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Time to choose: Baerwald, Lofgren, Stevenson ?

I’ve managed Dr.Feickert Analog Protractor for a decent price (build quality is superb, such a great tool).

Time to play with Baerwald, Lofgren, Stevenson alignments on my Luxman PD444.
Need advice from experienced used of the following arms:
Lustre GST 801
Victor UA-7045
Luxman TA-1
Reed 3P "12
Schick "12

Baerwald, Lofgren, Stevenson ? What do you like the most for these arms?
Manufacturers recommend Baerwald mostly. 

Dedicated "7 inch vinyl playback deserve Stevenson alternative, maybe?
Since it's a smaller format than normal "12 or "10 inch vinyl, it's like playin the last track's according to position of grooves on '7 inch (45 rpm) singles. RCA invented this format, i wonder which alignment did they used for radio broadcast studios.   

Thanks

chakster
rauliruegas
13,123 posts
 
Dear @astro58go: Here you can understand what you can do on your VPI tonearm:

http://www.vinylengine.com/vpi-tonearm-geometry.shtml

Regards and enjoy the music,
R.
pryso
1,967 posts
 
A general rule?

OK, I’ll admit that can be dangerous, but how about this? If you need to set up for 7" records (nandric, those large center hole 45s) or mainly symphonic classical, then Stevenson may be your best alignment.

Otherwise, play other LPs (33 or 45 should make no difference) set up with the more common Lofgren/Baerwald.

Of course Lew’s recommendation to follow your arm design may overrule this. But then that may also guide you as to which type arm to select based on the records you intend to play.

I use a Dennesen Soundtracktor for alignment and that was designed to conform with Baerwald. I still have nearly 100 45s from high school but those are hardly ever played. And I enjoy many symphonies but they are a smaller percentage of my overall listening. So I’ve never felt the need to try the Stevenson.

Now, the truly anal may choose to have multiple playback systems, each specifically set up to play a particular type of record. ;^)

nandric's avatar
nandric
4,086 posts
 

Hi pryso, If you mean with ''general rule'' any standards by cart

or tonearm producers then , as J. Carr stated, there are no

such rules. The arguments for Stevenson are rediculous as put

forward by chakster. Consider my records collection of +/-

3000 pieces. I would need to check them all in regards to the

distance of the inner grooves to the spindle as well regarding the

question if the crescendos are in those grooves. As I mentioned in

my post the assumption is that those inner grooves are the most

difficult for the arm and the stylus. So if the tracking error of the arm

is at its minimum on this part of the record then this means ''zero''

point on the tractor. Those zero points are elsewhere by Lofgren/

Bearwald. This is in accordance with their intention: the least

possible tracking error on the whole recod radius. Those are not

''small diferences'' but different approach of the tonearm geometry.

pryso
1,967 posts
 
Hi nandric, you seem to be quite specific with language so I will try to clarify my intent.  In my mind a general rule does not set a standard.  It merely suggests something which may be followed or expected the majority of the time.  So a general rule is not hard and fast (possibly an American expression?). For me, a standard would be more inclusive, defining all that met a minimum level of performance/results.

My hope was to offer a simpler solution which does not require measuring "zero" points or specifically identifying crescendos.  Instead, one might need only consider the size of the record and/or type of music utilized for the majority of their listening.  In fact I recall reading that Stevenson stated his alignment was intended to optimize symphonic music playback.

dover
2,291 posts
 
If you buy an Eminent Technology air bearing linear tracking tonearm you won't need to worry about alignment at all, as there is no tracking angle error. Even your favourite 7" Conway Twitty records will sound fantastic.

With regard to Dynavector and their preference for Stevenson, I know that the reference system at their factory premises in the 70's/80's had a response flat down to 13hz and yes large symphonic recordings were commonly used for auditioning. At the time their view was that you were better off to have lower tracking angle distortion on the inner grooves.  

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