REFERENCE COMPONENTS-TONEARMS

Tonearms are the unofficial champion of the "biggest pain in the ass component" contest. They are usually very difficult to set up (especially for a beginner) and, in most instances, one can never be absolutely certain that they are set-up perfectly, no matter how much time is spent on the job.

Tonearms have evolved in build quality, versatility and performance over the last 40 years. In the 1960's and 1970's, the original SME models (3009 and 3012) were by far the most famous and copied. They were on virtually every turntable and even phono cartridges were designed around them.

Everything changed once moving-coil cartridges became reliable, with unprecedented performance and (eventually and universally) popular. A totally new type of tonearm was needed to optimize the potential performance of these new (heavy) pickups.

The most concentrated and obvious progress was then made in the 1980's. Especially noteworthy were the Linn Ittok, SME V and IV, the Eminent Technology and the now forgotten Fidelity Research.

There were many other innovative designs that offered excellent value and performance for the money. Many of these new models were designed and built in Asia, which offered low-priced yet top quality engineering and technical skills.

Further improvements have been made in the 1990's, but they have been more of a "refinement" over the still excellent 1980's designs, rather than any new major "breakthroughs".

One very important area of recent progress has been the ability of an increasing number of modern tonearms to "dial-in" the most important setup parameters (VTA, azimuth etc.). This allows the listener to finally hear and enjoy the full potential of their tonearm and cartridge (and of course their entire system).

In fact, it is highly probable that an (otherwise) inferior tonearm, which is properly setup, will outperform a (potentially) superior tonearm, which is not setup optimally.

The sonic differences between the three classes of tonearms, assuming proper setup, are not as pronounced (meaning as "noticeable") as within the different classes of turntables or (especially) phono cartridges.

Tonearm cables (the cables between the tonearm and the phono preamplifier) are the most important cables in an analog system, because they will make either the largest improvement, or cause the most significant problems. They are discussed in their own section.

It is vital that a tonearm has the capability to use different tonearm cables. If not, its performance will always be compromised.

It is not a coincidence that the three tonearms in this highest class are all Linear Tracking. That is how the groove in records are cut after all.

Their fundamental advantage over (typical) pivoted tonearms has yet to be overcome in my experience. This has been true ever since linear tonearms were finally built in a serious manner (within the last 15 to 20 years).

These are the two finest tonearms ever made. The Reference is the same arm as the 10B, but with the added features of a remote control to change the VTA and it even comes with an electronic readout to boot!

Sadly, these models were discontinued and only a few were ever made, but they are definitely worth seeking out. Either model, and particularly the Reference, can be considered one of those very rare, final purchases. They are expensive of course, but worth it considering their build quality and sonic performance. These tonearms were made in Sweden.

I had very little experience with these tonearms myself, but a couple of my associates more than made up for that.

IMPORTANT NEWS- I have just been informed that there is a NEW Air Tangent Tonearm that is claimed to be even better than the two models above. It is $ 5,500 in Sweden, but according to a different reader, it will be $ 8,000 in North America. A link to the future information about this new tonearm is in the "Links" section.

Here is the URL for further information on this important component: http://wvvv.dnaudio.com/Tan.htm

This tonearm is very similar in performance to the two above Air Tangents, but only if properly optimized with thorough modifications.

It doesn't have as many features as the Air Tangents. It includes a VTA adjustment that is neither totally precise nor repeatable. It requires very specific and expensive air regulation to almost, but not quite, equal their performance, but it will still cost a lot less.

It is rare and very difficult to find on its own. It was usually sold with their matching turntables. The low-bass reproduction on this tonearm is not equal to the two Air Tangent models and many of the other Reference tonearms below.

Its overall performance is still about good enough for this Class, but its more accurate rating should be Class A/B.

The Graham is one of the finest pivoted tonearms ever made. It has a unipivot bearing, which for many tonearm freaks is either a "big plus" or a "big minus".

There have been a number (?) of versions of this tonearm, but only the latest models have performance in this class. I slightly preferred the Triplanar below in the past, but it’s very close and both are superb. Many audiophiles prefer the Graham. Their older models are in Class C.

The latest update (the .2), can be done by the owners themselves, according to the talented designer and manufacturer, Bob Graham.

The Triplanar was my first choice in the past for pivoted tonearms, but the present Graham is extremely competitive, and VPI has just updated their already excellent JMW Memorial tonearms. Only the most recent models have Class B performance.

My experience with this tonearm was short, but instructive. Along with its sound quality, I was particularly impressed with its (then unique) capability for totally optimizing the pickup's potential performance.

Neither the Graham nor the Triplanar are as "well built and finished" as the finest of the SME series. Their earlier models are in Class C.

The overall performance of this tonearm is on a par with the Graham and Triplanar, but only if it is upgraded with superior and very specific air regulation (Schrader Bellows). This is the best linear tonearm ever made for the money.

Caveat 1- This tonearm is at its best with a very "stable" turntable, meaning one with either a very stiff suspension (or better yet, no suspension at all) like the VPI HW-19 series. It is very difficult, if not impossible, to optimize its performance on any Oracle, Sota, Linn, Gyrodec etc.

Caveat 2- It is extremely difficult to setup this tonearm properly (meaning totally optimized) even when the turntable was designed for it. An experienced "expert" should always be found to do the setup on the ET.

A reader just sent me some information about the ET Tonearm. I feel this may prove very relevant and valuable to current and prospective ET owners. Here it is, slightly edited:

"It has been a year since I emailed you last about the mods for an ET-2 arm. I purchased the high pressure manifold last year, but could not get my hands on a Wisa 200 pump until January. I found that while there was an improvement in the mid and upper frequencies, I ended up getting a lot of lower frequency rumble. I think this was caused either by the fact that the Wisa pump was loud (I made a custom box, filled with dampening material which was then put into a closed closet 15 feet away - but still too noisy for me), and vibrating to a point of causing the vibrations to feed to the turntable, or the air supply out of the Wisa pump was pulsating (to a point of feeding a vibrating pulse through the hose itself). I was not happy with the setup, to say the least.

