Graham Phantom Supreme?

Never heard of a captive cable on a Graham. I don't think it's an option.

Rockitman, Some plain old thin gauge silver wire would make me happy enough, and since one would be paying for the re-working of the tonearm, one could also pay for quality wire, Nordost notwithstanding. Any good quality continuous length of wire would be preferable to having the signal traverse the DIN plug, IMO.

The Phantom II Supreme made the first runs with

- LSC-2298 CR Reissue, Side 2

What you get in the very fist seconds is a kind of brutality which is very unusual. This Arm is ultra stable in the groove and with its superior vibration transfer all details are sharp, sharp. sharp in focus. No smearing, no coloration and the dynamic jumps are like a cutting knife..stop-start-stop-start with the ability to deliver a very deep soundstage. The time differences to the microphones are easily to hear and delivers a "picture" of being a part of that performance.
It is no big deal for the listener to follow each swing of the orchestra.

- London-CS 6165 Ruggiero Ricci, London Symphony with Gamba

Tracking Signal like Radar

Right from the first move, you "see" the bow from Ricci how it swings on the violin, down, up, forward, and back, his pressure onto the strings ...this is very amazing. Also his distance as a solo player to the orchestra. When that one starts to fill the room, his playing doesn't suffer, everything is right in separation.

All this is audible with a cartridge for about 1500,-- $. I have not used my other ones which are better and much more expensive. In a way, I am not in hurry with that.
Another very impressive observation, even with those highly dynamic records, even when one is warped, you hear no differences in sonic presentation. This Arm has an interesting kind of Balance which is very remarkable with such records.
Never had this before (except the FR Arms).

Graham made the right steps, his 1.5 Design was always increasing the weight (Tungsten), the Phantom was (or is) brilliant, because he changed and improved his successful design with the Magneglide System and the heavier Phantom. Phantom II got the Titan Tube and a few changes, the difference was not really spectacular, but it was (or is) a big step forward to more true tonal color. In a way, spectacular for those which have a System which is able to show that. A violin sounds more like a violin, you can hear, what kind of Piano is used in the recording... It simply sounds like the real thing. Not softening, not nice, not dampened, no Phil Spector soundstage.
The supreme IS spectacular. I think, everything now is in perfect following, to Arm Material,excellent / outstanding vibration transfer,the right pressure to the bearing and a rock solid Balance. That Arm is faster than a shadow based on Design done right. Graham showed again what is responsible for what. Is this THE Arm to go? Hm, no. You can't use it to light some wood in the fire place, it is not expensive enough to shock your audiophile buddies, it is not limited nor a 12" version.
But, when you are one of those who put a record on the table, an original one, because you want to know what the fascination is with those, well, probably you will discover something you never heard before.
And don't worry, you don't need a 10K cartridge to hear that, a Denon 103R with a good channel separation is fine for this.

Syntax,

I agree with your assessments of the "El Supremo". I am using an Ortofon A90 on this arm. Can't wait to get home and listen again...for hours. This arm will be going on my Clearaudio "Master" Innovation when it ships in Dec.

Here is something really useful, the adjustment tool from Graham for his Arms.

The first steps to get it right...