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Thread: Ortofon RMG 309 Limited 12-inch tonearm.

  1. #1
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,248
    I'm Tom.

    Default Ortofon RMG 309 Limited 12-inch tonearm.

    Iíve significantly overspent/overcommitted in recent weeks so Iíve decided to let go a few things.

    The Original RMG 309 was made by Ortofon in the 1960s and was a high-mass arm for use specifically with the SPU. It was demand from Japan in the 1990s that persuaded Ortofon to re-establish SPU production, and this led to further demand for an appropriate tonearm. So the Ortofon 309i was born, for the Japanese market and made to the original specification in terms of mass, length, offset etc (though higher quality materials and finish). This was made on contract in Japan, Iíve seen suggestions that it was done by Audiocraft though lately Ortofon have established a relationship with with Jelco for for their current arm range.

    As it stands the 309i came like the original, without integral arm lift or clip, and on a simple three-point base. Later in production, the 309 Limited was released which has an SME pattern adjustable base that fits straight on to existing SME holes (Iíve added a spacer, useful for my TD124 but not entirely necessary as the base is very sold and the arm pillar more than adequately long). The 309mm spindle to pivot distance is slightly longer than the 295mm of an SME 3012 or M2-12R, but I found it bolted onto the holes of my previous M2-12R and I could adjust to 309 via the slider. So it should fit any base set for an SME 12in arm. This makes it an immensely practical tonearm, though I would say itís best used for Ortofon SPUs (naturally) and other low compliance cartridges - Iíve used it with Koetsu, Miyajima and Ikeda cartridges, you could include the likes of Kiseki, Phase Tech/Phasemation, possibly some of the Denon 103 variants. One of the best arms out there for these low compliance cartridges.

    The finish is a flawless matte stainless. The arm like the RMG original is dynamic balance. I had this arm serviced recently by Angus (phonemac) who pronounced the bearings to be Ďexcellentí and not even in need of adjustment, but he serviced the down-force spring beautifully (the knob turn like butter now, was stiff before), tightened up a slight droop on the end stub, and also re-filled the damper so the lift now drops slowly and evenly.

    No ortofon box though I have an Audio Origami PU7 12in box that fits nicely. The MC702 isnít included either. No problem to hear this on my TD124. No arm cable though works with any standard 5-pin tonearm plug (Iíve been using it with Audio Note AN-Vx).

    Iíve seen asking prices for these of £2-3k in Japan and up to £2k in Europe but Iím offering this one at £1250 plus £12 RMSD.


    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers with Tannoy ST25 supertweeters; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 9 inch and Ikeda IT-407 12 inch tonearms; Cartridges Stereo - Miyajima Madake, Miyajima Takumi, Ikeda 9TT, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912 + Miyajima ETR-Mono SUT; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Garrard 401 with AT1503 Mk I tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

  2. #2
    Join Date: Jan 2009

    Location: Essex

    Posts: 18,482
    I'm openingabottleofwine.

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  3. #3
    Join Date: Feb 2010

    Location: Berkshire, UK

    Posts: 3,248
    I'm Tom.

    Default

    ... And Sold.
    Main: Speakers 'RFC' Tannoy Canterburys / custom crossovers with Tannoy ST25 supertweeters; Amp - Radford STA100; Pre EAR 912; Vinyl: Thorens TD124 MkII + Ikeda IT345-CR1 9 inch and Ikeda IT-407 12 inch tonearms; Cartridges Stereo - Miyajima Madake, Miyajima Takumi, Ikeda 9TT, SAEC/Excel C3; Mono - Miyajimas - Zero 0.7, Premium 1.0, Edison '78' 4.0 conical, and Shure M44 strapped for mono with several Expert Stylus conicals for different eras of 78s; Phono stage and SUT from EAR 912 + Miyajima ETR-Mono SUT; Esoteric Sound Re-Equalizer for equalisation of early mono and 78, switchable in from tape loop; Digital: Audio Note CDT2/II transport, heavily modded AN Kit DAC + Mutec MC3+USB.

    Study: Speakers - Tannoy DC6; Amp: Pass Aleph 'Mini'; tube preamp - Gate Audio tube; Vinyl: Garrard 401 with AT1503 Mk I tonearm and vintage Ortofon SL-15e with matching Ortofon 2-15k SUT; Phono Stage from Gate Audio preamp; Digital - Trichord Genesis III CDP + Arcam rBlink.

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