Tonearm Reviews

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Michael Fremer Posted: Feb 26, 1998 0 comments
When Bob Graham introduced his 1.5 tonearm at the end of the 1980s, many thought he was dreaming: Vinyl was going the way of the console radio—who would invest two-grand-plus in a tonearm? But there was a method to Graham's madness—he'd designed his arm to be a drop-in replacement for more than 20 years' worth of SME arms, all of which shared the same mounting platform. Perhaps, in his wildest dreams, Graham had already envisioned the current "analog revival"—but even without it, he figured there'd be a robust replacement market, and he was poised to exploit it with what he thought was a superior product.
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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.
Wes Phillips Posted: Feb 09, 1996 0 comments
Stuff that works, stuff that holds up/
The kind of stuff you don't hang on the wall/
Stuff that's real, stuff you feel/
The kind of stuff you reach for when you fall.
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Markus Sauer Posted: Jun 05, 1995 Published: Jun 05, 1993 0 comments
When I was visiting Santa Fe last Easter (footnote 1), one of the subjects I raised with JA was Naim's ARO tonearm. This unique unipivot design has languished in Class K of Stereophile's "Recommended Components" listing for far too long. JA explained that the regular reviewers have quite enough to do, thank you, just keeping up with speakers, electronics, and especially digital. The esteemed Martin Colloms is happily using an ARO on his Linn Sondek, and wrote a review for the English magazine Hi-Fi News & Record Review in May 1991, but since there is a very small but nevertheless vociferous overlap in US readership between the two magazines, it is Stereophile policy not to have two reviews by the same reviewer of a given piece of gear.
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Dick Olsher Posted: Mar 26, 1995 Published: Mar 26, 1991 0 comments
Frankly, I'm fed up with the prophets of doom, those false seers who forecast vinyl's imminent demise. Some claim to have seen the writing on the wall as far back as ten years ago, sensing that the advent of the CD would perforce relegate the stylus-in-groove method of transduction to the trashpile of history. First of all, most of the music I enjoy happens to be on LP. And I'm sure I speak for many audiophiles who have also spent a lifetime building up a vinyl collection when I say we're not about to throw away our cherished treasuries of music. These LPs I expect to enjoy until the end of my time. Thus, I welcome any phono-system technological advance that will recover more information from the groove.
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John Atkinson Posted: Apr 19, 1995 Published: Apr 19, 1989 0 comments
"Tonearm?" muttered John Crabbe, my erstwhile editor at Hi-Fi News & Record Review, as he bent over my shoulder some 12 years ago to see what I was writing about. "A tonearm belongs on an acoustic gramophone—you should use the term 'pickup arm,' which doesn't suggest that the arm has a sound of its own."
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Arnis Balgalvis Posted: Feb 04, 1995 Published: Feb 04, 1989 0 comments
Tonearms, like Rodney Dangerfield, never get no respect. When was the last time you heard someone actually argue the merits of a tonearm? Right, not recently. "Hey, I just got that new Gizmo tonearm!" "Oh yeah? What cartridge are you using?" People pick out the cartridge for praise and consideration time after time, while the tonearm gets taken for granted.
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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!"
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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.
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Anthony H. Cordesman Posted: Sep 29, 2011 Published: Dec 01, 1985 1 comments
666et2.jpgIf analog disc is fading, it is a twilight of the gods. Tonearms, cartridges, and turntables get steadily better; the overall quality of the best analog disc systems today is far better than it was two years ago. Bruce Thigpen and Edison Price's new Eminent Technology Two tonearm is a case in point. It has evolved from a highly specialized product for only the bravest of audiophiles to a reference quality arm that any dealer can install, and any audiophile can safely use. More importantly, it may have no sonic equal at any price.
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: 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.

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