Phono Accessory Reviews

I sometimes joke about how audio designers create products that resemble themselves, not just in how they look, but also in the design approach used, and especially the way they sound. So, we have tall, cool, pragmatic Scandinavians making gear like the lean, elegant Børresen loudspeakers, while the Italians build luscious curvy equipment endowed with natural wood and leather, like Sonus Faber speakers and Unison Research amplifiers. Continuing this blatant stereotyping, we have Acoustic Signature founder Gunther Frohnhöfer, a stout German known for creating precision-built turntables that are as solid-looking as he is.

When I visited the Acoustic Signature factory in 2023, I watched as they hewed massive slabs of aluminum into beautiful, heavyweight turntables. This approach is the opposite of the lightweight-but-rigid philosophy embraced by Rega, and while the resulting performance has different strengths, I would argue that it is at least equally valid. As with Rega, Acoustic Signature products have a purposeful simplicity, in a way that would allow a nonaudiophile to instantly recognize what their function is.

"I think both moving coil and moving magnet cartridges are terrible." That's what legendary Canadian audio designer Ed Meitner told me when I asked about the pioneering transimpedance current drive phono stage he created for his Meitner PA6 preamp some 40 years ago.

Meitner has been designing innovative hi-fi gear for the pro and consumer audio markets for more than 50 years, but for most of the last 30, he has been best known for his work with high-resolution digital audio and DSD recording. Despite this focus on digital—and despite that comment about the two leading phono cartridge technologies—deep in his heart, Ed still loves analog and has fond memories of the Kenwood optical cartridges from the 1970s, which I discussed in last month's Spin Doctor column. So when Ed read that a company in Japan called DS Audio was bringing back an improved version of the optical cartridge using modern materials, he contacted designer Tetsuaki Aoyagi to learn more.

I've always been a city dweller and can't lay claim to having owned boats, riding mowers, shotguns, basement refrigerators, golf clubs, or even patio furniture. When I moved to a loft from an apartment with a tiny backyard some 13 years ago, I even had to give up my Weber grill. This geographical fact has kept my possessions streamlined. My favorites include a handful of old waxed cotton coats, a couple dozen leather boots and shoes, a few mechanical watches, my Garrard 301 turntable, a roomful of books, and rather a lot of art, much of it made by friends. But without a doubt my fondest possessions are my records. At last count they numbered around 3500. Of course they are beautiful, both as objects and as conduits for music. But what I enjoy even more is the fact that I'm not really their owner, merely a custodian: Most of the records belonged to others before I bought them, and after I'm gone they'll find new owners who'll hopefully appreciate them as much as I do. So I feel I owe it to all of us to keep them in decent condition.

The next time you're preparing to play a record, try doing a little experiment. Once you have the record mounted and spinning but before you lower the stylus into the groove, lower your gaze to just below record level and look for a gap between the platter and the record. It helps if there's a light source or a brightly colored wall behind the platter. You may discover a gap—that very little of the record's playing area is making true contact with the platter mat or (if there is no mat) the platter. Another way to test this is to take a record you don't care much about, put it on the platter, then tap with your finger in the groove area listening for a click as your finger pushes the record down and it contacts the platter surface.

Warps obviously lead to such problems, but even records that appear flat make scant contact with the supporting surface. Turntable and aftermarket accessory designers have recognized this problem for decades.

Over the last 40 years, I have set up or serviced literally thousands of turntables, and during that time I have seen a lot of increasingly sophisticated tools become available to help in getting your turntable optimized. I've had my eye on the Shaknspin speed analyzer since it was launched a couple of years ago, and now there's a new Shaknspin2, which promises more accurate results.

In last month's Gramophone Dreams, I explained why doing any sort of empirical study of high-quality digital sources was extremely difficult. That any success I might achieve as a reporter would boil down to my ability to employ metaphors to describe a DAC's clarity and dynamic personality. Concocting metaphors for DAC reviews is risky because it assumes readers will be familiar with the sound of my amplifier and speakers and, ideally, with one of the DACs I'm using in the comparison. That's a lot to assume.

The stylus that cuts the grooves in your favorite records is best described, in simple terms, as "chisel-shaped." The most accurate playback styli—the "extreme" ones that extract the maximum amount of information from the grooves—have a similar shape, with sharper and more severe contact edges than a standard elliptical stylus, itself an advance over spherical styli.