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What makes a good tonearm?

I'm entering the world of decent analog and believe I understand why the turntable design is critical (e.g., vibration isolation, balance and speed stability) but am scratching my head a little about tonearms. What makes a good tonearm good and a great tonearm great? The resulting sound is always the key, but what design characteristics contribute to that sound? Tonearms are a big investment and can be tough to change later so I'd like to understand more about them before I buy anything. Thanks in advance.
ozfly
bdp24's avatar
bdp24
9,788 posts
 
Check out the Audiomods arm. Made in the UK by a master machinist, who uses only the Rega 303 arm tube, all other parts made by himself. A very interesting set of design choices.
chakster's avatar
chakster
6,144 posts
 
Another thread from 2004 is up now. C'mon, the price for Audiomods tonearm is higher than some absolute favorite vintage arms like Technics EPA-100, Victor UA-7045, Lustre GST-801, Sony PUA-7, Luxman TA-1 and many others including the brand new Schick "12, Jelco etc. 

The new arms are not designed for high compliance cartridges and this is the problem. What make a good tonearm goog is the synergy with your particular cartridge. 

Some of the old tonearms are underrated lon the used market, like the Victor UA-7045 - this is absolutely the best buy for those who would like to save money without loss in performance level. Amazing tonearm (imo).  
noromance's avatar
noromance
9,763 posts
 
I get great results with Jelco SA-750 (9" and 12"). They run Decca/London cartridges beautifully. If they can do that, they can handle anything! (except high compliance cartridges)

boxer12
8,656 posts
 
chakster, I went from a Rega RB300 to a  Victor UA-7045 and loved it. It's a very good arm for the money. Currently using a Pole star arm which mates well with my clearaudio MC cartridge. 
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