Recommended Components Fall 2023 Edition Phono Accessories

Phono Accessories:

AcousTech The Big Record Brush: $36.95
With grounding wire: $52.99
This large-handled brush has soft bristles of both natural hairs and conductive synthetic fibers, and makes dusting LPs nearly foolproof. The 5.5"-wide bristle area easily spans the width of any LP's grooved area. Version with ground wire ($52.99) does "a pretty effective job of dissipating static electricity," Mikey said. (Vol.31 No.9)

Acoustical Systems Arche 5D headshell, Regular: $799
Acoustical Systems Arche 5D headshell, Lite: $899
Acoustical Systems Arche 5D headshell, Ultralite: $1099
Another sign of the analog revival: perfectionist-quality cartridge headshells, once common—remember the Orsonics shell of the 1980s?—are repopulating the Earth, a key example being the German-made Acoustical Systems Arché. Precision-machined from aluminum and steel and available in various finishes, the Arché offers adjustable vertical tracking angle and azimuth, and taken together, its two adjustments for overhang—one at the headshell plug, the other by means of the Arché's movable platform-within-a-platform—offer a wider range of adjustment than most other headshells. AD also noted that the slightly heavier-than-average Arché is a better match for the low-compliance cartridges he favors—now, though, it comes in three weights, from regular to extra-light. Expensive, but nonetheless highly recommendable. (Vol.41 No.5 WWW)

Acoustical Systems Smartractor alignment protractor: $999
XL version: $1099
As close to a "universal" phono-alignment protractor as one is likely to find, the Acoustical Systems Smartractor, which resembles a draftsman's beam compass, can be used with any conventional tonearm with an unambiguous pivot center. It offers the user a choice of four traditional alignment schemes—ie, ones distilled from the work of Erik Löfgren, who more or less invented the two-point alignment schemes used by the vast majority of manufacturers and hobbyists—and one brand-new one, developed by Acoustical Systems' Dietrich Brakemeier, called UNI-DIN. AD praised the "ergonomically friendly" Smartractor as "exceptionally well made" and "a breeze to use," and expressed a preference for its Löfgren A DIN alignment scheme, although he intends to experiment further with UNI-DIN. Now two versions, regular and XL (Vol.37 No.2. Vol.41 No.11 WWW)

Aesthetix MC Demagnetizer: $230
Battery-powered, reasonably priced, seems to do the job as well as any of them, decided MF. (Vol.25 No.7)

Audio Additives digital stylus-force gauge: $55
The Audio Additives comes in a nice black box and includes two AAA batteries and a 5gm calibration weight. It has an easy-to-read touchscreen display, a nonmagnetic case, and accurately measures a cartridge's vertical tracking force down to 0.001gm. Precise and a pleasure to use, said SM. (Vol.35 No.11 WWW)

Audio Intelligent Enzymatic Formula: $25
Alcohol-Free Premium Archivist's Formula: $25
Super Cleaning Formula: $25
Ultra-pure water: $16
MF: "The AI fluids are reasonably priced, easy to apply and (especially) to spread, clean extremely well, and leave no audible residue." "Simple, effective, and distributed by kind people," said SM. Prices are for 16-oz bottles: Enzymatic Formula, $25; alcohol-free Premium Archivist Formula, $25; Super Cleaning Formula with research-grade isopropanol, $25; Ultra-Pure Water (claimed to be 50 times purer than distilled water), $16. Distributed by Missouri-based Osage Audio Products, LLC. (Vol.30 No.12, Vol.35 No.4 WWW)

Audiodesksysteme Gläss Vinyl Cleaner PRO X: $4699
The fully automatic Vinyl Cleaner uses ultrasound-induced cavitation to clean records, much as an ultrasonic jewelry cleaner does for jewels. The entire cleaning and drying process is relatively quiet and takes about six minutes. A 20ml bottle of Audiodesksysteme's alcohol-free, biodegradable concentrate ($19.95) will clean at least 50 LPs, and the microfiber cleaning barrels ($99.95/four) are good for 500 to 1000 cleaning cycles. "The Audiodesksysteme was the most effective, easy-to-use cleaning machine I've tried," said MF, who bought the review sample. FK was stunned: The Vinyl Cleaner not only thoroughly cleaned his LPs, it significantly improved their sound, revealing nuances long hidden in the grooves. "If your stereo system cost tens of thousands of dollars and you play a lot of vinyl, you need to check this thing out," he said. AD said, "If there exists a more effective, easy, reliable, and utterly transformative way of cleaning LPs, I have yet to hear it...[The] Vinyl Cleaner's build quality, like its effectiveness, is beyond reproach." He then bought his review sample. In 2015, Audiodesksysteme's US distributor, Ultra Systems, introduced two accessories: the A-Ring adapters allow 7" and 10" records to be washed in the Vinyl Cleaner ($125 for the two-Ring set). AD's verdict: "The A-Rings are not a perfect solution, but they did the job effectively and without too much fuss." In 2016, the Vinyl Cleaner was replaced by the Vinyl Cleaner Pro, which offers an extra drying cycle, and boasts an upgraded fluid pump and other refinements. (Vol.35 No.6, Vol.36 No.9, Vol.38 No.3, Vol.39 No.1, Vol.40 No.4 WWW)

Audiosilente idler wheel mod for Garrard 301—401 turntable: $110 plus shipping $$$
For owners of classic Garrard 301 and 401 turntables, AudioSilente's newly designed and manufactured idler wheel is a well-advised and perhaps even mandatory purchase. Reportedly the result of a yearlong development effort that included a long study of the correct density of rubber required for the application, the AudioSilente is an aluminum-alloy wheel to which is bonded a rubber ring of square cross section—this in contrast to the original Garrard idler, whose smaller metal hub is more or less encased within a larger rubber wheel. A slender steel rod is press-fitted through the center of the idler to form the upper and lower axles, with rounded tips and polished surfaces. The contact area of the AudioSilente idler is 4.6mm thick—precisely the same as in the original idler. AD tried the AudioSilente idler on his own 301 and discovered slight improvements, both audible and measurable, compared to his good-condition original idler. All in all, as either an upgrade or a replacement for a worn or damaged original, the distinctly affordable AudioSilente idler wheel is an excellent value, and highly recommended. (Vol.41 No.7 WWW)

