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

skyscraper

Pindac, that video was a scream. Thanks. Always good to be able to laugh at yourself. I was amazed how many changes had occurred in high end audio when I tried picking up an interest in it again after having not having purchased a single new component since 1979.

Raul, I appreciate your excellent advice, and you are undoubtedly correct the Kleos would be better served by upgrading the Classic 2. However I’m pretty content with what I have now with the exception of the current Ortofon 2M Black cartridge being replaced. And I’ve been fairly well convinced an upgraded tonearm should be in the offing at a future date. But that’s where I need to stop now, as wringing the best performance possible out the Kleos is not my highest priority at present

I’d rather spend my resources, time and energy on pursuits other than audio now. I really don’t wish to do surgery on my turntable, or have to go to the trouble of selling it, or researching and finding and installing an upgraded turntable, even if it would improve my system.

I’ve already spent way more than anticipated on the Kleos alone, much less considering getting a tonearm upgrade and/or a whole new turntable. I’d prefer to move on to other pursuits. I’d like to travel and see the Sistine Chapel for example and do some other more mundane things that require time, resources and energy. I hate to be spouting such audio heresy on Audiogon, but shamefully, there it is.

I’m still enjoying the thrill of having the Classic 2 and all my other new components, and am perfectly happy with them for now. I never thought I’d have such a grand stereo system, I realize there’s always something better and you’ve pointed out some good examples, even economical ones, but I think I’ll stand pat, cool my jets for a while and enjoy what I have. Hope you understand, and thanks for all the good advice.

Mike

 

 

Did you detect the very young Mr Bean in his early in life role, as a Sales Representative for Trio TT's.

The Customer was to become the Director of the early Mr Bean Movies  

A visit to Rome will be an amazing experience there really is an amazing architecture and ancient structure to be seen almost everywhere when within close proximity to the River Tiber.

Romulus and Remus have left a legacy that Multiple Millions if not Billions are enchanted by and compelled to experience.    

Mijostyn, very well could be.

 

Pindac, sure did.recognize Rowan Atkinson .Used to watch him back in the eighties in Blackadder, which was hilarious.

This has nothiing to do with audio, but I’d really like to see Rome and Florence. I was stationed in Stutttgart, Germany in 1980. Right before I finished my tour, some friends invited me on a trip to see both those places, traveling in the luxury of their brand new American car. Just my luck on delivery to them the car had a defective engine, and they couldn’t a part needing to be replaced from the US before I shipped out. I’ve always regretted missing that opportunity.

Mike

Maybe the trip can be planned to incorporate the enjoyment of music, there are a lot of live performances that are arranged to be performed within the confines of ancient structures.

It does not seem too far stretched to acquire a ticket to a concert during your trip.

I spent the afternoon yesterday with an owner of a Garrard 401 with a Origin Live Tonearm and Sumiko Pearwood Cartridge.

The 401 Owner recently sold their SME 20/12 and SME V Tonearm and was keen to receive a assessment from the local group of the new TT Set Up.

For the occasion, I supplied various Patter Mats, various Platter Spindle Weights produced from different materials, Panzerholz Sub Plinths and AT-616 Footers.

The attendees have all been quite familiar with the SME Set Up and the system the Garrard 401 was demonstrated in.

After a few configurations of ancillaries used along with the TT, the performance was superb, the changes were not nominal but quite noticeable.

One attendee claimed that the simplicity of the changes made and the impact on the SQ, was akin to having put a Cartridge put into the Set Up at twice the value of the Sumiko.

I agree without reservation, there was substantial changes made for the better, just by swapping the materials used in the support structure and the weights of a Platter Spindle Puck in use. 

As there was such a impression made and detected by all the attendees, I was asked to describe my reasons for suggesting making the changes, and it was solely that my experiences has shown certain things I have perceived as being unattractive, can be diminished quite substantially by changing the environment the Cartridge functions in.

For me the environment is not the ambience of the room, but the materials the Cartridge is sharing its connection to the LP with.   

This starts from the Rack, Rack Shelve and is then considered up through the structure and is not stopped until the contact the LP has with materials is addressed.

I was able to show an improvement yesterday with a few trusted material exchanges, if I was able to sit with the TT for a few hours and work with the material exchanges further, on all parts belonging to the support structure,  I feel sure there was a further improvement to be eked for the better of the Cartridge.      

I inform you of this as the Sumiko and Kleos are of a similar purchase value.

The Origin Live Tonearm 'Illustrious' model and your own Tonearm, even though not the same mechanical designs, might have similarities through the constraints for the design.

The above info' is made known, as investigating a little further into your mounting methods, the swapping of Sub Plinth materials can be quite cheap, your footers are already addressed.

The discoveries made, might impress you even further when the honeymoon period is ending with the Cartridge.

Being familiar with the Carts capabilities in the present set up is a very good start point, the suggestions I have made are not ones that will expose the Cart' to a risk of damage.

The idea to experiment and create an interface that is proving to be a better environment for the Cartridge to function in is the goal.