2. analog
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A battle between two turntable generations. Which one is the winner?

Being an electronic and acoustic enginner, I've worked for well renowned Companies in Germany, that led me to listen to all kind of analog equipments, from turntables to tonearms, cartridges... I love the analog sound!

While I've had the EMT 927 and 930, the SP-10 of all versions, VPI's, Thorens, etc... I ended with my reliable Garrard 301, that I bought brand new in London, England. Believe me, a well engineered plinth for the Garrard 301 transforms the 301 in an outstanding turntable.

Time passed and my beloved Fidelity Research FR-66 SS tonearm was substitued for the magnificent (and a bargain!) Trans-Fi Terminator (best linear tracking tonearm I've experienced). When I felt that it was time to change the Garrard 301 for a new one and based on the positive reviews, I emailed Bruce McDougall, the designer and owner of ANVIL turntables to quote a turntable that could suit the Terminator Tonearm. (Linear tracking tonearms need a VERY stable plinth to perform at best) because I would like to compare the Garrard with a contemporary turntable without breaking the bank.

The ANVIL comes complete (you can name it "turbinated") with adjustable motor board (adjustable string tension), adjustable arm board, the new bearing model and the proprietary magnetic levitated footers.

To make real comparisions, the only thing that I changed was the Garrard 301. Victor Patacchiola's tonearm (Terminator), Audio-Technica AT50ANV Limited Edition (the most natural cartridge ever!) and Steven Huang's Audio Sensibility Impact SE phono cable remained the same.

The main LP that I used (and accostumed with it, too) is a fabulous recording of Switzerland's vocal jazz "BRIGITTE BADER MEETS JOHNNY GRIFFIN", very very rare limited edition by ARS of Germany. Many japanese audiophiles that I know use this recording to "tune" their systems. If you come across this LP, please buy it! This is an all analogue recording made with purist techniques and direct recorded on a Studer B67 recorder.

Although the Garrard + Terminator show their positive potential on track 3, "HOW LONG HAS THIS BEEN GOING ON", (oh) boy!... the Anvil + Terminator is in a different league: it transformed the already perfect soundstage in an outstanding presentation. All the authoritative bass present in the Garrard (probably due to idler wheel drive??) stay there, but with tonal nuances never heard before. The Anvil is unbelievable quiet with perfect speed stability . Certainly the new bearing and a massive platter contributes for a clarity on complex passages that I have not ever experienced before. At $3700.00 (the price that I paid for the Anvil "turbinated with accessories") is a bargain if compared with some turntables that uses plastic, MDF (oh my God!) and other "fancy" materials. The Anvil is of all metal construction and is HEAVY (about 60lbs) and certainly this contributes for the supreme results.

I'm not affiliate with ANY companies mentioned in this review. I'm just a passionate audiophile searching for the best and this combination made my ears smiling!

Would you like to share with me, fellow Audiogon members, your impressions and thoughs about your phono system? Cheers!, Jose.
ultima700
atmasphere's avatar
atmasphere
7,068 posts
 
The TransFi Terminator is very different than other straight trackers, it's very low mass arm wand being just one such difference. And actually, there is a technical justification for an arm having higher lateral than vertical mass, having to do with the nature of the groove's modulation. There are white papers discussing this fascinating subject.
The issue is that the arm holds the cartridge in locus over the groove so it can do its job. If the vertical tracking mass is sufficient to do that, the lateral tracking mass should be the same.

The problem with any arm that has the bearings above the surface of the LP seems best understood by the idea of two people carrying a couch. If on level ground, they hold the same weight, if going up stairs the guy on the bottom has the greater weight. If the stairs are not as steep, the weight he bears decreases. This is why you want the arm bearings to be in the same plane as the LP surface, to minimize tracking pressure variation when bass modulation and warp are present.

If you move the bearings to a point above the LP (and many arms do) it becomes more sensitive to warp and bass modulation, decreasing the the tracking force as either appear. Shortening the arm wand causes the arm to be even more sensitive to this effect.
harold-not-the-barrel
799 posts
 
Keeping the wand short reduces resonances within the arm which typically colours the music. It is probably one of the major influences contributing to the overall sound of a tonearm. Manufacturers of conventional pivoted arms go to great lengths to try to eliminate resonances. They have a hard job!

- Vic

As for warped records, they sound surprisingly good on the Trans-Fi arm.
As for both very low compliance (Entré - 1 MC) and very high compliance (MM) carts, they both fit nicely the Trans-Fi sonically. Distortion in particular is no issue IME.

- Harold
slaw's avatar
slaw
5,785 posts
 
bdp24,

Which TT are you going to mount the Trans-Fi on? What air source are you going to use?

BTW, just finished listening to "Bidin’ My Time".. what a wonderful record!
bdp24's avatar
bdp24
4,908 posts
 

Slaw, I recently got myself a VPI HW-19, the second one I’ve owned. I had an original Mk.1 (with a Mk.2 black platter) in the late 80’s/early 90’s that I was quite happy with, but sold it when I got a Townshend Audio Elite Rock (Mk.2). This HW-19 is a Mk.2 (but with black acrylic top plates, not MDF) with a TNT Mk.3 platter (3/4" aluminum, 1/2" black Delrin/acrylic) and bearing. I have Herbies Tenderfeet and SIMS Navcom Isolators to try in place of springs, and I may make a DIY SAMA motor pod (I have a big ol’ chunk of lead I can use, or maybe a VPI Magic Brick). VPI’s are particularly good for straight-tracking arms, whose considerable mass wreaks havoc on the soft suspensions of light-weight tables as it moves across the record.

I got and have been using the Rock specifically because of it’s particularly appropriate design for use with Decca/London cartridges, which I have been using exclusively for decades. The designer/owner of Trans-Fi was until recently himself using a London Reference, and pics of that cartridge on his arm really caught my attention, and aroused my curiosity. I’ll put my Reference on the VPI/Trans-FI, and my Super Gold Mk.7 on the Rock/Zeta. That should make for an interesting comparison!

Vic sells an air supply to UK and Euro clients, and provides info on same to N. American users on the website. The design of the arm requires only a low-pressure system, unlike the ET and other air bearing arms. Less noise, no moisture---a big advantage.

I have to get over to Music Millennium and pick up Chris’ album on LP. They have the latest Rodney Crowell on LP too. They moved their LP area from the upstairs loft down onto the street-level floor a while back, and every time I go in the LP section is bigger than the time before. Maybe it’s not a fad, but a growing movement! Portland’s a pretty hip city, with a lot of young people wanting to be cool. LP’s are, at least for now, cool.

harold-not-the-barrel
799 posts
 
bdp and all, I have used the Trans-Fi arm on my VERY soft/sensitive ORACLE DELPHI MKII w/ relatively light spring suspended subchassis with outstanding results in sound quality. Although the mass of the arm´s wand ass´y w/ carrying saddle is about 100 g as it moves across the vinyl, this practically does not affect on anything mechanically not to mention to sound quality.
Actually it is impossible to see any movement of the suspended sub ass´y during wand´s travel across the vinyl surface. Of course, the suspension of an ORACLE must be PERFECTLY balanced. AND the arm as well obviously. This is the wonder of vintage ORACLEs, perfect balance also with a certain modern linear TA .
All that "linear trackers don´t work with light subchassic tables" is woodoo IME since 2008.
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