After months of investigating various pumps, I came across a medical grade pump (Medo), which is very quiet (40db max) and has 14 Psi air pressure rating. I then enclosed this into the custom box. A friend of mine came over and could not hear the difference between the pump being on and off. Now to the sonics - pure heaven. No distortion on the lower or higher end. No rumble from the pump. There is a more 'emotional' presentation. Very airy and open mids and highs. I feel that I just got a brand new turntable. Just a reminder that I have the Micro Seiki turntable, which I have modified to fit the ET-2 arm. My cartridge is the Shelter 501. I rewired the ET with Cardas unshielded 33 Gauge wiring."

Personal Note- After I received the above letter, and then prompted by another reader, I asked for further clarification. This is the reader's reply, slightly edited:

"...the Medo model # is AC0110. It will do 3 L/m and output as much as 18psi. The pump is a linear piston type. When connected to the ET, I am getting a constant 7Psi. They also make higher flow rate pumps (with 50db ratings). You can have access to more information at www.medousa.com. I think the retail price of the unit I am using is around $ 200-300. However I picked mine up through ebay from Steve's Industrial Surplus. He regularly has them for around $ 40-60."

Personal Note- The Medo pump mentioned above sounds ideal for owners of the ET tonearm, but that doesn't mean it will work well with other air-bearing tonearms. For instance, the Forsell tonearm, which I presently use, requires just the opposite type of pump; high flow and low PSI. I'm going to look for one of the appropriate Medo models, on Ebay of course, and will report back with the results if my hunt is successful.

These are also superb tonearms, and definitely the best value in this class at this time. VPI reduced the price of the original models because of an upgrade. The "originals" are now an incredible value.

The also offer updated and more expensive (.5) models. I've recently had some more experience with one of these models (the 10.5), and I was able to make some direct comparisons with the original (10) version, in two separate steps. The 10.5 is definitely superior.

The "outriggers*" and the new counterweight were heard first. They improve the "focus" of the music and also increase the separation of the instruments. Because of this, the music becomes more "intelligible". The sound was also "cleaner". I then installed and heard the effects of the new bearing. I only heard it for one (long) evening, but the sound-floor was slightly reduced. This improvement wasn't as noticeable, or as important, as the earlier change. In both instances, the tonal balance was not altered.

I can't just state, without reservation, that these improvements are worth $ 900 ($ 2,300 vs. $ 1,400). This depends on the personal perspective of the listener. If there are other, serious, weak links in the system, that can be "fixed" for the same price, I would attend to them first. If, instead, the system is "mature" and already satisfying, then I would seriously consider the .5 version of the tonearm, though at that price, it has stiff competition with the other tonearms in this class. The 10 (or the 12) can also be modified later, as an upgrade, without even shipping the tonearm.

The (longer) Model 12 is worth the extra money, IF its longer length will fit on the turntable.

*Further- The outriggers are essential with cartridges, such as the Shelter 901, which have low compliance, if you want to optimize their ultimate sonics. According to a reader, the outriggers and some other upgrade parts can be purchased directly from VPI, with considerable savings. Highly recommended. (7/03)

An associate has heard the latest incarnation of this tonearm (on an Avid Acutus) and was very impressed. I don't know exactly how it compares to the other tonearms within this class in sonics. I strongly suspect it is more "competitive" than truly "equal", but I do know it deserves to be here. I still consider it to be THE best built pivoted tonearm of them all, and easy to set-up.

I owned a SME V personally in the late 1980's and early 1990's, which was mounted on the final version of the Goldmund Studio. I really enjoyed that turntable/tonearm combination, though I must add that I've never heard an earlier version of this tonearm equal the performance of the later Triplanars, whenever a direct comparison was made.

The one potentially serious problem with this design is that it is more turntable dependent than most other pivoted tonearms* (see below). So a prospective purchaser should check with other owners of his turntable before making the committment.

This tonearm is still relatively expensive in North America, but it is a very good value in England and Europe. Their tonearm cable must also be changed, one way or the other. I am not familiar with the popular 312 model, but based on the virtually universal praise it has received, it most likely also deserves to be in Class B.

*CAVEAT- According to a number of Linn Sondek owners I've talked to over the years, and all my reading and correspondence, the SME tonearms have serious problems working with the LP-12. The words that usually describe the combination are all negative: "heavy", "dark", "dull" etc. I would only attempt using the SME on the Linn if there is an "out", which means you can audition the SME at little or no cost to you.

This is a great value for the money, though it must always be remembered that it is probably the most difficult tonearm in audio history to setup correctly (due to its numerous, off-setting adjustments). It can later be upgraded to Class B performance in (many) small and (mainly) inexpensive steps.

Further- This tonearm works particularly well with the VPI 19 Turntable Series, especially if the VPI's suspension is defeated. (See important "Caveats" above before purchasing one of these.)

Both these are excellent tonearms and they are also beautifully built, with the V having a slight, but noticeable, edge in performance. The IV is a true bargain. Both are relatively easy to set up and work well with almost all cartridges. However, they are not compatitble will all turntables.

Both of these tonearms used overly long and mediocre (in today's standards) cables from VandenHul. The cable should be replaced with more recent and superior designs.

