SPERLING TA-1 TONEARM…Uniquely To Have?!

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My first encounter with the Sperling TA-1 Tonearm was a few years back at the Sperling Audio exhibition at Munich Hi End 2017. Then, I thought I knew the sound quality of the Sperling L-1 turntable. However, the sound quality I heard at that exhibition was familiar and yet unfamiliar.

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As I looked closer, I noticed that there was attached unto the Sperling L-1 turntable, a Tonearm with the Sperling Audio brand logo. I was not aware and neither did their Malaysia distributor, that they made Tonearm. Shortly, with a giggle, it was revealed that that Tonearm was designated Sperling TA-1. It is by the famed German Tonearm Manufacturer, Robert Fuchs.

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As I mentioned above, at the exhibition, I noticed that there was that “unfamiliar” sound quality from that Sperling  L-1 turntable set up (with the TA-1), which was the openness and  freeness in its presentation. I considered that a positive attribute.

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Then and there, being taken in by that sound quality, I requested that that whole Sperling L-1 and TA-1 combination be sent in for review. The fine gentlemen at Sperling Audio, Ansgar Sperling and Michael Bonninghoff, being generous, sent in that combination for review (the Sperling L-1 review and follow-up available here), and they have remained in my audio den and stood tall against most competitors ever since!

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I received the TA-1 with the ebony wood arm wands and at multiple lengths (9″, 10.5″,12″ and 13.5″). Conveniently, the user can swap the arm wand of his choice of length or material (by order and sold separately) by a mere detachment from its magnetic holder (no tool requires!).

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I started and maintained the 12″ arm wand at the TA-1 till today. Frankly, I have yet to try the other lengths of the arm wands. Figuring that I have other 12″ tonearms at hand for comparison; The Black Beauty (by Kronos Audio), Thomas Schick 12” and Ortofon RS-309D.

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Installing the TA-1 was easy enough with the provided well written manual. Dialing in the balancing weight at both sides of the arm wand to obtain a level azimuth and balance across the platter was equally easy. If my memory serves me right, the TA-1 may be one of those easier to install Tonearms that I have the pleasure to play(?!)

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Since then, I have two tonearms installed at the Sperling L-1 turntable, namely the Acoustical System Aquilar (with the Miyajima Kansui Mc to the FM 223 Phono Master) and the TA-1 (with the SoundSmith StrainGauge phono system). Apparently, here, I cannot do an apple to apple comparison.

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The first thought in my head when I received the Sperling combination was that would I hear that “unfamiliar” sound quality as per at that Sperling Audio exhibition at the Munich Hi End 2017.

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Appreciatively and subjectively, and comparatively, I did recognized certain attributes contributed by the introduction of the TA-1 into the set up (all the components in my set up have been with me for some times and their respective sound quality have etched into memory…).

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Playing a heavily spun vinyl, Art Pepper meets The Rhythm Section (Analogue Production APJ 010), I did not realize how “obvious” (until now) the vibe and energy of those musicians with their instruments. There was that sensation that the musicians were able to agitate more air with their respective thwack, blow and rub on the instruments.

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The listening session has a higher sensation of being treated to the atmosphere of that recording session than “seeing” the musicians. Here, I knew where each musician was being positioned and his role in the play. The images of the musicians were rightly placed, delineated and defined. However, I felt the sensation of the atmosphere that constituted the air, space, separation, soundstage and the boundaries of the recording venue, had a higher prominence comparatively.

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I am not saying that the presented images did not have the density and palpability. (Next) The TA-1 has that tendency to emphasize more of the play and action of the musicians than the musicians themselves. Here, I could hear and feel the intimacy of the vibes and resonances from the strings of Paul Chambers‘ plucking at his double bass, each hits at the drum skin by Philly Joe Jones, the flow of air through the sax as Art Pepper sensationally blew it, and the soft depress at the piano keys of Red Garland.

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On the same note, I found the vocalization of (Ms.) Masako Kunisada in  her rendition of ‘Snow flakes’ in the album, Dancing Girl From Izu (Rhymoi Music RMLP-041), to be more “airiness-ly” pronounced, with a lingering of the last vowel and ended with smoother sibilances. Thus, there was that sensation of added emotion and intimacy. However, the delineation of the main vocalist as a whole was ever slightly smoother and to some, easier on the ear. I might add that time actually ran slower, comparatively that have allowed one to savor all the breath poured forth in the emotional vocalization, as if she sang to one’s heart directly.

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In regard to the accompanying musicians, I found them to be more distance from the lead vocalist, (Ms.) Masako. It was more like they were standing further back in the soundstage. Therefore, it felt like my audio den has a more distant front wall to accommodate that illusively deep depth. I believed that that distance and depth brought about the accompanying double bass plucks to be not as taut and tight comparatively. However, the same (distance and depth = space + air) presented the plucks to resonate in a bigger and airier space, thus the effect of “certain realism”. Similarly, here, the piano keys enjoyed the same ‘resonating effect’ that have caused them to sound slightly exaggerated but fluffy, and that the scale of the piano to be slightly larger, comparatively.

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When it comes to presenting big, wide and deep soundstage, I believe that the TA-1 has that in spade. Playing Arnold Overtures (Reference Recordings/ Quality Record Pressings RM 1518) confirmed to me that it brought out a soundstage that was bigger, wider, and encompassing, thus making the huge four towers loudspeakers, The Gryphon Kodo disappeared. Not to forget, there was that depth in the soundstage that was illusionary beyond the front wall. In addition, the spaciousness of the soundstage coupled with the clear spacing among the sections of musicians created an illusion of being able to walk around them.

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The lower to low frequencies (bass) were in the right volume and quantity. Appreciatively, that brought about a Large musical presentation with an even LARGER Spaced Soundstage. Here, I found that the bass from the drums at the furthest end of the orchestra to be tight, defined, articulate, and powerful. The extension of the lower registry should be satisfactory to most audiophile (including myself), except the demanding bass aficionados (?!).

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As for the higher frequencies, I believed that the horns’ and trumpets’ extension and unhindered transient in energies at the track, ‘Hawaii 5-0’ from the vinyl album Kojak & Baretta (RCA JRS-9522), have convinced me. I might add that the higher frequencies was where the TA-1 also excelled, which brought about its sound quality uniqueness of openness, freeness, vibrancy, energetic, and intimacy.

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I would categorize that most of the Tonearms that I have owned as precision sounding component. I am not hinting that the TA-1 is not precise in its sound characteristics and quality.

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On the contrary, it is both precision (familiar attributes) and flavored (unfamiliarattributes) sounding component that I have learnt to enjoy very much over the years…HIGHLY RECOMMENDED!

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Check out the Website: www.sperling-audio.de

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TA-1 Tone Arm

Tonearm length: 12″ effective length

Overhang:  17 mm

Mounting distance: From 288 mm

Inner null point: 70,29 mm (Lofgren); 61,56 mm (Baerwald)

Outer null point: 116,6mm (Lofgren; 118,18 (Baerwald)

Wand: Made of wood; ebony

Mass: About 1900 grams

Effective tone arm mass: “Heavy”

Base: Made of brass

Finish: Glass beads blasted and matt chromed

Bearing: 1.5 point magnetic bearing, with magnetic stabilizing

Azimuth: Adjustable with the concentric drilled counterweight

VTA: Adjustable

Height adjustment range: About 12mm

Diameter base: 55mm

Diameter of the armbase mounting hole: 12mm

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