BRACCI
GRAAAM
PHANTROM
II-9
€.4.990,00 Per
offerta
TELEFONARE/EMAIL
Sistema brevettato Magneglide per una precisa
regolazione dell'azimut Possibilità di regolazione del VTA "on the fly" Canna in
titanio rimovibile da 9 pollici Regolazione antiskating Sistema di livellamento
brevettato Micropoise Tazza e perni isolatori made in Swiss in carburo di
tungsteno Finitura in nero
GRAAAM
PHANTROM SUPREME
II-9
€.5.500,00
Per
offerta
TELEFONARE/EMAIL
GRAAAM
PHANTROM SUPREME
II-10
€.5.750,00
Per
offerta
TELEFONARE/EMAIL
GRAAAM
PHANTROM SUPREME
II-12
€.6.000,00 Per
offerta
TELEFONARE/EMAIL
Nuovo
cablaggio interno
Nuova canna in titanio rimovibile da 9 /10/12
pollici Sistema brevettato Magneglide per una precisa regolazione dell'azimut
Possibilità di regolazione del VTA "on the fly" Canna in titanio rimovibile da 9
pollici Regolazione antiskating Sistema di livellamento brevettato Micropoise
Tazza e perni isolatori made in Swiss in carburo di tungsteno Finitura in nero
SUPREME II-12 con extra contropeso finitura
speciale in 24k fold trim +300,00 EURO
The Phantom II SUPREME The original Phantom and
upgraded Phantom II tonearms have enjoyed an enviable record of performance,
build quality, and user satisfaction. When we set about to improve on what was
already a high standard, we knew any changes must be significant, and provide
even more insight into the subtle layers of musical detail. And now the
Phantom II SUPREME - our newest and best effort to date - has exceeded our
highest expectations, surpassing even the highly-rated Phantom II.. And when
compared to other tonearms on the market, tests and preliminary user comments
have confirmed that the Phantom II SUPREME is in another, altogether higher
level of performance. Compared to the orignal Phantom, as well as the
Series II, the SUPREME has a similar outward appearance, but has important
internal differences. In addition to the refined Magneglide (tm) stabilizer, new
internal wiring for even better detail and improved freedom from any mechanical
resistance, an upgraded pivot design for even greater dynamics, and a new
titanium armwand, the SUPREME has incorporated a new pivot housing assembly.This
assembly, comprised of a constrained layer combination of brass and tungsten,
provides greater energy control and damping, along with improved bearing
peformance. Incorporating a slightly reshaped counterweight to allow for great
cartridge weight ranges and lower moment of inertia, the result is greater
transparency, broader soundstaging (both side to side and front to back), with
greater bass impact and extension.Combined, these refinements yield greater
performance in the areas of thundering dynamics and sheer musicality, while
retaining the delicacy of detail, quality and convenience features the earlier
Phantom was noted for. The reasons for these and other significant
improvements are many, and are covered in three patents, with other applications
pending. The armtube itself, easily removable and using our patented
alignment system, offers the safety, convenience and accuracy of off-turntable
cartridge installation and alignment, as well as allowing quick interchange of
multiple pre-mounted cartridges. It is significantly improved from the earlier
armwands, and attaches to a nearly half-inch wide stainless-steel
post-and-connector that supports the armwand under tension, resulting in
virtually a one-piece armtube/pivot assembly with high damping. Secondly,
we've addressed the all-important (and often ignored) area of dynamic balance.
Tonearms should have as little inertia as possible; yet, too often, as a result
of the correct placement mass distribution being overlooked, they contribute
excessive resisting forces in opposition to the requirements of the phono
cartridge as it attempts to follow the ups and downs of a typical record. The
Phantom, in spite of its robust appearance, has been designed with a very low
moment of interia, so that the majority of phono cartridges can be used with
ease and maximum performance. -- At this point, a brief description of
Balance Theory may be helpful: There are basically three types of static balance
systems, Neutral, Stable, and Unstable. STABLE BALANCE, normally seen in
laboratory scales, occurs when the CG (center of gravity) of the moving system
is placed BELOW the pivot point. This system resists a change in postion; when a
tonearm utlizes this type of system, and such a tonearm is displaced from its
preferred rest position, it will generate an immediate and opposing force which
tries to return to that same position. UNSTABLE BALANCE, when the center of
gravity is placed ABOVE the pivot point, is entirely useless for tonearm design,
and will exhibit serious problems, including reduced tracking force as the arm
is raised. The third, and most desirable system for tonearms, is NEUTRAL BALANCE.
