Tonearms:
A+:
Acoustic Signature TA-7000 NEO: $20,999 for 12" Silver, $18,999 for 9" Silver ★
The TA-7000 uses 4N silver internal wiring, a gimbaled ball/race bearing system, and a carbon-fiber armtube with an internal lattice structure that adds stiffness and damping. It is available with SME or Rega-type mounts and in 9" and 12" versions. The model reviewed was the 9", which conforms to the standard Rega geometry. It pays to be cautious when adjusting arm height, MF advised, as the pillar goes, in a hair-turn of the grub screw, “from rock-solid secure to dropping like a pound and a half rock.” Repeatable azimuth adjustment is tricky as there are no reference marks. Included with the arm are a rigid, precise alignment jig set to Löfgren A geometry and AudioQuest’s entry-level “Wildcat” DIN-to-RCA cable. With an Ortofon A95 phono cartridge, the lateral and vertical resonant frequencies both measured ideally, at approximately 10Hz. MT used the TA-7000 NEO with Acoustic Signature’s Verona NEO turntable (see Turntables) and was most impressed by its performance, contrasting it with the less expensive TA-5000 NEO, which he also found to be excellent at half the cost. (Vol.45 No.1, Vol.47 No.6 WWW) Kuzma Safir 9: $24,940 with DIN output to $25,512 with 1.5M of Kondo Silver wire in RCAs or XLRs
Known for its long-lived Stogi and 4Point arms, this tonearm from Slovenian manufacturer Kuzma uses a single, tapered piece of lab-grown sapphire for the armtube. The effective mass is a high 60gm, which means the Safir should be used with low-compliance moving coil cartridges. The high mass also means that the Safir lacks the usual viscous damping troughs, swappable headshells, and a VTA tower with on-the-fly adjustment. However, all the parameters can still be optimized with precision. Antiskating is applied using a falling weight on a pivot attached to the ’arm with a thin filament. MT had a problem mounting the Safir on his SME 30 turntable—the back of the counterweight didn't clear the ’tables right rear suspension tower—but with the arm mounted on his Brinkmann La Grange, MT was impressed by what he heard. Using a Lyra Atlas λ Lambda, Dynavector XV-1S, and Zu-modified Denon cartridges and playing a Yello LP, he noted that the realism and dynamics of the conga drums were particularly striking, adding that “the synth bass had a twang and color to the sound that I'd never heard before with so much vibrancy.” Organ bass stops were especially impressive, with a relaxed naturalness that went really deep yet never sounded forced or overcooked. MT summed up his feelings by writing, “The Safir conjures up adjectives like fast, clear, focused, powerful, and dynamic, on a level I have rarely heard.” (Vol.48 Nos.2 & 9 WWW) A: Acoustic Signature TA-5000 NEO: $9599–$12,499 depending on size and finish
This German arm comes with a dedicated Dennesen-style single-point alignment protractor for setting overhang and zenith. It uses 4N silver internal wiring and a carbon-fiber armtube. Azimuth is adjusted by slightly loosening the two screws that attach the armtube to the bearing assembly, then rotating the tube. An uncalibrated counterweight screws onto a fine-pitch threaded rod at the back of the arm, and antiskate is adjusted with a simple, calibrated dial. MT used the TA-5000 NEO with Acoustic Signature’s Verona NEO turntable (see Turntables) and found that, while he was impressed by the expensive TA-7000 NEO, the TA-5000 NEO was the real deal, delivering 90% of the 7000’s performance for about half the cost. (Vol.47 No.6 WWW)
AMG 9W2: $4400 ★