Clearaudio Outer Limit Turntable Ring: $1500
Heavy, stainless steel ring acts as a speed-stabilizing flywheel, damps the record, and flattens outer-groove warps. However, MF cautioned, its weight means that you can use it only with turntables with massive platters and/or very powerful motors. MF also noted that a centering template would be a happy addition to the package. The Outer Limit was "a pain to center." Nonetheless, it "blackened backgrounds, solidified images, and made them 'pop' in three dimensions." (Vol.24 No.10)

DB Systems DBP-10 protractor: $65
Fiddly but accurate guide for setting cartridge tangency. JA's preferred alignment protractor. The DBP-10 can be used to gauge alignment accuracy at any point or points between 44 and 153mm from the record spindle. "A hell of a bargain," said AD. (Vol.33 No.6 WWW)

DB Systems DBP-6MC resistive loading kit: $65
This resistive loading kit is based on a pair of flexible Y-adapters, each having two phono sockets at one end and a single phono plug at the other. It comes with five pairs of color-coded resistive plugs (10, 20, 50, 100, and 200 ohms), as well as a pair of empty plugs into which an alternate resistor value can be soldered. "An ancient but eminently useful thing to have," said AD. (Vol.32 No.8 WWW)

Degritter Ultrasonic Record-Cleaning Machine: $3280
Designed and manufactured in Estonia, this fully automatic, cavitation-based LP-cleaning machine operates at an ultrasonic frequency of 120kHz. A 12" record goes vertically into a slot—an adapter for 7" singles is available for $80—and water from the Degritter's tank (capacity 0.35 gallons) is pumped into the chamber before cavitation and record rotation begins. There are three cleaning-time presets: quick (2:15), medium (3:45), and heavy (6:45). "Almost all the records I inserted over the months came out totally dry—and sparkling clean in ways that vacuuming cannot approach," MF wrote, adding that "a small number of records still had a tiny water droplet or two, always on the lead-out groove area. That's 'flawless' in my book." (Vol.44 No.1 WWW)

DS Audio Vinyl Ionizer-001: $1795
Put this wall-wart—powered "watchdog" near your turntable—within 2"—and it will reduce static electricity in the area, wrote MF. Expensive, but the unit's half-life is approximately 10,000 hours, or almost 3 hours per day for 10 years. (Vol.43 No.7)

Fozgometer V2: $400
The V2 version of this analog azimuth meter features higher sensitivity than the original version, which means that even with the lowest output cartridges, the tonearm wires can be plugged directly into the Fozgometer. MF compared the Fozgometer's accuracy against that of his digital oscilloscope and found that it wasn't meaningfully worse and that the result was far more quickly and easily obtained, especially using a free spreadsheet from WallyTools. (Vol.45 No.5 WWW)

Herbie's Way Excellent II turntable mat: $64.99
The Way Excellent II was originally reviewed by RD in February 2016. HR was impressed by this mat's grip on the surface of the Music Hall Stealth turntable's cast platter. He also liked how well this mat supported LPs, "with just the right degree of sponginess to ensure full contact, with no gaps under the record." MT also recommends the Excellent II, finding it worked great on his Technics SL-1200. (Vol.45 No.12, Vol.46 No.9 WWW)

K-A-B SpeedStrobe Digital Phonograph Speed Readout: $109.95
Easy-to-use strobe disc simplifies precision adjustment of turntable speeds from 331/3 to all of the variations on "78." "It's just fantastic," effused J-10. "It looks cool, and it's a snap to perfectly set the speed." (Vol.19 No.2)

Keith Monks Audio Works Mk.VII Omni record-cleaning machine: $6995
The late Keith Monks's son, Jonathan, has taken over production of this venerable classic, moving manufacturing to a dedicated facility on the Isle of Wight and expanding the line to include new models, new platter mats, new cleaning brushes, and specially formulated cleaning fluids. With its solid idler-driven platter, refined cabinetry, and improved internal wiring, the new machine outclasses the old. After cleaning a record, AD noted clearer instrumental voices and greater low-level detail. The Omni was "so easy to use—so pleasant to use—that the prospect of cleaning LPs became a happy one." English oak finish now standard. (Vol.32 No.5 WWW)

Keith Monks DiscOvery One Redux: $3995
The discOveryOne is both the newest and the least expensive record-cleaning machine from the company that created the genre. The new machine has at its core an off-the-shelf direct-drive record player, the tonearm of which is modified to accommodate both a fluid-evacuation system and a means of delivering and refreshing the nylon thread used to cushion the vacuum nozzle. Money is also saved by eliminating the automated fluid-dispensing system of older, more expensive Keith Monks machines, though that can be retrofitted to a discOveryOne for $700. AD observed that the new machine's vacuum-drying function was slower than that of its predecessors, but no less effective—and surprisingly quiet. He quibbled with some construction details and was puzzled that the stripped-down machine was actually larger than its stablemates, but nonetheless declared the discOveryOne "an accessory of notably high value—and notable worth." (Vol.37 No.4 WWW)