This famous model is an excellent tonearm, and one of the finest ever made for the money, but it's not quite the equal in performance to the other Class C tonearms, with the exception of the Grado and the Zeta. The Ittok also had an important marketing significance, since it began the now routine model of having superior tonearms engineered and built in Japan, then marketed in North America, Europe etc.

This tonearm’s performance is the minimum acceptable in a true high-end system. It is a Reference only if it is less expensive than the superior SME IV. It obviously works very well with any version of the Linn LP-12. Also, I much prefer this tonearm to the Rega RB-300, despite all the hype the Rega now receives.

CAVEAT: Avoid the much more expensive EKOS. The improvement in sonics over the Ittok is real, but not worth all the extra money, and it may even have reliability problems. Go for one of the Class B tonearms instead.

FURTHER- A reader, from Holland, relayed some of his observations about the Linn Ittok, plus some other interesting tonearms. Here it is, with only slight editing:

"I agree with your statement about the (Rega) RB300. It doesn't work on a LP12, as it doesn't work on other turntables either. Some people put it on a Thorens TD160 where the Ittok would give much better results. The reason I think that it doesn't work is that it's too heavy for a LP12 or a Thorens in a way that it becomes impossible to get the suspension right.

I own a Gyrodec MK. V, but I very soon replaced the standard RB300 by a Michell Tecnoarm (heavily modified (Rega) RB250), which improved things a lot. With the RB300, the Gyro simply didn't get started and wasn't able to show it's full potential. On the Gyro it can't be a question of being too heavy, so there must be another reason why the RB300 didn't work here. I think that it was a good idea to use a RB250 as a starting point for the Tecnoarm. The Tecnoarm comes with a much better endstub and counterweight, Cardas endless interlink, damped armtube and better bearings. The result is a much livelier sound. I think less resonance, better balance because of the lower gravity-point of the new counterweight and better interlink does the trick." (8/05)

Personal Note- I've always found it both ironic and amusing that the Linn LP-12 is so overrated, while their excellent Ittok tonearm is now so underrated. The Rega is still the best tonearm I've heard for the money, assuming you can totally optimize it, which isn't easy, unfortunately.

You can count on excellent performance from either tonearm with the later the vintage the better. These are competitive with the SME’s in sonics, but they are not as well built and they are also more difficult to set-up.

However, the Triplanars have the ability to optimize the cartridge's performance to a greater degree than the others.

This is one of the best values in pivoted tonearms manufactured today. It is also well built and looks stunning. They make a more expensive tonearm, but it isn’t worth the extra money in our experience.

If you must have something new in this (now moderate) price range, this tonearm, and the two, original VPI’s, are it.

This is an attractive and excellent sounding tonearm, which my former retail store carried in the 1980's.

It has more detail and is generally more neutral than either the Grado or Zeta, but it can also sound "lean", and even bright, with the wrong cartridge and/or preamplifier; meaning those that have similar "tendencies". The later versions had "foam" injected within the arm tube as a damping material, which improved its tonal balance.

A reader reminded me of this neglected design, and he also mentioned that it worked particularly well with the Koetsu line (and sound), which is what I remember too.

There are a few "idiosyncrasies" with the setup and when operating it. There is more pertinent information concerning this tonearm, and its potential strengths and problems, within the Vinyl Asylum website.

This is also a very good tonearm, although its overall sonic quality does not quite equal the other Class C tonearms, including the Ittok. It is still one of the finest tonearms ever made for the money.

Caveat- The Grado is oddly shaped, and if it's mounted correctly, with all the spacers, the tonearm is then too tall for most dustcovers. However, it will work almost as well with the short spacers. If the Ittok is still too much money, and the appearance isn't a problem, this is the way to go. Very well made and it's a pleasure to setup and use.

Another very good tonearm, with sound quality approximately equal to the Grado, but slightly different strengths and weakness. The best tonearm, overall, for the money in its day. The sound quality was very full bodied, but it wasn't at its best with outer detail or precision.

It is very attractive and impressive looking in glossy black, and it is very well made for the money. It isn't very difficult to set up. I am not able to give more details because it has been too long since I used it on a regular basis. I just know it should be here.

CAVEAT- While I have never had a problem with one of these tonearms, I have heard consistent "rumors" over the years that some of them had faulty bearings that are "impossible" to repair. So this arm should be checked out before purchasing it.

Fidelity Research- There were two models as I recall. They were one of the finest tonearms of their day (early 1980's-See Breuer below). They were especially effective with large and heavy moving-coil pickups (over 10 grams). They were also very well built, and they had a "serious", solid "feel" to them.

They should probably be in Class C, but I haven't played around with either one of them (in a controlled condition) for more than 10 years now. It's a Reference with the right (heavy) cartridge.

Koetsu- This was another excellent tonearm. It was not actually made by Koetsu of course. It was made by the same Asian company that makes the "Linn" Ittok and Sumiko tonearms (I think), and they just put their name on it.

I remember the performance of the Koetsu tonearm being at least comparable with (and most likely superior to) the Ittok. I also remember it being relatively straightforward to set-up.

I'll list it in Class C when I can recall (or I am reminded of) its unavoidable "idiosyncrasies" (or lack of them), which must not include any "serious (meaning disqualifying) problems".

Immedia RPM2- We have heard many good things about this tonearm over a number of years now, but none of us have experience with it.

Breuer- I was informed by a reader that this tonearm was still being "handmade" by Mr. Breuer himself, and that the cost was "$ 4,000 (Euros)". That is quite expensive for a pivoted tonearm.

I had a couple of these tonearms in the early/middle 1980's, and was very impressed with their performance. There is no question that they were one the finest tonearms available at that time. The two characteristics I can still remember were its superb detail retrieval and excellent build quality. I've had no (serious) experience with them since then, and I also didn't know if they were still in business, which is why I didn't list them.

