Tonearm Reviews

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Michael Fremer  |  Nov 12, 2020  |  First Published: Jan 01, 2020  |  17 comments
Judging by VPI's new HW-40 direct-drive turntable, middle age well suits the company that Harry and Sheila Weisfeld started 40 years ago in their Howard Beach, Long Island, basement.
Michael Fremer  |  Oct 06, 2020  |  First Published: Feb 01, 2020  |  47 comments
In 2013, when I first wrote about it (footnote 1), the TechDAS Air Force One ($105,000) was that company's best and most expensive turntable; it joined the handful of products that have earned an A+ in our semiannual Recommended Components feature—a rating that remained in place for six years. But too much time has passed since the Air Force One was auditioned by a Stereophile writer, so it has now fallen from that list.
Michael Fremer  |  Aug 31, 2020  |  First Published: May 01, 2020  |  21 comments
The catastrophic February 6 fire at the factory where Apollo Masters produced LP-mastering lacquers—flat aluminum discs covered with nitrocellulose lacquer—will be old news by the time this column gets to you, but the repercussions of the loss will be ongoing for at least the next year and probably beyond.
Michael Fremer  |  Aug 14, 2020  |  12 comments
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.
Michael Fremer  |  Aug 11, 2020  |  First Published: Jun 01, 2020  |  7 comments
At the 2017 Hong Kong High End Audio/Video Show, I found myself sitting next to a turntable manufacturer who shall remain anonymous. A Reed Muse 3C turntable ($20,000) with 3P tonearm sat on a display table across from us.
Michael Fremer  |  Feb 18, 2020  |  First Published: Mar 01, 2020  |  52 comments
Lately it seems that the more Rega charges for one of its turntables, the less you get—and from Rega's performance perspective that's a good thing.

While some turntable designs pile on the mass, hoping to tame resonances and better isolate the record from the outside world, Rega has long advocated ultralow-mass designs. What's up with that?

J. Gordon Holt  |  Sep 03, 2019  |  First Published: Sep 01, 1967  |  10 comments
Back in the days of pre-stereo high fidelity, when a 6-gram phono pickup was considered to be "featherweight," the best universal-type tonearm we knew of was a bulky, very professional-looking device made by Gray Labs and designated the Model 108. One unusual thing about it was that, instead of using sleeve or cone-face bearings, it had a single up-ended needle—a so-called unipivot—for both the vertical and lateral modes of motion. The other unusual thing about it was that the pivot system was viscous-damped, and it was this, we suspect, that was largely responsible for the arm's ability to make any pickup sound somehow sweeter and cleaner than it did in any other arm.
Art Dudley  |  Aug 01, 2019  |  6 comments
Money, that unreliable buyer of happiness, has at times proven effective at delivering good sound. It can buy other things, as well: Audiophiles can swap cash for products that function as objets d'art, as status symbols, or even as canny investments.

But—do you think money can buy peace of mind for the audio enthusiast who frets over binding voice-coils, leaking capacitors, drifting resistor values, oxidizing connectors, aging or incorrectly biased tubes, and that most pernicious worry of all, distortion and premature record wear from incorrectly aligned phono cartridges? Sadly, most of those neuroses, some quite reasonable, remain unaddressed by cash almighty.

Art Dudley  |  Apr 30, 2019  |  13 comments
There's a noise I make when I'm having trouble with something inanimate: a deep, growly huff that starts in my diaphragm and comes out in one or two quick, staccato bursts. I huff this huff when I drop a tool or can't budge a seized bolt or the bottom falls out of a trash bag. It annoys my family and scares my dog.

I made that noise at least a half-dozen times while installing and setting up the Wand, a unipivot tonearm designed and manufactured by Design Build Listen Ltd., in Dunedin, New Zealand.

Art Dudley  |  Feb 07, 2019  |  4 comments
Peter J. Walker (1916–2003), founder of Quad Electroacoustics and designer of some of the most well-regarded products in the history of domestic audio, famously believed that a properly designed audio-frequency amplifier should have no sound of its own. As for suggestions that his Quad II amplifier (1953–1971) sounded better than most, Walker was unmoved: "We designed our valve amplifier, manufactured it, put it on the market and never actually listened to it."
Art Dudley  |  Jan 30, 2018  |  5 comments
In my youth, I unwittingly trained myself in the art of deferred pleasure. I did this by investing my allowance in every mail-order product that caught my eye—things I saw in the back pages of the magazines and comic books I loved—then settling in for a wait that always seemed interminable. This happened most often in summer months, when extra chores brought extra cash, and when school didn't interfere with keeping vigil at the mailbox.
Guy Lemcoe  |  Dec 14, 2017  |  First Published: May 01, 1995  |  8 comments
I first learned of the Kuzma Stogi at the 1993 Winter CES in Las Vegas. In VPI's room at the Sahara, a portly, black tonearm was sitting proudly atop the new VPI TNT Series 3 turntable. Pointing straight at me from the center of its massive, exceptionally stout frame was a tapered armtube the diameter of a swollen thumb. The fact that this unknown (to me) tonearm was chosen to sit atop a turntable as respected as the TNT told me I was looking at a serious new product. VPI's Harry Weisfeld was standing nearby, beaming as usual, to answer the barrage of questions that sprang from my lips as I leaned over for a closer inspection. Who? What? Where? When? Why? How much?
Art Dudley  |  Nov 20, 2017  |  16 comments
Everything you know is wrong.—The Firesign Theatre

The Swissonor TA10, a contemporary tonearm designed for the Thorens TD 124 turntable (1959–1970), challenged me to set aside some of the things I thought I knew about phonography. On at least one of those counts, it succeeded.

Handmade in Switzerland and modeled on the Thorens TP 14 tonearm of the 1960s, the TA10 ($3990) improves on its predecessor with an effective length of 240mm, which Swissonor says is the longest that can be achieved with a stock TD 124 armboard (the TP 14's effective length was only 210mm), and replaces the non-universal plug and socket of the TP 14's removable headshell with the more common SME standard found on most contemporary headshells, pickup heads, and tonearms.

Michael Fremer, Herb Reichert  |  Jul 06, 2017  |  First Published: Nov 01, 2014  |  12 comments
Palmer Audio's 2.5 turntable, with its laminated plinth of Baltic birch and metallic features, looks Scandinavian but is made in the UK. It shares a few conceptual similarities with the turntables made by Nottingham Analogue, another British brand. The review sample had the optional side panels of cherrywood veneer.
J. Gordon Holt, John Wright  |  May 09, 2017  |  First Published: Feb 01, 1968  |  1 comments
The RS-212 is one of the most impressive-looking tonearms we've seen in many a moon. Our first reaction to it, in fact, was much the same as our reaction to the first big, professional Ampex tape recorder we ever saw: it reminded us of one of those precision-engineered and cleanly styled electronic devices you see in hospitals and industrial laboratories—devices which make no attempt to cater to the current fashion in interior decorating or depth-researched consumer preferences, but which are designed simply to do a job neatly and efficiently. This arm, in short, is practically guaranteed to impress your Magnavox-oriented friends with the quality of your phono system, no matter how oblivious they may be to its actual sound.

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