The German-made 9W2 tonearm from turntable specialists AMG combines a traditional horizontal bearing with a vertical bearing that is, according to AD, unique in its field: “an upright pair of 0.4mm spring-steel wires that are perfectly straight when the tonearm tube is balanced, yet flex in tandem and yield to the armtube’s mass when the counterweight is moved closer to the twin fulcrums.” The result, he reports, is a near-ideal combination of zero play and absence of friction. VTA and azimuth are easily adjusted, and a magnetic antiskating mechanism is included. AD found the 9W2, when used on his Linn LP12—for which it was apparently designed—to be “the first Linn-friendly arm I’ve heard that has made me stop sobbing about the demise of the Naim Aro: a considerable feat.” Also with reference to his past favorite tonearms, AD added: “None surpasses the 9W2 in sheer build quality.” HR enjoyed the 9W2 as part of AMG’s Giro G9 record player, and said of the arm’s vertical bearing, “to my reckoning, this is a simple and supremely effective innovation.” The 9W2 was supplied with the MK II version of AMG’s Giro turntable, which MT reviewed in December 2022. See Turntables. (Vol.37 No.10, Vol.40 No.10, Vol.45 No.12 WWW) EMT 909-HI: $7995
KM used this 9" static-balance tonearm with EMT’s 928 II turntable (see Turntables). The armtube, base ring, and headshell are made of aluminum, the cueing lever is stainless steel, and the counterweight, which has an engraved weight scale, is made of brass. The unique bearing consists of two ball bearings per axis made of hardened stainless steel. (Vol.47 No.9 WWW) EMT 912: $9795 with fixed wire & headshell, $10,495 with DIN connector
This banana-shaped 12" tonearm comes in two versions, one with a fixed headshell (“HI”), the other with a quick-coupling system that fits EMT’s Tondose four-pin diamond pattern (“Professional”); there’s a variant that fits Ortofon’s square pin-mounting pattern. There is no provision for G-style Ortofon cartridges; only the shorter, 32mm A-style cartridges are compatible. A dial-operated magnetic antiskating mechanism allows the use of cartridges with a wide range of specifications, and there is a “beautifully machined” threaded ring for VTA adjustment. When HR set up the DIN-connected 912-HI with the EMT JSD 6 cartridge—see Phono Cartridges—on a Dr. Feickert Blackbird turntable, “every record sounded dramatically more exposed than I remembered it, clearer and punchier. So much changed that I found it was exciting and unsettling. It took a couple of weeks—trying different phono stages, cartridge loadings, and step-up transformers—to settle in comfortably with the new EMT sound.” (Vol.46 No.11 WWW)
European Audio Team 12" F-Note: $5500
The F-Note uses four low-friction gimbal bearings in a “cardanic” configuration—four pinpoint bearings configured in a cross. It has a variable VTA tower and adjustable azimuth, in addition to the usual VTF and antiskate adjustments. Set-up is tricky, found KM, because precisely determining the pivot point was complicated by the fact that no reference point is indicated for the bearing center. (Two small indents straddle a middle point). See the European Audio Team F-Dur entry in Turntables. (Vol.48 No.11 WWW) Korf Audio TA-SF9 Series II: $2580 with a fixed headshell, TA-SF9R Series II: $3050 (J-shaped)
Two versions of this Austrian arm are available, the straight TA-SF9 with a fixed headshell ($2036) and the J-shaped TA-SF9R ($2364), which has a detachable H-4 bayonet-mount headshell. Either Korf arm can be supplied with an SME-style mounting plate with adjustable sliding base, or with what they call a JIS/Linn/Jelco round mounting base. MT used the SME-style plate to mount the TA-SF9R on his SME Model 30 turntable. With its extra-stiff steel armtube, the Korf’s effective mass is a hefty 28gm, which MT thought might be marginal with his Zu Denon DL-103. However, he found that the Korf arm was extracting an unexpected level of performance from this cartridge. “Gone was the typical, slightly-soft-and-comforting Zu/DL-103 sound,” he wrote, “replaced by something significantly more nimble and lighter on its feet.” (Vol.46 No.12 WWW) Linn Ekos SE: $6725 ★
