Tonearm Reviews

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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?
Michael Fremer Posted: Dec 23, 2007 0 comments
Simon Yorke is an artist, a machinist, an electronics wiz, and a political idealist. He's also an analog enthusiast who melds aesthetic and technical considerations into eye-catching, densely packed, compact record-playing devices that are ruggedly built and functionally elegant. His turntables' smooth, matte-gray, metallic finishes and efficient lines make them among the most visually pleasing ever made.
J. Gordon Holt Posted: Oct 08, 2013 Published: Jun 01, 1980 4 comments
The third iteration of SME's 3009 is one of the most versatile tonearms around. For the same reason, it is also one of the most tedious to set-up because, since every parameter is adjustable, every parameter must be adjusted.
Michael Fremer Posted: May 15, 2009 0 comments
Much has happened in the analog world since I reviewed SME's flagship Model 30/2 turntable for the March 2003 Stereophile (footnote 1). Back then, spending $25,000 on a turntable (without tonearm) was an odd extravagance intended only for those seriously committed to the format, and who already owned large LP collections. Although new LPs were being pressed in growing numbers, the resurgence of vinyl was still spotty, and the long-term prognosis for the old medium remained in question.
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Steven W. Watkinson Posted: Sep 12, 2014 Published: Sep 01, 1986 3 comments
Once upon a time, SME made "the best tonearm in the world." That claim may have been justifiable through the 1960s and early '70s, but then something happened—SME failed to keep pace with their competition in coping with the increasing popularity of low- to medium-compliance, highish-mass, moving-coil cartridges. I had just about written SME off as a serious high-end company when, at the 1984 Summer CES, I saw the first prototype of the Series V.
Brian Damkroger Posted: Jun 16, 2010 0 comments
Spiral Groove's new Centroid tonearm ($6000) arrived just a few days before press time, so it would be risky to say anything definitive about it. But I will take that risk: using the system described in my review of the SG2 turntable, this may be the best tonearm I've heard. Its sound is different in ways that will open people's ears, and I predict that it will affect the design of every tonearm from now on. The Centroid's design deserves and will await full coverage in its own review, but here are the basics: It's a fluid-damped unipivot design unlike any other that gives the user fine adjustment of all relevant parameters.
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.
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Dick Olsher Posted: Jun 07, 2010 Published: Jan 07, 1988 0 comments
While brushing my teeth this morning, it occurred to me that there are significant similarities between a toothbrush and a tonearm/cartridge. The bristles would be analogous to the cartridge and the brush handle to the tonearm. In either case it is the business end of the device that does all the work. The bristles track the contours of your ivories in search of hazardous waste deposits, while the cartridge tracks the record groove transducing wall modulations into an electrical signal. I think that this is where the old adage came from: "A used cartridge is like a used toothbrush—nobody wants one!"
J. Gordon Holt 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!
J. Gordon Holt Posted: May 07, 2015 Published: Apr 01, 1975 17 comments
Because this is an unusual and controversial tonearm design, and has had astonishing claims made for its performance by the manufacturer, this in-depth report goes deeper and is longer than is usual for Stereophile. We will return to a reasonable balance of reportage in the next issue.

The manufacturer's initial advertisement for their mis-named "Vestigal" arm (footnote 1) was so laced with nonsense that we will admit to having been skeptical about the product from the outset.

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.
Michael Fremer Posted: Oct 14, 2011 2 comments
Trends in turntable design shift back and forth over time, each "advance" turning out to be a mostly sideways move. Over its long history, VPI's founder and designer, Harry Weisfeld, has moved the analog goalposts back and forth as he's refined his thinking. His early turntables were mostly standard spring-suspension designs of normal size. By the time Weisfeld produced his fully tricked-out TNT model, which was originally designed to stably hold the heavy moving mass of Eminent Technology's ET2 air-bearing arm, he'd moved to a massive, oversized, sandwiched plinth with isolating feet at the corners. He first used springs and, later, air bladders originally designed to cushion a tractor-trailer's load, and which he'd found in a trucker's supply catalog. Via an O-ring, the TNT's outboard motor drove one of three pulleys that protruded from holes in the plinth, and attached to a T-shaped subchassis that, in turn, drove the other two pulleys via two additional O-rings.
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).
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Michael Fremer Posted: May 14, 2014 0 comments
In 1995, Harry Weisfeld's son Jonathan was killed in an automobile accident. Jonathan was a charismatic young man whom I had come to know—a genuinely gifted artist and musician who, at the time of his death, was helping his father develop the tonearm that would be named for him: the JMW Memorial Arm. The design of the original JMW Memorial Arm focused on providing easily adjustable and repeatable VTA and SRA via a massive threaded tower that bolted to the plinth. The bearing point, on the other hand, sat near the end of a relatively long and not particularly rigid metal platform cantilevered off the VTA/SRA tower.
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.

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