the perfect tonearm

Hi Lew:

>What model of Triplanar have you used that has such a headshell?

For sure mine is not the latest version. My memory is that I started using it around 2000~2001, and had it paired with the Allearts around 2002.

>I have owned mine for more than 15 years, and, altho it is not sitting in front of me at the moment, I could swear that the under-surface of the headshell is a flat plane with no "sides" to it. Moreover, to my knowledge there has been no change to the headshell design in the entire long history of the product.

I'd have to search for where my Triplanar is right now to check the construction details. You may be right that the headshell has no sides. But there was something in my particular Triplanar's headshell structure that impaired its compatibility with the Allearts - that was one of the very, very few times where I was forced to design and machine a part specifically to allow a cartridge to work properly in a tonearm.

>Anyway, the Allaerts cartridges are unusually wide-bodied.

Agreed. But the question is not only how wide, also where the width is located. On some tonearms, towards the rear of the headshell, the connection between the headshell top and rear is reinforced with triangular or curved pieces. A cartridge that is wide-bodied in this area could cause problems, while the same width farther forward may not cause any difficulties.

cheers!

Hi Mikeyc8: Ikeda's tonearms, like the FR's and IT's mostly veer in the direction of high mass, and should work far better with low-compliance cartridges than high-compliance. I'd say that the IT-245 is at least comparable the 64fx, and probably somewhat better. But you do lose the convenience of universal-type headshells. In a universal headshell tonearm, the IT-345 is a more sophisticated design than the 64fx and sounds better, but I don't think you will have much luck finding a second-hand one for sale (which is why I didn't mention it earlier).

>The Micro 505 is also interesting, as it has VTA on the fly I believe.

Note that the 505 was made in straight-tube as well as S-tube variants. I've owned the 505, and I'd say that it has a midrange-oriented, forgiving personality that is quite likeable. But in terms of frequency extension, dynamic range and resolution, it isn't as capable as the 64fx or IT-245. FWIW, FR made an on-the-fly VTA adjustment piece for the 64 and 66 family, which was called the "Arm Elevation Base".

Good luck with your search!

Dertonarm, the G2.2 and the Grado cartridges are well-known for something that is sometimes called the 'Grado dance', although it is certainly not the fault of the cartridge! It is merely that the effective mass of the system is incorrect for the compliance of that cartridge. I have seen the combination oscillate mechanically from groove modulation (and not anything else) to the point that it would skip out of the groove. The combination of the two is also unable to track complex passages.

Tri Mai of Triplanar has nothing but complements for the Phantom, and there have been quite a few threads here on the 'gon regarding its qualities. IME it is a transformation over the 2.2!

Its no secret that I show with Triplanar at shows. I am grateful because the Triplanar has consistently been one of the top tonearms ever made; the best I have heard in comparison to master tapes. One would be quite lucky to be able to pick up a used Triplanar Mk7 or Phantom for only $2K! I hope you do not fault me for making friends with people in the industry...

You must give a listen to an RS Labs RS A1 tonearm. It has a rotating headshell and is one of the (if not best) arms I have ever heard. I think new is $2,900 (maybe $3900-can't remember) but used should be in your budget-if you can find one. Only downside is no armlift but the sound (and incredible ease of set up as no geometyrical cartridge setup is required due to pivot) is soo worth it. Pure bliss. Soundstage, depth, detail, articulation of instruments in thier own space, musicality, prat-I could keep going.

Dear Dougdeacon, dear Ralph Karsten, I appreciate you two being open in your realation with the Triplanar distributor.
I had personally 4 versions of the Wheaton/Triplanar.
While I do not agree with your comments that it belongs to the very best toenarms on the market, it is a nice tonearm with several good ideas but a few shortcomings too.
Its shortcoming mays not apparent in all set-ups and with all cartridges.
About precision in tonearm set-up and cartridge alignment..... well, frankly - as I have learned in various threads and discussions in the past 3 months here on Audiogon, my ideas about precise alignment are VERY different from almost everybody else here.
I have constantly been critizsed for being TOO demanding about geometry or alignment issues.
Knowing this only too well I did with good intention and good resaon recommend the Graham alignment tool. I may not be the ultimate, but it is a hell of a lot better then most other "alignment tools" and allows the novice to set-up the Graham with a fairly good geometry in no time and with prooven results.
I know that the Phantom is better - the Phantom II by a good margin as I learned from Syntax.
Look at the inital price frame - the question was for $2k or under..........
You want to sell Mikeyc8 a Triplanar VII or VIII for under $2k ...?
No ?
But he can get a almost mint Graham 2.2 ceramic for about $1500 to $1600 and will be amazed by the results.
Later he can maybe upgrade one day to a Triplanar or Phantom - we'll see.
But he will get good results (I will try a G 2.2 with the Grado - even if this strange osccilation is "widely known", I want to see it and then I will find out why.) and will be hard pressed finding anything the par in terms of versality and ease of set-up.
And no - I am not associated with Robert Graham.
This is just one of the VERY few audio components on the market that gets my respect.

Cheers,
D.