The Palladian-A step beyond

Dear @fleib: """"   How is an alignment an invention anyway? Find 2 nulls along the recorded part and you have an alignment. I used similar alignments 30+ years ago setting up Japanese tables.  """"

As I said to Halcro the problem is that unfortunatelly majority of audiophiles did not learned the tonearm/cartridge geometry alignment subjects/premises by Löfgren but not only audiophiles but analog " guru " professional reviewers as MF or DS ( PF. ) and several others.

The ignorance levels in this regards is really high. The Löfgreen papers are of public domain and can be used for any one with out restrictions and coming from those papers we only see " number's manipulations " as the Stevenson one but does not exist any new method for tonearm/cartridge alignment set up not even new protractors where all are the same and only has real differences on its retail prices. I'm still with the unexpensive and very accurate MINT LP protractor, we don't need anything else.


Regards and enjoy the music,
R.

From Lewm:

Besides damping spurious resonances one can also sink the energy that affects the magnitude of the resonance. This is what I think might be happening with the FR64S/66S. It may be that the tonearm is efficient at draining resonant energy away from the cartridge body and headshell. Because, as Raul correctly states, there is no impediment to energy transmission along the arm tube and back to the pivot and base structure, it may be that the energy is effectively drained away or "sinked".

While he is not a fan of the FR64s/66s, Jonathan Carr of Lyra has commented extensively on this principle of draining energy and it seems like a very valid approach:

In general, my cartridge designs use the arm as a path to bleed off excess vibrational energy (after the energy from the LP groove is used to move the cartridge coils and generate an electrical signal, it serves no useful purpose and is best gotten rid of as quickly and completely as possible). Therefore, my cartridge designs definitely prefer arms with stiff, non-resonant armpipes, and bearings that are completely free of slop or chatter. If the tonearm doesn't fit the above requirements, the tonal balance of the cartridge is likely to turn brighter and harder, due to excess vibrational energy reflecting off the arm and getting back into the cartridge coils.

http://db.audioasylum.com/mhtml/m.html?forum=vinyl&n=165118

Dear @lewm : You are only " thinking " and that's it. I only want that you remember one after market item that was designed to " drain " energy/vibrations in a fast way to damps vibrations/energy and that was the tip toes that were builded by all metal aluminum with out any kind of real damping " mechanism ". Everyone bougth it ( including me ) and time latter I fallen in count that it was not a good damping device but the other way around.

What you need is to listen ( all the same but the tonearm. ) the FR vs a well designed damped tonearm and differeces goes straigth and ca easily heard.

In the other side if your " thinking " were true then what we need are all same metal TT's designs including its plinth and platfforms where are seated. You can ask for to any TT or tonearm today designer and see what answer can gives you.

Anyway, an after your post I'm still voting for well designed damped tonearms and not " mere tip toes ".

Regards and enjoy the music,
R.

Dear @sampsa55 : Yes, that’s why JC posted in Agon he did not like the FR ones ( I have that post. ).

He asks for " non-resonant arm pipes " ( as any single today tonearm designer but Mr. Ikeda. So, are all wrong but him?????. In the best way you can ask him or Halcro or any one you want that prove in scientific way why non damped tonearm designs are better for the quality sound levels than non-resonant arm pipes/tonearms.) where FR has resonant arm pipes because is not damped. It does not matters how fast vibrations/resonances/noises pass through it resonates and no one can do nothing about, can’t stop the feedback too. Is a mess of tonearm. Why argue in favor? when  seems to me that some of us only need to learn, that's all.


Regards and enjoy the music,
R.

Dear @sampsa55 : This is part of JC post I name it:

""" I agree that the FR-66S would be somewhat better than the SAEC, but truth be told, I’m not overly enamoured of the "S" family either (and I say this as the long-time owner of a 64S with Elevation Base and Arm Stabilizer). The stainless steel is great to look at, but less great to listen to, and when I run mine I prefer to keep a compression wrap around the tube. """


that " compression wrap " JC talks is a way to help damping the tonearm way resonant FR pipe.

He followed:

""" Yes, I’ve already done so with the Titan i. Likewise the Olympos. I agree that the results can be quite OK - as long as you wrap a damper strip around the armtube or take measures to dampen it better.... """

@halcro, he finalize his posts with:

"""  Finally, the headshell has a major impact on the sound, but I am sure that you are well aware of that. """


That very special build material wrap/strip was marketed by Sumiko and I owned and use it. Was extremely flexible and almost with no weigth for it self.


Almost all about damping in audio and its absolutely needs is only common sense not rocket science.


Regards and enjoy the music,
R.