Graham Phantom Supreme?

Hi Andrew,

of course. But give me some more time for proper information...I will try a few cartridges with it.

Here is a picture from

Graham 12'' Phantom IIs

The red signs are coming from the timeline Strobe (speed controller)

The Phantom II Supreme made the first runs with

- LSC-2298 CR Reissue, Side 2

What you get in the very fist seconds is a kind of brutality which is very unusual. This Arm is ultra stable in the groove and with its superior vibration transfer all details are sharp, sharp. sharp in focus. No smearing, no coloration and the dynamic jumps are like a cutting knife..stop-start-stop-start with the ability to deliver a very deep soundstage. The time differences to the microphones are easily to hear and delivers a "picture" of being a part of that performance.
It is no big deal for the listener to follow each swing of the orchestra.

- London-CS 6165 Ruggiero Ricci, London Symphony with Gamba

Tracking Signal like Radar

Right from the first move, you "see" the bow from Ricci how it swings on the violin, down, up, forward, and back, his pressure onto the strings ...this is very amazing. Also his distance as a solo player to the orchestra. When that one starts to fill the room, his playing doesn't suffer, everything is right in separation.

All this is audible with a cartridge for about 1500,-- $. I have not used my other ones which are better and much more expensive. In a way, I am not in hurry with that.
Another very impressive observation, even with those highly dynamic records, even when one is warped, you hear no differences in sonic presentation. This Arm has an interesting kind of Balance which is very remarkable with such records.
Never had this before (except the FR Arms).

Graham made the right steps, his 1.5 Design was always increasing the weight (Tungsten), the Phantom was (or is) brilliant, because he changed and improved his successful design with the Magneglide System and the heavier Phantom. Phantom II got the Titan Tube and a few changes, the difference was not really spectacular, but it was (or is) a big step forward to more true tonal color. In a way, spectacular for those which have a System which is able to show that. A violin sounds more like a violin, you can hear, what kind of Piano is used in the recording... It simply sounds like the real thing. Not softening, not nice, not dampened, no Phil Spector soundstage.
The supreme IS spectacular. I think, everything now is in perfect following, to Arm Material,excellent / outstanding vibration transfer,the right pressure to the bearing and a rock solid Balance. That Arm is faster than a shadow based on Design done right. Graham showed again what is responsible for what. Is this THE Arm to go? Hm, no. You can't use it to light some wood in the fire place, it is not expensive enough to shock your audiophile buddies, it is not limited nor a 12" version.
But, when you are one of those who put a record on the table, an original one, because you want to know what the fascination is with those, well, probably you will discover something you never heard before.
And don't worry, you don't need a 10K cartridge to hear that, a Denon 103R with a good channel separation is fine for this.

Here is something really useful, the adjustment tool from Graham for his Arms.

The first steps to get it right...

The 10" arm for the Graham is the way to go. That was Musical Surrounding recommendation anyway.

Did they say why?

I think, Musical Surroundings has (or the person behind it) a problem to listen and to understand something right. Nothing unusual in that business btw. And Graham never said or wrote anything like that, because this isn't his opinion.

Hello,

here are some lines in copy from Grahamengineering about that:

... we offer the longer wands for the sole reason that some turntabales with record rings (VPI, Clearaudio) require more length for the arm components to clear. And that's the only reason...

... In a word - don't worry about the long length; you're much better off with the standard 9" arm...

Hope this helps, and best wishes,
Bob Graham

I use mainly 9" Phantom IIs, has the advantage, that the alignment gig is calculated for it, too.

Size is not everything. Short done right can have some advantages ....

... wonder if the new adjustable jig is configured for each tonearm length ?

No. It is only right for 9"".
When you use it for 10" or 12" the alignment is wrong, but normally you can hear that in 5s.
For these lengths you should use a seperate alignment System.

The alignment from the Phantom is pretty good. Here is a pic from the
bubble position

and the matching needle position

.

Voraratc: 295,6 mm

P2S is simple
In the Box is a Pin for the spindle and a hole for it in the Headshell from the Armtube. Just flip it over and it is done and correct. Mark the 4 holes for drill and you are on the safe side. With the 9" Standard Arm of course.

*Back To Mono*

It is an Arm with a right Geometry and easy Handling

Some news.
Interesting product imo.

S-shaped armwand

.

Egrady, you are spot on with your conclusions.
VTA depends on the cantilever angle, angle of stylus A_N_D what kind of Diamond is used. The side walls have different cuts (and more...) and they track the information. So it is logical that every change in that "angle" will give you different results. some record collectors say, you simply have to dial it in, until it "settles". You can hear it. Another chapter is the cutting angle from mastering...
Anyway, the bubble show you that the Arm is level, it is an indicator for the user that he has a "level" from where he can do his own settings. It can't be done by eye anyway based on the tempered Armtube, the eye will be always cheated. It tried it several times, before I bought the Phantom with the bubble I used a small gauge onto the Headshell with the earlier Phantoms to get it even.

I felt the Phantom II was better than the triplanar..

It is fact.
The Phantom has another huge advantage: It works on a top sonic level with nearly all cartridges, the Triplanar doesn't. You see it pretty often in pics with Koetsu (mismatch, not good), Lyra Titan (disaster), super with Zyx or any other cartridges which move no energy into the Arm...Bob Graham simply has a better knowledge about energy transfer, and what is important generally for a good Arm Design.
The Triplanar had its good time against Graham 2.0 series but when the Phantom became available it wasn't in the same class and the gap got wider...

comparison Phantom / Triplanar VII