Kirmuss Audio KA-RC-1: $1290 $$$
Charles Kirmuss bases his KA-RC-1 record-cleaning machine on a standard-issue Chinese-made cavitation (ultrasonic bath) cleaner, adding to it an original-design record-spinning apparatus that MF found to be "very good." The Kirmuss cleaning regimen requires each record to undergo multiple ultrasonic baths, alternated with multiple scrubbings with a goat-hair applicator brush and a reportedly anti-fungal surfactant, followed with a manual drying with a microfiber cloth; a "polishing" with a parastatic brush; and another, lighter round with the surfactant and goat-hair brush. MF found the Kirmuss approach worthwhile for records requiring a full restoration and considered the KA-RC-1 "reasonably priced," but he's sticking with his Audiodesksysteme and Loricraft machines for routine cleaning. (Vol.42 No.6)

LAST Power Cleaner for LPs: $52.95 per 3/4-oz bottle, with applicators
This small bottle of Freon-free cleaner is enough to treat 75 LPs. JE found just three drops sufficient to remove dirt, dust, and grime from garage-sale records, though he discovered that a subsequent wash with his VPI HW-17 was still required to reduce groove noise to acceptable levels. "A worthwhile companion to LAST's wonderful Record Preservative." (Vol.17 No.5)

LAST Record Preservative, with applicators: $64.95/2-oz bottle
Significantly improves the sound of even new records, and is claimed to make them last longer. "I unhesitatingly recommend LAST Record Preservative," said Mikey, whose records sound as quiet now as they did when he first started using the treatment, over 25 years ago. AD is not a fan, however, though he does admit that LAST, if used correctly, does no harm. $185/8oz, $350/16oz. (Vol.5 No.3, Vol.30 No.10)

LAST STYLAST Stylus Treatment: $47.95 per 1/4-oz bottle
Stylus treatment designed to reduce friction between groove and phono cartridge. Some manufacturers caution against it, claiming it migrates up the cantilever and attracts dust, thus clogging the armature. One reader suggests applying treatment to brush rather than stylus, which would reduce the possibility of over-applying. MF has found STYLAST effective, but expresses concern over possible cartridge damage. (Vol.18 No.12)

Little Fwend tonearm lifter: $249
From Norway comes the Little Fwend, an automatic tonearm lifter in the tradition of the fondly remembered Audio-Technica AT-6006 Safety Raiser: a damped, spring-loaded cueing platform that lies in wait for a tonearm to pass overhead and trip its trigger—an event timed to occur when the stylus is done playing an LP side and has entered the lead-out area. AD described the Little Fwend as "one of the most well-conceived, well-packaged, well-made audio accessories I've encountered." (But AD erred in saying that the Little Fwend is distributed in the US by Music Direct: the company is actually MoFi Distribution.) Recently upgraded with a Scotch Restickable Dot mount as a nonresidue alternative for people concerned about the finish of their turntable plinths (seems you can't spell analog without anal). (Vol.40 No.2 WWW)

Loricraft PRC6i: $2932
This upgrade from the original Loricraft RCM string-and-suction record cleaning machine impressed MF, who wrote that the new SME-built Loricraft "takes the design to a new quality level. It takes a quiet design and makes it quieter—so quiet, you can clean records in the room while you listen to music." The high-torque platter motor is far more powerful than on the original, and the arm that traverses the record is upgraded. The PRC6i comes with a bottle of L'Art du Son cleaning liquid concentrate, an application bottle, and an applicator brush. (Vol.45 No.4 WWW)

Lyra SPT: $60/1.5ml bottle
Includes a small, wedge-shaped applicator with which MF brushed a drop of this fluid carefully, back to front, along the stylus. Don't get any on the cantilever, he warned, and wait 10 seconds before playing a record. Pricey fluid said to lubricate the stylus, to improve S/N ratio and trackability, and to last for one side's playing time. Mikey thinks he noted a slight sound-softening effect, but wouldn't bet the farm on it. (Vol.23 No.11)

Massif Audio Design Prime Reference record weight: $895
This weight is made of mpingo wood, with a cocobolo top level, finished and buffed with German hard wax, and weighs around 11.4oz (325gm). Manufacturer Trevor Doyle believes this to be "The finest record vibration mitigation device on the market." MF listened with and without the weight on an Acoustic Signature Montana NEO and found that it tightened but did not overdamp bass, clarified but did not parch the midrange, and improved high-frequency transient focus and clarity. He noted that these improvements "were subtle, not mind-blowing," and they were better appreciated over time. (Vol.45 No.6 WWW)

MAT CHAKRA LIMITED LP: $350
This thin, stiff, lightweight, moderately flexible platter mat is made from an undisclosed material with a sandpaper-like finish. With the Chakra in place MF found that, compared with OMA's polycrystalline graphite mat, the aggressive-sounding LP of Shostakovich's The Age of Gold Ballet Suite (RCA LSC-2322) offered a deeper stage, the massed strings had a touch of added warmth, and the woodwinds were a bit less shrill. "The first major orchestral explosion a few minutes in was far less aggressive," he wrote, and was "presented with greater realism and especially control—it didn't jump forward on the stage." (Vol.45 No.5 WWW)

Merrill G.E.M. Dandy Hydraulic Record Cleaner: $189
Designed to sit in a sink, the "rudimentary but ingenious" G.E.M. Dandy is an inexpensive manual record-cleaning rig that uses a proprietary cleaning solution comprising a degreasing detergent and an alcohol-based carrier, followed by a tap-water rinse. Made mostly of PVC tubing, the Dandy has a vertically mounted clamping mechanism that permits easy rotation of the secured LP. Also included are a faucet-coupling adapter, a protractor, and a length of clear plastic tubing with a pressurized water nozzle. "Until you get the hang of it," Mikey warned, "the G.E.M. Dandy can make a mess." Despite his best efforts, water invariably seeped into the Dandy's protective cups to wet the outside edges of record labels. However, the Dandy proved "terrific" for cleaning water-damaged and crudded-up records, MF concluded. (Vol.31 No.9)