Outwardly identical to the original Ekos in all but color, the Ekos SE is machined from a titanium tube in an effort to smooth out resonant peaks, while its stainless steel main pillar and bearing cradle work to maintain perfect bearing adjustment in the face of temperature extremes and user abuse. The “beautifully finished” SE comes packaged with a selection of tools, a Linn T-Kable interconnect, and a new iteration of Linns cable clamp. With its strong, tight bass and solid aural images, the Ekos SE produced a “cleaner, more dramatic, and more enjoyable” listening experience, said AD. “Other, more exotic arms may give better results in some settings, but I can't think of a more consistent—and consistently recommendable—tonearm. It‘s a Martin D-28, a BMW 3-series, a bottle of Bombay Sapphire: It will please any sane, reasonable person,” he summed up. (Vol.30 No.10 WWW; also see HR’s Linn Klimax LP12 review in Vol.45 No.6 WWW)
Schick 12" Tonearm: $1995 ★
Schick 10.5" Tonearm: $1995 ★
Made in Germany and distributed in the United States by Mofi Distribution, the Thomas Schick 12" tonearm is intended to combine the greater-than-average length and mass of some vintage models with the high-quality bearings of modern arms. It offers superb fit and finish, with a clean, spare bearing cradle and a smoothly solid pickup-head socket. The Schick is characterized by a big, clean, substantial sound with an especially colorful bottom end. According to Art, “The Schick tonearm is an outstanding value and easily the most accessible transcription-length arm on the market.” Now with balanced cable. Reporting on the 10.5" arm, HR wrote that after hearing Schick’s arms in a variety of systems, he suspected that the medium-length version “might strike a good balance between the liveliness of the 9" and the greater mass and tracing accuracy of the 12" version.” He found it to be a good partner for his Dr. Feickert Blackbird turntable. (12": Vol.33 Nos.3 & 6, Vol.34 No.10, Vol.37 No.11; 10.5": Vol.44 No.1, WWW) Sorane SA-1.2: $2000 $$$ ★
The Japan-made Sorane (originally called Abis) SA-1.2 is a high-mass 9" tonearm that began life as the Abis SA-1, famous for impressing AD and for having been withdrawn from an earlier edition of “Recommended Components,” by its importer, while undergoing revision. The new SA-1.2 reflects a number of refinements: improved bearings, greater effective length (9.4" vs 9"), and slightly higher offset angle. The arm’s basics remain: a precision-milled armtube of rectangular cross section, static downforce, and a removable headshell for easy cartridge changes. When he used the revised SA-1.2—also an HR favorite—with the perennially recommendable Denon DL-103 cartridge, the low compliance of which is well suited to such a high-mass arm, AD found it capable of pulling from his records “tremendous amounts of touch and force and impact.” The SA-1.2 was so good, he declared, that it made his Thorens TD 124 sound more like his Garrard 301. (This, he suggests, is good.) Speaking of which, AD cautions that, to make the Abis more compatible with the unusually low-slung platter of the TD 124, the user must make one or two adjustments. His conclusion: “I’d put the combination of Abis SA-1.2 and Denon DL-103 up against all but their priciest competitors.” In his June 2023 Gramophone Dreams, HR commented that he used the arm’s rear counterweight to set tracking force and the sliding midarm weight to adjust the SA-1.2’s effective mass. “This nifty trick, in concert with the use of lighter or heavier headshells,” he wrote, allows the SA-1.2 to adapt to a wide range of cartridge weights and compliances. “This adaptability, plus the satiny feel of its dual radial bearings, made the SA-1.2 my top choice for long-haul, daily driver use.” (Vol.37 No.3, Vol.38 No.11, Vol.39 No.4, Vol.46 No.6 WWW) SupaTrac Nighthawk 12": $21,000
See this month's Spin Doctor. (Vol.49 No.4 WWW) The Wand Dark-Light: $8500
The Dark-Light tonearm features a steeply tapered arm tube that offers a more rigid structure than conventional tubular arms and is claimed to distribute the resonant modes of the arm more evenly. The Dark-Light has a VTA tower and an excellent anti-skating device. See the 14-4 Wand Master entry in Turntables. (Vol.48 No.10 WWW)
The Wand Master Lite 12": $4350