With this system, the pivot point and the Center of Gravity of the moving system
are in the same plane. When the arm is raised or lowered, there is no opposing
force trying to return the arm to a rest position; the pivoting system doesn't
really know or care if the stylus is at the record surface level or a half-inch
above or below it; as a result, there is no opposing force to the arm as it is
traversing record deflection during play. The only downward tracking force is
that of the adjustable counterweight, which remains a constant. Previously, all
true unipivots - that is, those with a single contact point for the bearing and
NO secondary stablizing surfaces, bearings, etc. - required the use of side
weights or a significantly lowered counterweight in order to provide stability.
And generally speaking, those arms with a secondary stabilizer point require a
lowered center of gravity in order to provide constant contact with the
stabilizer guide bearing.The drawback to both these conditions is that this
design becomes a Stable Balance system, which will cause a tonearm to have a
preferred rest position and always tries to return to this point. ANY time the
tonearm is raised, as in tracking warped records, it results an immediate and
equally opposing force that tries to push the arm back to its rest position. The
higher the warp, the more counter-force is applied. This unalterable Law
of Physics will work against the cantilever, deflecting it during warps and
causing the magnetic system inside the cartaridge to be displaced. This, in
turn, will certainly affect the reproduced sound, with diminished performance in
all areas, including soundstage compression, loss of detail and dimensionality,
not to mention record wear. (This is why most tonearms must have their tracking
force measured at the record surface level; any height change during the
measurement will cause an incorrect reading). A tonearm with Stable
Balance can be identified by measuring the tracking force at the record surface
level and again at a raised position above the record. If the tracking force
INCREASES at the higher position, the arm has Stable Balance. Our own previous
designs - the best we could make at that time - also had this limitation due to
the use of side weights to provide lateral stability. Other unipivots with
low-slung counterweights will all exhibit this force; the lower the weight, the
more counter-force is applied. Although this technique is often promoted as a "high-stability"
design, it does so at the expense of consistent tracking force and linear
cartridge performance. . It actually results in varying tracking forces during
play when traversing even small warps, accompanied by non-linear cartidge
operation, and increased record wear. Once Neutral Balance is chosen for
use in a unipivot tonearm, one must remember that both the vertical and lateral
planes will be affected the same way; without proper lateral stability, such a
design would not have consistenent, proper vertical alignment, and the pivot
would tend to flop over to one side or another (usually in the direction of the
weighted cartridge offset angle mounting). Obviously this condition must be
avoided. The answer to this lies at the very heart of the Phantom's design
and its unique ability to retrieve groove information unprecended, we believe,
in tonearm design. The key to this achievement is a magnetic stabilization
system which we have called "Magneglide" (TM). With this unique, patented
system, all lateral stability, and a portion of the damping, is provided by
powerful neodymium ("rare-earth") magnets, placed in a horizontal line from the
pivot point of the tonearm. Working as an adjustable system, Magneglide (TM)
provides the following six benefits: increased lateral stability, easy azimuth
adjustability, a higher intertial lateral component for improved bass
reproduction, augmentation of system damping, true vertical pivoting of the
stylus tip with no rotation as the arm is raised, and easily adjusted anti-skate
compensation. In combination with pivot fluid damping (similar to that
used with the Model 2.2), the Magneglide (TM) system allows normal vertical
pivoting of the tonearm in true Neutral Balance, with vanishingly low friction;
yet, provides a strong lateral stability that feels almost like fixed bearing
arms. (No wobbling of the arm as it is lifted, for instance).
ACCESSORI
Legenda istruzioni
Clicca
per qui per vedere : FOTO PRODOTTO
Clicca
per qui per vedere : ISTRUZIONI PRODOTTO
Clicca
per qui per vedere : CATALOGO,PROVA RIVISTE SPECIALIZZATE PRODOTTO
Clicca
per qui per vedere : DATI TECNICI SPECIFICHE
PRODOTTO
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