I can comment on the SOTA Cosmos, although not in a direct comparison to the tables you're eyeing. I ran a SOTA Cosmos IV for 11 years, first with an SME V arm, then later a Graham Phantom II (both 9" arms). I now run a Technics SL1200G with a Triplanar U12. The dd Technics is just way ahead of the SOTA, IME, based upon it removing a little coloration that the SOTA had, and definitely offering steadier speed (transients are crisper, yet natural, piano and organ are steadier in tone, just feeling "purer"). I did miss the vacuum hold down, but I've compensated by using a Stillpoints LP weight and a special perimeter ring that I had custom made - - they register the vinyl against the platter beautifully, except for the very worse warps (and the SOTA vacuum simply couldn't work on those, either). Oh, and I am using a thick acrylic platter mat instead of the OEM rubber one.
advice sought, turntables $10-20k
- Thread starter wbass
- Start date
Thanks @jbrrp1
One other, more general question I have is how beneficial a feature vacuum-hold down is. It does seem to make good sense to me that it would benefit LP playback. But I'm also wondering how close one can get with more conventional clamping.
At the moment, I'm playing around with a standard Michell clamp on my SP10mk2. Sometimes I think it quiets things down nicely, sometimes it seems to dull things a bit. I'm undecided.
Perhaps I should just work on the tonearm and cartridge upgrade now and use them with the SP10mk2, then think about a new 'table further down the line.... But I do have an opportunity to get a secondhand Air Force V at a pretty good price, and they don't seem to come up too often (?).
Thanks to all for bearing with my out-loud pondering of options.
One other, more general question I have is how beneficial a feature vacuum-hold down is. It does seem to make good sense to me that it would benefit LP playback. But I'm also wondering how close one can get with more conventional clamping.
At the moment, I'm playing around with a standard Michell clamp on my SP10mk2. Sometimes I think it quiets things down nicely, sometimes it seems to dull things a bit. I'm undecided.
Perhaps I should just work on the tonearm and cartridge upgrade now and use them with the SP10mk2, then think about a new 'table further down the line.... But I do have an opportunity to get a secondhand Air Force V at a pretty good price, and they don't seem to come up too often (?).
Thanks to all for bearing with my out-loud pondering of options.
Last edited:
Still contemplating the secondhand Air Force V...
And have refined my short list down to the TechDAS, TW Acustic, and either the Stabi R, Stabi M, or Stabi XL.
Still unsure which of the above would be a clear step up from my SP10mk2 and/or Garrard 401, as listed on my initial thread, so looking at all angles, including various clamping methods. I'm wary of making a lateral move.
Tonearms I've narrowed down to the Kuzma 4-Point and, a new addition, Schroeder CB-L.
Thoughts/feedback still welcomed! Thanks.
And have refined my short list down to the TechDAS, TW Acustic, and either the Stabi R, Stabi M, or Stabi XL.
Still unsure which of the above would be a clear step up from my SP10mk2 and/or Garrard 401, as listed on my initial thread, so looking at all angles, including various clamping methods. I'm wary of making a lateral move.
Tonearms I've narrowed down to the Kuzma 4-Point and, a new addition, Schroeder CB-L.
Thoughts/feedback still welcomed! Thanks.
Ever thought of a Micro Seiki RX5000? It sounds better than most tables I know costing several times more and you can probably get one for around 7/8k?
The RX 5000 is a very compact one similar in size to the AF5/3. It always pays to have someone you can trust to source it from. If you are in the US, I would send a pm to DDK and ask him.
Do you have any experience with a Bardo? I love to hear more about it. I read one review and it wasn't too great, esp for bass. Where do you service them in the US?
I own and love the bardo. I had a service issue and wound up mailing it to Germany where it was repaired inexpensively and returned quickly. I don't know that they have any real service in the US.
+ 1 from a former Monaco owner + triplanar.
+ 1 from a listening to a friends one many many times with SPUs mainly Koetsu.
I saw it in-person recently, at OMA. It's a really beautiful plinth and sets the SP10R chassis off really nicely. Sounded good, too.
I've also got the various Acoustic Signature tables on my short list. Am looking, particularly, at the Storm, which is an older model but still available a few places. Anyone have experience with Acoustic Sig?
My Schroeder CB-1L (ebony) arm arrives tomorrow, so the urgency for getting a new table to mount it on is (somewhat) increased, though I'm in no huge rush.
I've also got the various Acoustic Signature tables on my short list. Am looking, particularly, at the Storm, which is an older model but still available a few places. Anyone have experience with Acoustic Sig?
My Schroeder CB-1L (ebony) arm arrives tomorrow, so the urgency for getting a new table to mount it on is (somewhat) increased, though I'm in no huge rush.
I have an Oasis (Bardo with a plinth), bought it recently with a Ront power supply
Honestly, didn't like it initially, hifi but lacking soul. Frankly my SP10 combo just sounded more natural
I pulled it out of the system and debated on selling, even agreed a deal to trade it on a Monaco 1.5, provenance proved tricky on the Monaco so bailed on that deal.
