Thanks for that. Ekos 2 is a very very good arm, (IMO) so if your arm is doing a better job than that, that quite something. I'll check it out. One more question; how easy is it to fit to say an LP12 or a Technics 1200G? Thanks
Cheers Rob - it's very easy on an LP12. It's designed specifically to be compatible with both of these decks. You can switch to a Blackbird very quickly on a Sondek, especially if you have a Linn collar or Keel already installed as the pillar slots into the Linn collar and there is a DIN socket at the bottom of the pillar. You would only need to switch the collar once you had decided to sell the Linn arm ;-) The Blackbird is lighter than an Ekos but heavier than a Krane - about 500g. On the SL-1200 you can replace the arm plate with a Linn or Rega- compatible one and bolt on the Linn or Rega- compatible Blackbird base. Not difficult but it helps to know how to use an Allen key...
I've just received news that the UK IPO has sent Notification of Grant of the SUPA patent. I'm going to have a half pint of good English ale to celebrate.
I received my Supatrac arm about two months ago, but still didn't get around to install it. It's not exactly plug 'n play, you know. Although I do consider my English to be acceptable enough to understand the manual, I'd be very grateful for a setup video sometime.
Couple of questions which may (or may not!) be of interest to others. Have you found any difference in performance between a Linn and Rega base terminated Blackbird? Having read a number of your posts over the years with interest I would guess that you have a thorough understanding of the Linn hierarchy. This being a given, do you think that the fundamental performance of the Supertrac Blackbird is so superior to other arms, that a Technics SL1200GR fitted with a Blackbird, would outperform a standard spec SL1200G? All the best with your arm.
No. The differences are a narrower pillar in a narrower hole, and a centimetre of arm length. I think I would have to go to some lengths to attempt to discern any difference blind. Perhaps it could be done, but I would certainly expect the difference to be musically insignificant. This is a guess, but yes. I expect the difference between the GR motor/plinth/platter and G motor/plinth/platter to be a fairly small increment, and often difficult to detect. The preservation of signal energy and dynamics in the Blackbird is not that kind of small incremental difference - it's visceral and it smacks you in the face. Couple that with the expansive sound stage and effortless tracking of very tricky crescendos, and it's not hard to identify. Many customers have commented on a "giant leap" in performance and have said it is not your typical upgrade.
Yes, a good suggestion and I'm working on an installation video. Some customers seem to find it easy and others struggle a bit. It is significantly different in set-up procedure to conventional arms so unfamiliarity is a factor. The manual has been steadily improved and will be improved further. It's here: https://www.supatrac.com/manual.pdf I am available on Zoom, telephone and email to help customers with installation and I have even visited customers within an hour or two of London to help them with set-up. Set-up is also getting easier one step at a time. For example, I am just completing a plug-design which is backwards compatible and which makes it much easier to connect the electrics as the plug pushes in making all five connections at once. That is probably the trickiest part of installation at the moment, so that makes a big difference in installation ease and speed. You have my number - please call if you need help, and I will calmly guide you through the process and turn you into a SUPA expert ;-)
A review of the Blackbird by Graeme Budd is now available on TNT-Audio: [Review] SUPATRAC Blackbird tonearm
There’s no reason a little Fwend wouldn’t work with your tonearm, right? In my daily life even when I think I have time an often times have to step away from listening, so I use my arm lift frequently. At least having peace of mind that if it reached the end of the record a little fwend could lift it I’d feel better. Did you get around to installing it?