If this tonearm has been significantly improved, which wouldn't be that surprising considering the time frame, then it could once again be a top contender. The early version of this tonearm should also probably be in Class C, and the new, improved model may even be a Class B performer.

Sumiko MMT- I sold a large number of these tonearms during my "phono heyday" in the 1980's. They were the finest value at the time, the "RB-300" of its day. They still hold up today, since their VTA is adjustable, and the build quality is decent. A Reference if in good condition. Perfect for "first timers" who want adjustability and good value. At its "best", it is still not as good as the Rega RB-300 at ITS "best", but it's more difficult to hear the Rega at its best.

Sumiko FT-3- This was the enhanced and more expensive version of the MMT, and not a replacement. It had slightly better performance and build quality. It was not quite as good a value as the MMT, though still very respectable in that regard.

Lustre GST-801- This was another (Japanese) tonearm that I sold during the early/middle 1980's. It was rather heavy, silver in color and very well built for the price. The "set-up" was straightforward and it had excellent adjustability for VTA (which is very important). It also had a removable headshell.

The sound quality of the Lustre was also quite good, though it didn't match the (more expensive) Ittok or the other "upscale" tonearms of its day mentioned above. It was a little bright and crude in comparison. The sonics could be improved (a little) with a better headshell, if you can still find one now, and modern tonearm cables.

This tonearm is still a very good value considering everything. It should be mounted to a turntable with a heavy plinth (like a VPI) or one with no suspension.

Further- I've always been a fan of this tonearm, recommending it for years now when others have entirely ignored or forgotten it; both for its excellent intrinsic performance and its versatility and ease of optimization. One European reader has had even more success with it recently, using it with the top-rated Dynavector XV-1s. That's a severe price mismatch of course, but if what he observes is even close to the truth, this is an incredible combination for the money. Here are his experiences, after I sent him a somewhat skeptical reply to his first letter to me:

"...Maybe I was over zealous in my praise of the Lustre/XV-1s combination. I haven't heard it in every combination. What I have heard it (the Dynavector XV-1s) in, however, is a SME V (statically balanced); Ikeda IT-407, Morch DP 6 blue point (with precision head); Dynavector DV507 MKII and a Graham 2.2. Hands down, the Lustre/XV-1s combo outperformed the other combos and gave a "you are there" realism that still excites me - as you probably gathered from my eulogy. Spare cartridges that have faired in this mix include a Spectral Reference mc, Lyra Titan, Lyra Parnassus Dct mc (now in need of repair) and a Music Maker III mm. Apart from the Allaerts/Ikeda combo, no other combination comes close to what I hear with the Lustre/XV-1s."

Personal Notes- My experience with (high performance) tonearms is that you never know when it just happens to be a "perfect match" with a particular cartridge, figuratively speaking, so I would take this reader's observations seriously. Also, this letter provides one more reason to hear the Allaerts one day, but it's tough to get one in North America. (10/05)

SAEC- This was a popular (Japanese) tonearm line in its day (at least in Toronto), with above average build quality for their price. Their set-up was average in difficulty. The sonic performance was respectable, and nothing more or less than that (they looked and felt better than they sounded). I can no longer remember the exact differences between the models, but I do remember that they weren't significant.

Origin Live Rega RB-250- We have heard a relentless flow of good things, from numerous people, about this tonearm within the last two years. Enough to feel that there must be something to it, but none of us has any experience with the Origin, so we can't comment on it, let alone consider it a Reference.

I would seriously consider the Origin if you are "on a budget" and looking for the finest new tonearm you can buy for the money. I would. Links to Origin Live dealers are provided in the Links file.

Dynavector 505- I have very limited experience with this tonearm. It was very idiosyncratic, working very well with some turntables and cartridges, and a disaster with others. I would only buy it if it's really cheap or with a return/refund "out". This will be difficult because it has now become something of a "cult" item.

Further- I just received this perspective on the Dynavector from a now veteran reader (and contributor), who has considerable experience (and enthusiasm) concerning phono front-ends and preamplifiers:

"I'm surprised of your omission of (the) Dynavector arms, at least they deserve a mention. I have returned to (the) 505 after trying (the) SME V, Alphason, SME 3009 and Koetsu arms on my Oracle Premier and it is by far the best combo I've tried. Granted, it will sound too dark on (a) VPI, and requires careful choice of tables, but in my case it blows away almost everything that I can afford (didn't try Graham yet). It performs flawlessly with (the) Denon 103, Koetsu Onyx (the best combo with Onyx so far I've heard, and Onyx even tracks well in it, being a notorious bad tracker), any MM and AT OC-9."

"(The) 505 is amazing in it's ability to make every cartridge perform to it's max, never letting them sound too bright or peaky. It is very "together", coherent and powerful in it's presentation. It makes even (the) BPS sound listenable. It is due to it's great damping ability, which is a combination of shear mass (3 lbs), anti-resonance main arm damping and unique magnetic damping. Add to this the ability to change headshells and adjust tracking force and VTA within seconds, and it is one of the most versatile arms out there. It has amazing bass and lots of detail. It is not as dynamic nor (as) clean as the best out there, including (the) SME V (which didn't impress me - too clinical) but it is musical and involving."

"Prices for used mint 505's have skyrocketed in recent months and they commonly bring $800 or more. Last month one boxed 505 sold on Audiogon for $1200!!! Ridiculous... "

I guess I am behind the times with this model. If this tonearm goes for $ 800 or more, I suppose you don't have to worry about finding (or selling) one "really cheap".

Basis Vector- This is a very interesting design, at least based on the description by the designer, A.J. Conti. It's very new on the scene, and I don't know anyone who has heard it yet, but I would keep my eye on it if the price, $ 2,500, is not out of hand. It does face some tough competition, but it is also different, primarily the bearing.

