9", 10" or 12" tonearm?


Can anyone explain why many analog aficionados like or dislike 12" tonearms? What is the main sonic difference between a 9 or 10" tonearm and a 12" one? Is the 12" dogma outdated? I must say that in the past there were more 12" designs (SME 3012, SAEC, Audiocraft) than nowardays. Is 12" for "audiophools" with strong nostalgic feelings (like me)? (Especially when combined with those old Denon 103 or Ortofon SPU).
dazzdax
Another advantage of the 12" arm that has not yet been mentioned is that VTA changes less with different record thicknesses.  Also, because the offset angle is lower on a 12" arm, skating forces should be reduced.  

As others have mentioned, the tradeoff on long arms is that, for any given effective mass, the arm will be less rigid and more prone to problems with resonance.  Not only are the arms themselves slightly heavier, having the heavy cartridge well out on the end of what is a cantilever means that the effective mass (inertial mass) of the cartridge is much higher.  If one were to try to reduce effective mass by reducing the mass of the arm itself, that means less material in the arm and less rigidity or damping capability.

Linear tracking arms come in a WIDE variety of designs.  Those that rely on very low friction to allow the arm to be pulled along by the forces on the stylus (like the air bearing arms), put more stress on the cartridge's cantilever than do pivoting arms (because of no mechanical advantage of a pivot and lever).  Some say that the requirement of such designs to yank the cantilever sideways enough to move the arm actually means the cantilever is almost always further out of tangent than on a conventional arm. 

Whatever the theory, I cannot say that I've heard differences in performance that are consistently attributable to one type of arm or to particular lengths of arms.  
VPI's HW is working on a 14" arm that's nicknamed the Longboy. I got the feeling it ain't goin' to be cheap :-(

http://www.vpiforum.com/viewtopic.php?f=9&t=9547
Clearaudio has a line of linear tracking TAs that are typical CA quality (very high). Even the least expensive is expensive (to me). I'm saving for new TA and may spring for their lowest end model. 

Another problem with linear tracking TAs is their physical layout. Most will not fit under what I would consider a "normal" dustcover.

A long arm offers a lower degree of tangency error but has more resonances of the barrel ... this is the reason for sympathizers or detractors for the 12’’ arm

For example, I don’t love them but I appreciate the 10'’ arms!
It depends on the cartridge. Longer tonearms have higher effective masses. In order to make a longer tonearm as stiff as a shorter one you have to add more mass yet. If the cartridge has high compliance it will suffer in one of these arms. There are some examples of lighter 12 inch arms that are very stiff. The SME V 12 comes to mind.  Kuzma 4 Point arms are heavier but stiffer yet. There is no straight line tracker on the market today that I would prefer over one of these arms. I have watched Clearaudio arms tracking records closely. The cantilever always leads the arm like the tail wagging the dog. I am sure it is possible to make a straight line tracker work beautifully. I just do not believe it has been done right yet. When it happens I will be one of the first to jump on board assuming I can afford it.