2. analog
  3. 131874-71914

A battle between two turntable generations. Which one is the winner?

Being an electronic and acoustic enginner, I've worked for well renowned Companies in Germany, that led me to listen to all kind of analog equipments, from turntables to tonearms, cartridges... I love the analog sound!

While I've had the EMT 927 and 930, the SP-10 of all versions, VPI's, Thorens, etc... I ended with my reliable Garrard 301, that I bought brand new in London, England. Believe me, a well engineered plinth for the Garrard 301 transforms the 301 in an outstanding turntable.

Time passed and my beloved Fidelity Research FR-66 SS tonearm was substitued for the magnificent (and a bargain!) Trans-Fi Terminator (best linear tracking tonearm I've experienced). When I felt that it was time to change the Garrard 301 for a new one and based on the positive reviews, I emailed Bruce McDougall, the designer and owner of ANVIL turntables to quote a turntable that could suit the Terminator Tonearm. (Linear tracking tonearms need a VERY stable plinth to perform at best) because I would like to compare the Garrard with a contemporary turntable without breaking the bank.

The ANVIL comes complete (you can name it "turbinated") with adjustable motor board (adjustable string tension), adjustable arm board, the new bearing model and the proprietary magnetic levitated footers.

To make real comparisions, the only thing that I changed was the Garrard 301. Victor Patacchiola's tonearm (Terminator), Audio-Technica AT50ANV Limited Edition (the most natural cartridge ever!) and Steven Huang's Audio Sensibility Impact SE phono cable remained the same.

The main LP that I used (and accostumed with it, too) is a fabulous recording of Switzerland's vocal jazz "BRIGITTE BADER MEETS JOHNNY GRIFFIN", very very rare limited edition by ARS of Germany. Many japanese audiophiles that I know use this recording to "tune" their systems. If you come across this LP, please buy it! This is an all analogue recording made with purist techniques and direct recorded on a Studer B67 recorder.

Although the Garrard + Terminator show their positive potential on track 3, "HOW LONG HAS THIS BEEN GOING ON", (oh) boy!... the Anvil + Terminator is in a different league: it transformed the already perfect soundstage in an outstanding presentation. All the authoritative bass present in the Garrard (probably due to idler wheel drive??) stay there, but with tonal nuances never heard before. The Anvil is unbelievable quiet with perfect speed stability . Certainly the new bearing and a massive platter contributes for a clarity on complex passages that I have not ever experienced before. At $3700.00 (the price that I paid for the Anvil "turbinated with accessories") is a bargain if compared with some turntables that uses plastic, MDF (oh my God!) and other "fancy" materials. The Anvil is of all metal construction and is HEAVY (about 60lbs) and certainly this contributes for the supreme results.

I'm not affiliate with ANY companies mentioned in this review. I'm just a passionate audiophile searching for the best and this combination made my ears smiling!

Would you like to share with me, fellow Audiogon members, your impressions and thoughs about your phono system? Cheers!, Jose.
ultima700
atmasphere's avatar
atmasphere
11,574 posts
 
If the straight tracking arm has a lateral tracking mass that is considerably higher than its vertical tracking mass (all air bearing arms do) then the tracking angle distortion will be described by the cantilever of the cartridge as it moves the arm rather than the length of the arm as it is in radial tracking arms.

For this reason unless the cartridge has a very low compliance, a good radial tracking arm will actually have lower tracking angle distortion and a more locked in soundstage.
bdp24's avatar
bdp24
9,412 posts
 
The TransFi Terminator is very different than other straight trackers, it's very low mass arm wand being just one such difference. And actually, there is a technical justification for an arm having higher lateral than vertical mass, having to do with the nature of the groove's modulation. There are white papers discussing this fascinating subject.
lewm
12,453 posts
 
It's kind of a Catch-22.  Relatively high lateral mass is good for bass accuracy, because low frequencies are largely produced by side to side excursions of the stylus in the groove  The high mass provides a stable base for the cartridge to operate. (Dynavector took advantage of this concept in their DV501, 505, and 507 bi-pivoted tonearms.)  On the other hand, the high lateral moving mass of an SL tonearm can put a stress on the cantilever, as the stylus traverses the LP surface from out to in.  At least, this is the way I understand the mechanics.  No free lunch.

But if the SL tonearm bearing has low enough friction, because of employing a really effective air bearing, I would think the problem can be tolerated or tolerable.  As most know, there were a few SL tonearms that use a motor to move the carriage (Rabco, Goldmund).  These have/had a host of other problems.  Then there's the Souther that uses gravity, worst solution of all, IMO.
atmasphere's avatar
atmasphere
11,574 posts
 
The TransFi Terminator is very different than other straight trackers, it's very low mass arm wand being just one such difference. And actually, there is a technical justification for an arm having higher lateral than vertical mass, having to do with the nature of the groove's modulation. There are white papers discussing this fascinating subject.
The issue is that the arm holds the cartridge in locus over the groove so it can do its job. If the vertical tracking mass is sufficient to do that, the lateral tracking mass should be the same.

The problem with any arm that has the bearings above the surface of the LP seems best understood by the idea of two people carrying a couch. If on level ground, they hold the same weight, if going up stairs the guy on the bottom has the greater weight. If the stairs are not as steep, the weight he bears decreases. This is why you want the arm bearings to be in the same plane as the LP surface, to minimize tracking pressure variation when bass modulation and warp are present.

If you move the bearings to a point above the LP (and many arms do) it becomes more sensitive to warp and bass modulation, decreasing the the tracking force as either appear. Shortening the arm wand causes the arm to be even more sensitive to this effect.
harold-not-the-barrel
895 posts
 
Keeping the wand short reduces resonances within the arm which typically colours the music. It is probably one of the major influences contributing to the overall sound of a tonearm. Manufacturers of conventional pivoted arms go to great lengths to try to eliminate resonances. They have a hard job!

- Vic

As for warped records, they sound surprisingly good on the Trans-Fi arm.
As for both very low compliance (Entré - 1 MC) and very high compliance (MM) carts, they both fit nicely the Trans-Fi sonically. Distortion in particular is no issue IME.

- Harold
More to discover