Tonearm Reviews

In a bizarre but happy turn of events, recent consumer trends have given even the most socially awkward audiophile something to talk about at cocktail parties and family gatherings at which normal people predominate: the PonoPlayer and vinyl. These are hot topics; each is among the best-sounding music sources available, and both offer hope for our hobby, if not for music lovers in general. But vinyl has the advantage of appealing to a much wider range of budgets. LPs can be had from anywhere to "We'll pay you to haul these away" to "Your loan officer is on line one." Likewise, vinyl playback hardware is available in virtually every price range, from a second-hand Dual 1229 ($50 and up) to the highly praised Continuum Audio Labs Caliburn ($200,000 and down).

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.

German engineering acumen and machining excellence—acknowledged and admired worldwide—are nowhere to be seen on AMG's flagship Viella Forte turntable and new 12JT tonearm. That's because, while what's on the surface is cosmetically and mechanically well-turned, the design features and precision engineering that set AMG's turntables and tonearms apart are inside and hidden from view.

Allen Perkins's Spiral Groove SG1.1 turntable ($25,000) is a remarkably dense, compact, belt-driven design that weighs a surprising 75lb. With the motor isolated inside its 18.5" wide by 15" deep plinth, the SG1.1 has a small footprint, and its height of ca 5", including feet, permits a flexibility of placement seldom found with premium-priced turntables.

There are incredible values in audio, and then there are incredible values. The ones that deserve italics are those like Pioneer's SP-FS52 floorstanding speaker, designed by TAD's Andrew Jones and recently reviewed.

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.

At the 2013 High End Show, in Munich, a tonearm designer displayed a pivoting tangential tracker. A nearly invisible length of monofilament wrapped around the arm's perimeter controlled the pivoting headshell of the box-girder–like arm.

It may very well have worked as promised, but was it practical? And with so many tiny moving parts, would it sound any good? I don't know—it was a silent display—and inquisitive attendees kept bumping the difficult-to-see monofilament, dislodging it from its track.

The odds weren't good that this contraption, however well intended, would ever get past the prototype stage, though I was going to look for it at the 2014 Munich show, in May. Sometimes, designers obsessed with one particular performance parameter lose sight of the forest for the trees.

The designer of ViV Lab's Rigid Float tonearm, Koichiro Akimoto, also had in mind an unusual design goal, based on his belief that the geometry of pivoted tonearms, as we know it, is wrong.