The result is a tonearm of stellar performance. A.J. Designer A.J. Conti’s 16 years of analog design experience have been poured into the new creation, which employs a unique strategy of combining elements from both unipivot and fixed bearing designs. The new, advanced bearing system is said to solve problems that have plagued previous designs, including bearing chatter, lack of azimuth correction and azimuth “rocking” created by record warps.
The Vector armtube is fabricated using a “matrix” alloy, a metallurgical development which controls the crystalline structure, optimizing both strength and resonance control. Further internal damping is employed to yield an inert armtube that effectively controls vibration.
Like all Basis products, Vector is beautifully constructed. Attention to detail and fit and finish is first rate. The arm is wired with a single run of wire - an unbroken lead from cartridge clips to the male RCAs. The wire is the company's own design and is fabulous. Consider the fact that the Vector 4 includes this cable, as many competing arms require an arm lead be purchased separately.
Industry luminaries have commented on the remarkable design achievements of the Vector. Of note, the esteemed David Fletcher (designer of the Sumiko The Arm and the SOTA turntables) said "You solved some of the key problems we were never able to." Wally Malewicz (designer of the Wally turntable set-up tools) noted "If I had designed this arm, I would not change one thing." Strong praise indeed from folks that know analog design.
Of course, as with any audio product, performance is everything. Read what one of our clients has written about his experience with the Vector in his letter to A.J. Conti.
"Let me take a minute to tell you about this fantastic combination. My old Well Tempered table/arm was very similar to the 2001/Vector in that it presented an analog warmth that our 5" aluminum disc format can never match, but that is where the similarities end. The WTT was a bit ripe in the mid-bass, while missing deep bass and was slightly etched sounding in the upper midrange. The 2001/Vector was a completely different animal. First and foremost, the 2001's suspension produced an extremely quiet, jet-black background. The last time I felt this amount of silence was when I heard a VPI TNT atop an active Vibraplane. And at one-third the cost of that setup, the 2001 is a force to be reckoned with. Secondly, the 2001/Vector combination produced the deepest, tightest bass that I have ever heard in this price range. The upper mids and lower highs were extremely smooth and natural. When listening, at night, to Jennifer Warnes "Famous Blue Raincoat" I was startled more than once at the sheer realism in her voice. I actually opened my eyes to see if she was really there. Combined with Transfiguration's Spirit cartridge, this combination is by far the best "bang-for-the-buck" package I have ever had the pleasure of listening to in my home. Thank you so much for working with me. I look forward to many beautiful, evening listening sessions with my new analog front end. David F.
Another enthralled user writes: "I received the Vector yesterday in great shape! AJ spoke very highly of yourself in a note he sent along with the tonearm instructions. And you were spot on in your assessment of the much fuller bass, and dynamics - especially the inner details that really bring the big climaxes to bear.
Set up was a breeze. The Vector alignment gauge is apparently based on the Baerwald curve as it was a perfect match for the WallyTractor Baerwald curve. Dead on, and easier to set the overhang vs the Wallytractor.
Killer tonearm! I feel like sending an email to AJ that reads "Woopee.... Wow! ..... Holy S---!........... What the?? ...... Oh Yea! ......... Damn, checkout Mingus........."
Galen once again, this was a pleasure. As always. I couldn't agree with AJ Conti more, as you are a class act. Much appreciated." Kevin W.
Of the Vector tonearm, David Allcock in Hi-Fi News writes: ”One of the biggest benefits was the arm’s ability to deliver an image into which the speakers sank and vanished… You simply heard ambient detail that was being revealed for the first time, describing not just the location of the performers relative to each other, but the space in which they were performing.”
Note: Arm shown with optional micrometer VTA adjuster.
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