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Klaudio KD-ARM-AP12 Tangential Tonearm

KL Audio KD-ARM-AP-12

This interesting tonearm is produced by the same Auburn, Washington, company that introduced vinyl fans to the KD-CLN-LP200 Ultrasonic Vinyl Record Cleaner. In development for several years, the KD-ARM combines two types of tonearm designs, linear-tracking and pivoted, in an attempt to provide the benefits of both. 

The Klaudio ’arm is supplied with an automatic ’arm lift that mechanically controls all up/down functions via a button added to a laser-light module. There is also a (user-adjustable) proximity sensor located at the edge of the automatic arm lift that detects when the tonearm reaches the end of a record’s runout groove and automatically raises the ’arm. Options include the choice of either standard nickel-plated or a gold-plated finishes and the selection of tonearm length, either 10.5″ or 12″ (equivalent pivot-to-spindle mounting distances). Regardless of which options you choose, the ’arm’s is price remains the same, $19,999. The model of KD-ARM under review is the KD-ARM-AP-12, with a nickel-plated finish and a 12″ equivalent length.

The KD-ARM arrives in a very well insulated flight-case with dual latches and a carrying handle. Opening the case reveals easily accessible foam cutouts filled with accessories and with the KD-ARM itself. There are two Klaudio detachable headshells (one long and one short) and an azimuth-tool. Also included is a mounting guide, tonearm-alignment tool, laser-tangency tool (and auto-arm-lift control), mounting sleeve with hardware, and tonearm counterweights. 

According to Klaudio, the KD-ARM-AP12 is a true tangential tonearm based on a mechanical design that doesn’t involve the complexity of air bearings. This is achieved via a pivoting base that also glides longitudinally on precise bearings to keep the cartridge stylus tangent along a linear track across the entire record (this tangency is confirmed by means of a laser-light projection device).

The core functional parts of the pivoted linear-tracking assembly are a combination of a dual carbon-fiber ’arm and the sliding ’arm base. This dual-’arm assembly is what keeps the headshell/cartridge/stylus perpendicular to the linear track along the record. However, the dual tonearm’s precise articulation alone is not enough to ensure true linear tracking, since the entire assembly, though perpendicular, still travels along an arc relative to the stylus tip. To keep the stylus tip moving along a linear track instead of in an arc, the KD-ARM has a bearing system at the tonearm base that actuates an inverse arc to counteract the natural arc of the pivoted ’arm, thereby nulling the effect. This combined approach of dual-arm and inverse-arc is the heart of the KD-ARM’s approach to tangential tracking. Based on observation and practical application, the system works very well and performs its function with precision.

Some of the other features of the KD-ARM include an azimuth adjustment for the headshell mount, an ’arm-base bubble-level, an ’arm-base stem-height adjustment, an on-the-fly VTA/SRA tower adjustment, and an integrated bubble-level for tonearm leveling. Because the KD-ARM is essentially a linear-tracking device, there is no anti-skate adjustment.

Klaudio offers a very easy to follow KD-ARM user manual, with text and useful images that step you through the set-up process in five chapters. The first chapter discusses the mounting of the tonearm base (pivot-to-spindle distance, mounting-hole size, mounting-screw locations, ’arm height adjustment, and tonearm handling). The second chapter covers orientation and coarse setting of the KD-ARM (cable attachment, tonearm alignment-tool usage). The third chapter covers stylus alignment and horizontal leveling. Chapter four covers counterweight adjustment, including determining whether add-on weights are needed. The final chapter covers miscellaneous items such as how to use the azimuth-tool test head to level/adjust azimuth, the reference VTA bubble level, ’arm lift platform adjustment, and an ’arm guide-pin repositioning procedure, if needed.

In addition to Klaudio’s user manual, there are a several official YouTube video links on Klaudio’s website that cover certain aspects of the KD-ARM setup, including a visual view of an active KD-ARM installation that is very useful, a cartridge/headshell change/replacement video, a tonearm-drift adjustment video, and a general video of the KD-ARM operation. These videos provide additional information to supplement the user manual.

