Turntable Brinkmann Balance

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Helmut Brinkmann didn’t have a

choice: with the introduction of

the better LaGrange turntable his

old battleship Balance should ha-

ve been history. But then requests

for the Balance started coming

from the US and the designer de-

cided to revise his oldie, fortuna-

tely for us.

Scrambled eggs or “Yesterday”

Helmut Brinkmann definitelythought things through and gavethem enough time to mature. Thedesigner of the legendary AudiolaborKonstant turntable, that was laun-ched 1980, had planned in 2007 to di-scontinue his Balance ‘table that hadbeen in production since 1984. In es-sence, it should have been replaced bythe follow-up hit, the superior La-Grange. To be honest, I never was agreat fan of the Audiolabor Konstant.The rhythmical flow and finer play ofmusical colours of suspended turnta-ble competitors like Linn, Goldmundor Versa Dynamics were much moreto my liking. Similarly, but on a hig-her level I felt the same about the ol-der version of the Balance turntable.The build quality had always been an

Paul McCartney likes to tell thestory of the creation of his song“Yesterday”. Allegedly, he dreamt ofthe melody in a Parisian hotel, but hethought that it was already a wellknown tune. So he sang it to severalpeople and since he didn’t have lyricsyet, he used the words “Scrambledeggs, my baby, how I love your legs”. Ifthis story holds true, then it took himseveral weeks before he had writtenthe lyrics for the song and one of themost touching evergreens was born. Iwould like to shout at our speed-ob-sessed, fast moving world: Hey, whynot design it like Paul McCartneywith ”Yesterday”, just think a fewweeks before you make the next step.Or let things just rest for a while, itmight be to your advantage.

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example of exceptional machiningquality, but at the same time I foundthe musical impression a bit lameand too tame for my tastes. Sure, itcould exert great force; but to swing,fire instruments with inner dynamicsand sensitivity and merge them alltogether into a flowing ensemble, wasnever the stronghold of the originalBalance. Consequently, my curiositycouldn’t have been greater whenBrinkmann launched the LaGrangein 2007 to succeed the Balance. I pon-dered if the LaGrange would showthe positives of the Balance, the forceand stability, the impression of un-questioned authority whilst at the sa-me time adding those missed ele-ments of agility and free flowingmusical colours? To make it short: Yesit did and then some. It unfolded asoundstage in front of you with a dy-namic verve and a never before heardcolourful force in the lower and lo-west frequencies and a jubilantly sta-ble splendour in the higher frequen-cies. All of this more then fulfilled myexpectations. This LaGrange couldnot only drive adrenalin through myveins, it also made me musically blis-sful – and still does today. The then current version of the

Brinkmann EMT cartridge playedengaging and brilliantly natural, theslightly glutinous sounding characterof the original EMT was straightenedout, its gripping quality and its musi-cal charm was increased even more.And since the new 12.1 tonearm tur-ned out to be a dynamic wonder withother cartridges as well, this playerhad to stay in my listening room, nomatter the cost. After decades of en-

thusiasm for vinyl I had the feelingthat the LaGrange would always pas-sionately accompany me through allof my LPs and would even elicit ameasure of musical life from the mo-re feeble recordings. Quite naturally,

Blue today and tomorrow again? No, it’s only a customized edition

the player seemed to show even morequality with noticeably more expen-sive cartridges like the Transfigurati-on Orpheus L. It also appeared thatthe optionally available tubed powersupply (RöNt) was usually sonically

