• The Döhmann One Mk3 is engineered to deliver unparalleled performance in analog playback. It results from many years of research, development, collaboration, and listening by internationally acclaimed analog designer Mark Döhmann and his team. When a stylus moves through the grooves of a record, it converts vibrational energy into an electric signal. The shape and cut of the grooves contain an immense amount of information, and the objective of any quality analog music system is to interpret this information as accurately as possible. For that to happen, the stylus needs to operate in an environment free of any vibrational energy & resonance that is not a result of its interaction with the grooves. However, in practice, there is a lot of energy moving through a turntable system that the stylus picks up in addition to the vibrations associated with the grooves it is designed to do. This unwanted energy can be heard as distortion, smear, added harmonics, and channel imbalances, and these types of sonic phenomena often obscure the micro details within the recording and add coloration to the music. The first step in designing a high-quality turntable is to carefully measure where this unwanted energy comes from and how it moves through the system. At Döhmann Audio, we have spent a lot of time using sophisticated test equipment to measure the resonance profiles of standard turntable designs because to improve the performance of a turntable, you must first have an accurate understanding of where the resonance is generated and how it behaves. Our research indicated that some resonance originated from the mechanical systems of the turntable (e.g. motor, bearing, platter, etc.), some from the environment (e.g. building, floor, sound waves, etc.), and some from the electrical systems (e.g., power supplies, control circuitry, etc.). Furthermore, the turntable also acts as a physical ecosystem where resonance moves through the various parts and interacts with itself. We also made some ground-breaking discoveries about how the vinyl record interacts with these energies. From Edward: I benefitted from spending three full days with Mark Döhmann at Audio-Ultra as we rebuilt three tables into MKIII status, an education I was fortunate to receive.  Once we were done with the upgrades, now we were able to compare the Helix One and Helix two tables side by side so I could understand the differences. Mark simply unbolted the armboard with the tonearm attached and the balanced cable still seated into the CH Precision Phono amp and moved it over to the Helix 1. As soon as the needle dropped, it was evident from the crackle of the out groove inward to the music itself. The noise floor went from crazy low on the Helix 2 to even lower on the Helix 1, revealing even more clarity, detail, body, texture and all the audio superlatives used in our industry - it was beyond words. This was repeated on the last days listening event before a group that included two non audiophiles that all described their experience in a very similiar manner.  Note: The retail price for all Döhmann Turntables includes white glove setup and training to ensure customers receive every drop of performance these tables are capable of.
  • The Helix Two Mk3 incorporates the Döhmann Audio technologies into a smaller footprint with a single tonearm facility and is engineered to deliver unparalleled performance in analog playback. It results from many years of research, development, collaboration, and listening by internationally acclaimed analog designer Mark Döhmann and his team. When a stylus moves through the grooves of a record, it converts vibrational energy into an electric signal. The shape and cut of the grooves contain an immense amount of information, and the objective of any quality analog music system is to interpret this information as accurately as possible. For that to happen, the stylus needs to operate in an environment free of any vibrational energy & resonance that is not a result of its interaction with the grooves. However, in practice, there is a lot of energy moving through a turntable system that the stylus picks up in addition to the vibrations associated with the grooves it is designed to do. This unwanted energy can be heard as distortion, smear, added harmonics, and channel imbalances, and these types of sonic phenomena often obscure the micro details within the recording and add coloration to the music. From Edward: I benefitted from spending three days with Mark Döhmann at Audio-Ultra as we rebuilt three tables into MKIII status. What I learned was how effective the Döhmann design is. As we added the series of updates one at a time, we would then make the table operable and repeatedly listen to the same record through each change.  At every, with the word, "every" being an absolute term, it was apparent the noise floor moved lower and lower, revealing more clarity where dynamics became more explosive, and the texture of the overall body was beyond words.  Note: The retail price for all Döhmann Turntables includes white glove setup and training to ensure customers receive every drop of performance these tables are capable of.
  • Stabi R is a compact turntable made from a solid aluminum block with an internal (built-in) electronic power supply. The drive is provided through a DC motor and a proprietary, non-flexible drive belt. The main platter is a constrained sandwich design consisting of three layers (aluminum – acrylic – aluminum) to minimize vibration and maximize the damping effect of the platter and the LP. The ruby ball minimizes friction and noise within the thrust bearing and is supported on a unique low-noise compound material. One of the crucial design features of the new Stabi R is an unsurpassed degree of versatility and flexibility about multiple tonearm installations. Using up to 4 (four!) tonearms around the main platter is possible. Further, various colors and a wood finish are available as options.
