Eminent Technology ET-2 Tonearm Owners

****Trying to go rigid in every aspect of a tonearm’s construction will not work when the source is so Flexible !****

THAT is the kind of thinking that let's a sound system translate the information in the grooves (or pits) into MUSIC; and the kind of thinking that is often missing in this great hobby.

Chris, after a few years of suffering the bagging of leaves at our upstate place (incredible views this time of year) I discovered the benefits of simply mulching the leaves with my riding mower. It has to be done more frequently than would be otherwise; but if done correctly, is not only much easier on one's back, it is good for the lawn. Regards.

Gentlepeople.

Just another take on the thoughtful input from Pegasus.
Is it possible that the screw torque adjustment thing is at least partially due to the disruption of multiple mechanical paths? Lets look at the arm as a set of parallel mechanical conductors carrying current to "ground" (the plinth). In the ET their are multiple paths in the pillar and interface with the plinth. We have likely all experienced earth loops in our HiFi journey. Could this be something similar. Multiple parallel paths with slightly different propagation times, creating the equivalent of an earth loop. By disrupting, breaking, some of these paths are we actually building a single path to ground, hence cleaning up the mechanical earthing of the arm.

Yes, this makes sense, and in an additional view-angle it's also like looking at ground loops like HF currents, overlaying each other with more or less phase differences, because "tuning" the screws (down) also tunes (down) the speed of each transmission path individually, and tunes (down) the Q of the resonances individually.
This BTW is also an aspect in different ways of mechanical equipment grounding. Depending on how you ground vibrations, more or less energy travels at more or less speed across the room, ie. across the floor, eg. to ones "ground receptors", the feet.
I mainly think in terms of rigidity as: "how much is *really* necessary". This & not more. One really has to check by ear, with a "natural" and integral way of listening. The "low rigidity way" keeps the musical range much more together, sounds more fluent. But it may sound less "impressive", less bassy, less "brillant" etc. Instead one hears more of the structure of sound, and listens into the quality of instruments *and playing* quite a lot easier.

****Instead one hears more of the structure of sound, and listens into the quality of instruments *and playing* quite a lot easier.****

Precisely. And speaking of instruments, this relates to what is being discussed and, while perhaps saying the same thing, approaches the issue more strictly from the "resonance" angle:

The saxophone and all woodwind instruments incorporate a series of levers and keys which remain open or closed due to the tension of a designated metal needle spring. Each key will remain in its "natural state" (open or closed) until the downward pressure of the player's fingers reverses it's natural state; either closes or opens it. The tension of each spring can be altered either by bending the spring a certain amount during the instrument's "setup" process or simply by using a lighter or heavier spring. The instrument will sound (and certainly feel to the player) more tonally coherent and with a more "right" timbre (which will affect even the perceived intonation (!)) if all the springs (upwards of twenty) have the same or similar tension.

Frogman - I discovered the benefits of simply mulching the leaves with my riding mower.

Frogman, being the accomplished musician you are, I am having a hard time visualizing you on the back of a John Deere. this is most likely due to my own biases/prejudices. Do you wear audiophile approved ear plugs ?

I highly recommend these ones.
these ones - click me

These are easy to insert in any size ear canal and they work well. Not affiliated with this manufacturer.

Frogman - The instrument will sound (and certainly feel to the player) more tonally coherent and with a more "right" timbre (which will affect even the perceived intonation (!)) if all the springs (upwards of twenty) have the same or similar tension.

Is getting all springs with similar tension a routine task... and do some manufacturers of an instrument like the Saxophone make this easier to do than others ? Curious..

Speaking of biases.

Two of my uncles played the different saxes, clarinet and flute. One of them happened to also be the music teacher at my middle school. In Grade 6 or 7 ?, I got handed this instrument by him with a bunch of piping. I was told to go learn it as the first performance was in 4 weeks for the band. At the time I remember thinking, this thing sure wasn't as cool as the trumpet, sax, or drums. It was the trombone. So I learned everything about the Bass Clef with it. Little did I know that the years that followed playing it, would influence my biases toward music from that point forward, still to today. I tend to put a bias on bass, whether live, amplified or not, and when I listen at home to full range material, I am therefore of the opinion that if you can get the bass right in a room, the rest will fall into place. More to follow on bass management... I need to go rake up some leaves.