resemble those found on other products, in many significant areas the arm is unique—not for uniqueness's sake, but in order to efficiently implement some clearly considered goals. If the unipivot RPM-2 bears a resemblance to any other contemporary arm, it is Naim's highly regarded ARO—which I've never heard. The similarity, though, would appear to be superficial.
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Michael Fremer Posted: Aug 15, 2004 Published: Aug 01, 2004 1 comments
The lacquers from which LPs are pressed are cut in a straight line, and that's how the LP groove should be traced. Even when set up perfectly, a pivoted arm describes an arc across the disc surface, maintaining tangency to the groove at only two points on that arc. Yet despite numerous attempts at building and selling linear-tracking tonearms, few remain on the market, and most are fraught with technical problems. Linear-tracking arms can be anything but linear, committing more sins of geometry as they meander across the record surface than do their pivoted brethren.
Paul Bolin Posted: Jul 26, 2003 0 comments
Turntables are intrinsically cool. Maybe it's that I am of the pre-CD generation, for which the acquisition of one's first really good turntable marked an audiophile's coming of age. Just as turntable technology has progressed to such awe-inspiring pieces as the SME 30/2 and Rockport Technologies Sirius III, less stratospherically priced 'tables now offer levels of performance that, if not revelatory, show why so many audiophiles (including yours truly) continue to love their LPs with something just short of fanaticism.
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Art Dudley Posted: Apr 20, 2003 0 comments
The best tonearm I ever heard was a second-generation Mission Mechanic, ca 1986. It was mounted on a Roksan Xerxes turntable, and I spent several happy hours listening to records on that combination (with a low-compliance EMT cartridge) in two very different systems: one with solid-state amplification from DNM and Roksan's own dynamic Darius loudspeakers, and the other—my home system of the time—using tube amplification from Conrad-Johnson and a borrowed pair of Stax electrostatic speakers.
Art Dudley Posted: Feb 16, 2003 0 comments
Oh, I talk a good game when it comes to the whole music-lover-vs-audiophile thing. But I admit that when it comes to record players, I'm just another hardware junkie. I love turntables and tonearms for more than the musical enjoyment they give me. Turntables and tonearms are my favorite toys.
Brian Damkroger Posted: Dec 20, 2001 0 comments
I'm a tinkerer. From homemade audio isolation and room-treatment products to a local area network (LAN) connecting my Macintosh laptops, I'm always building or modifying something. One of my latest projects is a combination of parts swaps and custom-machined bits to better adapt the ergonomics of my exotic Italian Bimota motorcycle to my distinctly un-Italian 6'3" frame. But regardless of what I'm into, I can't resist the urge to tinker.
Michael Fremer Posted: Aug 20, 2000 0 comments
Andy Payor hurls a briefcase full of engineering and scientific mumbo-jumbo at in an attempt to justify the $73,750 price of the latest and greatest edition of his Rockport Technologies turntable, but really—isn't this all-air-driven design a case of analog overkill? After all, defining a turntable's job seems rather easy: rotate the record at an exact and constant speed, and, for a linear tracker, put the stylus in play across the record surface so that it maintains precise tangency to a radius described across the groove surface. By definition, a pivoted arm can't do that, so the goal there is to minimize the deviation. That's basically it. Right?


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