  • This is constructed from two plates, each plate being made from a sandwich construction of two 10 mm aluminum plates, separated by an acrylic plate clamped together with pre-stressed, non-magnetic, stainless steel screws. The turntable chassis (top plate) is suspended by large springs submerged in silicone oil, with a low resonance of 2.2 Hz, dampening the springs' movements. Three aluminum and stainless steel spikes support the main base (bottom plate). Four knobs quickly level the top plate. The silicone suspension reservoirs are automatically sealed when this plate is lifted (for transport). Two motors in a diamond drive power the sub-platter, which has an inverted bearing with a ruby ball. The ball and sliding ring have their oil bath for lubrication and damping any vibration within the bearing. The platter is also of a clamped sandwich construction to combine the strength of aluminum (rigidity) and acrylic's damping properties, producing an exceptionally stable and no resonant support for records. The mat and special clamp are made in much the same way as the platter and further serve to control all vibrations. The arm board also employs the sandwich construction design.  
  • This modern turntable is designed in a classic style, is low profile, and includes a vibration-free massive acrylic dust cover on spring hinges. The turntable is assembled from various solid aluminum parts, making the construction rigid and absorbing vibration. On the outer sides of the main structure are solid aluminum plates, which give the turntable mass and further increase structural rigidity and damping. The covered spikes within the legs allow horizontal leveling of the whole turntable. The top aluminum plate under the platter has an elastically under-hung main frame and motor system below, insulated from the outer central turntable’s structure via four big elastic dampers. This allows for fine horizontal leveling of the platter and tonearm. The platter is constructed from two pieces of 30mm thick aluminum with an acrylic damping plate sandwiched between, making a very inert support for records. The bearing has an inverted shaft with a ruby ball, which gives precise, low-noise rotation to a supporting sub-platter. The main frame, carrying the main bearing and massive aluminum arm board, is bolted together from solid aluminum blocks, forming a unique damped rigid support. The motor system:  The DC motor is specially mounted inside a brass cup and aluminum plate. This motor assembly is encapsulated and suspended inside a massive brass motor housing.  Thus, the main frame is doubly insulated from the motor system yet still maintains rigidity, allowing maximum torque momentum to be transmitted via the stiff plastic belt to the sub-platter. This gives the platter a high torque drive with the positive properties of belt and idler drives while minimizing the negative ones. The external power supply controls the  DC motor with precise frequency and has excellent speed adjustments. The control panel on the front plate of the turntable has start/stop and speed change functions. The full speed of platter on 33 rpm is reached in just 2 seconds - in one full rotation of the platter. There is also a remote control start/stop function. STABI M  PLUG AND PLAY: The Stabi M can be ordered and fitted with a 4Point tonearm and a CAR cartridge with no need for adjustment.
  • The Kuzma SAFIR: The heart of the tonearm is a very rigid and stiff sapphire conical tube, which allows the cartridge to perform to its maximum potential. The bearings are our unique design of 4 spikes set in sapphire cups similar to those used in 4Point tonearms. All four points have minimal starting and moving friction and zero play in all directions, thus ensuring that the headshell with the cartridge moves precisely and with minimal vibration across the record. The sapphire tube is fitted into a massive block of solid aluminum and brass, giving inert support and further dissipating vibrations during playback and bearing motions. The counterweight with a lock mechanism balances the tonearm. Azimuth and VTA can be adjusted in small repeatable increments with zero play using an Allen key. The tonearm is fixed via the Kuzma arm base on the turntable arm board. VTA is adjusted by raising or lowering the tonearm’s pillar in the arm base with a VTA screw which controls its height, thus still allowing precise VTA changes when required. Internal wiring is of superior special alloy silver wires.  A set of 4 wires runs unbroken from the cartridge pins via a 1.5 m long tonearm cable with silver RCA or XLR connectors. SAFIR shows your cartridge's ultimate potential and will effectively reveal music hidden in the grooves, giving you a new record collection! From Edward: Audio-Ultra was one of two recipients that received the Safir upon its arrival in the United States. Upon setup, this arm immensely lowered the noise floor, bringing a more comprehensive range of clarity and life to our record collections. This has been proven at many listening events with clients and audio industry representatives. Low-compliance cartridges are better suited for this tonearm. I highly recommend purchasing this arm if you're into analog and can budget The Safir. Wait time is approximately six weeks. 