Setting up this unipivot tonearm with its fat carbon-fiber armtube, 7/8" in diameter, on the Wand 14-4 turntable—see Turntables—was a heart-pumping challenge, wrote MT, echoing what AD wrote about an earlier version in May 2019. But as AD found, the result was worth the effort. “The Wand will extract the most from your cartridge,” MT concluded, adding “Definitely recommended—as long as you understand what you’re getting into.” (Vol.47 No.1 WWW) ViV Laboratory Rigid Float HA9: $4500
ViV Laboratory founder Koichiro Akimoto took an idea that had gained some traction among Japanese audiophiles—the pure straight tonearm—then added a few of his own design twists. Eliminating the offset angle eliminated the need for antiskating compensation, albeit at the cost of higher tracking-angle error, but by making the arm an underhung design, where the stylus plays the record in an arc that doesn’t reach the record’s center you get more accurate tracking at the tough-to-play inner grooves. The name “Rigid Float” refers to the fact that a ball on the moving part of the arm sits in a cup-shaped magnet. Between them is a layer of magnetic ferrofluid oil that levitates the ball slightly while centering it magnetically. The arm is available in 7", 9", and 13" lengths. MF wrote about the original ViV Rigid Float 9" tonearm in the August 2014 Stereophile, noting that classical and jazz fared best. MT auditioned the HA9 9" version mounted on his Brinkmann La Grange turntable, using a variety of cartridges. He heard clear, dynamic sound, with excellent, detailed bass, a well-focused soundstage, and no discernible distortion. “The ViV Rigid Float tonearm . . . makes a compelling argument for its alternative approach, and it has some practical advantages not found on other arms. These include the ability to switch between cartridges easily and to quickly add or remove it from a turntable with no need for physical mounting,” he wrote, concluding that this arm “is a tinkerer's delight that presents music in a wonderfully natural, unfussy way.” (Vol.47 No.10 WWW) VPI 12" FatBoy gimbaled: $3900 ★
First reviewed by MF fitted to VPI's 40th Anniversary turntable, the gimbaled FatBoy was fitted to VPI's Avenger Direct turntable for KM's review. (A unipivot version is also available.) The armwand is 3D-printed from liquid resin set into a UV- and heat-resistant stainless steel tube and is supplied with an adjustable, 5/8"-thick, aluminum armboard. Although VPI founder Harry Weisfeld believes the FatBoy arm sounds better with no antiskate, KM experienced skipping. He eliminated this by looping the plastic wire that extends from the tonearm base over a metal peg on the small, V-shaped antiskate mechanism attached to the back of the VTA tower. (Vol.43 No.1, Vol.46 No.6 WWW)
B:
Clearaudio Tracer Black Carbon Fiber: $3800 ★ $$$
See the Clearaudio Signature entry in Turntables. (Vol.48 No.1 WWW) Rega RB330: $675 $$$ ★
Current version of Rega's classic tonearm. (Vol.40 No.2, Vol.46 No.11 WWW) Sorane TA-1: $1800 $$$
The TA-1 is a conventional-looking, static-balanced gimbal-bearing arm with an S-shaped armtube and an SME-style H-4 bayonet mount with an azimuth-adjustable removable headshell. The mounting distance is 216mm, and at 518gm total mass, it should work fine on bouncy suspended turntables like the Linn LP12. No effective mass is specified, but MT estimated it to be in the medium to medium-high range. Compared with the three-times-as-expensive Brinkmann 10.5 tonearm, Leonard Cohen’s final album sounded dynamic and powerful with the TA-1, the male choral backing voices being readily separated from the minimalist instrumental accompaniment. “The Sorane TA-1 is easy to recommend: a great-sounding arm at a very fair price that works as it should, without complication,” concluded MT, adding that its removable headshell and easy adjustment make it a fine choice for someone who likes to swap out cartridges. Also see the Connected-Fidelity TT Hub entry in Turntables. (Vol.48 No.7 WWW) Deletions
Acoustical Systems AXIOM Reference, TW-Acustic 12" Raven, J.Sikora KV12 VTA, not auditioned in a long time.