Milty Zerostat 3: $119.95
"The gold standard of static-discharge devices," the ZeroStat is a gun-shaped gadget with two heavy-duty piezo-electric crystals and a patented compression trigger. Slowly squeezing and releasing the trigger produces a neutral static condition, thus removing static cling from record surfaces. Said to be good for at least 10,000 squeeze cycles. SM uses the Zerostat religiously: "Wouldn't want to live without it," he declares. Discounted at some retailers, including Amazon and B&H. (Vol.30 No.10, Vol.35 No.5 WWW)

Mobile Fidelity Geo-Disc cartridge alignment tool: $59.99
The size and shape of an LP, with a spindle hole at its center and clear instructions printed right on its surface, MoFi's Geo-Disc is a simple and affordable cartridge-alignment tool. Using the Geo-Disc to install cartridges on the VPI Traveler and various Rega 'tables, SM easily and consistently achieved accurate alignment. Diehard analog hobbyists will still want the versatility of more complex tools, such as the DB Systems DBP-10, but "the Geo-Disc is the only alignment protractor most vinyl enthusiasts will ever need," said SM. (Vol.35 No.11 WWW)

Nessie Vinylcleaner ProPlus+: $2495
This "old-school," German-made RCM has a platter that rotates automatically, changing directions every 30 seconds or so, as one of its two arms dispenses Nessie's own "Vinylin" cleaning fluid. This fluid is said to dissolve dirt without damaging the vinyl—a 200mL bottle is provided. The same arm brushes the record, and a second arm sucks the fluid up and dries the LP. The Nessie "made cleaning records easy and was fun to use—even habit-forming," wrote JMu, who concluded that "records sounded better after a good Nessie cleaning—even new records." (Vol.46 No.4 WWW)

Onzow Zero Dust stylus cleaner: $39.99
"A circular mound of semi-gelatinous goop in a box, onto which you gently lower your stylus," said MF. Use is simple: "After a few seconds, you lift the stylus, and it's as clean and residue-free as the proverbial whistle...Upside: no potentially dangerous brushing, and no fluids. Downside: if you like to leave your platter spinning, you'll have to stop it each time, or find another steady surface upon which to perform the operation." (Vol.25 No.3)

Orb DF-01ia disc flattener: $1300
Although MF found an earlier iteration of the Orb " difficult and perilous to use," that was not the case with this version. There are three heat settings (low, medium, and high) and three record size options (7", 10", and 12"). While Orb doesn't recommend the disc flattener be used for very thin records, records from Sheffield Lab, and "Super Analogue" discs, MF wrote that "most of your warped records will be flattened without damage by this essential accessory...Every audio club ought to have one to pass around. Every vinyl fan who can afford it should get their own." (Vol.45 No.1 WWW)

ORB phono accessories: $350—$480
The Sakura handheld static-discharge eliminator ($350) is a variant of the Furutech deStat SNH-2, and the SFM-2 stylus-force gauge ($480) and CRE-2 Cartridge Exciter ($399) are variants of similar products from Air Tight. While pricey, the ORB Phono Accessories are beautifully made and work well, said Mikey. Available directly from www.twinaudiovideo.com. (Vol.33 No.12)

ramar record cleaning brush: $390
Handmade to order, the Ramar brush uses both goat hair and carbon-fiber bristles and is available in three wood finishes: "Tina," "Red," and "Joni." It "makes you want to brush even the cleanest of records," MF wrote. (Vol.43 No.11 WWW)

Record Doctor "Clean Sweep" brush: $19.95
Two brushes that appear identical, other than the Stasis being ivory-colored and the "Clean Sweep" ebony-colored. They have the same thickness (50µm) and number (260,000) of chemically inert nylon bristles. (Vol.43 No.11 WWW)

Rega RB808 spacer, 2mm: $45
This simple stainless steel spacer allows owners of Rega tonearms to adjust the height of their arms to accommodate non-Rega cartridges. Fidgety but worth the hassle, says SM. With the spacer in place and Dynavector's DV 10X5 moving coil cartridge mounted on his Rega P3-24, SM heard improved clarity, impact, immediacy, and soundstage depth. (Vol.35 No.11 WWW)

Rek-O-Kut Stylus Force Gauge: $22.
The Rek-O-Kut Stylus Force Gauge is a big, easy-to-use balance beam that comes with a total of 5.75gm in plastic weights, for use in various combinations. For cartridges designed to play at downforces of 3.5gm or more, the Rek-O-Kut is "a good, cheap solution," said AD. (Vol.32 No.2 WWW)

Shaknspin2: $280
The original Shaknspin was MF's go-to device for measuring turntable speed accuracy. The new version incorporates a new infrared transceiver that reflects a beam off a marker positioned outside the edge of the platter, which automatically calibrates the Shaknspin2 every time you take a new measurement, eliminating the need for the separate calibration procedure required with the original. The results can still be displayed on the device's small screen or exported to an app, but the export options have improved and include support for iOS devices as well as Android. MT recommended the Shaknspin2 because although it's pricey for those with just one turntable to maintain, it offers a lot of analysis that would be expensive to replicate with traditional test equipment. (Vol.44 No.9, original version; Vol.46 No.6 WWW)

Shaknspin: €260 (incl. shipping)
Hand-held, battery-powered device for measuring turntable speed that requires you to move it around in various directions to manipulate the settings. Small display shows average speed in RPM, average speed deviation, max/min speed variation, high-pass—filtered max/min speed variations, various wow and flutter measurements, jitter, and more. (Vol.44 No.9 WWW)

