Kuzma 4Point Tri-Planar

Dear Hiho, I will give the Spiral Groove a good look.
On the other hand I will join the ever growing group of tonearm designers very soon.
Thus I will not comment on any other tonearm design - especially not current/new models introduced only recently.
My statement regarding pivot tonearm will be introduced here on Audiogon later this winter.
I will rather let facts speak for me - same as I did regarding tonearm alignment.

Unoear,

thanks for the heads up.

alas; i now only have 1 turntable with spots for only 2 arms....and both spots are taken. but if i get a chance to investigate a Phantom II Supreme i'll check it out.

Daer Syntax, if you hear and care to comment on sonic differences between different lenghts Grahams it would be greatly appreciated! :)

Oscilloscopium, your comment is particularly interesting to me, because I found I prefer my Omega on the T-P (VII though) and since I put it there I haven't bothered to experiment. I'll have to mount it on the Reed 2A and see how I like it now after I've lived with the T-P for some time. T-P does track it better and it sounds more weightier though.

Read Romy the Cat's take on mikel.

www.goodsoundclub.com/GetPost.aspx?PostID=2013

Awesome.

Huh. Not all in audio is Art for the Ear. Each his own, but indeed, the worst sounding Systems I ever listened to, by far, were extremely expensive ones. Not all, but quite a lot. And all those owners love their stuff, I think, a few of them fall onto their knees and pray in front of it before they go to bed, so why should I talk about it. All I can say, when I am interested in whatever unit (cartridge, Arm, Turntable...) and one of those recommends it enthusiastically (to me or generally), I bury the idea from one second to the next (ok, let's say, half second). I mean, deep, minimum 6 ft under.
So, I like these discussions and 'recommendations', especially those were you can discover the unknown audiophile in yourself, a knife and a piece of wood is a good start (today) :-)

Wood is a chaotic material comprised of millions of random grain boundaries at varying angles surrounding cells with differing sizes, shapes and densities. Such a structure tends NOT to allow standing waves (resonances) to propagate or reinforce each other. Acoustic energies which flow into wood tend to be repeatedly scattered into disorganized packets with randomized frequencies and amplitudes. This makes it easier for the arm and armboard to dissipate them, rather than reflecting organized energy back toward the cartridge

Really? Is this why instrument makers play with wood the way they do?? Seriously, don't make statements like this and expect to be taken seriously at the same time.