The TA-7000 uses 4N silver internal wiring, a gimbaled ball/race bearing system, and a carbon-fiber armtube with an internal lattice structure that adds stiffness and damping. It is available with SME or Rega-type mounts and in 9" and 12" versions. The model reviewed was the 9", which conforms to the standard Rega geometry. It pays to be cautious when adjusting arm height, MF advised, as the pillar goes, in a hair-turn of the grub screw, “from rock-solid secure to dropping like a pound and a half rock.” Repeatable azimuth adjustment is tricky as there are no reference marks. Included with the arm are a rigid, precise alignment jig set to Löfgren A geometry and AudioQuest’s entry-level “Wildcat” DIN-to-RCA cable. With an Ortofon A95 phono cartridge, the lateral and vertical resonant frequencies both measured ideally, at approximately 10Hz. MT used the TA-7000 NEO with Acoustic Signature’s Verona NEO turntable (see Turntables) and was most impressed by its performance, contrasting it with the less expensive TA-5000 NEO, which he also found to be excellent at half the cost. (Vol.45 No.1, Vol.47 No.6 WWW) Kuzma Safir 9: $24,940 with DIN output to $25,512 with 1.5M of Kondo Silver wire in RCAs or XLRs
Known for its long-lived Stogi and 4Point arms, this tonearm from Slovenian manufacturer Kuzma uses a single, tapered piece of lab-grown sapphire for the armtube. The effective mass is a high 60gm, which means the Safir should be used with low-compliance moving coil cartridges. The high mass also means that the Safir lacks the usual viscous damping troughs, swappable headshells, and a VTA tower with on-the-fly adjustment. However, all the parameters can still be optimized with precision. Antiskating is applied using a falling weight on a pivot attached to the ’arm with a thin filament. MT had a problem mounting the Safir on his SME 30 turntable—the back of the counterweight didn't clear the ’tables right rear suspension tower—but with the arm mounted on his Brinkmann La Grange, MT was impressed by what he heard. Using a Lyra Atlas λ Lambda, Dynavector XV-1S, and Zu-modified Denon cartridges and playing a Yello LP, he noted that the realism and dynamics of the conga drums were particularly striking, adding that “the synth bass had a twang and color to the sound that I'd never heard before with so much vibrancy.” Organ bass stops were especially impressive, with a relaxed naturalness that went really deep yet never sounded forced or overcooked. MT summed up his feelings by writing, “The Safir conjures up adjectives like fast, clear, focused, powerful, and dynamic, on a level I have rarely heard.” (Vol.48 Nos.2 & 9 WWW) A: Acoustic Signature TA-5000 NEO: $9599–$12,499 depending on size and finish
This German arm comes with a dedicated Dennesen-style single-point alignment protractor for setting overhang and zenith. It uses 4N silver internal wiring and a carbon-fiber armtube. Azimuth is adjusted by slightly loosening the two screws that attach the armtube to the bearing assembly, then rotating the tube. An uncalibrated counterweight screws onto a fine-pitch threaded rod at the back of the arm, and antiskate is adjusted with a simple, calibrated dial. MT used the TA-5000 NEO with Acoustic Signature’s Verona NEO turntable (see Turntables) and found that, while he was impressed by the expensive TA-7000 NEO, the TA-5000 NEO was the real deal, delivering 90% of the 7000’s performance for about half the cost. (Vol.47 No.6 WWW)