Decided to give the Oasis another shot, partly as I have some different speakers in the room, Lumen White's that deliver greater resolution. A combination of different support, cables, better setup and the new system has got it working nicely. It's now delivering soul along with resolution and I prefer it to the SP10. It's sounding really good indeed.
Having been in touch with a couple of others who weren't overly taken with the entry level Brinkmann's I thought there was no hope for it. Goes to show how easy it is to attribute poor sound to a particular item when in fact it may just be poor synergy or not ideal setup. That and I'm sure good though it is it's not the last word in analogue replay. Would love to hear a Balance.
In any case, I'm very happy with the Oasis, no problem with bass and would imagine that a well setup Bardo would be an equally nice thing
hi wbass
I too am looking at buying a new tonearm and was looking at (among others) the same two arms you are looking at, the Graham phantom iii and the Kuzma 9” or the 11” 4 points. Based on everything I’ve read, and there’s a lot written about both arms, the general consensus is that the 4 point arms are considered by many to be one of the best arms out there. The Phantom is very good and has evolved nicely over the last two decades but it just doesn’t seem to achieve the same reputation that the 4 point arms achieve.
So, once I got it down to which 4 point I thought is was going to be a difficult decision between the 9” (without the vta on the fly feature) and the 11” version which has the vta on the fly. I’ve read that many people think the Kuzma 9” version is maybe their best sounding arm.
I emailed Kuzma and asked that very same question. To my surprise Franc Kuzma personally replied to my email within 24 hours. I thought to myself, now that’s customer service. Nice touch send Bob Graham an email and you’ll be lucky to get a response at All!
Then I thought about it. The answer came easily to me once I realized the type of records most typical audiophiles usually buy. We’ll drop into a used record store from time to time and I’ll usually walk out with 10 or 20 old used records (usually 120 gram non audiophile records). We buy a lot of the many great reissues (usually 180 gram records). Then there’s the occasional 45 rpm reissue lp’s (usually 200 grams). So, what’s my point? My point is, if you get the 9” 4 point, which thickness do you set your vta for? No matter where you set your vta, it’s going to be wrong 66% of the time. Unless you play the same exact thickness of lp’s every time you play another lp (pretty unlikely). If you buy the 11” 4 point with the vta dial, and you take a few minutes with each thickness and dial in the vta setting by ear and you mark down the correct setting for each record thickness all you would need to do is look at the lp, determine whether it’s a 180 gram or a regular 120 gram lp, look at your notes and dial the vta to the correct number for that thickness of lpand you know it’s going to sound great within seconds every time. Good luck doing that with the 9” arm, it’s not possible. I don’t know about you guys but I want ALL my lp’s, regardless of the thickness to always sound their best. Once I realized that, the decision became obvious. I will never own a tonearm without the vta on the fly feature. Thanks.
Scot
I too am looking at buying a new tonearm and was looking at (among others) the same two arms you are looking at, the Graham phantom iii and the Kuzma 9” or the 11” 4 points. Based on everything I’ve read, and there’s a lot written about both arms, the general consensus is that the 4 point arms are considered by many to be one of the best arms out there. The Phantom is very good and has evolved nicely over the last two decades but it just doesn’t seem to achieve the same reputation that the 4 point arms achieve.
So, once I got it down to which 4 point I thought is was going to be a difficult decision between the 9” (without the vta on the fly feature) and the 11” version which has the vta on the fly. I’ve read that many people think the Kuzma 9” version is maybe their best sounding arm.
I emailed Kuzma and asked that very same question. To my surprise Franc Kuzma personally replied to my email within 24 hours. I thought to myself, now that’s customer service. Nice touch send Bob Graham an email and you’ll be lucky to get a response at All!
Then I thought about it. The answer came easily to me once I realized the type of records most typical audiophiles usually buy. We’ll drop into a used record store from time to time and I’ll usually walk out with 10 or 20 old used records (usually 120 gram non audiophile records). We buy a lot of the many great reissues (usually 180 gram records). Then there’s the occasional 45 rpm reissue lp’s (usually 200 grams). So, what’s my point? My point is, if you get the 9” 4 point, which thickness do you set your vta for? No matter where you set your vta, it’s going to be wrong 66% of the time. Unless you play the same exact thickness of lp’s every time you play another lp (pretty unlikely). If you buy the 11” 4 point with the vta dial, and you take a few minutes with each thickness and dial in the vta setting by ear and you mark down the correct setting for each record thickness all you would need to do is look at the lp, determine whether it’s a 180 gram or a regular 120 gram lp, look at your notes and dial the vta to the correct number for that thickness of lpand you know it’s going to sound great within seconds every time. Good luck doing that with the 9” arm, it’s not possible. I don’t know about you guys but I want ALL my lp’s, regardless of the thickness to always sound their best. Once I realized that, the decision became obvious. I will never own a tonearm without the vta on the fly feature. Thanks.
Scot
Similar threads
 | Steve Williams Site Founder | Site Owner | Administrator |  | Ron Resnick Site Co-Owner | Administrator |  | Julian (The Fixer) Website Build | Marketing Managersing |