On the subject of the Phantom II and its virtues...I was wondering if anyone have experience with the Phantom II on an Avid Acutus Reference. After reading that Conrad Mas, the designer and builder of the Avid was not fond of and was not recommending the use of a unipivot arm for his TT, I felt conflicted about my decision to purchase the table. Part of the upgrade path/plan I have is to run a Graham arm, one because I like the arm and two because one can set up multiple arm/cartridges, of course (mainly mono and stereo). It turns out I wrote Mr. Mas recently and he felt that after an acquaintance of his had run the Phantom with its magnetic stabilization in the lateral plain he was not willing to count all unipivot designs out of the running. So I'm looking for further experiences, if there are any out there. Opinions would be appreciated too.
Happy Listening! |
Syntax, if you happen to be commenting on my previous post to your thread, I would like to add a little insight.
Likes or dislikes play into it I'm sure. I admire the Swiss watch like fit and finish of the entire Graham line, it is truly very alluring. It is also truly rare, even amongst a history of many great tonearms and tonearm designer/manufacturers. I also understand and appreciate the fact that Bob Graham makes a tonearm that has functional precision that leaves most others in the dust, IMHO. My concern and my understanding of Conrad Mas's concern with unipivot arms on his table is that his clever suspension is also essentially, unipivot, which together create some basic engineering challenges, and very possibly a poor result in combination with a basic unipivot tonearm. It is an issue of basic mechanical compatibility not synergy to the subjective listener. Personally, my experience as an industrial designer and analogue Hifi enthusiast tells me that Mr. Mas also has a strong command and insight on turntable/tonearm physics.
In the words of Bob Graham:"Once Neutral Balance is chosen for use in a unipivot tonearm, one must remember that both the vertical and lateral planes will be affected the same way; without proper lateral stability, such a design would not have consistent, proper vertical alignment, and the pivot would tend to flop over to one side or another (usually in the direction of the weighted cartridge offset angle mounting). Obviously this condition must be avoided. The answer to this lies at the very heart of the Phantom's design." In brief, the Magneglide system which completely changes the paradigm of how a unipivot arms responds. This could very well be the key for my success with the Avid and on a grander scale be beneficial to almost any TT set up.
A thought about vibrations, the very nature of all record players works on physical vibration, obviously from the source (Lp). It would be naive to believe or suggest that turntables themselves or tonearms for that matter, do not have inherent vibrations both from the source and from the loud speakers or foot falls or a truck driving down the street near by. The object is what you do with them. Material dampening alone is a cave mans analogy to solving this tricky puzzle. Vibration management on the other hand is the ability to control where and when particular menacing frequencies resolve and the properly dissipation of them in areas that don't adversely effect the music. It is a science that is still being pioneered by those with outstanding insight and technical skills. It's obvious that Mr. Graham is unique in that he has shown a strong command of these skills and an amazing standard for both taste and quality.
Lastly, my inquiry was that of supporting observation and opinion on the given subject... I felt this might be a pretty good forum for some help from those intimately familiar with this tonearm in many different applications. What it was not was an attempt to divert the main discussion tangentially. Just looking for a little help.
Happy (analogue) Listening! |
It appears that we have a "clever" audiophile in our midst. You are so transcendent in your thought...
Oh sage please,through a few pearls of wisdom to the swine that surround you, i want to "KNOW" the secrets that i have been denying for so long as i through my fortunes to the wind...Just kidding, of course!
So many words, but nothing is said,
tell us, what makes your words any more credible, or better yet, what makes your judgement/knowledge any more credible than "most audiophiles" or "dealers" that you condescend to.
So far it has remained unseen.
One who chooses to confront his fellow music lover hiding behind oblique comments and explaining them all as the unwashed masses, rarely does any good except to feed his own ego. We have a word for that on these threads, it's called a troll.
i prefer the honesty of sharing and helping my Hifi friends, and on occasion showing my ignorance.
