⌈ MUARAH AUDIO brand debuted at the Audio Video Show 2015 with a complete system designed to play music from vinyl records. Its founders are Mr. JACEK SIWIŃSKI and Mr. WIESŁAW ZAWADA. Associated primarily with turntables, it also offers electronics. This time we are testing the MT-3 turntable, which opens its lineup, and the brand new MY-1/9, its own tonearm. For both, this is a WORLD PREMIERE. ⌋

MUARAH AS AN AUDIO COMPANY right from the start presented itself as a well thought-out enterprise. Although the work on the products was carried out quite earlier, although its constructions were known among friends, it did not move this stage to a professional activity. This is, of course, only one possibility but - in my opinion - the best one. After all, if we start with products that are simply DIY creations, we shift much of the responsibility to users. Because they are the ones who become beta-testers, even if they don't fully realize it. And this is not a fair approach.

In the test of the MT-1 turntable, which was published in High Fidelity in April 2021, the owners said that business-wise the so-called Open Eye Economy promoted by, among others, Prof. Jerzy Hausner, which assumes that "the most important thing for an entrepreneur is the customer and the quality of services and products delivered to him", was close to their hearts. As it often is the case with declarations, however, this was not a certainty. Time has shown, however, that - in my opinion - the gentlemen really believed in what they said and acted accordingly (MT-1 test → HERE).

The aforementioned presentation at AVS 2015 featured the MT-1 turntable armed with a Jelco SA-750D tonearm, SQ standard quadraphonic signal decoder and MU-4 tube amplifiers, all designed and made in-house by Muarah. The next step was the MT-2 turntable, a less expensive version of the top-of-the-line MT-1, which we tested in 2018. At the end of last year, in turn, the cheapest model, designated MT-3, was added to the Muarah turntable range, accompanied by the company's first-ever proprietary tonearm, MY-1/9.

As we wrote on the occasion of the MT-1 test, the company is one of those manufacturers that designed its turntables to work in close symbiosis with Jelco arms. However, when in May 2020 Ichikawa Jewel Company, the company behind the Jelco brand, announced that due to the difficulties arising from the pandemic and with aging machines that could no longer be serviced during this difficult time, it was closing this part of its history, the gentlemen had to look for another supplier and change the turntable design a bit.

That's how they ended up using Mørch and then Sorane tonearms. Each of these companies offered a very good performance-to-price ratio, and sound that satisfied the designers. At the same time, however, they brought some problems into the equation, usually non-musical ones, so to speak. The turntable decoupling system also had to be adapted each time to compensate for the different weight of the arms. Having your own design would let them think about the target parameters of the turntable. And although the MT-3 can be used with any other arm you need to know that it was designed in tandem with the MY-1/9. Let's hear how it turned out.

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A few simple words...

WIESŁAW ZAWADA
owner, designer

⸜ WIESŁAW ZAWADA with MT-3 turntable during the Tour de Pologne series show: Pylon Audio Jade 20 HF Edition ⸜ Line of Sound showroom in Rzeszów • photo by MIŁOSZ ŚLENZAK.

THE GENESIS FOR THE MODEL MT-3 is simple: we needed a product that would be easier to setup and use. We also deliberately focused on weight reduction and greater integration. The motor here is an integral part of the turntable and does not require separate installation. We dropped support for arms longer than 9 inches due to the fact that longer arms for our turntables were chosen by less than 20% of customers. This simplified the design and made it easier to install and calibrate the unit.

Our existing turntables with a "piano black" finish look luxurious and impressive, but keeping them in impeccable condition is quite demanding. Dust, fingerprints and the susceptibility to scratching of the polished acrylic surface mean that some customers would prefer a slightly less impressive, but more practical matte finish color. It is difficult to achieve this effect with acrylic glass, so this time we chose 30 mm MDF board lacquered in light matte - "satin black" - for the base structure.

Most audio devices feature a matte finish, so a similar-looking turntable will fit in more with them. Hence the additional motivation to create a product with a slightly different design. However, we wanted it to relate in shape and certain details to the products with which the Muarah brand is associated. So we left our characteristic base shape, solid tapered legs and knobs for height and leveling adjustment.

Our primary goal is sound quality so one of the key considerations was to make the platter from solid acrylic - in this case 30 mm thick. Acrylic has worked well in our previous designs because of its unique sonic properties. This is due to the fact that it is an excellently workable material, while at the same time quite soft and - as a result - well dampening vibrations and not very prone to resonances.

