Tonearm wisdom sought

[Mike F]

EDIT/MODIFY 3/7/06: Through speaking with a variety of people I've decided on the JMW-9.

Wisdom no longer sought! (thanks?)

(I'll try to condense as much as possible).

I had a terrible accident a few weeks ago which ruined my cartidge's stylus (Clearaudio Aurum Beta S Wood moving magnet) and due to the scheme (scam?) of when trading in an old cart for a new, I went with the much greater discount offered by choosing a more expensive cart-Dynavector Karat 17D2 MK.II moving coil. The discount offered for a cart of similar or just a little more value than the Beta S was too small. I recognized what was happening but didn't protest as it was my plan to move eventually to a higher performing moving coil anyway (time flies when you're clumsy!).

So what troubles me is the idea that the cart is being held back by the relative skills of the tonearm and table which is a Rega RB250 mounted on a Nottingham Horizon. I consider them decent mid-level components but with a few non-audio pots on the financial stove right now I can't make the step up to the next level such as a VPI Scoutmaster or Nottingham Spacedeck (tables considered "mid-level" for some). I do consider the RB250 the weaker of the two and am researching high and low for it's replacement. (The moment I saw it's crummy RCAs I walked it up the street to my nearest audio shop and had it rewired with Cardas/Eichmann plugs). The Horizon is OK and can run with other under 2K tables.

One arm that catches my eye is VPI's entry level $900 JMW-9 which comes standard on the Scoutmaster (and Aries?). It would seem a good fit if I were to eventually get one of those tables. I do have a very interesting, possibly troubling, offer from a local guy in the form of the reportedly great sounding but super quirky fiddly 47 Labs RS-A1 tonearm for $500 CAD. http://www.enjoythemusic.com/magazine/equipment/0701/rslabs.htm This seems to offer the most bang for the buck musically with the drawback being "it might drive you crazy" in the words of the guy selling.

So kind of an open question to anyone who wants to share their thoughts on tonearms. Due to the popularity of the VPI tables I am hoping for some feedback on the JMW-9.

Thanks

[CD44hi]

An option that you may (or may not be aware of) would take advantage of your R250. It is the "incognito" mods, which consists of rewiring directly from leads to the RCA outs. I think the kit costs $250. I also believe that the job is not that simple because of the fragility and ability required to solder the cartridge leads. Galen Carol does the installed kit for $279 I believe.

I run an unmodified RB900 in my P25, and I am satisfied. If you read in the audio asylum, some claim that the incognito RB250 to be superior to even the RB1000. Although I do think that the bearings on the RB900/RB1000 are superior to those of the RB250/300/600 family.

Disclaimer though! I have not dealt with this mods, or Galen Carol, (people in a'gon and AA seem to always have good things to say about him though)

But I thought in mentioning this as it is a reasonably inexpensive approach given that you already have the RB250.

I have no experience with the VPI arms, but others in this forum do. I am sure they will chime in

[Mike F]

Thanks CD44hi. I am already rewired, although the Incognito may be better. Someone out there also does some structural mods as well. My upgrade philosophy is to skip the modest upgrade, if I can afford to, and step up to the one that I live with for the long term, maybe permanently and forget the angst. My audio tech friend says unless I lay out $1500 there's no point in upgrading from the RB250. I hate the idea of that and hope he's just being too general. He's hilarious though and likes to show me things in high-end audio shops like expensive turntable platters that wobble slightly or expensive wobbly racks that he puts my hand on and raps on a different shelf says "you feel that? Garbage!"

As for the "people in a'gon and AA" I've been using the search function for weeks, which is what I usually do before posting for help. I usually get a fairly good picture of whatever I'm researching but the tonearm is proving ellusive. I've even looked at opinions on older arms. Here's an interesting post "oldskool" tonearms" http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1133728840&openflup&4&4#4

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"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."

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He could be correct? Right or wrong I tend to go with recent things when in doubt.

[CD44hi]

I guess it is quite possble your "audio tech friend" may be right. But it would be an expensive excercise to find out, wouldn't it?

My main issue with vinyl is that it is a money pit. The only thing I am willing to buy new is cartridges reselling value is really low if one buys new stuff. On top, it is not as easy to buy turntables or arms online as they do tend to be fragile, and arm bearing that are so precisely machined can be stressed during shipping. So it is a catch 22, at least for me. he he.

Also, regarding the old-school arms discussed on the post you quoted. I could play devil's advocate and claim that it is the same as with with other old classic gear: It has an aura of magic that portrais no frills, just better, over-designed approach, giving the best results. Unfortunately, I don't know enough about tonearms to be able to interpret what he is refering to. It is just plain over my head.

Probably some others can contribute and provide opinions?...