CAVEAT-Please be advised that the readers’ letters posted on this site are solely the opinion of that reader and may not necessarily represent or reflect the opinions of Arthur Salvatore or High-End Audio. These letters furthermore, are not to be taken as being endorsed by Arthur Salvatore or High-End Audio. They are posted because they may be edifying, thought provoking or entertaining.

I have no experiences with this component, but one helpful reader has had time to experiment with it, and these are his four edited letters. Very Important- Read them all, because the final letters correct the errors in the early letters.

1) The pump is WAY too noisy, much noisier than the ET pump.
2) It is NOT an Air-Tangent workmanship-wise, it is a very good copy but... Air manifold is aluminum, easily scratched, Air-Tangent uses magnesium, ET - polished and treated super-hard something that is nearly impossible to scratch.
3) It does not have enough counterweight to support heavy cartridges, like my Koetsu or Miyabi. Their site shows it with a wooden Grado... I imagine that more pressure may be needed for even more weight with the Miyabi.
4) A lot of hiss is coming from the manifold, something I've never heard from ET.
5) The arm has a feel of a thing built, well, in China - that is exactly where it is built. It's not that it does not work, but it's just rough around the edges, VTA adjuster, for example. It is rough, not as smooth as ET at all.
6) Final level adjustment requires a 10 cm long #4 Allen wrench, which is not included.
7) It's not for a novice, but, rather for an expert. In fact, it is more of a kit, a starting point, which should be adjusted, slightly modified and improved to reach it's full potential.

1) It works.
2) It sounds good (more on that later), when you can hear it over the pump and manifold noises and hisses.
3) Relatively easy to operate.
4) Price - it is the first and only (so far) affordable air-bearing arm in a high-enough league."

"The Air Tangent was advertised on Audiogon for a mere $5000 used, stating that it has an optional carbon-fibre wand (a $1200 option). The MG-1 comes with a carbon-fibre/aluminum hybrid tube STANDARD. I like this tonearm more and more, especially after Ada Lee (the owner?) offered a heavier custom-made counterweight FREE!"

"Having lived with this tonearm for about a week now, I have no desire to go back to Goldmund T-3. I would be happy with it. Now the question arises - will it sound this good on another turntable? I, having bought it as the way to downgrade, don't know if it will sound this good on, let's say, the VPI HW-19 Mk III? (the Mk IV costs too much for justifying selling the Goldmund).
The only drawbacks so far are some hissing from the manifold (air tube) and a somewhat noisy pump, which also gets very warm very fast. Ada said hissing is part of the very difficult and complicated design which makes for great sound. The sound is right up my alley - as you know, I don't like overly dry, dead, clean sound. The SME V or a Rega are not my cup of tea. This one is very lively, big and spacious, with a lot of detail, plus it tracks very well. Easy to mount, easy to use... Anyway,... at the price - unreal, at twice the price - hard to match!"

"Some more info: The owner contacted me because of some obvious misunderstandings that I must correct:

1) The tonearm is NOT made in China, but in the USA.
2) The owner is not Chinese.
3) It is NOT a copy of an Air Tangent, as the air bearing design is a development of a completely different designer (Poul Ladegaard) and it was designed BEFORE the similar LOOKING Air Tangent.
My sincere apologies to Ada Lee."

Personal Note- This tonearm is an exciting development. There is more information about it on Audiogon, within the Discussion Forums (Analog).

EMINENT TECHNOLOGY ET-2 TONEARM- I posted sometime last year that there was an air pump that might prove to be a nice improvement for this tonearm. This information came from a reader. Another reader just sent me this letter with some contradictory results. Here it is, with some slight editing:

"In your column you mentioned that a reader suggested using a Medo AC0110 airpump for the ET tonearm. I just got mine in today and find it runs VERY hot. Also, upon further research (Medo Japan website), they mention the duty cycle is only 30 minutes! That will severely degrade the life expectancy of the pump. I don't really expect you to know this and also the Medo was suggested by Bruce Thigpen of ET himself. However I'm a bit disappointed. Is there any way of contacting the other reader to find out how long his pump has lasted (my original pump is 10 years old!)."

Personal Notes- I asked the reader to directly inform Bruce Thigpen (ASAP) with this information and his alarming observations. I would contact the original reader myself, but my email files are still inaccessible at this time. More recently, the original reader read the above and made a reply (below), but it is sadly inconclusive..

"I just read the blog on one of the users who tried the pump and was not happy. I did not realize that it was only rated for 30 min duty. However, I have run it for hours (in fact, before I implemented a trigger that turns both pump and turntable on and off, I accidentally left it on for over 24 hours) without any problems. My pump is enclosed in a wooden box to further dampen noise. I have been running it for more than a year now and since I purchased it for less than $50.00. I would by another one (at that price) without hesitation, since I find that it is superior (sonically, and much quieter) than the WISA. The pump that I have was purchased used but I don't know how long it was previously used.

I thought that I was the only one with this setup, but since I emailed you last year, I have on occasion, come across other people (some on audiogon) that have had the same setup on their turntables. If I come across any more users like this, I will be sure to ask what their experience is with the pump. I truly hope I have not caused any problems with your readers."

Personal Note- Only time will settle this dilemma. Maybe there is some difference(s) between the models, or there was some prior abuse? I'll post any further relevant correspondence.

GRAHAM PHANTOM TONEARM- None of us has any experience with this latest tonearm from the distinguished manufacturer. The design does appear to be truly evolutionary, and the "buzz" from actual users has been like a continual rave. After a direct request, I recieved a short letter from a veteran reader, who compared his Phantom to his (latest version of the) Triplanar. There's some editing, since the reader is from Europe:

"Well, in general I can say that both tonearms are one of those rare ones, which work on a very high level. The decision of which one, is more or less a personal one.

