"oldskool" tonearms

This is surely and incomplete explanation, but often people who are into analog have been so for many years. If they are happy with their rig that includes one of these arms, why change?

That said I am not one who buys into the vintage argument. At least with stuff I have heard, newer gear in every area of (solid state) audio is better than old models from the same manufacturer at the same (inflation adjusted) price point. I know some people disagree with this statement (on amps for instance). But my ear tells me audio is clearly moving forward - not as fast as computers of course, but it is moving.

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

I think economics plays a large part in such decisions. No matter what rung on the financial ladder, it seems we all try to get the best bang for the buck we can afford. For myself, financially, I would love to even be able to afford an SME 3009 II for my Thorens. My LVX playing music still gets the toe tappin and brings a smile once in a while.

Steve

Dear Dazz: I can't speak for other " vintage tonearms " lovers but I can speak for my self:

+++++ " Are these tonearms better than most of the contemporary siblings? " +++++

My answer: absolutely, yes.

+++++ " Do these audiophiles like them because of their (oldfashioned) sound? " +++++

There is no " oldfashioned " sound on them, there is only " right sound ".

+++++ " Or because the fact that they are very difficult to get nowardays? " +++++

No, I don't think so.

Let me to explain my answers:

- From my 18 tonearms, 14 came from Japan and all these but one ( Ikeda ) are " vintage " tonearms. The other ones: one from USA and three from Europe, two " vintage " and two current models.

- In the great time when the japanese were the leaders on the manufacture of tonearms, this people were the best of the best building a mechanical device like a tonearm and they make their design, almost always, not only with full skill/love and know how but with a great creative effort. ( I'm not saying that today designers have not that creative and skill for make tonearms ). In that time they really have to be " the best " because each manufacturer had a great ( in quality and quantity ) competition.

- Take a look for example, SAEC : its patented double knife Edge bearing design, its pipe itself is constructed of a special light alloy, a byproduct of French aeronautical technology, and their high-purity / high density headshell ( ceramic ) are unique in the tonearm industry.
Micro Seiki: the Gyroscopic bearing of the MAX 282/237 IS A TOUR DE FORCE AND A UNIQUE BEARING DESIGN.
Lustre GST 801: the variable magnetic flux type stylus force application system and its variable magnetic flux type anti-skating mechanism along with its vibration-proofing of stainless steel arm pipe and its high precision radial bearings, makes this tonearm one of the great ever made.
Dynavector DV 505: Its unique Bi-axis system ( horizontal magnetic type ) and the double damper method ( inertia controlled dynamic damping plus electro-magnetic damping type ) shows the creative brain of these people.
Technics EPA 100 MK2: Its unique variable dynamic damping shows the creativeness on the tonearm design along with an extremly stable 4-point gimbal employing ruby ball bearings with a friction of less than 3mg for movement in any direction and the use a metal pipe alloy of boron and titanium. Extremly hard to beat.

Satin AR-1S: The best unipivot ever made. Period.

I can talk and talk about those great great!! vintage tonearms, other like: Ortofon RS 212, Fidelity Research, Audiocraft AC 4400, Sumiko The Arm, Mission The Mechanic ( the only tonearm build from a single piece of aluminum. Not casting like the SME V/IV ), Stax UA-7, Denon Da 401, etc, etc.

I own all these tonearms and I owned some of todays tonearms and I can say that with my cartridges in my system nothing can beat them and you can have some of this superior tonearms for a fraction of the today tonearms price.

And let me tell you something: almost all my tonearms are still with its internal original wire, just imagine how could be improve each one when I change this internal wire !!!!.

I respect to all designers but nothing that I know can beat those tonearms at any price with any kind of design. It is not only my opinion: read what Tom ( a person that I highly respect ) post here about the MAX 282 against the Triplanar. Btw Tom, I have all the diferent arm wand on my MAX 282, what a tonearm!!!!

Regards and enjoy the music.
Raul.