The German-made 9W2 tonearm from turntable specialists AMG combines a traditional horizontal bearing with a vertical bearing that is, according to AD, unique in its field: “an upright pair of 0.4mm spring-steel wires that are perfectly straight when the tonearm tube is balanced, yet flex in tandem and yield to the armtube’s mass when the counterweight is moved closer to the twin fulcrums.” The result, he reports, is a near-ideal combination of zero play and absence of friction. VTA and azimuth are easily adjusted, and a magnetic antiskating mechanism is included. AD found the 9W2, when used on his Linn LP12—for which it was apparently designed—to be “the first Linn-friendly arm I’ve heard that has made me stop sobbing about the demise of the Naim Aro: a considerable feat.” Also with reference to his past favorite tonearms, AD added: “None surpasses the 9W2 in sheer build quality.” HR enjoyed the 9W2 as part of AMG’s Giro G9 record player, and said of the arm’s vertical bearing, “to my reckoning, this is a simple and supremely effective innovation.” The 9W2 was supplied with the MK II version of AMG’s Giro turntable, which MT reviewed in December 2022. See Turntables. (Vol.37 No.10, Vol.40 No.10, Vol.45 No.12 WWW) EMT 909-HI: $7995
KM used this 9" static-balance tonearm with EMT’s 928 II turntable (see Turntables). The armtube, base ring, and headshell are made of aluminum, the cueing lever is stainless steel, and the counterweight, which has an engraved weight scale, is made of brass. The unique bearing consists of two ball bearings per axis made of hardened stainless steel. (Vol.47 No.9 WWW) EMT 912: $9795 with fixed wire & headshell, $10,495 with DIN connector
This banana-shaped 12" tonearm comes in two versions, one with a fixed headshell (“HI”), the other with a quick-coupling system that fits EMT’s Tondose four-pin diamond pattern (“Professional”); there’s a variant that fits Ortofon’s square pin-mounting pattern. There is no provision for G-style Ortofon cartridges; only the shorter, 32mm A-style cartridges are compatible. A dial-operated magnetic antiskating mechanism allows the use of cartridges with a wide range of specifications, and there is a “beautifully machined” threaded ring for VTA adjustment. When HR set up the DIN-connected 912-HI with the EMT JSD 6 cartridge—see Phono Cartridges—on a Dr. Feickert Blackbird turntable, “every record sounded dramatically more exposed than I remembered it, clearer and punchier. So much changed that I found it was exciting and unsettling. It took a couple of weeks—trying different phono stages, cartridge loadings, and step-up transformers—to settle in comfortably with the new EMT sound.” (Vol.46 No.11 WWW)
The F-Note uses four low-friction gimbal bearings in a “cardanic” configuration—four pinpoint bearings configured in a cross. It has a variable VTA tower and adjustable azimuth, in addition to the usual VTF and antiskate adjustments. Set-up is tricky, found KM, because precisely determining the pivot point was complicated by the fact that no reference point is indicated for the bearing center. (Two small indents straddle a middle point). See the European Audio Team F-Dur entry in Turntables. (Vol.48 No.11 WWW) Korf Audio TA-SF9 Series II: $2580 with a fixed headshell, TA-SF9R Series II: $3050 (J-shaped)
Two versions of this Austrian arm are available, the straight TA-SF9 with a fixed headshell ($2036) and the J-shaped TA-SF9R ($2364), which has a detachable H-4 bayonet-mount headshell. Either Korf arm can be supplied with an SME-style mounting plate with adjustable sliding base, or with what they call a JIS/Linn/Jelco round mounting base. MT used the SME-style plate to mount the TA-SF9R on his SME Model 30 turntable. With its extra-stiff steel armtube, the Korf’s effective mass is a hefty 28gm, which MT thought might be marginal with his Zu Denon DL-103. However, he found that the Korf arm was extracting an unexpected level of performance from this cartridge. “Gone was the typical, slightly-soft-and-comforting Zu/DL-103 sound,” he wrote, “replaced by something significantly more nimble and lighter on its feet.” (Vol.46 No.12 WWW) Linn Ekos SE: $6725 ★
