Comparison of sonic qualities of some tonearms


I’m relatively new to the world of vinyl, listening seriously for probably only 2 years.  Of course, many big picture items (e.g. turntable, phono stage, cartridges) are discussed extensively on this forum, but I haven’t seen much discussion comparing different tonearms.  I would be interested to hear about different people’s experiences with different tonearms, mentioning the audible advantages and disadvantages of each tonearm, realizing that there is no perfect sound, although from what I read about others’ experiences, SAT tonearms may come closest, albeit at a very high price.  

drbond
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I upgraded my contemporary Linn LP12 with a Koetsu Rosewood signature from a Akito to Ekos SE (something like $4K vs $7K) a couple years ago. The upgrade was well worth the investment in terms of sound quality.. Sonic improvement did not involve tonal balance but, as I remember resolution and bass. But I did not take notes and don’t remember the nuances of the differences. So, that is about all I can say.

Thanks @rauliruegas  Mr Tonearm gd. Every one trait that falls off represents a compromise. Compromises are frequently worth it. That is a judgement call. 

@drbond , It is not how a tonearm sounds, it is how it works. The difference in sound quality is so slight as to be made meaningless and subject to psychological overlay. Mis tracking distortion is terrible sounding. How well does an arm prevent that from happening with any given cartridge?

As somebody who has been through a selection of Cart's on the SME IV and lesser Cart's on a variant Rega Design and an TA used in conjunction of a SME version of a Rega Design TA. I have no upset or regret for spending many hours of replaying Vinyl with such a tool.

What is different at present and for the foreseeable future, is I now use a TA that is complete as a design, but also able to be treated with further upgrades of which  a few I am instrumental in encouraging the investigation and resulting realisation of  methods being adopted for both  Mechanical Interfaces and the Signal Path. 

I am thoroughly impressed with the Design for the Tonearm as it stands, when used as a comparison to the upgrade options in place, I am blown away by the changes the few adopted design methods are able to achieve. I don't need the upgrades, I am for my purposes way out in front of my other adopted methods no longer in use for a Tonearm.

The real attraction of the Upgrades is that I know my input to the stimulus that created the curiosity and manifestation of their presence.

As for my posts in this Thread, it is strictly to inform the OP, there are range of TA's as a result of the design adopted. That will impact on the end sound with a similar perception, being a constrained presentation. My conjecture on this, is that it is seemingly being created by the TA's design for a Mechanical Interface, design for the Geometry, or a combination of both.

I will not suggest this is to be avoided, but more to the like that it is to be discovered. Only when discovered will the OP be able to decide if a TA that has a increased perception of being inhibiting or lesser perception of being inhibiting is where they would like their investigations to head.

Note: At no time am I suggesting the noticeable lack of liberty or liberty perceived when a TA is in use, is a perceivable sound signature belonging to the TA design. I do not refer to it as a flaw. I am strongly suggesting that when the perception of a constraining design is discovered, it becomes noticeable, and has a presence as do other influences known for being noticeable. 

For myself it is the electronics that create the sound signature and the failings to manage transferred energies that are the Colouration that can be detectable.  

Leif Johannsen had once made it known the SAT Tonearm used by Ortofon is the only Tonearm, the Company has used that gets out of the way and allows the Cart' to do exactly as it is designed to do.

I am sure I have a much improved understanding of this now I use my most recent  adopted design for a TA.    

@mijostyn You state that between tonearms “The difference in sound quality is so slight as to be made meaningless and subject to psychological overlay.”  
If that were the case, then why would there be so many different types, manufacturers, and grades of tonearms?  It is possible that many listeners are of the same opinion as you, namely that a tonearm makes little difference in sound quality, because very few even discuss tonearms in these threads.  However, in my very limited experience, I would say that a tonearm is capable of making as significant a difference as a pre-amplifier, or phono stage can make.