The ease of setup:
In my opinion, the Phantom is in a class of its own. Based on the magnetic azimuth, it is simply outstanding. Well first, the VTA adjustment of the Triplanar is very good too, but I think the quality the Phantom is better. Forget the 2.2, the Phantom is much better. VTA changes while playing are no problems with either tonearms.

Sound differences:
Well, it is probably a matter of taste, but the Phantom's brutal power and speed in the lower frequencies must be heard to believe. The Triplanar sounds very natural, and when you never listened to a Phantom, I would say, that's the one to go to.

Even with ten left thumbs, is is possible to make the right adjustments with the Phantom, and their own Graham Alignment tool is super, too. The only problem with the Phantom is the connected phono cable (which) isn't one of the best, so you can be dissapointed... I use the XLO Phono cable, that is ok. The Discovery wire from the Triplanar is excellent."

Personal Notes- Based on his letter, I feel it is safe to say that this reader prefers the Phantom in his system, at least after changing phono cables. Now he even has me excited about it. If it's at all possible for me to get one the next time I try out a new turntable, I will do so. Meanwile, audiophiles have another serious alternative for "the best tonearm", especially in the pivoted category.

I received two informative letters from a reader a little while ago, and they were put temporarily aside when I was swamped with correspondence. I kept them though, and am now posting them, along with my initial response (mainly questions) and some final thoughts. Here is relevant material from the first letter, with only minor editing (my bold):

"I've recently received Len Gregory's "The Conductor" linear tracking air bearing tonearm. At first blush, its very, very good. Simple in design, relatively easy to set up and competes VERY favorably with the other LT arms I've had (ET2, Maplenoll Ariande Sig, Forsell). Overall sound is better than my Schroeder DPS. The Conductor is a high flow, low pressure design and so finding a pump for it has been an interesting education.

Len Gregory sells the Conductor arm with the Sera 550r aquarium pump but its only available in Europe and in 220-240v. The Sera pump, like many other similar style pumps is made in China (eg. the Dophin 5-star pump available in the US). It has a flow rating of 10 litres per minute at 3.5 psi and has an on board filter and rheastat.

The pump I've found in North America which is by far and away the BEST high flow, low pressure pump is made by Techno Takasuki of Japan (in their Phillipine plant) and is distributed and marketed in North America as the "Hiblow" pump by Hiblow-USA Inc. in Minnesota. The Hiblow pump comes in several models (#20,40,60,80,120-- numbers correspond to litres per minute) and is vastly superior to any other high flow pump that I've seen or used. Its primarily designed for professional aquaculture application and not an aquairum hobbyist pump like the Sera.

The #20 Hiblow is very quiet (31 db) and is rated at 20 lpm at .5-1 psi. and has a stop flow/pressure rating of 5-6 psi (ie. where the flow ceases). It has an on-board filter and single outlet thru which the air flow can be regulated using a section of tubing and a conventional 'gang' valve."

"The retail cost of "The Conductor" tonearm by Len Gregory (The Music Man) is 1,500GBP ($2,856 US). It comes with everything required.

You can Google several reviews on the arm (6moons and TNT Audio mag in Europe). All reviews are extremely complimentary and rate the Conductor as the equal to any linear tracking arm made and as good if not better than the conventional designed Schroeder Reference, but at less than half the cost!

The name of the hiblow pump we like is called the "Hiblow" and retails between $199 and $230 USD. It is distributed by Hiblow-USA of Saline, Michigan (Don Lentz sales manager). Its sold by fish farm and professional aquarium suppliers. Like many other things, its much much more expensive in Canada ($400+), so its better to buy it in the US.

This new reader offers some practical advice when it comes to the solving the E.T.'s problematic airflow, plus he offers a few other interesting observations about Krell and vintage components. There's some minor editing and my bold:

"...One of your readers had some problems with the Wisa pump and the Melo one. I had used a Wisa pump initially without satisfaction, and then my friend and I did some thinking; Even with 2 air reservoirs and filters between the tonearm and the pump, you are bound to get fluctuations in the air pressure applied to the the air bearing of the arm, so I bought an industrial size compressor, placed it 30 feet away in the furnace room, had a valve fitted to it and hooked up a hose to the 2 air reservoirs and then to the tone arm. Next, I turned the compressor on and filled its big tank with air. When the tank is full, it would shut off in auto mode, then I would set the air pressure by adjusting the valve to the desirable level, around 10-11psi or something like that. The full tank of air supplies a steady stream of even and non pulsating pressure to the ET2.5 air bearing. The result was simply fantastic*.

I thought I would share this tip with others who may use the ET arm. The 2.5 is much better than the 2. I had mine set up on a VPI TNT3, with a BenzRuby 2 feeding the signals to a pair of Krell KPA class A phono preamps used in balanced mode. These preamps are awesome when used as a pair. They would give any phono preamps a run for their money. It's a huge difference over using only one. Also, I want to mention when the compressor tank is full, there is enough air supply to pressure the ET2.5 arm for at least 2 hours.

Before I go, I want to mention to you that a properly restored pair of Scott 121C tube mono preamps, and Scott 280 El34 mono blocks, will provide supreme performance, and I also love my Altec 340A 6550 tube mono blocks. These vintage pieces are not in the back seat compared to any MacIntosh or Marantz gear in my opinion, and actually may sound better."

*One of my "associates" uses air tanks with his Forsell turntable/tonearm. He also gets excellent results. I would try it myself, but I don't have the space.