Our "spring" suspension in the MT-3 allows leveling the platter relative to the base, and even adjusting the height of the platter above the base, and thus also the mounting plane of the arm. The range of this adjustment is small, about 6 mm, but this is enough to mount an arm without VTA adjustment (such as popular Rega tonearms) if necessary, and not worry about complications when changing cartridges.

Compared to the MT-1 and MT-2 turntables, we have also simplified the bearing design somewhat. In the new turntable, the bearing sleeve is integrated with the platter, and the ball is permanently mounted in the upper part of the bearing - just below the rod that fixes the position of the vinyl discs, i.e. the so-called "pin". As before, the shaft is made of hardened steel, the sleeve, in turn, is self-lubricating bronze (soaked in oil).

In turn, the history of our tonearm is connected with the Audio Video Show, where we not only promoted our products, but (or perhaps above all) met interesting people. It was during one of the AVS editions that we met Piotr Skiba, who, like us, has been building turntables and phono accessories for years. What made Piotr stand out was that even more than turntable manufacturing, he was passionate about creating interesting tonearms.

Historically, we quite quickly established cooperation with well-known and respected manufacturers of turntable arms. First there was the Japanese Jelco, then the Danish Mørch, and recently another brand from Japan - Sorane. However, this cooperation was not at all easy. Jelco did not survive the pandemic (a sad end to a 100-year history). Hans Henrik Mørch unfortunately passed away in 2023, which significantly affected the operation of his company. Sorane, on the other hand, is still our supplier, but we have a not entirely satisfactory commercial arrangement, as we can only offer our turntables with their arms where this company does not have direct distribution. And that distribution network is quite extensive and still growing.

When we almost hit the wall with the availability of arms, we approached Piotr Skiba proposing a cooperation in the development of our the tonearm under the Muarah brand. We prepared design assumptions, exchanged experiences, numerous ideas and so the arm labeled MY-1/9 was created. By the way, the possible association with the Fiat X-1/9 Bertone is not entirely unintentional ;)

In its design, we used classical Gimbal suspension based on miniature ball bearings - tapered roller bearings with clearances adjustment. In our opinion, this is the most proven design and technically optimal, as it ensures operation with almost no clearances and negligible friction.

The straight arm tube is constructed of two tubes glued together for improved stiffness, optimal weight and resonance damping. A carbon fiber tube with an irregular structure is visible on the outside. It makes it less prone to resonances than regular structures. Inside is an aluminum tube that improves rigidity, dampens resonances by combining two materials with different characteristics, and provides shielding for the arm's internal wiring.

Excluding the outer shell of the arm tube and the counterweight, almost the entire arm is made of aluminum alloy and finished in a satin silver color. To achieve optimal effective weight and stiffness we opted for a completely straight tube and no removable headshell.

The mounting of cartridges and the calibration of the geometry of the tonearm - cartridge system are facilitated by the use of a screw-on headshell element, an aluminum plate to which the cartridge is screwed. The cartridge plate can be both rotated and moved forward and backward after installation, changing the effective length of the arm. » WZ

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▌ MT-3

The MT-3 IS A LIGHT-WEIGHT TURNTABLE with a decoupled sub-chassis. Its base is made of 30 mm MDF and milled into the shape this company’s other decks are associated with. The base is supported by three large cones, two at the front and one at the back, made of aluminum. Their height can be adjusted by turning the large knobs from the top, thus setting the level. Such convenience in level adjustment is rare in turntables, regardless of their price. Pads are supplied to be used under the cones, which are worth replacing in the future with discs from some specialized manufacturer.

The motor and arm were mounted to a boomerang-shaped element cut in the middle, isolating them to some extent from the base. The platter, on the other hand, is decoupled separately, using a two-element "spider" with lossy elements. Typically, one strives to make the platter and arm as interconnected as possible - this is what Rega does, for example, more → HERE. Muarah took one other route. We'll come back to that in a moment.

The platter is made of black acrylic. It is 30 mm high and slightly lighter than in the MT-2 model, weighing 2.5 kg. As the manufacturer says, this weight is sufficient to maintain "excellent rotational stability." But, mind you, I have the impression that the platter in the MT-3 is better than the one in the MT-2. This is because instead of a mat applied over the acrylic, we get here an integrated damping system known from the MT-1. It consists of, as the manufacturer says, optimally sized natural suede discs and a rosette-shaped mold made of acid-resistant, magnetically neutral steel.