Soundsmith EZ-Mount screws: $39.95
Soundsmith's sets of knurled screws, designed to fit most brands of tapped cartridge, made installing cartridges much easier, said Mikey. Each set includes pairs of 10mm-long screws made of four different materials: nylon (1.04gm/pair), aluminum (2.06gm/pair), stainless steel (5.80gm/pair), and brass (6.24gm/pair)—so that users can easily match a tonearm's effective mass to a cartridge's compliance. (Vol.33 No.12)

Spin Clean Record Washing System: $79.99 $$$
Package includes a plastic vat, two brushes, two rollers, a 4-oz bottle of concentrated cleaning fluid, and washable drying cloths. Three sets of slots allow cleaning of 7", 10", and 12" records. Two velvet-like brushes clean both sides of a record simultaneously as the user rotates the record within the appropriate slot. Though "not nearly as convenient or as efficacious as a vacuum cleaning system," the Spin Clean Record Washing System "got the job done," said Mikey. Spin Clean claims a single vat of fluid can clean up to 50 records, but MF suggests refreshing the vat more often. A 16-oz bottle of fluid costs $19.99; a package of five drying cloths costs $19.99. (Vol.33 No.2)

Stasis Record Cleaning Brush: $29.95
Two brushes that appear identical, other than the Stasis being ivory-colored and the "Clean Sweep" ebony-colored. They have the same thickness (50µm) and number (260,000) of chemically inert nylon bristles. (Vol.43 No.11 WWW)

StylusTimer: $19.95
This inexpensive gadget keeps track of stylus playing time in hours. Press Start when you lower the pickup on to the LP and Stop at the end of the side. (Vol.43 No.9)

Synergistic Research PHT: $199/pair
What's smaller than the head of an M2.5 socket-head bolt, comes in four different colors, and is purported to make any phono cartridge sound better? The Synergistic Research PHT—short for PHono Transducer, and pronounced by its manufacturer as pot. This tiny tweak, the innards of which are a trade secret, is meant to be applied to an exposed portion of the top of an installed phono cartridge or, where that's not feasible, to the top surface of the headshell. All manner of sonic enhancements are claimed, and indeed, RD came away from his PHT experience saying that "soundstages were deeper and wider, aural images more precise, dynamics more startling." Different colors of PHT are said by Synergistic to represent different "strains" (geddit?); RD liked the black one best. His conclusion: "$199/pair for the PHTs, with money-back guarantee, is well worth it." (Vol.38 Nos.2 & 12, Vol.39 No.10 WWW)

Timerette stylus timer: $130
The Timerette uses a pair of tiny stick-on magnets that can be attached opposite each other on the rim of the turntable platter. The timer sits on the turntable plinth near the edge of the platter and automatically starts timing when it senses the magnets whizzing past. When you stop the platter, the timer switches itself off. "Clever," concluded MT, adding that "it's a great tool for dispelling some of the guesswork about stylus life." The two AAA batteries are said to have a "very long" life, a good thing considering how many years it can take to wear out a stylus. If the batteries do run down, they can be changed without losing the accumulated total. (Vol.46 No.9 WWW)

Tonar "Tacky Cleaner" : $37.95
Handheld, washable roller designed to be rolled straight across a record surface to pick up dust on the surface of and within the grooves. MF can "easily recommend it for hard-platter surface cleaning." (Vol.43 No.11 WWW)

Vinyl Flat LP Flattener: $159.99 shipped CONUS
Made in the US, the Vinyl Flat uses pressure, heat, and time to repair warped and dished LPs. The basic package contains two Groovy Rings (LP-sized sheets of black plastic), two heavy metal plates, a few pieces of hardware, a nice storage case, and a table of heating times and cooling cycles. The optional Groovy Pouch ($79.95) is a soft, specially made enclosure that uses carbon-fiber heating elements to surround the Vinyl Flat with gentle, even heat. Using his oven or the Groovy Pouch, SM was able to successfully flatten even severely warped and dished LPs, but cautions: "Be sure that your oven's temperature is properly calibrated before baking your precious LPs." (Vol.35 Nos.4 & 5 WWW)

VPI HW-16.5 record-cleaning machine: $1045
VPI has discontinued their HW-17 and HW-27 ("Typhoon") record-cleaning machines. Back to basics. (Vol.17 No.5, Vol.19 No.6)

WallyReference: $275—$335
The WallyReference is a 16mm-tall device that comes with shims. With the cartridge lowered, stylus sitting in the record groove (but turntable not turning!), the supplied "standup" height gauge is used to measure the distance from the record surface to the headshell's lower surface, which should be the same 16mm. Once that is achieved, using the shims, the arm height is adjusted so both the front and rear edges of the WallyReference blade rest longitudinally on the record surface. Azimuth can then be adjusted to ensure that the blades sit flat laterally—transversal—on the platter surface. SRA and VTF can then be adjusted, along with overhang and zenith angle using the WallyTractor Universal. The new, improved WallySkater can then be used to set antiskating. (Vol.44 No.8 WWW)

WallyScope: $1500
The WallyScope marries a high-resolution digital camera with an optical microscope on a platform designed for fine-tuning of height and focus while maintaining rigidity. As well as providing high-quality images of the stylus, the software lets you measure the angle between the stylus and the cantilever and the dynamic stylus rake angle (SRA) Now updated to v.2 status. Stereophile hasn't tried the new v.2, but the manufacturer says the main advantage is more reach. (Vol.45 No.5 WWW)

WallySkater Tonearm Horizontal Force Gauge: $260—$310
A much-improved version of the original gauge, which was designed by the late Wally Malewicz. The new version was designed by J.R. Boisclair, working with Wally's son Andrzej, and allows you to accurately measure at two points, one near the LP's outer groove area where skating is greater and one closer to the record's center, where skating force diminishes. "This new WallySkater lets you both set antiskating more accurately and also check the efficacy of the antiskating system your arm uses," MF concluded. (Vol.43 No.11 WWW)

