Turntables, Arms & Cartridges

What could be more apt than the UK launch of the Well-Tempered Arm at the end of Bach's tercentenary year? Ken Kessler brought you the first picture of this iconoclastic tonearm as part of his April '85 CES report and even before then, he had inveigled California-based designer William Firebaugh into letting us have a review sample.

Back in the early days of audio, numerous record labels had electronics divisions, or vice versa. You would see the logos of EMI, Philips, RCA, Decca, JVC and others on both LPs sleeves and hardware. The logic was that they originated the material and could also control the entire chain, from artist to listener. So, who better to introduce its own turntables than Mobile Fidelity, for decades the most prolific source of audiophile LPs? Now you can spin its platters on, well, its platters.

Think of CD players and Philips will be one of the first names to come to mind. This is not necessarily the case when it comes to turntables, even though the company has produced a multitude of models over the years. Its turntable motors could be found in the early Linn LP12 and many other similar designs, yet to most British listeners a complete Philips turntable, like the AF 877 seen here, is something of a novelty.

This is the second review this month that's been tough for me to write if, in this instance, for entirely positive reasons. You see, the DS Audio DS-E1 is actually too good, and the asking price of £2295 is the reason. I do not want to inflict any hardship upon DS Audio, which offers three models above this, but, like an entry-level Rolex, Leica CL camera or Porsche Cayman, it begs the question: why pay more?

There is an argument which says that to recover maximum information from any recording the playback system should be as similar as possible to the arrangement with which it was made. For example, a tape deck identical to the one used in the studio should replay the original master tapes with the highest achievable accuracy.

It is June 1982 and Compact Disc is still more science fiction than fact (although both sides have carried out their groundwork and preliminary skirmishing). The scene is the restaurant of Boston's classy Copley Plaza Hotel and a handful of British hi-fi journalists, fresh from the Chicago CES, are dining with Ron Fone, the (English) President of Teledyne Acoustic Research. Over dessert arises the subject of turntables and the question, 'Why doesn't anyone – apart from Rega, or Thorens – produce a good mid-price mass-market deck?'.

All things considered, 1986 was an unlikely time to launch a high-end phono cartridge brand, and all the more so considering it happened in Japan. When I moved to Tokyo four years after Yasuo Ozawa started Shelter, what the Japanese call 'Analog Disc' was almost as dead as the proverbial Monty Python parrot. True, you could slum it around the seedier sides of downtown Shimokitazawa and Asagaya and find an isolated second-hand record shop, but the only news in town was the shiny new Compact Disc.