Dear friends: This kind of discussion ( pivoit tonearm alignment subject. ) always makes me to look over the information I have and that I learned through the years to find out if something I learned is wrong and rectify it or to confirm " things " are ok.
Well, in these kind of discussions almost always I learn something from other gentlemans and this time was not different.
The comment from genesis 168 ( refering to Stevenson A alignment. ):
""" Higher on the outer grooves so what? The outer grooves are easier to track..... """
I gave an answer to that and the answer came in that precise moment:
way before the stylus tip hit the first LP recorded groove Stevenson A approach tell us its inherent high distortion levels on those grooves against Löfgren approaches where the Stevenson A and Löfgren equations solutions are what numbers says with a zero tolerance in the overall cartridge/tonearm parametrs set up .
That's what mathematics says but is almost impossible to make any of those set ups with zero tolerance and this fact means that " things "/distortion levels always will be higher that what the solutions says and we have to remember here that distortions generates harmonics too and that over the LP play exist IMD too.
For years I posted here the critical importance of accuracy in the cartridge/pivoted tonearm set up subject and now is more clear why.
That accuracy level ( ideal: zero tolerance. ) is even more important because all the imperfections of the LP it self as in the cartridge too and because of the different recording velocities recorded over the LP surface.
As you know my target is to be/stay nearer tothe recording but as you know what is in the LP recorded surface is not what is in the recording, far away from there.
In theory we can have what is in the recording when the phono stage applys the inverse RIAA eq. where the magnified set up " errors " ( non-zero tolerances. ) during the LP play along the distortion levels of each kind of alignment are magnified again on that inverse severe eq.
Taking all those in count Stevenson A is the worst of those kind of alignments and seems to me with out today facts that can justify it use for many audiophiles in the world as some of you in this forum.
The alignment cartridge/pivoted tonearm has to live inside of what is surrounded with and not only taking in count the inside grooves alone as and island in the earth because exist a whole relationship with all what surround the overall analog alternative.
Stevenson A approach is an extreme approach with extreme consequences due that he puts the inner null radius ( zero wte. ) at r1. I already explained the " terrible "consequence about that for me preclude the use of this kind of alignment or similar one.
Now, I can be wrong and if I'm I would like that some one of you clarify this subject for me. Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
Well, in these kind of discussions almost always I learn something from other gentlemans and this time was not different.
The comment from genesis 168 ( refering to Stevenson A alignment. ):
""" Higher on the outer grooves so what? The outer grooves are easier to track..... """
I gave an answer to that and the answer came in that precise moment:
way before the stylus tip hit the first LP recorded groove Stevenson A approach tell us its inherent high distortion levels on those grooves against Löfgren approaches where the Stevenson A and Löfgren equations solutions are what numbers says with a zero tolerance in the overall cartridge/tonearm parametrs set up .
That's what mathematics says but is almost impossible to make any of those set ups with zero tolerance and this fact means that " things "/distortion levels always will be higher that what the solutions says and we have to remember here that distortions generates harmonics too and that over the LP play exist IMD too.
For years I posted here the critical importance of accuracy in the cartridge/pivoted tonearm set up subject and now is more clear why.
That accuracy level ( ideal: zero tolerance. ) is even more important because all the imperfections of the LP it self as in the cartridge too and because of the different recording velocities recorded over the LP surface.
As you know my target is to be/stay nearer tothe recording but as you know what is in the LP recorded surface is not what is in the recording, far away from there.
In theory we can have what is in the recording when the phono stage applys the inverse RIAA eq. where the magnified set up " errors " ( non-zero tolerances. ) during the LP play along the distortion levels of each kind of alignment are magnified again on that inverse severe eq.
Taking all those in count Stevenson A is the worst of those kind of alignments and seems to me with out today facts that can justify it use for many audiophiles in the world as some of you in this forum.
The alignment cartridge/pivoted tonearm has to live inside of what is surrounded with and not only taking in count the inside grooves alone as and island in the earth because exist a whole relationship with all what surround the overall analog alternative.
Stevenson A approach is an extreme approach with extreme consequences due that he puts the inner null radius ( zero wte. ) at r1. I already explained the " terrible "consequence about that for me preclude the use of this kind of alignment or similar one.
Now, I can be wrong and if I'm I would like that some one of you clarify this subject for me. Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.