WallyTractor Universal: $395
This redesigned, circular version of the original wedge-shaped WallyTractor (no longer available) still offers engraved Baerwald and Löfgren arcs and parallel lines that indicate the radii where the tracking error is zero. However, there are now two sets of each: one for older IEC-conforming LPs and the other for post-1990 discs, which have a significant increase in innermost groove radius. MF's only criticism: "I wish the bottom surface was a little more grippy." (Vol.43 No.9)

Woodsong Audio Eddy-Brake Disc: $150
In his sad belief that the number of Stereophile readers who own a Garrard 301 motor unit might reach beyond the low two digits, AD proclaims the benefits of replacing that turntable's original eddy-brake disc—which by now is surely beat to hell—with this beautifully machined replacement from plinth specialist Woodsong Audio. The Woodsong disc is machined more accurately, from better-quality alloy, and is fitted with a better-fitting hub. And its installation on AD's own 301, which went smoothly enough, resulted in measurably better speed stability. Really, now: What's not to like? (Vol.39 No.3 WWW)

Woodsong Audio Plinth for the Garrard 301: $3600+
According to AD, "a good plinth can enhance nearly every aspect of a turntable's performance," and the Woodsong Audio plinth for the Garrard 301 motor unit is a very good plinth indeed. Designed and made in Idaho by woodworker-machinist Chris Harban, the Woodsong plinth is crafted from Baltic-birch plywood, Panzerholz, and manmade slate, and its internal surfaces are shaped in such a way as to leave very little room between plinth and the turntable's below-deck working bits. The consumer can choose a plinth with one or two articulated armboards, and can select from several veneers and finishes, "ranging from the merely pretty to the stunning." AD was very impressed by the Woodsong's appearance, the convenience and precision of its arm-mount provisions, and, above all, its contributions to the sound of his own Garrard 301: "this is one of the easiest recommendations I've ever made." (Vol.39 No.7 WWW)

COMMENTS
creativepart's picture

Does Stereophile ever question the validity of this twice a year list? Perhaps it really helps with newsstand sales, but I've come to dread it's release twice a year. First, there are the stupidly priced A+ turntables all reviewed by one staffer that's been gone for quite some time. The entire A+ section will go away with "not tested in a long time" and rightly so.

Some items are ranked by full reviews with testing and others are just columnists saying - highly recommended - at the end of their monthly column. And those items are many times totally out of the mainstream of the product marketplace.

And, while price doesn't indicate quality, it is so jarring to see $500 products achieve the exact same ranking (A or B usually) along side $15,000 products.

I'd love to see you folks test more of the items people are buying in fairly large numbers everyday... even though they don't have the same 5 popular distribution partners or those that advertise in the magazine. No, I'm not saying it's pay to play. But MoFi Distributing buys a lot of ads, it's friends with staffers and routinely gets their products reviewed. It's not payola, but it is a symbiotic relationship.

I'd recommend you scrap the listing and retool the whole thing - and put some thought into how and why you test the products you test.

tenorman's picture

Very objective , well written and fair . You’ve made some great suggestions . Thank you

HeadScratcher's picture

I too recommend scrapping the current format for a complete retooling of a listing that isn't so time lapse convoluted...

Glotz's picture

Creativepart is mincing words to that they fail to commit to... They are saying it's pay to play in no uncertain terms and views their listings with mistrust. To imply MoFi has a friendly relationship is complete conjecture and Stereophile does not make nor position themselves as a symbiotic relationship with any manufacturer or distributor. If they get their product reviewed, it's because a reviewer saw or heard their product at a show, and anything else is implied BS. Rather, they hate MoFi for their lack of transparency about their debacle on digital masters, and want to see any association of Stereophile's behalf as condemnation of their own lack of transparency and veracity. That implication stinks like jaded political pundits grasping for correlated facts.

What CP is also implying directly is that he or she would like validation of their mainstream products purchased to be favorably reviewed (so they can feel good about their purchases of gear). It's generally opposed to what Stereophile does and any long term reader or subscriber would know that as gospel and the very reason the magazine exists on one level- to provide a review of one person's experience with a hard to find or less-investigated piece of gear. It is easy to find, learn and buy any mainstream piece of gear. I do think that should change a bit.

What is important is for Stereophile to review these mainstream audio products and compare against their audiophile offerings and EXPLAIN why they are different and (if) superior. That would be bring in more readers if the descriptions of well known products (vs. audiophile products) could be compared and contrasted well enough. This acts to bring real-world reference points to levels of sound quality that more non-audio dudes would understand.

I do not think this magazine is as good at comparisons (though understandable) as they used to be in the 80's and 90's (less HR and JA). Manufacturers don't like comparisons to their products because often the context is misunderstood by readers. Yes, almost all products in any category are vastly improved and the 80's performance points were much more obvious to hear and report about as negative or positive. Technology marching forward has changed that and leveled the playing field drastically. The fundamental design approaches of audiophile companies still focus on sound rather than ergonomics or functionality.

What should happen is to NOT name the product under comparison in the review but only use price as an indicator of quality vs. price in any comparison. That way readers can understand the product from a price perspective and not feel they have a field day crapping on the product that they 'KNEW was audiophile garbage'.

Side note- Other than subscribers, no reader should be allowed to make comments on this or the other sister websites. By way of omission of the subscribed investment, we will be able to separate the dross from water. I'm pretty sure there are a lot of other websites that do this outright, but I get that Stereophile wants to increase it's readership. Perhaps, this is actually a better way to do it. Require subscriptions for posting comments here and there (AP).

Jazzlistener's picture

high when you wrote this? Talk about verbal diarrhea. Creativepart made some good points. Although I do personally enjoy the Recommended Components feature, I too find it questionable (e.g. the Rega P3 makes it into Class C but none of their higher end tables can crack Class A? Pluh-ease. What I would really love to see is more system recommendations in Stereophile like in some of the British Hi-Fi mags, and at different price points.

