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"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 3 responses by ze_ant

ze_ant
9 posts
 
Hi Raul,

How would you compare the Satin AR-1S with the Audiocraft 4000/4400 or Morch UP-4 and any other unipivots you would recommend?

Many thanks in advance,

Anthony
ze_ant
9 posts
 
Many thanks Raul for sharing your thoughts. I currently own the AC-4400 and UP-4 (plus my other unipivot, a RS-A1), although I guess I'll have to start keeping my eyes open for the Satin :)

Thanks again,

Anthony
ze_ant
9 posts
 
Pauly, I prefer the UP-4 to the RS-A1 for 2 main reasons. The UP-4 has better extension and a fuller midrange compared to the RS-A1, which is also very very fiddly to setup properly.

However and despite the RS-A1 not sounding as good as the UP-4, the special thing about the RS-A1 compared to other tonearms is that it can be situated (almost) anywhere on a turntable plinth, without the need to drill a hole for mounting. Mine is currently installed onto the plinth of my Garrard 401, together with an Audiocraft AC-4400 and a SME 3012 II. I just use some blutack to secure the base to the plinth.

Dear Raul,

Unipivots have a special place in my collection because of what they do to the midrange on vocals ... they seem to my ears to make the voices sound natural, open and slightly more emphasised, compared to other designs, at the expense of some dynamics or extension.

Kind regards,

Anthony

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