xxxAssociated EquipmentTurntable: Nottingham Deco, Brinkmann LaGrange 2-arm with RöNt tubed power supply Tone-arm: Nottingham Anna II, Brinkmann 12.1, Thales, Purevox Series VIII Cartridge: Kondo IO-M,Transfiguration Orpheus L, London Reference, Brinkmann EMT-ti Phono Stage: Kondo KSL-SF-ZCD Player: Jadis JD1 Pro Mk II D/A Converter: Jadis JS1 Mk III Tuner: Marantz 10B Pream-plifier: Kondo KSL-M 7, Jadis JP 80 MC (2011), Unison Reference Power Amplifier: Jadis JA80 (2010), Gryphon Reference One Mono Loudspeaker: Marten Bird (2010) Cable: Kondo KSL-Vz, KSL-LP, KSL-SPz, KSL-Spc Signature + KSL-Acc/Furutech E50(R) + KSL-ACz/Furutech E50,Acoustic System Liveline LS + NF, Hovland MG-2, Harmonix Golden Performance, Adagio AudioDigital Reference, Aural Symphonics Magic Gem v2t Accessories: Hensler Cablewave NL-7 +NP-1000, Power Distributor Magnan Signature, Vibex, Audioplan Powerstar, Antispikes, AcousticSystem Resonators, Shakti Hallograph, Harmonix RFA-78i, RF-999 MT, TU-220 MT, TU-210 ZX,MY-TU-201, Tuning Spike Base RF-900, Shakti Stones, HRS M3X base, Black Forest SoundBo-ards, SoundBridges, Audio Magic Delta, Salamander Design Shelves, Shun Mook Valve Resona-tors, Mpingo Discs, L’Art du Son CD Cleaner/Conditioner + Record Cleaning Fluid, Stylastxxxx

Turntable Brinkmann Balance

superior; however, I preferred thesimpler version with the standardtransistorized power supply for dy-namic, powerful electronic music.Unsurprisingly, this too seemed nor-mal in an audiophile way – there is al-ways a way to make something greatstill a little bit better. So one day I wascaptured by the midrange glow of aNottingham Deco, with sovereigntythat wasn’t unlike the LaGrange, but

with a more pronounced, palpablesuppleness. The turntable is aboutdouble the price, but its new 12 inchtonearm harmonizes better with thephenomenal IO-M cartridge fromKondo/Audio Note Japan. This didn’tchange the trust and feel-good statusthe LaGrange enjoys here. It’s likethat rare case of a racehorse whoseperformance fascinates time andagain, yet never shows any sign of we-

akness or susceptibility. You can therefore imagine my sur-

prise when, in 2009, Brinkmann an-nounced that the production of theBalance would in fact be continued.An unplanned for review in the USwas so overwhelmingly positive, thatthe turntable would stay in produc-tion, though limited to 25 pieces asthe Anniversary Edition to comme-morate the 25th Anniversary of theBalance, complete of course with afew additional improvements. Frommy personal understanding this set ofevents didn’t really fit with the Brink-mann design philosophy as I knew it.Brinkmann had an obviously betterplayer with the LaGrange and had setout to a future that was applauded bymany – including myself – with theless expensive Oasis, complete withthe new direct drive system. Yet, evenwith all these accolades, the decisionwas made to continue the Balance be-cause the US market had asked for it.My impression of Helmut Brink-mann and his design philosophy wasalways a different one, namely theimpression of someone who is dedi-cated to music and therefore conti-nuously works on improvements re-sulting in superior performance. Adesigner who pays attention to everylittle detail and works out the perfectsolution for it. For example if it con-cerns the pre-compressing of the Te-flon ground in the platter bearingthat is tested and perfected until itguarantees optimal sonic results anda practically everlasting durability

Further refined: the new ball bearings forthe cardanic suspension even improvethe sound

despite the 20kg platter weight. Orthat the bearing doesn’t run in sinte-red bronze anymore but better ma-nufacturing techniques have made itpossible to run the axis directly in aone-piece aluminium bushing. Acombination of carefully polishingthe bushing and stainless steel axiswith 0.5 micrometer diamond pasteis said to give better, optimised re-sults. Matching the extremely low to-lerances in the bearing of 3/100 milli-metres, Brinkmann found syntheticturbine oil that is optimised for heli-copter rotors and that provides a sta-ble oil film. I was astonished whenBrinkmann sent back my revised La-Grange bearing and not a single dropof oil had escaped the oil pressurebearing during shipping. Maybe Helmut Brinkmann was in