  • This is the 12-inch Stogi Ref 313 tonearm version with fully adjustable VTA tower mounting on a standard 9-inch position. The Stogi Ref 313 VTA tonearm shares the main features of Stogi Ref and 4 Point tonearm, i.e., precision ball bearings, a conical tube, and a unique VTA tower. General description: This is a very rigid medium-mass tonearm with ceramic ball bearings that withstand heavy loads and display low starting and running friction and noise levels. The main frame and all other parts are machined from solid aluminum and brass blocks. Some parts are anodized, and some are not, to help control tonearm resonance. The detachable headshell provides a stable cartridge mounting, while the internally damped tube connects this to the massive bearing parts where any vibration or noise is dispersed. Most parts are glued together for rigidity and damping. Detachable headshell: The electrical connection is via standard pins, but the headshell can be removed by unscrewing with an Allen key. The headshell is fixed with a unique hexagonal locking system, giving the same rigidity as a fixed headshell. The conical tube machined from the solid aluminum rod is internally damped and divided into two parts, which, while further aiding damping, also allows for precise azimuth adjustment. A unique mechanism (worm drive) using an  Allen key enables the tube to be rotated back and forth in minimal increments with no air gap. This mechanism is submerged in silicone grease for further damping. A marker line clearly shows the azimuth position and facilitates use while allowing repeated adjustments. From Edward: High-performance results and a fun arm to use. It is hard to beat for the dollar. 
  • The 4Point 9 is two inches shorter than the 4Point tonearm. Its 9-inch length and lack of VTA tower make this tonearm lighter and smaller, thus capable of fitting on most suspended turntables. The 4Point 9 is constructed with sapphire/ruby cup bearings and a detachable headshell. From Edward: I have first-hand experience mounting this arm on the Stabi S and Stabi R with excellent results! The tonearm's job is to get out of the way of the cartridge, and the 4Point 9 arm does a good job of that. 
  • The 4Point construction includes a zero-play bearing configured on 4 points.  The 4Point tonearm has an effective length of 280mm (11-inch), an exact VTA adjustment facility, and fits a Kuzma standard mount 212mm pivot-to-spindle distance.  The heart of this new design is the unique 4-point bearing. Two points (similar to a uni-pivot bearing) allow and control vertical movements of the tonearm. The other set of two bearings allows and controls the tonearm's horizontal (lateral) movements.  All four points of the bearing have minimal friction and zero play in all planes of movement, thus ensuring that the cartridge platform and the cartridge itself follow the grooves of an LP with extremely low friction and minimal vibrations. 4POINT’s main section is firmly connected to a very rigid and inert VTA tower, which allows fine adjustments of the vertical tracking angle when the tonearm is stationary or while the LP is playing.  All this, of course, without any loss of rigidity and with 0.01mm adjustment accuracy with zero play! The arm also includes two removable headshells that are designed with rigidity intact. From Edward: Recent events using a two-arm table allowed us to compare the differences between the 4Point and the Stogi 313 with VTA tower using Ortofon Bronze cartridges on each arm tied into one source. The 6-panel verdict that included two non-audiophiles was that the delta was vast upwards of half. 
  • The 4Point 14 construction includes a zero-play bearing configured on 4 points.  The 4Point 14 tonearm has an effective length of 353mm (14-inch), an exact VTA adjustment facility, and fits a Kuzma standard mount 340mm pivot-to-spindle distance.  The heart of the design is the unique 4-point bearing. Two points (similar to a uni-pivot bearing) allow and control vertical movements of the tonearm. The other set of two bearings allows and controls the tonearm's horizontal (lateral) movements.  All four points of the bearing have minimal friction and zero play in all planes of movement, thus ensuring that the cartridge platform and the cartridge itself follow the grooves of an LP with extremely low friction and minimal vibrations. 4Point 14’s main section is firmly connected to a very rigid and inert VTA tower, which allows fine adjustments of the vertical tracking angle when the tonearm is stationary or while the LP is playing.  All this, of course, without any loss of rigidity and with 0.01mm adjustment accuracy with zero play! The arm also includes two removable headshells that are designed with rigidity intact. From Edward: Recent events using a two-arm table allowed us to compare the differences between the 4Point and the Stogi 313 with VTA tower using Ortofon Bronze cartridges on each arm tied into one source. The 6-panel verdict that included two non-audiophiles was that the delta was vast upwards of half.   
