The gentlemans in the " tonepublications " link tested in the RP10 the best Lyra cartridges including the Atlas and the Dynavector XV1-s too in all cases with excellent results.
R.
How to choose an upgraded tonearm.
In two recent threads on selecting an upgraded cartridge, some of you suggested a new tonearm was in order. Since I’ve never chosen a new tonearm, I’m asking you all for some advice on how to do so for that future event.
My current turntable is a VPI Classic 2 with a VPI JMW 10.5i unipivot tonearm. A new Lyra Kleos MC cartridge is on order. I’ll likely be changing to a gimbal style tonearm. The rest of the system is Magico A3 speakers, a Luxman 507uX MkII integrated amp, a Marants Ruby CD player, and a Shunyata Hydra Denali power conditioner.
What price range should an appropriate tonearm for the Lyra Kleos be in, that would also be in keeping with the price point of my Classic 2, The Classic 2 was in the $3-4,000 range, as is the Lyra Kleos. I’ll be purchasing new, not used, and will not be upgrading any other equipment than the tonearm.
Pardon some rookie questions, but what attributes should I be looking for in a quality tonearm? Who are some of the better known manufacturers, and which models of theirs might be workable? Are there other alternative to either a gimbal or unipvot tonearm? Are tonearms generally interchangeable between different manufacturers turntables? And what improvements in sound quality might be gained by upgrading my tonearm?
Since this is all new to me, any other advice you might have about things to consider would be greatly appreciated and will help kick off my research. Thanks,
Mike
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- 103 posts total
Tonearms are a very attractive item to be used in a System, there is an allure about the device, to the point a LP Replay enthusiast can lose many hours observing the models available. The Designs and Aesthetics commonly discovered can easily be described as quite a feat of engineering. The Devise has to offer an extremely precise accuracy in its function and maintain the designed function, when met with many different environments, any changes to properties of materials used within the design, as a result of an environment, has the capability to impact on the performance in a detrimental manner. Learning about a Tonearms Design Intent and how its consistency in unadulterated function has been the basis for the choosing engineering methods and material selection will be quite a valuable undertaking. A very nice aesthetic, one that really shouts pride of ownership, is not a compensation for a design that is supplied with deficiencies in place where the engineering and used materials are not optimised. What really matters, is what is under the hood, what designs and materials are being used at the concealed locations, it is quality of thought and work undertaken for the out of sight various interfaces that enables the the magic to happen. |
@skyscraper : The Lyra cartridge M.Fremer used in his SAT review was not the Etna but the Atlas Lambda SL, go figure ! ! He used too another unique top cartridge that was the Ortofon Century.
R. |
I have been following this thread out of interest. I am not a perfectionist, never wanted to be a surgeon or dentist. From my point of view this has danger written all over it. A turntable not built with the idea of being a universal mount for different tone arms, having to carefully match the TT to arm, to cartridge. What could go wrong? This is me… completely. I have an audio dealer that loves working on turntables… obsessed really. I would not touch one. If I did want to do this. I would trade my VPI (I owned one for 25 years) and get a table made for different arms… then get a known synergistic combination of arm and cartridge. Then work from there. But for now I’ll stick with my Linn LP12 and the Ekos SE waiting at my dealer to upgrade from my current Akito tone arm. But of course that is me. I am not a competent at such stuff. The sound would be worse if I did it. |
- 103 posts total