fact capable of getting the Balance tothe standard of the LaGrange with amultitude of improvements? In facthe decided to continue the Balanceafter the 25 pieces of the Anniversarymodel. And again with several addi-tional changes on the way to a resultwhere “the music dictates the sound,not the turntable” as Brinkmann ex-plains. Now there is a copper washerbeneath the set screw of his EMT car-tridge, in addition to the titaniumscrew with just the right diameterthat he started using after earlier ex-periments. This seems to be a sort ofmaterial fine tuning that runsthrough every part of the Balance. Itstarted with the 4mm crystal glassplatter matt, inseparably glued to the

platter, as the surface interface for theLP, which serves as the conductor forsound between the vinyl and the20kg heavy aluminium-copper com-pound platter. The crystal glass plat-ter by the way is polished by the sameGerman company that also manufac-tures optical systems for spacerockets. The ebony washer betweentonearm and base with a specifiedthickness and vertical fibre is also

Beautiful for the eye but a nightmare forthe anodizer: the sonic tuning asks for dif-ferent aluminium alloys - and they allshimmer in the same black colour

part of this fine tuning like the littlewood plug at the end of the tonearmtube. By the way, the wood used hereis cocobolo; it’s a popular tone woodused in Mexico for guitars. HelmutBrinkmann states that at this place inthe arm tube it’s much better suitedthan ebony which would sound toobright and papery. Asking the desi-gner about his turntable monument,it loses in my mind’s eye the power-

Turntable Brinkmann Balance

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ful, sculptural presence that it usuallypresents. Instead, it appears like a li-ving being, that has been turned intoa more flowing, functioning orga-nism by evolution. It’s unbelievable at how many places

this evolutionary process shows itself,for example at the tonearm: the pla-stic that holds the horizontal bea-rings and the arm tube has always be-en a specially manufactured mixtureof specified materials; now thisconnecting part has a new, morecompact shape. The headshell alsohas a new design, it is now calculatedaccording to the golden ratio and themounting plate for the cartridge is alittle thicker. Even the methodologyfor the adjustment of the four littleball bearings has been changed. Theyhad always been adjusted to a speci-fied play, like it is common, but nowthere is a refined, more precise me-

thod. In the final adjustment stagethe arm gets mechanically stimula-ted, the bearings being called adju-sted correctly only when the sonicfeedback has exactly the right sound. But there is more. Even the motor is

now built by Brinkmann, on the con-structional base of a capstan motorby Pabst. Naturally, numerous chan-ges abound, with temperature stablehall sensors, a thicker and harder axlethat runs in an oil pressure bearing,just like the platter bearing. And witha completely new drive circuit. It doe-sn’t rigidly control the motor anymo-re, rather increases the rotational for-ce to the correct speed and workswithout braking. While the questionof the costs arises when consideringthe motor construction (yes, even thecoils are specifically wound for it, butthat’s nothing compared to the 1000Euro production costs for the platter,

after all, virgin aluminum alloys arevery expensive these days) and it be-comes obvious that other manufac-tures might easily charge double theprice for this precision and extrava-gance – my communication withHelmut Brinkmann has arrived atthe principle questions of the motordrive. Starting with the electricityfrom the wall socket it’s importantfor him that all the components areideally linked with each other, thatthe electrical and mechanical energyflows optimally from one medium tothe next. So he designed a circuit thathelps detect the – minimal – electri-cal feedback from the played LP tothe turntable drive circuitry via an el-ectrostatic headphone. The smallestpossible and interference free energyinput to the platter was the aim. After nearly three decades, Helmut

