AUDIO ORIGAMI: PU7 Tonearm – test review

Roy Gregory writes: If Audio Origami ‘s nomenclature evokes a dull echo somewhere in the deep recesses of your memory banks, seeing it in the flesh might well seem like déjà vu. Back in the day, when real turntables came from Scotland and they all carried Ittoks, more enlightened audiophiles (or just those who saw themselves as different, independent or free thinkers) sandwiched a Syrinx PU3 between their Asak and the rest of their Linn/Naim system. While Linn were based in Glasgow, all working class and heavy industry, Syrinx were based in Edinburgh's the rather more effete atmosphere, with its academic associations and old-moneyed, Royal heritage. If Linn’s products eliminated unnecessary fripperies (like azimuth) in the pursuit of an almost Puritan simplicity, imposing mechanical integrity with the long arm of an Allen key, the PU3 was a study in fundamental engineering theory and elegant execution. I suspect that Ivor would have condemned it as, "too %$#&*@ clever for its own good," a judgment that’s not entirely wide of the mark.

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