Glotz's picture

But I was pissed a bit. Implied collusion ruffles my s***.

Great recommend on the system point you bring up. That should be a regular feature if they can create very different systems for each 'type' of listener. From there they could build on hybrids of system types involving tubes and solid-state, etc.

These rankings are just one reviewer judging a component in relation to their system. The Benchmark reviews come to mind- Certain people loved them, others not. There's massive nuance there and goes to the heart of preference thing- accuracy to source vs. myfi, vs. 'the absolute sound'.

They all need to fit somewhere into the classes here. It may be a hodge-podge like it is, but whatever. It just is.

The Belles vs. McCormack amp comparison from Sam Tellig (2000) comes to mind as well. The pursuit of accuracy vs. warmth and obscuration of detail lent the McCormack the nod and the higher rating for ST in Class A and the Belles to Class B. Same realm of performance and price (in my listening as well) but they don't share a rating. In more ways and in my lighter balanced system (at the time), I preferred the Belles.

I think dollar amounts do have play a part here as sometimes there are positives that 'overweigh' the subtractions to placement a certain class and could serve one particular group of listeners as a justification for a higher cost or greater perceived value.

Expensive modern tube power amps are a great examples. To get to a greater level of measurement and subjective performance to that of solid state one has to spend sometimes thousands more. The classes do need adjustments for a positive listening value like 'superb depth', even though there may be subtractions for other weaknesses.

I look at the classes as just a rough guide. I doubt that the Project DAC reviewed as Class A a few years back could compete with the top dollar DAC's like dCS, but I haven't heard the Project. I would think there is enough areas of merit to make Class A, but probably not as many facets of performance as the dCS or other pricey DACs.

Anton's picture

One of those turntable must surely be A++, no?

And some of that 'A' gear must really be 'A-.'

I think we should switch to the Moody's rating system...

Or, perhaps the Robert Parker 100 point scale.

Glotz's picture

lol.

RobertSlavin's picture

First let me say I heard the Raidho D2-1 speakers several years ago and was very impressed.

However, given how uneven the measured frequency response of the Raidho TD3.8 was in the Stereophile measurements, I question whether it should have even qualified for Class E if it were sold for $700. Instead, we find it recommended at Class A+ for $117,000.

It is generally acknowledged that there is a strong correlation between even measured frequency response and generally perceived speaker quality.

I realize that to get in A+ just one reviewer has to think that way. But it does raise my eyebrow.

Robert

Scintilla's picture

Despite my recent foaming-of-the-mouth and throwings-under-the-bus here, I do think there is value in the list each year. I have used Stereophile reviews and the list to both narrow my choices and to purchase goods based on a long-standing relationship with a reviewers words. Fremer might think me a random hater but I used his reviews to pick both a phono preamp, and a tonearm. I trusted my own ears to pick other parts of my system before glowing reviews appeared here. Assembling a modern, high-quality audio system is made much more difficult by the sheer number of products available, companies and general noise on the Internets. In the 80's we could go to a hifi salon and listen to products like the Robertson 4010 with some Soundlab A1's (made my neck hair stand up) and find Celestions with omni subs paired with Bedini or BEL amps. In this age, having a curated list to help people at least find products to seek is more valuable than ever. What it comes down to is whether you trust the ears that made the choices. And I do not trust all the new reviewers and neither should you. They haven't earned it yet.

Glotz's picture

Haven't you given a reason why you can't trust them?

Specifically why.

Scintilla's picture

Because they can't actually hear differences. I only trust Kal, JA1 and nobody else; maybe Herb; maybe but he's one of those I just write for pleasure guys. So why trust them? Because the rest of the new writers, including JA2 have not proved themselves over time. It's one thing to have a good review when many people agree. Why is JVS reveiwing the highest-end equipment like J10 did? WTAF does he really know about that gear other than his association with the magazine? Not much, actually. He's an amateur listener no more skilled than me. At least Fremer proved himself as a real arbiter of sound quality. I may not agree with his choices for equipment, but the man proved his prowess as a listener. Not so with the rest of these newbies. They can be indignant all they want to be but until they have a record of salient, quality reviews, they are nobodies... And this is Stereophile's big fail.

Glotz's picture

I wasn't trolling you- You didn't give reasons until now.

I thought these reviewers had enough experience at shows, with their own multi-thousand dollar systems and constantly refining their own craft by interviewing and working with manufacturers.

It would seem strange that a manufacturer or distributor installed-system would be anything less than successful playback, as they don't leave until they are satisfied. They certainly have the respect of manufacturers, dealers and distributors when I see them talk together at shows. (And if collusion ruled those relationships, we would see a different dynamic here.)

MF's system is real close in many ways to JVS' so what is the culprit?

Is it your perception of measurements don't match JVS' experiences? Or is that HR has a more observable scientific method by way of comparisons of gear that seems more transparent? Or the way either communicates their observations?

It just may be about the type of subjective tests that reviewers are performing that fails to bring one type of measurement to be audible. Classical music omits a ton of performance areas for review parameters. The component review may be really for classical lovers. I certainly don't read anymore into it if he isn't remarking on other music.

Yet I do see JA defending JVS' experiences in his measurements section in last month's Infigo review. No one seems to ever acknowledge or comment on those reasonable defenses- ever.

Thank you for your explanation no matter what.

ChrisS's picture

...from mine?

No problem!

creativepart's picture

I went to pains to explain I wasn't claiming payola. And, I'm still not. I'm saying that products with distributors are granted more reviews due to attendance at shows, relationships with editors, and just increased personal contact. Companies expect their distributors to represent their brand for them and to advertise their brand for them. And, that's what they do.