For initial setup, the Klaudio KD-ARM used in this report was installed with the help of Klaudio President/Owner Peter Cheon. Before Peter arrived with the KD-ARM, we discussed which ’table I would be using and how the ’arm would be mounted. Peter was provided with the necessary information and parameters for the cantilevered armboard adapter that he attached to one of my Basis Debut Vacuum armboards (in this case, the one for a 9″ Graham standard mount was used). The armboard adapter extended the board to the length necessary for the 12″ KD-ARM and provided proper clearance for alignment and mounting. In the end, we used two different armboard adapters. Initially, an aluminum one was installed. Later, Peter sent me a stainless-steel version that allowed a little more VTA-adjustment range. The stainless-steel armboard adapter was the one I used exclusively after it arrived.

To determine which length KD-ARM (10″ or 12″) will mount to a particular turntable, the user should check the mounting template and distances required by Klaudio (and speak or correspond with the ’table manufacturer, if necessary). If the KD-ARM isn’t compatible with the armboard on the ’table, an alternative approach may be necessary. Klaudio manufactures a height-adjustable (3.1″ to 5.1″), freestanding tonearm base (KD-BAS-ARM01) that may allow the use of the KD-ARM in such circumstances. Additionally, Klaudio also makes a height-adjustable (2.4″ to 7.9″) freestanding base (KD-BAS-ARM02) for the laser-tangent tool. If your turntable lacks the space to accommodate the alignment laser (which also incorporates the motorized tonearm lift mechanism), Klaudio offers the KD-BAS-ARM02 ($549), an adjustable-height freestanding base that you position next to the turntable. 

Using the KD-ARM takes little effort beyond what is required for a pivoted ’arm. The big difference is that the headshell doesn’t travel across the record like it does with a standard pivoted tonearm. It travels exactly like a true linear-tracking ’arm. Setting stylus position above the record with the finger lift initially takes a little getting used to but quickly becomes a non-issue. With the auto-lift feature, the press of a button located on the laser-tangent tool lowers or lifts the armrest. When a user wants to stop playing the record before a side ends, the button is pressed again, raising the ’arm/stylus off the record. During the long period (12+ months) I spent evaluating the KD-ARM, the auto-lift feature worked flawlessly, including the end-of-record auto-lift.

Because of the design of the sliding base, it was possible to mount multiple cartridges on both Klaudio headshells and on two Ortofon LH-4000 headshells (the LH-4000 allows azimuth adjustment on the headshell for the cartridge installed). The act of changing a cartridge pre-mounted in its own headshell was a simple matter of removing the current cartridge/headshell, installing the desired cartridge/headshell, turning on the laser-tangent tool, sliding the ’arm base until the stylus was illuminated (verifying proper tangency), setting the tracking force, and adjusting height via the KD-ARM VTA/SRA tower. Since the cartridge was pre-aligned in the headshell during initial installation, the entire process took a couple of minutes to complete, making cartridge/headshell swaps quick, precise, and repeatable.

Usually, pivoted ’arms are said to have more solidity in the bass region. On the other hand, tangential trackers are more apt to trace the groove with less distortion and provide a more effortless and effervescent portrayal of the musical performance. (The reader should take note that these comments are generalities, not absolutes. In this writer’s experience, design and execution, as much as the type of tonearm used, tend to dictate where tonearms land vis-à-vis such generalizations.) 

With that being said, the KD-ARM does a very nice job of allowing cartridges to trace the grooves with ease and has a sonic openness that is quite attractive. On the bass side of the equation, the KD-ARM tends to supply healthier amounts of what’s on the record than the generalities mentioned above would suggest. The sound is very well integrated from top-to-bottom without any areas that stand out or seem to be missing. Each cartridge used during the evaluation (Lyra Atlas SL, Lyra Etna, Lyra Etna SL, van den Hul Colibri XGP, Hana SL, Hana ML) showed its recognizable sonic characteristics.

Let’s take Duke Ellington’s Jazz Violin Session for example. This album features Duke on piano, Svend Asmussen and Stephane Grappelli on violin, and Ray Nance on viola. The entire album fills the room and creates the sensation of a charged space from which the music emerges. The sonics are so captivating that one listens with joy and exuberance. The opening track, “Take the “A” Train” begins with Sam Woodyard filling the stage with cymbals before Duke’s piano gradually enters. With the addition of Grappelli, Smussen, and Nance’s strings, the number turns into a cornucopia of happiness. The timbre of each instrument just sounds so enjoyable (including Ernie Shepard’s bass/scat solo). On the KD-ARM with Atlas SL or Hana SL cartridges, the sound was excellent, and the music’s message of cheerfulness transferred effortlessly. 

