Text and photos by Juan C. Ayllon
It was early spring when I received a WK Audio record clamp to review. Designed and handbuilt by Plichtow, Poland Architect Witold (“Witek”) Kaminski, 45, who owns WK Audio, it seems fitting that the results of his laborious testing resembles a miniature 21st Century spin on a Mesopotamian tower. As with his power cords, anti-vibration platforms and accessories, they are the result of long, laborious hours of testing.
After opening the package, I show it to my wife, Belle, who remarks, “Oh, that’s beautiful!” I am pleasantly surprised, as some of the equipment and acoustic treatments that have graced our family room (which doubles as my “man cave”) have been less well received.
I had never used a weight or clamp in my system, so I am curious to see the effects of this curious, retro-looking contraption of machined steel and wooden on my vinyl playback.
Specifications According to www.wkaudio.com, their record clamp has a diameter of 84 mm (3.31”) and height of 82 mm (3.23”) and stated weight of 720 grams (25.40 oz.). Their price is $650 plus shipping. "It is hand cut from a block of steel and hand engraved," Witek explains. "The process takes time and that's why is quite expensive." But, with this kind of hybrid structure of steel and wood, he says, "it produces a different kind of energy distribution because of the high potential energy level it creates." I notice that the review sample has a slightly different appearance than the one pictured at their site; it appeared more like a rounded stainless steel ziggurat atop a wooden plinth with a smaller, inverted ziggurat-shaped handle on top, while the clamp pictured on their site is a sleeker, industrial design piece resembling a futuristic hockey puck sprouting a smaller circular handle in stainless steel and a wooden base. The height and width were comparable, but the review sample I received weighed two ounces lighter at 23.40. Perhaps the one I received was an earlier version?
Getting Down to Business
It arrives during the early stages of my review of a $6,000 VPI Prime Signature turntable that comes with its own, proprietary record weight that is shorter, but heavier at 26.98 ounces. Curious to try out the WK clamp, I put it through the paces and find that it works equally well with the VPI’s custom made weight. Roughly a week later, I host a Chicago Audio Society meeting at my home and use the WK Audio record clamp a great deal while demoing the Prime Signature. Again, it performs flawlessly. In fact, several people ask about the curious retro looking clamp. One of the attendees notes that the hole in the WK Audio record clamp is a little larger than the spindle of the VPI Prime Signature, resulting in a little extra room, thus making it imperative that I place it dead center or otherwise it spins slightly off axis when playing a record (although there is no noticeable effect on the playback, it looks slightly askew). I email Kaminski about the matter and he writes back,“The clamp has a standard 8mm hole which suites more turntables on the market. Maybe the VPI has a little smaller radius?” That makes sense to me. Listening Sessions: I listen first with the VPI Prime Signature, which is belt-driven and powered by their robust 300 RPM, 24 pole, AC synchronous motor housed in a separate aluminum and steel housing which turns the 20 lb. aluminum platter at either 33 ⅓ or 45 RPM. The highly rated, $1000 Ortofon Black Quintet cartridge is used, along with the PS Audio BHK Preamplifier which I am also reviewing at the time. Several months later, both the Prime Signature and the BHK Singnature preamp depart, their reviews complete, so in an abbreviated second session, I employ my personal direct drive Technics SL1200 Mk 3 turntable ($350 used) with my Ortofon 2M Blue cartridge, a Mooo Mat cowhide and cork turntable mat, along with the Gudebrod 3T12V preamplifier which is being reviewed. It is interesting to note that the Technics does not come with a record clamp, which piques my interest. The VPI Prime Signature Session:
Daryl Hall and John Oates. “Sara Smile.” Rock ‘N Soul Part 1. RCA Records, October 18, 1983.
John Oates’ patented mournful, glowing, Fender Stratocaster arpeggio lead-in sounds just right. The keys, Scott Edwards’ bass, Jim Gordon’s drums, Daryl Hall’s patented, silky vocals sliding from vulnerable tenor to falsetto and back again, Oates’ velvet falsetto backgrounds and interspersed, harmonized leads are rendered warm, three dimensional and vivid. The subtle echo and/or vocal effects giving a sense of space, and the background strings are well articulated and warm. Sitting down to listen to this performance rendered on the VPI Prime Signature turntable with the Ortofon Black Quintet, it’s hard not to set aside my tablet and simply get lost in the music. For a mass produced pop record, it doesn’t sound bad at all.
Jack Johnson. “I Got You.” From Here to Now to You. Brushfire, Republic, Septermber 2013.
The whistling lead in and Johnson’s vocals are very clear, detailed and balanced; his acoustic guitar strings and slaps on the guitar’s body are crisp. The slide guitar in the backdrop. The resonant dobo rounding out the spare percussion is present in the backdrop. No doubt due to the recording technology used, this sounds more compressed and sharper than Hall and Oates’ “Sara Smile.”
Alan Parson Project. “Sirius” and “Eye in the Sky.” Eye in the Sky. Arista, June 1982.
The song, “Sirius,” long known as the Chicago Bulls’ entrance song sounds vivid, balanced and full, with the occasional small pop and hiss reminding you that this is a vinyl record. Then, as it fades to “Eye in the Sky,” Eric Woolfson’s lead vocals, along with David Paton, Chris Rainbow, Lenny Zakatek, Elmer Gantry and Colin Blunstone on background vocals are smooth, warm and engaging. As with the rest of the band -- Woolfson on keys, Paton’s electric guitar and Stuart Elliot on drums envelop me in a very pleasant sonic blanket.