Outwardly identical to the original Ekos in all but color, the Ekos SE is machined from a titanium tube in an effort to smooth out resonant peaks, while its stainless steel main pillar and bearing cradle work to maintain perfect bearing adjustment in the face of temperature extremes and user abuse. The “beautifully finished” SE comes packaged with a selection of tools, a Linn T-Kable interconnect, and a new iteration of Linns cable clamp. With its strong, tight bass and solid aural images, the Ekos SE produced a “cleaner, more dramatic, and more enjoyable” listening experience, said AD. “Other, more exotic arms may give better results in some settings, but I can't think of a more consistent—and consistently recommendable—tonearm. It‘s a Martin D-28, a BMW 3-series, a bottle of Bombay Sapphire: It will please any sane, reasonable person,” he summed up. (Vol.30 No.10 WWW; also see HR’s Linn Klimax LP12 review in Vol.45 No.6 WWW)
Made in Germany and distributed in the United States by Mofi Distribution, the Thomas Schick 12" tonearm is intended to combine the greater-than-average length and mass of some vintage models with the high-quality bearings of modern arms. It offers superb fit and finish, with a clean, spare bearing cradle and a smoothly solid pickup-head socket. The Schick is characterized by a big, clean, substantial sound with an especially colorful bottom end. According to Art, “The Schick tonearm is an outstanding value and easily the most accessible transcription-length arm on the market.” Now with balanced cable. Reporting on the 10.5" arm, HR wrote that after hearing Schick’s arms in a variety of systems, he suspected that the medium-length version “might strike a good balance between the liveliness of the 9" and the greater mass and tracing accuracy of the 12" version.” He found it to be a good partner for his Dr. Feickert Blackbird turntable. (12": Vol.33 Nos.3 & 6, Vol.34 No.10, Vol.37 No.11; 10.5": Vol.44 No.1, WWW) Sorane SA-1.2: $2000 $$$ ★
The Japan-made Sorane (originally called Abis) SA-1.2 is a high-mass 9" tonearm that began life as the Abis SA-1, famous for impressing AD and for having been withdrawn from an earlier edition of “Recommended Components,” by its importer, while undergoing revision. The new SA-1.2 reflects a number of refinements: improved bearings, greater effective length (9.4" vs 9"), and slightly higher offset angle. The arm’s basics remain: a precision-milled armtube of rectangular cross section, static downforce, and a removable headshell for easy cartridge changes. When he used the revised SA-1.2—also an HR favorite—with the perennially recommendable Denon DL-103 cartridge, the low compliance of which is well suited to such a high-mass arm, AD found it capable of pulling from his records “tremendous amounts of touch and force and impact.” The SA-1.2 was so good, he declared, that it made his Thorens TD 124 sound more like his Garrard 301. (This, he suggests, is good.) Speaking of which, AD cautions that, to make the Abis more compatible with the unusually low-slung platter of the TD 124, the user must make one or two adjustments. His conclusion: “I’d put the combination of Abis SA-1.2 and Denon DL-103 up against all but their priciest competitors.” In his June 2023 Gramophone Dreams, HR commented that he used the arm’s rear counterweight to set tracking force and the sliding midarm weight to adjust the SA-1.2’s effective mass. “This nifty trick, in concert with the use of lighter or heavier headshells,” he wrote, allows the SA-1.2 to adapt to a wide range of cartridge weights and compliances. “This adaptability, plus the satiny feel of its dual radial bearings, made the SA-1.2 my top choice for long-haul, daily driver use.” (Vol.37 No.3, Vol.38 No.11, Vol.39 No.4, Vol.46 No.6 WWW) SupaTrac Nighthawk 12": $21,000
See this month's Spin Doctor. (Vol.49 No.4 WWW) The Wand Dark-Light: $8500
The Dark-Light tonearm features a steeply tapered arm tube that offers a more rigid structure than conventional tubular arms and is claimed to distribute the resonant modes of the arm more evenly. The Dark-Light has a VTA tower and an excellent anti-skating device. See the 14-4 Wand Master entry in Turntables. (Vol.48 No.10 WWW)