  • MODELCAR-20
    TypeMoving Coil
    Coil WireSTD Copper
    Cantilever MateriaAluminium
    StylusSynthetic Elliptical
    Frequency Response10 Hz - 33 kHz
    Output Voltage (3.54 cm/1 kHz)0.3 mV
    Channel Balance (1 kHz)<1 dB
    Channel Separation (1 kHz)>23 dB
    Tracking Force 2.0 gr
    Compliance8 x 10-6 cm/dyne
    Trackability>70 μm/2.0 gr
    Internal Impedance4 Ω
    Load Impedance<100 Ω
    Net Weight 17 gr
    MODELCAR-20H
    TypeHigh output MC
    Coil WireSTD Copper
    Cantilever MateriaAluminium
    StylusSynthetic Elliptical
    Frequency Response10 Hz - 33 kHz
    Output Voltage (3.54 cm/1 kHz)2 mV
    Channel Balance (1 kHz)<1.5 dB
    Channel Separation (1 kHz)>21 dB
    Tracking Force 2.0 gr
    Compliance8 x 10-6 cm/dyne
    Trackability>60 μm/2.0 gr
    Internal Impedance130 Ω
    Load Impedance<47 Ω
    Net Weight 17 gr
    MODELCAR-30
    TypeMoving Coil
    Coil Wire5N Copper
    Cantilever MateriaBoron
    StylusMicroridge
    Frequency Response10 Hz - 35 kHz
    Output Voltage (3.54 cm/1 kHz)0.3 mV
    Channel Balance (1 kHz)<1 dB
    Channel Separation (1 kHz)>25 dB
    Tracking Force 2.0 gr
    Compliance10 x 10-6 cm/dyne
    Trackability>70 μm/2.0 gr
    Internal Impedance4 Ω
    Load Impedance<100 Ω
    Net Weight 17 gr
    MODELCAR-40
    TypeMoving Coil
    Coil Wire4N Copper
    Cantilever MateriaBoron
    StylusMicroridge
    Frequency Response10 Hz - 40 kHz
    Output Voltage (3.54 cm/1 kHz)0.3 mV
    Channel Balance (1 kHz)<1 dB
    Channel Separation (1 kHz)>28 dB
    Tracking Force 2.0 gr
    Compliance10 x 10-6 cm/dyne
    Trackability>70 μm/2.0 gr
    Internal Impedance6 Ω
    Load Impedance<100 Ω
    Net Weight 17 gr
    MODELCAR-50
    TypeMoving Coil
    Coil Wire4N Copper
    Cantilever MateriaSapphire
    StylusMicroridge
    Frequency Response10 Hz - 45 kHz
    Output Voltage (3.54 cm/1 kHz)0.5 mV
    Channel Balance (1 kHz)<0.5 dB
    Channel Separation (1 kHz)>30 dB
    Tracking Force 2.0 gr
    Compliance10 x 10-6 cm/dyne
    Trackability>70 μm/2.0 gr
    Internal Impedance6 Ω
    Load Impedance<100 Ω
    Net Weight 17 gr
  • HIFI+ UK  August 2018   #162: Roy Gregory reviewed Kuzma CAR 60 cartridge and front cover said: Is this world’s best cartridge?  …. “the CAR 60 does not just bring the musicians to life, it allows the music to breathe and communicate, engage, and seduce. Because that is what makes the CAR 60 special: you do not hear IT because you hear the performance; it’s not about sonics, it’s all about music.” Full review in pdf Stereophile March& April 2018– listed in class A components. M. Fremer wrote: “Tonally, the KUZMA CAR -60 was as neutral-sounding a cartridge as you’ll find. It was neither tipped up nor rolled off on top, and its bottom-end extension and resolution of low-level detail were what you should expect from a cartridge costing in excess of $10,000.”
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