This is an important letter from a reader, who was also a long-time customer of my Toronto audio store. There's only some minor editing:

"I hope your readers already know this, but a word of caution to anyone who uses compressor tanks to supply air to their tonearms. As you know, I am a machinist and I work with compressed air every workday. I can tell you that compressor tanks will contain a "LOT" of moisture in them. You really need to make sure you have a high quality in-line filter between the tank and reservoirs, and I also recommend putting another quality filter between the reservoirs and the tonearm. The original filters, used with these other smaller pumps, would not be sufficient, and any moisture could damage any tonearm permanently."

This reader, from Europe, has discovered an easy method to improve the performance of the Forsell air-bearing tonearm. I will try it myself as soon as I have a chance, and get back with the results at that time. Any Forsell owner who duplicates this experiment, is highly encouraged to relay their experiences here, no matter what the results. This letter was edited:

"I discovered that if I twisted the (Golden) armtube slightly towards the front, then the arm would float easier on its air cushion, allowing me to turn down the airflow and get less turbulent flow. Why this is, I do not know, but it may be a good tip for other Forsell owners as well. The armtube is just slightly turned along its axis, making the air holes not pointing straight upwards, but slightly to the front (maybe 5 degrees from the vertical). I adjusted all the angles, and set the vta to almost neutral (level arm), and found it to play marvellous."

I received two letters from Thom Mackris of Galibier Design, plus another letter that Thom forwarded from Frank Schröder, the tonearm manufacturer. The three letters are mainly about the tonearms mentioned in the title, plus some extras. Here they are, basically unedited, but make certain that you read them all, because there are corrections made later on. My bold as usual:

"...You have my permission to publish the entire contents of this e-mail on your website.

I read with both interest and amusement the comments about the Schroeder Reference SQ on your "June 2007 Recent" page. At the onset, please note that I sell both Schröder and Triplanar tonearms. Implemented correctly, they are both world-class tonearms. "Correctly" is the key word, and I'll try to delve into this topic a bit at least in the context of my experience. Please note that I am waiting on delivery of my SQ, and so my experience of it are based on the arm we ran on a dual-armed rig (Triplanar/Schröder) in our room at the 2006 RMAF. Of course, I have lived with a standard Reference for some 3 years now.

Let me begin by correcting a couple of omissions about the SQ version of the Schröder Reference. There are three items which distinguish the SQ from the standard Reference with only the first being mentioned by your reader:

The Nordost is not better than the solid core copper, but rather presents a slightly different harmonic structure. I look at the main advantage of the Nordost as it being considerably more physically robust than the frighteningly thin solid copper. I advise selecting it as an option for customers who order the standard Reference for this reason alone.

2. The upper bearing sleeve (the visible bronze cylinder) is replaced with hardwood.

3. The magnets are N-52 strength (vs. N-50 for the Reference) and are machined with matching concave/convex surfaces (think nesting spoons - or more correctly, barrels). Machining the Neodymium magnets is approximately a 4 hour task in order to keep heat at a minimum.

The magnet curves make the arm less sensitive to vertical tracking force changes when adjusting VTA. One of the idiosyncrasies of the Model-1, DPS, and standard Reference arms is that tracking force is fairly sensitive to gross VTA changes. In normal use, it's not a large concern, but many individuals do not measure their tracking force at record level. I know of one accurate digital scale that is fine for the likes of conventional tonearms, but which measures some .3 grams high (meaning you will set your tracking force too low) with Schröders having flat magnet surfaces.

The negative comments made about the Reference SQ point toward a lack of understanding about Schröders in general.

When I advise my customers about the differences between the Triplanar and the Reference, I emphasize that the arm you set up the best will sound the best. Where have we heard this before? More to the point, I've found a large percentage of individuals who will achieve a "better" setup with a Triplanar than with a Schröder - especially if they have not benefited from Frank's or my mentoring. The Triplanar fits with their previous experience of tonearms.

Yours truly benefited from a demonstration by Frank (Schorder) in order to understand the tonearm's potential. This learning process is not in the least involved, but is more a matter of peeling away a few prejudices and habits you've accumulated from working with more conventional tonearms. The unfortunate reality is that unless this has been demonstrated to us, we are unlikely to try it. This is "showing the possibilities" is the extent of the "mentoring" process. I don't want to over blow its magnitude. It's not complicated in the least.

In my early experiences with the Reference, I thought that it was a bit short on dynamics, air, and bottom end. Frank showed me the criticality of tuning dynamics and "air" by varying the torque on the single cartridge mounting bolt. Bass is controlled by tightness of the set screw on the counterweight (quite tight is typical with most cartridges). The Cartridge bolt I'm referring to is the single socked-head pivot bolt which passes through the headshell and threads into the cartridge carrier.

With the Model-2 (aluminum headshell), this headshell bolt torque adjustment can be more of an "on-off" sort of thing. On the DPS and all Reference models, Frank extended the wood arm wand to include the headshell - not for issues of energy transfer between headshell and arm wand (he got this right even with the aluminum headshells), but rather for ease of adjustment. The headshell bolt torquing is much more forgiving when the arm wand extends to the wooden headshell. Cartridge bolt torque still matters, but with the wood, but it is much less sensitive.

We are not habituated to thinking of cartridge mounting bolt tightness as a tuning parameter - other than "welding" our cartridges to the headshell - making them "Linn-tight". I've found that breaking this habit in individuals requires demonstrating it to someone. I was as guilty about this as my customers were.

Some of the adjustments on the Reference are remarkably easy but still fall a bit short of the simplicity of the Triplanar. Perhaps the biggest barrier to setting up a Schröder (when compared with a Triplanar) is that the Schröder setup is a bit more iterative - requiring that you return to some settings. You need to be just a slight bit more dedicated - dedicated, but not extreme or compulsive.