In addition to its interesting appearance, it is designed to offer a practical benefit, namely to provide better stabilization of the vinyl record on the platter when a clamp is placed on it. Interestingly, similar support for the platter - I'm thinking of the shape and distribution - is offered by Harmonix's expensive TU-800M phono mats. It seems that the prototype for this type of support would be the platter of the Transcriptor Hydraulic Reference turntable, later repeated in the Rega Planet prototype turntable.

The lower mass of the platter in the MT-3 allowed the use of a low-power motor. And, as is well known, the lower the motor power, the lower the vibration energy it generates. The power of the motor in the MT-3 is only 3 W, but it is supposed to be enough to accelerate the platter in a few seconds, even to a speed of 45 rpm.

The MT-3 turntable's synchronous motor is powered by 16V AC, which generates 250 revolutions per minute at 50 Hz. The company uses a wall (socket) power supply in which a toroidal transformer from Toroidy.co.uk, parent company of Fezz Audio, is responsible for the voltage conversion. Thanks to this solution, as the designer writes in an email to us, we get a sine wave "of perfect envelope with minimal distortion." the cable from the power supply plugs into the motor body from underneath.

And this brings us back to the motor mount. Wiesław Zawada says:

With the drive parameters of the turntable chosen in this way, it became completely feasible to place the motor directly on the base. However, in order to get a turntable completely free of resonance we had to use some additional decoupling solutions - two different ones.

The first are mechanically decoupled base elements - panels of sandwich design, made of a special foam board on the underside and acid-resistant steel in an "inox" finish on the upper, visible surface. The left panel holds the motor, the right panel is the element in which the arm (armboard) is mounted.

The second solution is a type of spring suspension in which the main bearing shaft of the turntable is mounted. And once again Wiesław:

We had quite a lot of time to design the MT-3 turntable, and we spent a lot of it experimenting with different suspension designs and very different materials. Again, our automotive experience made its presence known, as we eventually settled on a design inspired by the old solid leaf spring.

It is a combination of two resilient shapes that can move slightly relative to each other. This way, it reads, they dampen vibrations, but at the same time quite securely support the turntable bearing and the platter rotating on it. The materials were chosen to achieve "an ideal compromise between damping and rigidity of the suspension structure."

The MT-3 is a belt-driven turntable. In it, torque is transmitted by a single belt with a circular cross-section. It is strapped to the platter on one side, and on the other to an aluminum disc (pulley) seated on the motor axis. This disc has two diameters, and the speed change is done manually by moving the belt from one to the other. This is a bit disappointing, I would have preferred an electronic speed control, but apparently it was impossible in this budget. The important thing is that it is done quickly and "painlessly".

▌ MY-1/9

The MY-1/9 arm has been jointly designed by Piotr Skiba and the Muarah company. It is a tonearm with an effective length of 9" and a mounting distance of 214 mm; the overhang is 18 mm. The offset angle, that is, created by the arm tube and the arm headshell’s axis, is 23.75 mm. It allows user to adjust VTF, VTA, azimuth and anti-skating. The arm is held in the rest position by a screw.

The MY-1/9 is a so-called gimbaled arm. Its VTA is changed by removing a single Allen screw. In a similar way, we adjust the leveling of the cartridge in the second plane (horizontal) - with a miniature screw locking the arm tube in the bearing body. We change the distance of the needle from the base by sliding the arm cartridge, not the entire arm - this solution can be found, for example, in the designs of the German Clearaudio.

The individual components are made of matte-finished aluminum, which, combined with the black arm tube, looks very elegant. The manufacturer declares that various geometries can be used, although they recommend Baerwald, which offers, they say, "the optimum angle for tracking the record groove by the stylus over the largest surface area of the record." Calibration to this standard is facilitated by a template optimized for this arm, which will be found in the box.

The counterweight is screwed onto a trapezoidal screw and its design is intended to avoid direct contact between the mounting screw, which is an extension of the arm tube, and the metal body of the counterweight. For this purpose, an intermediate element in the form of a threaded sleeve made of black polyamide is used. In addition, there is a rubber O-ring inside, which takes care of the slight resistance when screwing in the counterweight, but which is also supposed to reduce the system's susceptibility to resonances. All this is conceived and executed in such a way that setting the VTF is really precise and pleasant.