The Blue Note Tone Poet Series release of Lou Donaldson’s Mr. Shing-A-Ling [BST 84271] is another very good sounding LP. When listening to “Ode to Billie Joe,” one can’t help but dive right into the music and mentally let go. The addictive groove of Leo Morris’ drums invites rhythmic head-swinging and is soon followed by the equally compelling sounds of Donaldson’s alto sax, Jimmy “Fats” Ponder’s guitar, and Lonnie Smith’s organ. All artists get to play groove-laced solos that add icing to the cake.

Through the KD-ARM with the same cartridges mentioned above, the performance came through with every bit of its soulful groove intact. While both cartridges played well in the KD-ARM, the Atlas was tighter in the bass and more ordered, while the Hana SL was somewhat fuller and looser around the edges. This observation is as expected and reveals that the KD-ARM lets cartridges show their unique qualities.

Shifting to Tracy Chapman’s self-titled album allowed a view into how the KD-ARM processed bass-heavy music. On “Talkin’ Bout A Revolution,” the KD-ARM kept the cartridge stable to the point where there was no audible breakup or congestion during thick instrumental interludes. Chapman’s raw vocals and guitar weaved their way into the music and presented a very nice and unique tone that was quite involving. The bass-heavy track “Fast Car” offered a powerfully dense and full bass line, while remaining delicate throughout the rest of the spectrum. The KD-ARM performed well, allowing the music to stay visceral and spacious, and maintaining excellent guitar separation.

It should be apparent that the albums mentioned in this report were delightful to listen to. The KD-ARM never subtracted from the pleasure of vinyl or hindered what one got out of the LPs. While it didn’t quite match the performance of my Basis SuperArm 9, the KD-ARM performed excellently. Couple its sterling performance with the ability to easily switch headshells (even SPU-type cartridges), and one has a tonearm that is versatile, unique, and very good sounding. If possible, it is surely worth a listen to find out if it fits your system and your needs.

Specs & Pricing

Type: Pivoted tangential-tracking tonearm
Length: 10″ or 12″
Price: $19,999 (10.5″ or 12″, nickel or gold finish)

KLAUDIO
2840 W Valley Hwy N
Auburn, WA 98001
(253) 249-7813
klaudio.com
info@klaudio.com

Associated Equipment:
Analog tape: Otari MTR-10 Studio Mastering (¼” 2-track) tape deck with custom Flux Magnetic Mastering Series repro head and secondary custom tube output stage, Studer A820 Studio Mastering (¼” 2-track) tape deck, ReVox G-36 (¼” 4-track) tape deck
Analog vinyl: Basis Audio Debut Vacuum, Basis Audio 2800 Vacuum ‘tables; Basis Audio SuperArm 9, Basis Audio Vector IV (x2), Graham Phantom III, Klaudio 12″ Tangential tonearm; Lyra Atlas, Lyra Atlas SL, Lyra Etna, Lyra Etna SL, Lyra Titan-i, van den Hul Colibri XGP, Hana SL
Phonostage: The Raptor (Custom), Lamm LP2 Deluxe, Ayre P-5xe, Musical Surroundings Phonomena II+ w/Linear Power Supply
Preamp: Dual Placette Audio Active Linestage, Lamm L1.1 Signature, Lamm L2 Reference
Amp: Custom/Modified solid-state monoblocks
Speaker: Vandersteen Model 3a Signature with dual 2Wq subwoofers and dual SUB THREE subwoofers using M5-HPB high-pass filter, Joseph Audio Pearl 20/20 Graphene
Cables: Assortment of AudioQuest, Shunyata, Tara Labs, Acoustic Research, Cardas, and custom cables
Racks/Accessories: Minus-K BM-1, Neuance shelf, Maple wood shelf, Symposium Ultra, Aurios Pro, Pneuance Audio, Walker Audio, Klaudio RCM, Kirmuss RCM, VPI RCM, Clearaudio Double Matrix Pro RCM
Room: 18′ x 8′ x 43′

Tags: ANALOG KLAUDIO TONEARM

Andre Jennings

By Andre Jennings

My professional career has spanned 30+ years in electronics engineering. Some of the interesting products I’ve been involved with include Cellular Digital Packet Data modems, automotive ignition-interlock systems, military force protection/communications systems, and thrust-vector controls for space launch vehicles.

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