Happy Listening! Come in here dear boy, have a cigar, your going to go far...
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Axel, Your point is well taken, the lady may be teaching me something by contrast, if I understand you correctly. Synergy is a demanding mistress my friend! And this is why we need an open forum like AudioGon. There is no way I (we) could get this kind of sharing of ideas and viewpoints in our limited circles. I have the good fortune of being part of a one hundred, fifty plus membership in a local audiophile group called SMAC Southeastern Michigan Audio Club and many of our members are part of the Audio Karma Festival each year in our area and yet, the input by this thread has given me new insight about my SME V and the Phantom II from all of your observations.
Happy Listening! |
Syntax, I would not have a problem with you or anyone else for that matter giving their opinion or not about a concept, theory, product, what have you, but that's just it, your delivery shows extreme arrogance, a personal attack and is socially repugnant and it's evident that it's not just my misunderstanding. You have a personal track record of this in your short history here on AudioGon and this is no place for it. When you say "Some want to beat me because I write something they don't want to know." Beat you up? Or maybe respond is more like it. How dare you to presume that you have any idea what I or anyone else here knows, much less to condescend that we don't want to know your presumed "truths". Give us a break! Please think about showing your fellow audiophile a little respect. If you are impassioned and care to press a point intellectually, great, then do so but, if you're incapable of expressing your opinion without this unbecoming behavior toward others than, get lost. And as for your friends coming to rescue your credibility, it's lame and misdirected and should not be necessary as long as you are acting as a gentleman. Your passion and pursuit in this hobby is no excuse to mistreat people. Please understand I am not playing mind games with you, or personally attacking you, and I mean no offense in your direction, but try to show a little social grace, will you?! Please think about it. And honestly, your experience/knowledge will be well received as is many others on this site.
Happy Listening! |
Downunder, please read March 5th, 2007- by Wayne Garcia, The Absolute Sound review or maybe you have. I too questioned Conrad Mas about this very thing and like I said previously, he acknowledged that the Magneglide system seemed to play well on the table. The table is bought without an arm, so I would guess it has little bearing on what Mr. Mas prefers. Like you say, if it's not British there is the import issue. I do find the Avid to be lively, far from bright though and it also smokes my old loaded Lp12 (less a Keel) dynamically and the bottom end is better detailed through my OTL MA-1 Silvers. Presently I have a new SME V with a silver litz wire made and fitted ti the arm by Kondo-san. The SME is nice but a shade dark and I feel it doesn't fully reveal the Scan-Tech cartridge I'm currently running. The SME has a reputation that hasn't thoroughly left me impressed at this point. Having much history (7 years?) with a 2.2 and Lyra Helikon combo on a home engineered, rigid/mass loaded, belt drive table, I feel the Phantom II would be the next step for me. Funny thing, the Naim Aro on a full blown Lp12, for me left the impression that the Aro was more Like the 2.2 or even a 1.5 than a SME, Just my opinion. In the end, you may well be spot on yet, I think the promise of it working and interchangeable wands and all, is so tempting ...and if not, I will find a table to compliment the new arm.
Happy Listening! |
I appreciate you sharing comments and experience in this matter. The Graham Phantom II is a work of art both mechanically and sonically, to that I feel we all would agree. I would also acknowledge that synergy is paramount, regardless of anything else. And in the end... when all the talk settles, I may have no other choice than to try, as was suggested, for my self and see. Going with the Kondo silver wire in my SME V as opposed to the stock VDH braid was intended to move away from some of the alleged darkness of this arm. I am surprised that to my ear, this wire and the character of my Aesthetix front end and phono has not added disproportionately to the leanness of which you speak. Using my listening experiences from our local audio club juxtaposed with live acoustic concert experiences, the system appears to be markedly balanced IMHO. Though I do fully concede to a penchant for long lean women, wonder if there's any connection!?
Happy Listening! |