The anti-skating is a classic solution: a weight suspended on a rod-mounted string with 4 grooves. It allows to nullify the centripetal force with the VTF from less than 1 g to more than 2 g. The string travels on a miniature Teflon roller thanks to which, the designers argue, friction is "virtually non-existent."

Wiesław Zawada has a lot of good things to say about the lift mechanism:

It works very smoothly, and the stylus lands perfectly vertically on the record, with which the lifts of some, even very well-known, manufacturers have some problems. In addition, the lift does not need to be flooded with oil or cleaned for transport, because the oil does not leak out of it, regardless of the position in which the arm is placed.

The arm's mounting ring has the same screw spacing used by many other manufacturers (e.g. Rega or Sorane), which allows easy replacement of the arm without the need to adapt the arm mounting plate. As with all arms Muarah has used to date, the arm connects to the cable via a five-pin DIN socket. The arm's internal wiring is made of highly flexible insulated thin pure copper wires.

The turntable looks really very well, and when operating it you have a sense of "confidence".

▌ SOUND

HOW WE LISTENED • The Muarah MT-3 turntable stood on the top shelf of a Finite Elemente Master Reference Pagode Edition Mk II rack. During the test I used two cartridges: the Miyajima Laboratory Destiny and the Denon DL-103. Their setup was quite simple.

As always, I used the RCM Audio Sensor Prelude IC phono preamplifier. The signal to the Ayon Audio Spheris III line-level preamplifier was sent through Crystal Cable Absolute Dream interconnects, and the preamplifier was powered by Harmonix X-DC350M2R Improved-Version cable. It stood on a Graphite Audio platform, and I placed a Verictum X-Block passive EMI / RFI filter on it; another one was placed on the preamplifier.

⸜ Records used in the test ⸜a selection

⸜ DUKES OF DIXIELAND, You Have To Hear It To Believe It!, Audio Fidelity AFLP 1823, LP (1957).
⸜ VARIOUS, The Jazz Greats (Giants Of Jazz Volume III Reeds-Part I), EmArcy MG-36050, LP (1955).
⸜ COUNT BASIE & TONY BENNETT, Basie/Bennett, Roulette/Classic Records SR 25 072, „45 RPM SERIES”, 4 x one side pressing, 200 g LP (1959/2006).
⸜ SANTANA, Santana, CBS 40-63815, LP (2007).
⸜ KRAFTWERK, Tour De France. Soundtracks, EMI Records 591 708 1, 2 x 180 g LP (2003).
⸜ THE BEATLES, Sgt. Pepper's Lonely Hearts Club Band, Apple | Parlophone/GN Records DT-01, 180 g LP (1967/2016).
⸜ ART BLAKEY AND THE JAZZ MESSENGERS, First Flight To Tokyo: The Lost 1961 Recordings, Blue Note Records BN 2801, Test Press, 2 x LP (2021).

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THE FIRST STEREOFONIC LP ever sold in shops was DUKES OF DIXIELAND’s You Have To Hear It To Believe It!. Released by the tiny company Audio Fidelity, it was intended to test the market before the large-scale introduction of such records by the big publishing houses. Sidney Frey, the company's founder and president, commissioned Westrex engineers, owners of one of two competing stereo acetate cutting systems, to cut the material before any of the major record labels could do so.

Listening to this album today, sixty-seven years later, it's hard to understand how this is possible: the recorded stereophony at the time was extremely natural and "normal". Not too wide, rather, with the instruments shown deeper into the stage, with attention to their natural distribution in the panorama, without the artificial left-right separation that dominated the next two decades in jazz and pop music. From point of view, it resembled what was achieved in stereo recordings of classical music.

The Muarah turntable showed this particular beauty of the record very nicely. And this is because its sound is solid. I mean something that is difficult to describe with a few terms, but which is perfectly "felt" by the listener. This translates into a stable stereo image, an accurate picture of the instruments without any "rippling" of their edges and without any nervous vibration somewhere below the surface. This is what "solid" means to me.

This is also how the Dukes of Dixieland album sounded like. Its sound was fast, dynamic and succinct. Indeed, the speed of attack is another element that we will appreciate when listening to this system (by this term I mean turntable with arm). A dixieland ensemble relies on a fast tempo and on the drummer's frequent snare drum playing plus, of course, on the harmony of the wind instruments. All this Muarah conveyed accurately, without blurring, but also without thinning the sound out.

