Eminent Technology ET-2 Tonearm Owners



Where are you? What mods have you done ?

I have been using these ET2's for over 9 years now.
I am still figuring them out and learning from them. They can be modified in so many ways. Bruce Thigpen laid down the GENIUS behind this tonearm over 20 years ago. Some of you have owned them for over 20 years !

Tell us your secrets.

New owners – what questions do you have ?

We may even be able to coax Bruce to post here. :^)

There are so many modifications that can be done.

Dressing of the wire with this arm is critical to get optimum sonics along with proper counterweight setup.

Let me start it off.

Please tell us what you have found to be the best wire for the ET-2 tonearm ? One that is pliable/doesn’t crink or curl. Whats the best way of dressing it so it doesn’t impact the arm. Through the spindle - Over the manifold - Below manifold ? What have you come up with ?
128x128ct0517
****My thinking is it therefore makes sense to have the trough paddle attached to the end bearing cap as designed.****

Chris, interesting consideration, but I am not so sure that is always the "best" location. I use the trough as intended out of convenience, but have always been intrigued by the Townshend approach of silicone damping at the headshell. Additionally, since "We change resonances by using 1-3 springs and lead weight positioning", is it not possible that is precisely why damping closer to the headshell makes sense? IOW, if we optimize resonance characteristics at the rear bearing cap, introducing damping at that point would then change that resonance "balance" to the extent that, for instance, a different spring might perform better with a given cartridge.

Our sound systems are still so imperfect that, wether we like to admit it or not, we use resonance "control" as tone controls at least to some degree. Seems to me that in an LP playback "system" what we hear as sound improvements or degradations when manipulating resonances are the result of how those resonances affect the actual performance of a cartridge/tonearm system in absolute terms not just in the subjective sense of, for instance, preferring the brightness through a particular frequency band that particular resonances may introduce. To my way of thinking it is easy to understand how certain resonances may affect the actual working of a cartridge's suspension and motor given the very low level at which the mechanical to electrical conversion takes place. On the other hand resonances that occur within, say, a turntable's plinth will affect perceived frequency balance but, seems to me, are unlikely to affect the actual mechanical "performance" of the turntable. However, those same resonances will travel to the cartridge and may affect the performance of the cartridge, so it may make sense to damp as close as possible to the cartridge. Lastly, the "shock absorber" benefit of fluid damping in stabilizing the arms movement will be there regardless of the location.

Just some ruminations possibly the result of too much L-tryptophan :-)
Hope everyone had a Happy Thanksgiving day!
Richard and Frogman thanks for the comments.

BT in the damping trough manual
You can see visually small ripples on the surface of an LP as it is turning. These continuously excite the tonearm resonance.

I am firmly in the camp of regardless what your vinyl playback system is - it is but a slave to the actual record.
I am also a hobbyist and not a manufacturer, dealer, distributor of analog products and or services.

imo - those that set the standards for records many years ago - never imagined $5000 cartridges, $5000 tonearms and $30,000 tables of today. If they did they would have come up with better standards for the records.
Frogman - as far as tone controls go I agree 100 per cent. We know when they make a record they boost the highs to drown out the cutter noise. And reduce the lows so the grooves are smaller (to fit 20 mins of music) and to keep the stylus from flying out of the groove when we play a record. We then use our cartridge and equalizer (also called a preamp/phono stage) to re-equalize levels to where we can hear it all. So to those audiophile purists that balk at equalizers - your phono stage just happens to be one. If you play vinyl you use one.

possibly the result of too much L-tryptophan :-)

To Frogman and others possibly suffering from Tryptophan may I recommend some music.
In digital form now, originated from an analog master tape.
The sampler tracks are not downloadable (yet) but can be enjoyed with either headphones hooked to your laptop or a line feed from laptop's headphone jack going to your preamp.

http://ultraanaloguerecordings.com/wpsite/sample-tracks/

I am not affiliated with the site but am a customer of their tapes.
Cheers
Thanks for the links, Chris. Very nice! Great to hear the Gliere; love that piece. I couldn't find artist info on the site. Is it there?
Hi guys, while you all are on this topic, I'd like to know if any of you have experience with the Jun-Air 16-25 compressor? I've had one waiting in the wings for a long time and it has one issue. It has the option/with a tank that captures excess oil/moisture. When it reaches the maximum pressure setting, it immediately starts expelling air, then at the appropriate low pressure setting, starts the process all over again. I feel like it's a simple fix if the solution can be identified. A stuck valve maybe? Any help will be verymuch appreciated.
Hi Slaw
maybe this helps maybe not.
Anyway - I have a Campbell Hausfeld compressor that I use with some air tools.
Last winter it experienced the same symptom you described from the tube going from the tank to the pressure gauge.
In my case it was the brass insert and delrin sleeve had worn out.
Not until it was to max pressure did it start expelling the air.
I brought the worn brass sleeve to home depot and I picked up a new one.
The lip on the brass sleeve had worn out down to almost nothing. this fixed the problem for a couple dollars.
good luck with yours. there are a couple guys with Jun-Air's here hopefully they chime in.