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Acoustic Signature Invictus Jr. Turntable and TA-9000 Tonearm

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Acoustic Signature Invictus Jr. Turntable and TA-9000 Tonearm Equipment Report like mastertapes (or dubs of same). The chief problem with the Invictus was never son- ic; it was ergonomic. Almost everyone with the means to purchase it loved the way it sounded, but was stopped short by the amount of space required to house it. To help resolve this issue, roughly two years ago Frohnhoefer and his design team began planning for a new version of Invictus. In addition to downsizing the beast, the Acoustic Signature team had fresh design ideas about both ’table and ’arm. After all, the original was cre- ated five years ago, and a lot has changed technologically Acoustic Signature Invictus Jr. in the past five years. Using more sophisticated comput- Turntable and TA-9000 Tonearm er programs, CAD analysis, and CLD (constrained-lay- Oy, Gestalt! er-damping) technology, the AS team aimed to build a Jonathan Valin sonically improved turnta- ble of much smaller size and bout three years ago I reviewed what was else I’ve heard in a pivoted lower (though still substantial) then the best record player I’d heard—the $105k tonearm. weight. Acoustic Signature Invictus. As I wrote at the time, this There were many other Of course, there had to be A 315-pound, FEA-engineered, CNC-milled, six-mo- noise-cancelling strategies some trade-offs in making In- tor, dual-belt-driven, 2.6-foot-wide by 2.4-foot-deep, vaguely used in the Invictus—its six victus into Invictus Jr. For in- Mayan-looking objet du son from Gunther Frohnhoefer of Ger- motors ran so smoothly that stance, while the smaller ’table many was not only the largest record player I’d ever come across; you could not tell, by touch, still uses AS’s hand-adjusted, it was also the most versatile (accepting up to four tonearms), whether they were “on” or self-lubricating Tidofloron the easiest to set up (once you and an army of your pals had “off,” and its Timken aero- turntable bearing (with zero lifted it onto an extremely sturdy stand), and, most importantly, space-grade tonearm bearings slack), it runs on four mo- the quietest. Seemingly immune to external noise because of its were virtually jitter-free. The tors rather than Sr.’s six. And enormous, constrained-layer-damped mass, you simply couldn’t net result of all this quiet was though scarcely insubstantial, make the Invictus feed back vibration, even by pounding on it a smoothness, power, and Jr. has shed about a hundred with both fists while it was playing a record. It was also seemingly solidity that I’d only before and seventeen pounds (going immune to what Robert Harley calls “self-noise”—the resonanc- heard via reel-to-reel tape ma- from a Sumo-wrestler-like es of its constituent parts, both individually and as a system. chines. “The Invictus,” said I, 315 to a cruiserweight 198, The Invictus’ unparalleled resistance to feedback (and feed-for- was “detailed yet not aggres- and from a picnic-blanket-size ward) extended to its $22k TA-9000 tonearm, an engineering sively so, quick on transients 6.24 square feet to a large din- marvel built up millimeter by millimeter via a selective-laser-melt- but never spitty or analytical, ner-napkin 2.9). ing process that takes 23 hours of processing on a 12-million-eu- smooth but with no loss of The parts of Jr. are smaller, ro SLM machine. The internal structure of the TA-9000—a net- pace or dynamic excitement, improved versions of much work of tiny tree-like “branches” that connects its inner tube to dense in timbre but not dark, the same “building-blocks” its outer one—channels vibrational energy like a grounding wire neutral without being sterile, found in Sr.—an elaborately channels RF, making the 9000 more sonically inert than anything transparent without being milled, 31-pound, aluminum colorless.” In short, the In- subchassis/plinth, optimized victus made records sound for stiffness and low vibration Equipment Report Acoustic Signature Invictus Jr. Turntable and equipped with “floating” opening built into the bot- key to Sr.’s unusually natural, sions of either). With these magnetic feet; a milled-alumi- tom of the mount that makes tape-like presentation. There other ’tables the cost paid num, 126-pound main chas- plugging the cable in and out was this, though. Considerable in dynamic “liveliness” and sis, with underhung motor, a snap. mass has, in the past, some- the consequent recovery of cone bearing housing, four Frankly, I did not know what “deadened” the sound low-level transient-related de- pulleys, and four tonearm quite what to expect from of certain other ’tables (in- tail was counterbalanced by mounts (one at each corner), Jr. sonically. After all, tre- cluding Acoustic Signature’s the utter smoothness of the that sits atop the plinth and mendous constrained-lay- own first-gen Ascona and the sonics and the sheer density magnetic feet; a 