I got a very similar impression when listening to the historic recordings from The Jazz Greats (Giants Of Jazz Volume III Reeds-Part I), a compilation released by the EmArcy label in 1955. It contains recordings by such giants, so to speak, as Lester Young, Ben Webster and Coleman Hawkins. This compilation contains recordings from the first half of the 1940s, so the material comes from acetates, not tape. And it sounds excellent.

There is not much top and bottom, and the sound is focused on the midrange. The Polish turntable didn't try to lighten or modernize anything. It played it with nostalgia, though without falling into naive warming. The leaders' instruments, for they are the ones in the foreground, were clear, distinct, but never detached from the accompanying ensembles. Which showed me that the Muarah is a very good differentiating turntable. The strong, dynamic and open sound of the previous album was contrasted here with the sound of the midrange, and this was done effortlessly, and without trying for artificial "resolution"./p>

This is a turntable whose resolution is real. Perhaps that's why I found it so hard to decide whether it's a "warm" or "open" sound. In truth, it's neither. In the sense that more depends here on the recording than on the machine that reads it. To a large extent, it reminds me of the way J.Sikora, Dr. Feickert Analogue or TechDAS turntables work.

Ah, how different from the two earlier albums is the COUNT BASIE & TONY BENNETT disc simply titled Basie/Bennett, released in 1959 on the Roulette label. Dynamic and stereophonic, like the Dukes album, but dense and saturated like the The Jazz Greats.... The version prepared in 2006 by Classic Records on four 200g discs pressed only on one side sounds almost as if a tape is playing. And you need high dynamics and something like "color depth" for that. Muarah has both.

This is a great example of how to play a record without imposing your character, but also not dispassionately. The width of the panorama was powerful, and the depth of the stage, thanks mainly to the reverb on Tony Bennett's vocals, was exceptional. The turntable doesn't warm up the sound, so all the details of the drums, the slightly stronger some of the hissing voices and the stronger sound, played with a muffler, of the trumpets, were all clear and distinct. But nothing fought with each other. The acoustic difference between the band and the vocals was excellent. It was extremely satisfying timbral and dynamically exciting presentation.

The version in question was pressed on 45 rpm discs, which forced me to manually move the belt of the pulley. The low power of the motor caused the platter to stop rather quickly, but later, after the change, it really started spinning the disc quickly. So while I would have preferred an electronic speed control, I consider this compromise to be successful.

But let's get back to the sound. SANTANA's debut album is a volcano of emotions and rhythms. And that's how it was shown: with a strong rhythm section, though without a bright top end or booming bass. As it turns out, it's a turntable playing music in an extremely balanced way. And, as we said, differentiating. Santana's album, although so dynamic, although so emotionally explosive, sounded significantly less dynamic than Basie and Bennett's disc. You could hear that it was a completely different recording aesthetic, that we were dealing with a lot of compression, inter-play, with a heavily "produced" sound. It was still excellent playing, I had no doubt about that. But it was also clear how this production differed from previous ones.

One could say that it is all about the high analyticity of the Muarah system. One can - and it will not be a mistake. However, it will be at the same time a certain understatement. After all, the detailed presentation referred to here is not "clinical". It is the result of a large amount of information. For the sound has depth and is multidimensional. The clear details of the recordings, on the other hand, result not from cutting the details out of the whole, but exactly the opposite - from showing the whole in such a way that they are not hidden anywhere.

The frequency response of the MT-3 with the MY-1/9 arm is wide and superbly balanced. But it also has its limitations. Listening to the KRAFTWERK from the album Tour De France. Soundtracks I appreciated the beautiful softness with which the unit delivers the bass, I also smiled with pleasure listening to how sensitively it delivers the treble. It was here that I also heard that the Muarah doesn't go particularly low on the bass and doesn't build the treble as high as more expensive turntables from this manufacturer, or just more expensive turntables.

Perhaps, by the way, it's not so much that it "doesn't go down" and "up," but that the extremes of the band are given with slightly lower expressivity than what's in between. It's not only the midrange that is energetic here, as the mid and upper bass were very well marked, and that's why I didn't have the impression of "lacking" anything. But I guess that's the whole point, to gently pause to show every detail of the timbral dynamics at the very bottom and at the very top.