Dave Mason. “Only You Know and I Know.” Alone Together. Blue Thumb Records, 1970.
This classic rock recording by the former member of Traffic sounds surprisingly bright and detailed. Mason’s vocals are solid, the snare and ride cymbals pop and shimmer; while the electric guitar lead lead comped by the ride cymbals sizzles. This 180 gram record is a little disappointing, as it sounds a little sharper than some others. Despite this shortcoming, this is rock and roll as it should be.
Mark Anthony -- Remix by Eric Kupper. “I’ve Got You (Ibiza Club Remix).” I’ve Got You. Vinyl, 33 ⅓ RPM. Columbia 2002
Marc Anthony’s vocals, the acoustic guitar, synthesizers, precision bass, trumpets and Electronic Dance Music bass thump come comes through clear, luscious in its layering and well articulated in this old favorite vinyl single from my DJ’ing days (you can view it playing in the video I created below). The Technics SL1200 Mk 3 listen:
Dave Mason. “Only You Know and I Know.” Alone Together. Vinyl 33 ⅓ RPM. Blue Thumb Records, 1970.
This classic rock recording by the former member of Traffic sounds a bit bright and detailed. Mason’s vocals are solid, the snare and ride cymbals are articulated well, as are the the ride cymbals and electric guitar. It his here that I am missing hearing the VPI Prime Signature turntable with the Ortofon Quintet Black cartridge that I reviewed for several months (in all fairness, the Ortofon 2M Blue cartridge ($200) now in use and the Quintet Black ($1,000) are on two different levels, as are the Technics SL1200 Mk 3 turntable ($350 used) I’m using vs. the $6,000 VPI Prime Signature). Nevertheless, it’s a good presentation and a little more forgiving on the shortcomings than the VPI -- which surprises me, as the 2M Blue is supposed to be a little more analytical sounding than the Black. Perhaps the added warmth of the Gudebrod Audio preamp helps?
Miles Davis. “Freddie Freeloader. Kind of Blue. Vinyl record 33 ⅓ RPM. Columbia. 1959.
Miles Davis’ trumpet, as accompanied by Julian “Cannonball” Adderley and John Coltrane on saxophone, Wynton Kelly on piano, Jimmy Cobb’s on ride cymbal and snare, and Paul Chambers on double bass make a very compelling and satisfying analog presentation. The dynamics are not over the top, but realistic. And the timbre and articulation of Davis’s trumpet are captivating and lifelike -- as are Adderley’s and Coltrane’s. What a way to wrap up my vinyl listening segment of my listening session with this modal jazz classic. After I completion of the first run through of “Freddie Freeloader”, I replay passages with and without the WK Audio record clamp and notice a strange thing: I detect a subtle increase in focus and detail with the clamp on. I repeat the experiment several times. Sure enough, the impact of using the clamp versus playing without it is similar to listening to my system with the removable acoustic absorption panel I employ at the right reflection point in my room by the brick fireplace versus removing it (as my wife likes me to do when I’m not engaged in serious listening). I find this very interesting, as my friend, Rich Sacks of the Chicago Audio Society, cautioned me that the impact of the record clamp shouldn’t be noticeable, as the Technics is a direct drive turntable, but suggested that the WK Audio Record Clamp should have an impact on belt-driven turntables -- many of which do not like heavier record clamps or weights. Honestly, I believe that the act of weighing down the record with the WK Audio Record Clamp secured it tighter to the mat, reducing vibration and resulting in a tighter, more focused image. I like it!
Conclusion
The WK Audio Record Clamp is a beautiful, well-machined, handmade record clamp that does indeed improve the sonics of vinyl playback when employed. It is not as heavy as the VPI Prime Signature record weight, so there are no apparent benefits in switching it out with theirs. However, I noticed a subtle, but appreciable improvement in the presentation when used on my Technics SL1200 Mk3 turntable. However, I am confident that I have only scratched the surface of its potential. I like its effect on my turntable and look forward to employing it while reviewing other turntables -- especially the belt-driven ones, which can be especially sensitive to the amount of weight applied to them. No doubt, it will help to make beautiful music in our family room for years to come! Equipment Used:
10 Comments
Lynford Andrews
9/15/2022 07:42:55 am
Hello,
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Lynford Andrews
9/15/2022 07:46:04 am
Hello,
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Juan C. Ayllon
9/20/2022 07:26:21 pm
Hi Linford,
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Lynford Andrews
9/27/2022 03:16:01 pm
Hi Juan,
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Juan C Ayllon
9/28/2022 06:14:33 am
Hi Lynford,
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Lynford Andrews
9/28/2022 10:01:52 am
Hi Juan,
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Juan C Ayllon
9/28/2022 10:48:22 am
Hi Lynford,
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Lynford Andrews
10/2/2022 03:50:04 pm
Hi Juan,
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Juan C. Ayllon
10/3/2022 07:06:23 am
Hi Lynford,
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Juan C Ayllon
10/6/2022 05:42:31 am
Hi Lynford,
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