42-pound, er-damped mass (distributed original TW Acustic Raven, of tone color, but there was bronze-and-aluminum-sand- over an unparalleled area) was though not subsequent ver- a cost. wich, constrained-layer- damped platter embedded with 54 of Acoustic Signa- Specs & Pricing ture’s proprietary brass “si- lencers” (more CLD devices), Acoustic Signature C1, Air Tight ATE-2001 which slips over the motor’s Invictus Jr. Turntable Reference, MBL 6010 D, Power cords: Crystal Tidofloron-bearing housing Type: Unsuspended, belt- Aavik Acoustics C-300 Cable Ultimate Dream, after belts have been attached driven turntable Phonostage preamplifiers: Synergistic Research to the motor’s pulleys; and an Dimensions: 526mm x Soulution 755, Galileo UEF, Ansuz improved version (with inter- 262mm x 526mm Walker Proscenium V, Acoustics Diamond nal, 3D-printed tweaks) of Weight: 90kg (power Constellation Audio Power conditioners: the CAD-designed TA-9000 supply, 4kg) Perseus AudioQuest Niagara 5000 tonearm, machined via SLM Price: $84,999 Power amplifiers: (two), Synergistic Research from a single piece of alu- Soulution 711, Galileo UEF minum and then fitted with Acoustic Signature Constellation Audio Support systems: Critical those astronautical-grade hor- TA-9000 Tonearm Hercules II Stereo, MBL Mass Systems MAXXUM izontal and vertical Timken Type: 3D-printed, gimbal 9008 A, Aavik Acoustics and QXK equipment racks bearings. Power to the mo- tonearm with Timken M-300, Siltech SAGA and amp stands tor is suppled via redesigned aerospace bearings System V1/P1, Odyssey Room treatments: Stein outboard digital electronics, Size: 9", 12" Audio Stratos, Voxativ Music H2 Harmonizer though all controls (on/off, Price: $22,000 Integrated 805 system, Synergistic rotational speed) are accessed Analog sources: Acoustic Research UEF Acoustic via pushbuttons on the turn- FIDELIS Signature Invictus Jr./TA- Panels/Atmosphere XL4/ table’s main chassis. (U.S. Distributor) 9000, Clearaudio Master UEF Acoustic Dot system, In theory, assembly of Jr.’s 460 Amherst St. Innovation/TT-1, Walker Synergistic Research ART constituent parts is relatively (Route 101A) Audio Proscenium Black system, Shakti Hallographs simple—one building block Nashua, NH 03063 Diamond Mk V, TW Acustic (6), Zanden Acoustic is simply set atop the other. (603) 880-4434 Black Night/TW Raven panels, A/V Room Services In practice, however, the indi- fidelisav.com 10.5, AMG Viella 12 Metu acoustic panels and vidual parts are heavy enough Tape deck: United Home traps, ASC Tube Traps to require considerable man- JV’s Reference System Audio Ultimate 1 OPS Accessories: Symposium power to manipulate, espe- Loudspeakers: MBL Phono cartridges: Isis and Ultra equipment cially when the height of a 101 X-treme, Magico Clearaudio Goldfinger platforms, Symposium suitable stand is taken into M3, Voxativ 9.87, Statement, Air Tight Opus Rollerblocks and Fat Padz, consideration. (Acoustic Sig- Avantgarde Acoustic Zero 1, Ortofon MC Anna, Walker Prologue Reference nature makes a pricey, dedicat- 1, MartinLogan CLX, Ortofon MC A90 equipment and amp ed stand of its own.) I should Magnepan 1.7 Digital sources: MSB stands, Walker Valid Points note that AS has added an Subwoofers: JL Audio Reference DAC, Berkeley and Resonance Control ergonomic improvement to Gotham (pair), Magico Alpha DAC 2 discs, Clearaudio Double Jr.’s ’arm mount. Whereas you QSub 15 (pair) Cables and interconnects: Matrix Professional Sonic had to completely remove the Linestage preamplifiers: Crystal Cable Ultimate record cleaner, Synergistic tonearm from the mount to Soulution 725, Dream, Synergistic Research RED Quantum plug in/out the supplied sil- Constellation Audio Altair Research Galileo UEF, fuses, HiFi-Tuning silver/ ver-wire DIN tonearm cable II, Siltech SAGA System Ansuz Acoustics Diamond gold fuses on Sr., you do not have to do so with Jr., which has an Equipment Report Acoustic Signature Invictus Jr. Turntable I did not sense this trade- off with the original Invictus, which, in direct comparisons, made LPs sound more like 15ips dubs of mastertapes of the same source material than any other ’table I’d heard— reproducing dynamics as a ramp-like continuum (à la reel-to-reel machines) rath- er than as steps in a staircase (like virtually all other record players—or at least record players with pivoted ’arms), and seemingly not sacrificing inner detail for an increase in lifelike smoothness and, to quote the late great HP, con- tinuousness. Without all of Sr.’s tremendous mass at its command, I wondered if Jr. would live up to Dad’s legacy. Well, I am happy to report, Jr. does. Indeed, I would go so far as to say that Jr. exceeds for a “real” or lifelike pre- What triggers this switch between observing and evaluating Sr. (and other turntables I’ve sentation (beyond, of course, exemplary parts and perceiving lifelike wholes remains a bit mys- heard) in certain key areas, in- superior LP engineering and terious to me.
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