Design Overview

The challenge for THE GLANZ – to overcome “mechanical vibration”

Basic components:

● By cancelling out “accumulated blurring” and smearing we have delivered a sound closer to “original pure sound”.
● By utilising stainless steel, which is hard and difficult to process, we have given THE GLANZ a sense of weight, and also enhanced the sound quality.
● We have been able to significantly eliminate the “subtle unwanted noises” of the collateral mechanisms (the auxiliary parts, and the structure that works in harmony with them), and have raised the static balanced arm sensitivity to the utmost limit using thrust bearings.


Solving the problem of harmonic distortion caused by the loss of mechanical vibration

A sound groove is engraved on an analogue disc. In order to faithfully reproduce the signal, the most important factor is the rigidity and mass of the tonearm, which should be integral with the cartridge. In general, mechanical vibration generated at the cantilever cannot be converted at the point of power generation, so vibration is left in the tonearm, and sound loss occurs. This causes the rise of the sound to deteriorate, adds a loss of harmonic overtone (distorted sound), and results in a shift to the high range, which leads to symptoms such as no low sound and no fine sound. THE GLANZ focused on solving these specific problems, utilising all of the technology and know-how that we had developed over many years.

Using our finely-honed skills to find a solution to the swirls and leaps of resonance transmission

The deep insight of a skilled craftsman has allowed us to design THE GLANZ with special attention to the physical integration of the cartridge and tonearm. THE GLANZ specifications impose strict conditions on all aspects of manufacture – from understanding the centre of gravity and moment, and the point where the resonance is transmitted, selecting and combining damper materials to counteract each other, as well as the composition of the stainless steel which is the material used in the body of the arm, right up to its machining accuracy and cutting processes.
Of course it goes without saying that each piece is individually hand finished to the highest possible degree, as though it were a precious work of art.

For the final hurdle, we undertake very stringent listening tests of well known records representing every genre of music, and then make the final delicate adjustments.

Creating a pure clean sound that pierces through silence

THE GLANZ product, constructed in this precise way, rejects all things wasteful and extravagant, and represents the culmination of simplicity & beauty. You may add to this the sophisticated design of the arm lifter. However, if you desire, you can omit the arm lifters and other accessories, and thereby enjoy simple styling with sound quality as the highest priority. You can choose from a heavy weight Ortofon cartridge, right through to a lightweight type cartridge.

THE GLANZ – as perfect as a work of art

A gentle, beautifully curved line, well-balanced size and weight, and the finest stainless steel gloss to give you goosebumps. In the end (and this is no word of exaggeration) this single tonearm has become a natural conduit for experiencing “original pure sound”. When you finally experience it, you will be thrilled by the quality of sound that can never be described as merely an “accessory”.

With its traditional name revived to meet the present age, ‘THE’ GLANZ takes centre stage wearing its new crown!

Design Concept

If the fulcrum of the cartridge needle is not securely fixed, the vibration of the spring leads to loss, as shown in the figure below: audio information output is not complete, and when signal loss is subtracted, the sound rises up poorly, and the loss is played back as distortion (harmonic distortion).

Signal output power generation = amplitude of needle minus vibration of cartridge body

Signal loss vibrates the structure itself through the arm, and this distorted sound returns to the cartridge, which also results in a further increase in the sound distortion. It is very important to prevent this happening in the arm.

The materials used in the manufacture of the arm are also important; loss will increase in materials that can warp and bend. Furthermore, it is essential to use a material that can handle high frequencies. If we are to choose a simple comparison to describe the logic of selecting the right materials, it is this: you won’t feel much if a hammer has a wooden handle, but if the handle is metal, then vibrations are transmitted directly to the hand when you strike something.

It is essential that the arm design consists of a material and a structure that can be rigidly attached to the base. Furthermore, the base must have a strong structure and be made from a material that the whole body can be firmly attached to, and supported by. (You may recall that there was once an echo machine that utilised steel springs – with a spring system inside the arm structure, the vibration corresponding to the loss coming from the cartridge agitates the springs and resonates, and the distorted sound returns to the cartridge.) If you ignore this fact, and do not think about the structure and the materials, unfortunately you end up with a simple echo machine.

If we actually examine the mechanical impedance loop of the arm, resonance occurs in various places, and it runs throughout the structure. Take a look at this exaggerated comparison: a listening room is no different to a bathroom, where you pick up the sounds reflecting back from the walls, and listen to music where the sound has been slightly muddied in the process. Furthermore, knowing that this distorted sounds exists, it is essential to create a structure that dampens without losing the rise. When the structure is constructed with a soft material, distorted sound is absorbed, but the loss in sound rise is increased.

Since we normally listen to records without being aware of the above points, just think what an amazing experience we can now have listening to such wonderful audio sound. Please try the machine for yourself and fully appreciate the true heart of sound!

If you cannot really notice any improvement, then please also try to improve the rest of your equipment. Without doubt you will find satisfaction in the end.