Little Fwends look good. I might get one. For me, autolift would be more useful than a lever lifter. I think many of those who see the absence of a lever lifter as a deal breaker would probably change their minds after using the tress for a few days as it is much safer, more comfortable and more immediate than a lever. Some will not make that leap of faith and will not experiment with string on their own arms to find out how comfortable and practical it is, but the way things are going, a lever is still not a very high priority, as I have shows, patents, manufacturing and sales to deal with before fixing what ain't broke. Both reviews so far have been positive about the experience of using the string lift, and before Adam's (hifiaf.com) second Blackbird arrived he upgraded his Ittok with a string lift ;-)
I'm now in a much better position to answer this question as I bought an SL-1210G last week with a view to demonstrations at the Bristol Show, and have spent plenty of time over the last few days switching between the new SL-1210G and my SL-1210 Mk5/Blackbird. I have been using newish VM540ML cartridges on each deck and repeatedly listening to sides on one deck and then the other, in no particular order. I have also switched the stylus several times to ensure as level a playing field as I can set, although I can discern no difference between the styluses, as you would expect from Audio Technica. The answer is yes. I prefer my Mk5/Blackbird over the stock 1210G. As a control I've also put a VM740 on my Garrard 301/Blackbird, which cartridge is hard to distinguish from a VM540. I could not reliably distinguish between the Garrard 301/Blackbird/VM740 and the SL-1210 Mk5/Blackbird/VM540. The difference between these two decks and the G is much easier to perceive. The first thing you notice is that the SL-1210G is considerably quieter despite no changes to phono stage or volume control. This observation has been made by several SUPATRAC customers, and my recent listening confirms it. I originally noticed this two years ago when comparing a prototype to my Ekos 2. Why does the Blackbird seem louder than other tone-arms? My opinion is that this is a result of my decision to avoid the idea of absorbing energy – an idea implemented in many tone-arms – but instead to aim for maximum rigidity. Well Tempered arms, for example, have a small diameter flexible arm tube filled with fine sand based in a trough of goo. The arm on the 1210G has some kind of flexible polymer waist between the pivot and counterweight, presumably to absorb vibration energy. I once had a tennis racquet with a narrowing at the top of the handle, supposedly for vibration control, but I developed a lot more shot power when I switched to a Hammer – an unbelievably stiff and light structure – and I grew more accurate too. A decade ago I decided that while my Well Tempered arm was smooth and polite, it didn't get me sitting on the edge of my seat, but instead often lost my attention. It sounded a bit boring – less detailed and dynamic than my Ekos 2, and I speculated that the problem was loss of signal energy and information due to absorption. This is why when I came to designing the Blackbird I wanted to preserve as much of the signal's dynamic range as possible, and I expected that rigidity was the key to that. So I should not be surprised that the Blackbird sounds louder - it is designed to throw away less of the signal energy than other arms. Most of the additional dynamic impact of the 1210 Mk5/Blackbird is heard and felt in the bass, which seems to be richer deeper and more tonal. This quality makes the recording seem more present and real, less picturesque, more live and intimate, less remote. Another noticeable difference is the increased width and scale of the soundstage with no loss of focus. In fact focus seems enhanced, as the space has got wider and stretched the instruments further apart – further apart in space but not musically, by which I mean that the improved separation seems to make it easier to enjoy two instruments harmonising as you can more easily distinguish what each is doing, and more easily perceive the synthesis. There is a slight 'tizziness' in the presentation of the 1210G mid-to-upper frequencies which is sweet-sounding and initially attractive, but I've listened really hard to try to discern whether this constitutes any additional recording detail coming through and I can't hear any revelation. The Blackbird decks seem to present at least as much acoustic information in that frequency range, but in a slightly more natural and realistic way – a bit more wet and airy. The tizziness of the 1210G tends to focus the ear on that band of the spectrum, which, combined with the lesser mid and bass energy and greater confinement between the speakers gives it a slightly more hifi-ish/midi-system impression. Don't get me wrong – the 1210G sounds absolutely superb, and I could quite happily live with one forever – I'm just trying to describe small differences in presentation. As I said, I think those differences elevate a Mk5 over the 1210G, so I would expect them to elevate a 1210GR over the G too. In the end, each time I've had a comparitive listening session I've noticed that I leave the system switched to the Blackbird deck, and that's how I play music for pleasure during my time off. That's telling. When I sell a few more arms I will probably buy another 1210G so that I can really compare Blackbird to the Technics arm on identical decks, and also compare Mk5/Blackbird to 1210G/Blackbird to find out whether I can hear any improvements in the new generation old 'DJ deck', for the sake of mere curiosity. I will probably hold onto the G or pair of them for show demonstrations. I hope this is a more thorough answer to your question. Obviously a Blackbird costs less than the difference between a GR and G. Just sayin'. ;-)
Yes, but probably only when I get a second 1210G. For the moment the Mk5 is capable of illustrating the difference between the arms.
There's some Star War "something" looks - in this tonearm Really amazing thinking out of the box - kudos May you be rich of your business, so great with some visionary people. Not sure I like the fingerlift though.
Is the Mk5 Technics you’re using for the comparison with the 1200G stock? I imagine the arm cable used for each deck in your comparison could account for the loudness difference between the two turntables.
Good idea. I will experiment with arm cables. My goal in setting up before assessment was to try to get the two decks to sound as alike as possible so that I had more of a handle on the arm differences. I have to say that the similarity of the Mk5 and Garrard suggest to me that differences between Mk5 and G are very small indeed, if perceptible.