Brinkmann’s understanding of his

Optional tube power supply and standard solid-state power supply for the heating

of the platter bearing

Turntable Brinkmann Balance

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evolutionary project named Balancehas a depth that I have hardly everseen before. Each point of the conver-sation can take a turn from the me-chanical perfection to philosophicaldimensions that might sometimesquestion our concept of engineeringor physics. How would I be able todetect his thinking in the new versionof a turntable that I didn’t appreciatemuch in its earlier version? I had thefull Balance set up with the “RöNt”tubed power supply where the solid-state power supply is only used forthe 15 watt bearing heater, andequipped with the HRS isolation ba-se. The set up was easy, the cartridgewas already mounted and perfectlyaligned; I have never experienced thatwith a premounted cartridge. Onlythe geometrical overhang and thetracking force needed to be adjusted(in the case of the review sample ofthe Brinkmann EMT cartridge, 1.92pond proved to be optimal, less than

with the earlier versions) after instal-ling the arm base. After a warm up I started with an LP

that would have caused the old Ba-lance considerable problems: highlyenergetic electro-acoustic Jazz by theDenison/Kimball Trio, interaction,drive and powerful agility are crucialfor this music. The extra bonus ofSoul Machine (Skin Graft GR22) is adimensionally free and open recor-ding, where usually linear trackingtonearms with air bearing or a Kon-do IO-M cartridge with its stunninghigh frequency resolution show greatresults. At the next moment the elec-tric organ filled my listening roomwith sounds seemingly coming fromoutside my living room, big, tangible,unbelievably present. The drumsshowed a maximum of sonic contrastby playing with every imaginable as-pect of a live performance like di-mensional richness and echo, thecymbals whirred mercilessly power-ful into my room, and the force of the

drum in the midrange had a splendidvolume. I know this album reallywell, or so I thought, but I have neverheard the first track “Terminal 2” soutterly convincing sounding. Samething with the second track “SoulMachine”: What a great flow of theelectric jazz guitar; the organ rocksbeautifully, there is a thrilling drivefrom the drums and I can feel the clo-se interaction and reaction betweenthe musicians. But most infectious isthis feeling of being there, the physi-cal feeling that the musicians startplaying right in front of you is so con-vincing, that it doesn’t leave muchroom for questions. The third track“Ad Infinitum” sounds like a smoothreference recording, with a three-di-mensionality and this seeminglycomplete detachment from the spea-kers. I have never known in this clari-ty and palpability the illusion to be inan acoustically completely differentspace, where the drummer plays rela-xed and at the same time every beat

Art of engineering and machining: Chassis with oil pressure bearing and connection for the bearing heating

Dust-free and silent: Slit for the belt andtinted cover for the motor

burns its own firework with funda-mental energy. Where does this im-mense power of the Jadis tubed po-wer amps JA 80 (revised byAudioplan) come from? It’s like al-ways, when the source is an improve-ment: Amplifiers and Speakers sud-denly show unexpected qualities. So then to about the most difficult

piece that could be played on a turn-table: Andre Previns interpretation ofthe Gustav Holst’s Planets with theLondon Symphony Orchestra, the Ja-panese Angel pressing on 2 LPs (An-gel Pro Use Series ALF-99002-3). Thewind section and the tense string sec-tion still restrained, threatening at thebeginning of “Mars, der Überbringerdes Krieges”, but at the next momentthe sudden eruption, rolling over me,ending the first wave with a shatte-ring beat of the kettle drum. Unbelie-vable, the hurricane of sound that isunleashed thanks to the Balance, adifferentiated wall of orchestral po-wer, completely controlled and withthe confidence that even more is pos-sible. The ability to deeply savour thedynamical dimensions in quiet andloud passages is incredible. The Ba-lance can alter the idea of how a sour-ce should be able to perform quite abit. When I went back to the othertop turntables, Nottingham Decowith Anna-II-arm and Kondo IO-Mor Brinkmann LaGrange with 12.1arm and Transfiguration Orpheus L,I was stunned: At the first moment Ialways had the impression that therewas a definite lack compared to thenew Balance. After a short period oftime I got accustomed, indeed theseare definitely outstanding turntablesand a Kondo IO-M is excellent in thehigh frequencies and incomparablysubtle and colourful in showing the