Setting up this unipivot tonearm with its fat carbon-fiber armtube, 7/8" in diameter, on the Wand 14-4 turntable—see Turntables—was a heart-pumping challenge, wrote MT, echoing what AD wrote about an earlier version in May 2019. But as AD found, the result was worth the effort. “The Wand will extract the most from your cartridge,” MT concluded, adding “Definitely recommended—as long as you understand what you’re getting into.” (Vol.47 No.1 WWW) ViV Laboratory Rigid Float HA9: $4500
ViV Laboratory founder Koichiro Akimoto took an idea that had gained some traction among Japanese audiophiles—the pure straight tonearm—then added a few of his own design twists. Eliminating the offset angle eliminated the need for antiskating compensation, albeit at the cost of higher tracking-angle error, but by making the arm an underhung design, where the stylus plays the record in an arc that doesn’t reach the record’s center you get more accurate tracking at the tough-to-play inner grooves. The name “Rigid Float” refers to the fact that a ball on the moving part of the arm sits in a cup-shaped magnet. Between them is a layer of magnetic ferrofluid oil that levitates the ball slightly while centering it magnetically. The arm is available in 7", 9", and 13" lengths. MF wrote about the original ViV Rigid Float 9" tonearm in the August 2014 Stereophile, noting that classical and jazz fared best. MT auditioned the HA9 9" version mounted on his Brinkmann La Grange turntable, using a variety of cartridges. He heard clear, dynamic sound, with excellent, detailed bass, a well-focused soundstage, and no discernible distortion. “The ViV Rigid Float tonearm . . . makes a compelling argument for its alternative approach, and it has some practical advantages not found on other arms. These include the ability to switch between cartridges easily and to quickly add or remove it from a turntable with no need for physical mounting,” he wrote, concluding that this arm “is a tinkerer's delight that presents music in a wonderfully natural, unfussy way.” (Vol.47 No.10 WWW) VPI 12" FatBoy gimbaled: $3900 ★
First reviewed by MF fitted to VPI's 40th Anniversary turntable, the gimbaled FatBoy was fitted to VPI's Avenger Direct turntable for KM's review. (A unipivot version is also available.) The armwand is 3D-printed from liquid resin set into a UV- and heat-resistant stainless steel tube and is supplied with an adjustable, 5/8"-thick, aluminum armboard. Although VPI founder Harry Weisfeld believes the FatBoy arm sounds better with no antiskate, KM experienced skipping. He eliminated this by looping the plastic wire that extends from the tonearm base over a metal peg on the small, V-shaped antiskate mechanism attached to the back of the VTA tower. (Vol.43 No.1, Vol.46 No.6 WWW)
See the Clearaudio Signature entry in Turntables. (Vol.48 No.1 WWW) Rega RB330: $675 $$$ ★
Current version of Rega's classic tonearm. (Vol.40 No.2, Vol.46 No.11 WWW) Sorane TA-1: $1800 $$$
The TA-1 is a conventional-looking, static-balanced gimbal-bearing arm with an S-shaped armtube and an SME-style H-4 bayonet mount with an azimuth-adjustable removable headshell. The mounting distance is 216mm, and at 518gm total mass, it should work fine on bouncy suspended turntables like the Linn LP12. No effective mass is specified, but MT estimated it to be in the medium to medium-high range. Compared with the three-times-as-expensive Brinkmann 10.5 tonearm, Leonard Cohen’s final album sounded dynamic and powerful with the TA-1, the male choral backing voices being readily separated from the minimalist instrumental accompaniment. “The Sorane TA-1 is easy to recommend: a great-sounding arm at a very fair price that works as it should, without complication,” concluded MT, adding that its removable headshell and easy adjustment make it a fine choice for someone who likes to swap out cartridges. Also see the Connected-Fidelity TT Hub entry in Turntables. (Vol.48 No.7 WWW) Deletions
Acoustical Systems AXIOM Reference, TW-Acustic 12" Raven, J.Sikora KV12 VTA, not auditioned in a long time.
