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REVIEW<br />
The options are plentiful: 9", 10.5"<br />
or 12" lengths; the metal parts<br />
come in matte, shiny, or black;<br />
and the armwand in carbon<br />
graphite or an exotic wood of your<br />
choice. My first review sample<br />
took a little over four months to arrive,<br />
a 12" model with a Macassar<br />
ebony armwand. A few months<br />
later, a second 10.5" model made<br />
of carbon graphite and titanium<br />
followed. The armwand is made<br />
of a titanium tube and a carbon<br />
graphite outer layer, separated by<br />
carefully inserted damping material<br />
to optimize resonant characteristics.<br />
These two arms are the first<br />
to land on North American soil.<br />
Immediately Engaging<br />
The Primary Control’s exquisite<br />
elegance can be felt right away<br />
as you unwrap the shipping box.<br />
Unlike most tonearms packed<br />
in molded Styrofoam boxes, the<br />
Primary Control is housed in a<br />
wooden box with precut foam inlays.<br />
It looks and feels expensive,<br />
reminding me of the now discontinued<br />
DaVinci Grandezza. From<br />
afar, the arm itself looks almost<br />
like a Schröder Reference tonearm<br />
with a nicer finish. The head<br />
shell mounting plate and the armwand<br />
look remarkably similar, and<br />
are both situated to the left of the<br />
mounting column.<br />
The Primary Control employs<br />
a unique proprietary two-point<br />
pivot, similar to Basis Audio’s<br />
Vector arm of the ’90s. The entire<br />
bearing structure is hidden within<br />
a round housing made of Delrin,<br />
making the bearing mechanism<br />
invisible to the naked eye.<br />
(continued)<br />
192 TONE AUDIO NO.66
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