From the US specialist HRS: optional and advisable Brink-mann isolation base

musical suspense, like the Transfigu-ration convinces with cleanliness,neutrality and absolute balance of so-und. But going back to the new Ba-lance, both turntables almost appearto be copying the real sound. Let meput it this way: If you were to judgethe three turntables in categories andgive points, grades or percentages,they would all be on about the samelevel, maybe the Brinkmann Balancewith the new 12.1 arm and the newestversion of the Brinkmann EMT-tiwould have a slight advantage with itsstunning dynamical stability, but

judging the overall musical qualitythe Balance plays in a different lea-gue! I can’t think of another turntablewhere the three major components,turntable, tonearm and cartridge, aremerged together to such perfect uni-ty. Here you can really see that thewhole is more then the sum of itsparts. With all the immense pleasurethat other turntables can give, I neverhad this feeling that I had here, befo-re. And surely Helmut Brinkmanncan improve his new Balance evenmore; sometimes, for example withOliver Nelson’s The Blues And The

Turntable Brinkmann Balance

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Abstract Truth (Impulse First Pres-sing Stereo A-5) the LaGrange see-med to perform slightly faster. But tobe honest: I didn’t really miss that.How spectacular the Balance canrecreate music especially in its di-mensional and physical body but alsothe colourful and dynamical aspectsis a class in itself. Another LP that has a holy grail sta-

tus for me? This is nearly the fulfil-ment of a life-long dream, to hearKeith Jarrett’s strikes on the first LP ofthe Sun Bear Concerts almost visiblypierce the room, the vitality and sub-tlety become so palpable. Incredible,how these nuances in the sound un-fold, pieces for a play that repeatedlyshows despite the huge hall where therecording took place. This is why

Stravinsky called the piano a percus-sion instrument. Usually Jarrett’smusic sounds slightly less spectaculardue to the dampening influence ofthe huge concert hall, but with thenew Balance you come closer to theexpressional power of this “Jahrhun-dertpianisten”. The fascination is di-rectly tangible. Recordings thatusually ask for a special moment orsome effort to find an access to mu-sic, open up immediately. With the

new Balance, Helmut Brinkmannbrought to life what he always expres-sed to be his own calling: that his awefor music requires him to not destroyit, but to tend to it the expressions ofits most inner soul. He definitelyachieved this with the Balance. It is infact his “Yesterday”; a perfect master-piece that will last.

Author: Uwe KirbachPhotos: Rolf Winter

Cocobolo – that sounds a bit crazy, butthat’s actually how the instrument wood ofthe plug in the tonearm tube is called

xxxxTurntable Brinkmann BalanceDescription: belt-drive heavy mass turntableModel: for 9” to 10.5” or for 12” tonearmsSpecial Features: clamping mechanism forthe tonearm base Speed: 33 1/3 and 45 rpmDimensions: 60/40/18cm Weight: 33kgWarranty: 3 years

Tonearm Brinkmann 12.1Description: gimbaled-bearing design Model: with RCA connectors or SME 5-pole socket Ef-fective Mass: 14g Effective Length: 305,6mm Warranty: 3 years

Cartridge Brinkmann EMT-tiDescription: Moving Coil Output Voltage: 0,21 mV (1cm/sec) Stylus: Van den Hul, 4 microme-ter radius Recommended Load: 600 Ohm, less with a step-up transformer RecommendedTracking Force: 1,8 – 2,0g Weight: 11g Warranty: 3 years

Tube Power Supply Brinkmann RöNtSpecial Features: with tube rectifiers Dimensions: 18/31/9,5cm Weight: 12kg incl. granitebase Warranty: 3 years

Isolation Base Brinkmann HRSSpecial Features: broadband noise reduction Dimensions: 58/43/7,5cm Weight: 24kg War-ranty: 3 years

Kontakt: Gaudios Klangkonzepte, Brandhofgasse 11, A-8010 Graz, Telefon +43 316/337175,www.gaudios.info/xxxx