I couldn't help thinking that this sound somehow corresponds to what Rega wants to achieve in its designs. The idea here is not to "kill" us with sound, but to give it in such a way that you can listen to music for a long time and in comfort. Instead of warming the sound, because this is also one of the possibilities, one creates a presentation that is a combination of resolution with a gentle "holding back" of intrusiveness and aggressiveness. The downside of this is that the scale of the sound is somewhat smaller than if the bandwidth were equally energetic from bottom to top. But this is what makes the presentation so focused, so polished.

I know from experience that this can be achieved by skillful damping of the design. But not all of them equally and not at all costs. Rather, the thing is to maneuver the mass, damping and decoupling in such a way as to let the vitality and "life" through, and keep what distorts this presentation. And this can be perfectly heard in the tested turntable using pops&cracks as example. They are incredibly well attenuated, which limits their number significantly. The pops&cracks is a narrow-band distortion with high dynamic range. The Muarah turntable handles them superbly, as it doesn't dampen the treble - as I say, it's a "live" sound - yet it suppresses unwanted artifacts in an excellent way, like heavy and even very heavy turntables.

Finishing my listening, I reached for an album that Wiesiek Zawada and I had been talking about for some time, the Sgt. Pepper's Lonely Hearts Club Band by THE BEATLES. It sounded beautiful! Wide yet deep, warm yet open. The struck chord at the end on the piano, where producer George Martin, along with sound engineer Geoff Emerick, opened the potentiometers until anything could still be heard, was not dominated by noise. The album's experimental production was shown sensitively, without circus tricks. It was cool, powerful, emotionally fulfilling playing. The sound was not pushed out in front of the line connecting the speakers, yet it seemed tangible and substantial.

By the way, I'll add that the manufacturer's promise of precise lift guidance has been fulfilled - this is a really comfortable to use arm. The track in question ends the album side. I placed the stylus at its beginning with no problem.

▌ Summary

I LIKE THE MORE EXPENSIVE turntables made by Muarah. I know them quite well, because I've also tested them, and with the MT-2 model we are touring Poland with the Digital Recordings 1971-2023 on LPs lecture series as part of the Tour de Pologne and Pylon Audio Jade 20 High Fidelity series. So I know they don't disappoint. Not only do they differentiate the material brilliantly, which is, after all, what these presentations are all about, but they also allow you to listen to music with pleasure. And so is the MT-3 with the MY-1/9 arm.

On the one hand, this device is very neutral in what it does and solid in the presentation of music. On the other hand, it's a machine that brings out the emotion in recordings, letting you feel the feeling of the recordings. When, for example, Art Blakey plays his solo that begins the concert album First Flight To Tokyo: The Lost 1961 Recordings by ART BLAKEY AND THE JAZZ MESSENGERS, you can almost smell the room of the Hibiya Public Hall, or the district's City Hall, as if there is dust rising from the floor, raised by listeners nodding to the beat.

The sound of this turntable does not tire, but also does not put you to sleep. It has a somewhat limited frequency response, from bottom and top, its macro-dynamics also has its limitations. But that's normal, it's just a "machine to measure the vibration of the LP groove" and as such is subject to limitations. What we get is so cool, so "spine-tingling," that it would be hard for me not to award this system, the MT-3 turntable with MY-1/9 arm, the ˻ RED FINGERPRINT ˺. Congratulations! ●

▌ Technical data (according to the manufacturer)

» MT-3
Speed: 33 1/3 RPM, 45 RPM, manual change.
Support for 9” tonearms (200 mm - 230 mm)
AC synchronous motor and drive, rubber belt
Power source 110/230 V, 60 Hz/50 Hz (dedicated power supply)
Platter height: 3 cm
Platter weight: 2.5 kg
Dimensions (W x H x D): 475 /540 x 160 x 400 mm
Total weight of turntable (without arm): 8 kg.

» MY-1/9
Mounting distance (from axis to base): 214 mm
Effective length: 232 mm
Overhang:18 mm
Height of the top of the cartridge relative to the top of the base: 35-65 mm
VTA range: 30 mm
Effective weight: 15 g
Offset angle: 23,750
Mounting hole diameter: 18-25 mm
Anti-skating range: 0.8 - 2.5 g
Cable connector standard: DIN-5P
Arm weight without counterweight: 180 g
Standard weight of counterweight: 95 g
Maximum tracking angle error: +1.960 / - 1.030