Making gross changes in tracking force (beyond the perhaps .15g range provided by the fine adjust screw) will require that you re-visit the azimuth adjustment on the Schröder. This is somewhat of a barrier to experimenting with tracking force changes. OTOH, I've found that the azimuth fine adjustment is much more direct and finely adjustable on the Schröder than on the Triplanar.

I have yet to find the perfect tonearm and these two differences underscore this fact.

Frank listens to a wide range of music, and has ZERO tolerance for a loose floppy sound, or a shut-in top end. He has one test disk from a late 20th Century composer. I'll withhold its title, because I'm still trying to find a copy of it myself (grin). There are a couple of transients on it that sound like breaking glass, and when the system is dialed in, it will shake you out of your seat.

I advise my customers that they will most definitely have a preference for one arm over the other (Schröder vs. Triplanar) and I cannot predict how they will react. They are both very, very good. There are subtle differences in presentation between the two, and whenever I have one arm mounted, I miss attributes of the other. Of course, if you look at this from a dollars perspective, then the Triplanar becomes a bargain, because it truly is the equal (but different) of the Schröder (at least the standard Reference - I'm still waiting on my SQ) ... if your tastes lean in that direction.

OTOH, if the Schröder is more to your tastes, then it represents the bargain of the century, because there is nothing on the planet quite like it. Knowing that nothing is perfect, I could live with either tonearm.

Oh yes ... paper can do interesting things. In the development of our graphite-topped platters, we tried inserting a layer of paper between the graphite and the substrate. In this application, the sound was completely choked off when the paper was added. Note ... I mention this only to point out how dramatic such seemingly subtle changes can be, and not to the universality of this change in terms of absolute good vs. bad."

"I copied Frank Schröder on my e-mail to you and he clarified a few points this morning. I was under the erroneous assumption that the Nordost was "only" as good as the solid core copper - even after cryogenic treatment.

I find his comments interesting about the Model-1 tonearm not being as VTF sensitive with respect to changes in VTA. This model is discontinued (replaced by the DPS). It had a dual support thread. I realized my typo after the fact - having intended to reference the Model-2, and not the Model-1. In my typo, I learned something new.

The Strain Gauge cartridge, that Frank mentions, is by Peter Lederman of Soundsmith (http://www.sound-smith.com/products/). I had sample #1 one in-house last Fall for a few weeks. Frank's comments follow ..."

Thanks for pointing out the letter(s) sent to high-endaudio. Thanks also for the reply to Arthur, but it contains some mistakes:

a: The Nordost wiring in its cryoed form is actually superior to the solid core wiring (as you will hear), but it requires a top notch system to show the magnitude of the difference.

The redesign of the bearing does NOT require 4 hours of physically grinding the surfaces (more like two) but it takes forever to test the "level" of the magnetic "imbalance" in the bearing so that it counteracts the restoring force of the low slung counterweight perfectly.

Grinding, removing the magnetic debris, reassembling, testing, back to grinding, etc... End result: no change in VTF when you change VTA over a wide range. BTW, changing VTA on the No. 1 arm also didn't alter VTF!

The magnets are not shaped like nesting spoons! The bottom magnet is either flat(bottom pole piece needs to be concave then - or it is sphere-segment shaped (flat pole piece then).

The top magnet is barrel segment shaped, with the axis oriented along the axis of the armwand. The result in conjunction with a properly sized counterweight is increased stability around the axis of the armwand and near zero stability (restoring force) for vertical movement.

c: The bearing tower isn't made of wood alone, but has a bronze sleeve inside. The purpose is not only to further dampen the structure, but also to reduce mass and therefore energy storage.

Something else that no one seems to mention. ALL arms with low slung counterweights(or with counterweight stubs that are below the pivot point) require resetting VTF after changing VTA.

Try the old Immedia arm or any of the current VPI arms(all fine sounding arms). The change of VTF for only 1mm of VTA alteration is enormous! It was mainly for this very reason that Bob Graham came up with his "Magneglide" bearing stabilization.

Something totally different. I STRONGLY recommend you contact Peter Ledermann about cooperating at the RMAF (if you haven't done that already). The strain gauge cartridge is ABSOLUTELY awesome. He'll tell you all about his Florida weekend experience :-)"

Personal Notes- I wouldn't overlook the Graham Phantom tonearm at this level. This strain gauge cartridge obviously sounds exciting. I've never heard one of them in my system. This might be the one to hear, though its entire dedicated phono amplifying system is required to hear it. There is a Link to Soundsmith in the Links File.

A reader sent me this suggestion for solving the heating problems previously mentioned when using the Medo air pump. There's only minor editing, and my bold:

"...I acquired a VPI HW19 MKIV with an ET2 tonearm. The pump pressure was keeping it from performing as it should. I picked up a MEDO AC0110 pump and discovered... the "rated for 30 min operation". I spoke with someone at MEDO USA, and described the application. The fix was simple. A fan placed beside the pump dissipates the heat, and it never gets hot. We'll see how long it lasts. The pump and fan are in another room, so I can't hear them. I am sending you this in case there are readers who could benefit from this."

A reader sent me a link to the manufacturer of the Koetsu tonearm, which I thought was discontinued many years ago. I remember its performance being somewhat better than the Linn Ittok, and easy to set-up, which means it's a solid Class C component. I don't remember the details anymore, which is why I never got around to "officially" recommending it. Here is the letter and URL (my bold):

"New info on Audioasylum, thanks to user "Mosin":
The Koetsu tonearm was built by Jelco (http://www.jelco-ichikawa.co.jp/e_tone_arm.htm). The company is still in business, and producing 3 versions of arms, one of which looks EXACTLY like Koetsu arm. They have replacement parts as well."