Gimbal vs unipivot tonearms


Curious as to the difference between these types of arms. In my experience, it seems as if unipivots are much more difficult to handle.

Is it like typical debates - depends on the actual product design/build or is one better sounding or less expensive or harder to set up....?
sokogear
Is it just me who is marvelling at Mijostyn‘s certainties in life?;  he is again spouting generalities from insufficient data. In particular I‘d like to challenge him with a good Mørch or Hadcock design with a suitable cartride (e.g. Musicmaker, top Grado) to substantiate his claim. The resonance frequencies of unipivots are very different from heavy gimballed arms and hence mounting say a Miyabe or EMT Tondose won‘t get you very far. Conversely arguing that the liveliness and openness of a Unipivot have no attractiveness only supports his preconceived views of the world.
As usual, it's all about the implementation, not the technology itself.

Correct: The Devil's in the details.

case in point: I run a Dynavector DV 507MK2 with a Zyx Universe and a Mørch UP4 with a Scheu MC Analogue: on rock music, the Mørch is clearly preferred whereas the Dynavector on Classic and Jazz is miles ahead
like various different technologies (class a ab d amplification, planar vs dynamic driver speakers and so on) it is all about the quality and skill and care in implementation of the final product that determines how well it ultimately performs
Exactly. Tone arms are like everything else all down to how well an innumerable list of details is executed. Really good tone arms can be made from all sorts of different designs. There are examples of terrific arms made using wood, carbon fiber, aluminum alloy, pivoted, linear tracking, short arm, long arm, on and on. And on.   

The most useful thing you can learn sokogear is if you can pick up a sense of how to judge the value of all these different approaches. As for me, the one thing I have learned over the years is the fewer connections the better. So of all the different tone arm design approaches the one I care the most about is that the phono leads be hard wired. I will consider all kinds of arms but never again one that I also have to buy a phono interconnect for.  

You can take that however you like but all it means to me is all these other things people go on about- mass, compliance, length, etc, etc- they can all be done any which way and still sound good. But if at the end of the day you add all those extra connections you wind up shooting yourself in the foot.