VPI Fatboys versus others in its' tonearm weight class.
In their never ending quest to push fiscally responsible audiophiles into bankruptcy, site members have succeeded in making me consider a new gimbaled tonearm to keep a Lyra Kleos company on a VPI Classic 2 turntable. Dover, on my previous thread, pointed out most other tonearm options would be limited on the Classic 2 short of major surgery to it. So here I am considering keeping the tonearm upgrade in the VPI family. Their gimbaled Fatboy, will readily fit onto the VPI Classic 2’s tonearm base without any fuss.
Here’s my question after reading up on the Fatboy. How does the Fatboy compare with other tonearms in it’s $4500 price range? Is it about average in that class, which would be acceptable, or is it much better or worse than its’ peers?. If you.ve had any chance to compare the Fatboy with other tonearms in the same price range, what is your impression? I don’t want to spend that much money on one if the consensus is that it’s at the bottom of its class, which hopefully it isn’t.
I haven’t had an opportunity to listen to one, or any other tonearm as expensive. I would likely need to arrange a two day road trip to accomplish that. In lieu, I’m soliciting your impressions as to whether the Fatboy is worth that much compared to others in it’s price range. I guessing it will be okay, but don’t want to spend $4500 if the consensus is it’s at the bottom of its’ class just because it fits easily on my turntable. So what do you think? I’m all ears.
I’m not looking here for alternative solutions to a Fatboy. That was the topic of my recent thread, I’m only soliciting your impressions of the Fatboy compared to other similarly priced tonearms, and why I should or shouldn’t take a chance on it. Thanks all,
Mike
Showing 5 responses by ghdprentice
OP,
Upgrading my Linn Akito to Ekos SE (and to Keel sub chassis) was notable with increases in detail, air, and solidity. No change in character (good). I am very happy with the change. My dealer / friend thinks it is one of the best analog ends he has ever heard… the particularly synergistic combo of the Linn / Koetsu and the Audio Research Ref 3 phono stage is what pulls it ahead. While I have heard more detailed systems… the combination of detail and musicality is captivating. I am actually listening to the Blues Brothers vinyl album. The blues are so engaging.
It took the level of performance from parity with my digital end to an increment above. This is the hard thing to communicate. To me, well worth the incremental investment of $5K or ~10% the cost of my analog end or or 3% the cost of my system. It really allows my system to reach to another level… but doesn’t leave my digital end behind. I think this is because the variability of recording quality fluctuations are greater than the difference between the analog versus digital end. So, a great recording on the digital rig will still sound better than a typical recording on the analog end. However, if I pull out a 1957-60 jazz recording on vinyl and time stops… I get goosebumps on my arms, chills up and down. Definitely capable of spiritual inspiration.. I have a lot of albums from that era, in pristine condition. |
OP, I just had @mglik over to hear the differences in my system… which were ARC 160s to monoblocks, Added AudioQuest Hurricane (he got one as well… so understands it’s impact), and the tonearm and sub chassis upgrade to the Linn.
I think he will 100% agree (hopefully he will jump in) with my description of the change in my system. But to me it is a smaller change in sound quality. He really likes analog… his impression was of a bigger difference than mine. To me the character between the two are so similar that the increase in detail and air are relatively small… to him, much larger. He felt the analog character came through more. It is fun to discuss the subtitles of different sounds. |