Reviewed products end up on the Stereophile Recommended Products list because of this greater exposure to Stereophile writers and editors.

When someone from a small equipment company calls an editor their call will not be answered as readily as a call from that nice rep you met at the Munich show and shared a beer with last year. It's how the business works.

And, everyone should know when a product is getting a review in a future issue the Ad Dept is made aware and sales people call to suggest an ad be placed in that same issue. It's not pay to play because the ad sale has nothing to do with the product review being printed. But companies recognize synergy when they see it.

Add to this that most reviewers seem to be in Urban areas that have the traditional HiFi Shop. Where the rest of the country only has internet forums and online reviews to audition various products.

My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.

Jazzlistener's picture

“My entire point is... the list is tilted, skewed toward bigger budget, higher priced gear that is professionally represented and that is not necessarily representative of the broader equipment marketplace, and what mainstream audiophiles are buying.”

I do not begrudge any company that does a good job marketing itself, attending shows, building a presence in the industry, etc. That’s a lot of hard work and investment. There is a boutique speaker company in my home town that makes outstanding speakers, but the owner has steadfastly refused to show them off at shows, market them properly, or work with dealers. The result has been failure to grow his company or draw attention to his speakers. That’s on him. Stereophile is only one of myriad sources on the Internet where audio enthusiasts can find reviews on gear. Many other reviewers cover mainstream products. In fact, if you’re interested in a product you’d be hard pressed not to find a reasonably to excellent credible review on it.

ChrisS's picture

...shopping.

Does no one know how to do that anymore?

Yeesh!

Jean-Benoit's picture

It seems like an obvious thing to include, or else the reader is left to "manually" go looking for reviews of every component that piques his/her curiosity. Seems like a wholly unnecessary hassle for what is otherwise a really useful list.

CG's picture

Good suggestion!

I tried to search for the review of the Ayre VX-8. No luck, link or no.

John Atkinson's picture
CG wrote:
I tried to search for the review of the Ayre VX-8. No luck, link or no.

This review will be posted to the website on Friday. The other reviews in the new (October) issue will be posted over the next 10 days. (Stereophile gives priority to print subscribers.)

John Atkinson
Technical Editor/part-time web monkey

CG's picture

Ahh! Coming attractions, as they say. Fair enough, all around.

ChrisS's picture

The review for the EX is online...The new one should come up soon!

ednazarko's picture

Always stunned by how many people are compelled to tell the world at length how outraged they are about something online they don't like. Maybe insufficient joy in their lives? A lack of purpose? Afflicted with oppositional defiant disorder? I don't know. But if you think online comparison rankings of audio gear are a fruitless exercise, why read them? If you didn't read them, how can you have much of a useful opinion? Expressing outrage about something you refuse to read is mostly chest pounding and declaring superiority over the fools filling the world.

Don't like the comparison reviews? Really, just move on. Less rage hormones in your blood will extend your life span. Or raise money, buy the company, and show us your better ideas in action.

I enjoy reading through these comparison ratings. Don't agree with some, do agree with others. I've found over time that there are reviewers whose ears and preferences seem to match up with mine and others who don't. (In these twice yearly ratings, and in the ongoing reviews published.) These cyclical ratings and the ongoing reviews have been quite useful for me in trying and buying gear when living in a location that limits my ability to hear a lot of gear for myself.

Right now massively enjoying listening to Kingfish Live in London on my Okto stereo DAC, which I'd never have heard of without the review here, and would have never bought other than the reviewers were ones who's opinions and ears have matched with mine in the past, along with the wildly excellent measured performance. Through an old Anthem integrated that was well reviewed way long ago... and through B&W 702 speakers that got mixed reviews, but in the mix there were specifics that told me that they'd work well with my other components and in the large studio listening space I had. (And that I definitely needed the smattering of sound panels on the walls behind and to the side.)

Just because something pleases you not, or strikes you as ignorant and wasteful consumption of bits on the internet, doesn't mean that others don't find value and useful insights. Save your time and your cortisol and ignore the stuff you think it dumb. Life is short. Spend it well.

Glotz's picture

N/T

creativepart's picture

No anger, no stress on this end. Simply making suggestions in hopes of improving this twice a year feature (of the printed magazine). If you read anger and vitriol in phrases in my post like "I'd love to see you folks..." then it's not me that's overreacting.

If you like the listings as they are, then great. No one is stopping you. Me, I think they could be more meaningful than they are currently. But that's just me.

pinkfloyd4ever's picture

It would be really helpful if you posted a link to the full review of each of these products in this list

Jau's picture

Hi,
In delections from their latest Recommended Components they relate to the Devialet Expert 140 Pro and say that it has been replaced by a new model which has not been tested. However, the Expert 140 Pro continues to appear on the Devialet website and there is no new model to replace it. (?)

Firemike's picture

Maybe a quick visit to Funk & Wagnall's might be in order to refresh ourselves of what a review and recommendation is. If a consumer wants to spend $10 or $20,000 on a widget, consider a review as gospel, or only an opinion, isn't that their prerogative? If a person prefers the sound of pink colored audio equipment made from crystals and walnuts from "Big HI FI" that has no scientific or measurable reasoning behind it, who are we to judge? Akin to politics and religion, each person votes with their ears and ultimately, wallet. Not every opposing view is a conspiracy which require's a need to question other's intentions. A review is nothing more than one person's opinion. Aren't we in this hobby to listen and enjoy music - not hyper analyze equipment, materials, and the evil empires that provide it? Somehow fellow hobbyist's have survived all of these years in life - many of them very successfully - without our subjective criticism. Yes, I get it. As a subscriber you have input into how you would prefer to see things done. Maybe a letter to the editor could be a consideration.

moukie's picture

Really surprised NOT to see Bryston 4B3 14B3 or 28B3 in the recommended amps and that is like every year

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