The reason I put weight in brackets is because it has very little weight 70gms. To be exact. So it’s not a weight or clamp or stabiliser it is in fact it’s own thing.
Its casework is constructed in a polymer probably on a 3D printer and has a loosely held seven piece internal content, more than likely dissimilar plates included to vibrate against each other and dissipate vibration by converting it to heat.

I have a Gravity 1 amongst around 25 different weights, clamps and stabilisers, the only worthwhile one being the Gravity 1 as it did the job I wanted it to do which was to clear the feedback interference from the vinyl which it does with aplomb, so is the version two going to be any better at this job.

I started out by playing a record with no weight on it, then the same track with the Gravity one the sound improvement is immediately obvious, I then swapped to the two same track and it was very obvious something new was happening, focus became pin sharp expanding the sound stage, bass was more immediate and impactful everything stood out much clearer and cleaner but not in a clinical manner it was actually making the music more “human”, a difficult concept to put into words but quite obvious when listening.
So I established Gravity two is an improvement on the one, I dubbed the two as “a musical compass” it has a habit of taking you straight into the music and ignoring all of the destructive artefacts that occur when a stylus hits the groove, to understand this statement you need to experience it yourself, there are the usual detractors who will claim “snake oil” or similar empty observations, but they are the ones who are missing out on a trulyworthwhile musical ride.

There is a lot happening on recordings that we accept as the norm, overblown bass, slightly slurred lyrics and shrill effects on the extreme top end I have experienced all these on certain records, so decided to sample those offenders again with the help of the Gravity 2.

They are Freedom Principle, acid jazz and other elicit grooves, if you own this record you have probably surmised that it is over recorded with extreme drumming and vicious sax and trumpet, I actually put the onus of blame on my cartridge/arm choice and have tried many things to eradicate the effects.

The Gravity 2 seems to tame the sound in a good way that told me my arm and cartridge were doing the job correctly and I was now hearing the recording as intended, it was so lifelike I was actually shocked at what
was happening so played both sides and experienced it in a new light……….Brilliant.

Next up was Bela Fleck, As We Speak, his banjo did sound piercing on the ears and the Tabla and Bansuri both overblown, the Gravity 2 tames these down to the extent that the double bass is more prominent the musical balance is restored and the interplay between the musicians is far more obvious, don’t get me wrong I’ve always enjoyed this excursion into American/Indian fusion it was just more enjoyable now a lot of interference was gone.

The next record is wholly more difficult as there are so many musicians all adding their bits in what can sound like a muddle, I rate it as probably the most demanding of tests for any system. Youssou N’ Dour, The Lion, a truly monumental group of musicians playing an African Fusion Jazz. It was playing this record that told me a lot more about what the Gravity 2 was actually doing and on the most demanding tracks I lifted off the Gravity just to check that I wasn’t kidding myself, you can and I’m not immune, imagine what’s happening on account you’ve read the advertising blurb, in this instance it came out of the blue with very little explanation except “see what you think” and I started out with no real hope that it was any different to what’s gone on before, believe me it’s not just different it’s a whole new ball game, I’ve no idea of how much it is or when it’ll be released, but will say whatever it cost’s isn’t going to be too much, I think it’s priceless for the improvements it makes.

Tony Sharman.
Restek UK.