"oldskool" tonearms


Hi folks, why do many audiophiles who own analog set ups love "oldskool" tonearms, like the SME 3010 or 3012, the Micro Seiki 282, Audiocraft, Toho, Koshin, AR and Hadcock? Are these tonearms better than most of the contemporary siblings? Do these audiophiles like them because of their (oldfashioned) sound? Or because the fact that they are very difficult to get nowardays?
dazzdax

Showing 1 response by thom_at_galibier_design

Hi Dazz,

Speaking on behalf of the MX-282, it's very much a sonic kissin' cousin of the very wonderful Triplanar Ultimate.

My particular sample has one of the lighter arm wands and works very nicely over a range of cartridges from a Benz LP to an Denon DL 103.

On the perfect cartridge (one not requiring azimuth adjustment), I'd say that it edges ahead of the Triplanar.

Overall, I'd chose the Triplanar because of its adjustability. Even with a conical stylus like the Denon, you still benefit from azimuth adjustment.

The Micro's baby brother - the MA 505 (Mk I, II, and II) is a tonearm that I'd pick over a Mörch DP-6.

Tonearms have not necessarily evolved over the last 15 years or so. Of course there are exceptions.

In a recent trip to Dallas, I brought my trusty Schröder/ZYX combo, but not wanting to stack the deck, I wanted to show how good a sound you can make without breaking the bank.

I think it's dishonest to demo an audio system with gear that someone has no intention of owning.

For the second arm in this two armed setup, I chose may Micro MA-505 Mk III / Denon DL 103R combo. Sure the Schröder strutted its stuff, and I love this tonearm/cartridge combo, but the crowd didn't run for the exits when the Micro / Denon got its turn.

Cheers,
Thom @ Galibier