VPI 2nd Pivot for 3D

Raul thank you again I am still laughing away over you're logic that relies on the assumptions of "infinites" to arrive at real-world conclusions about tonearm pivots. To help you develop you're own arithmetic model rather than relying on the flawed work of others, here are some steps to follow.

After measuring the coefficient of friction as ratios between pivot points and accounting for the pivot-to-spindle difference as a variance on the ideal transference of rotational convergence, integrate the realtime consequence of the stylus to groove vibrational interaction with the cantilever assembly to arrive at a  deviation (from the theoretical ideal, of course) of the frequency output seen at the phono preamp input while carefully accounting for the impedance and resistive effects that the cables themselves introduce to the ac signal.  The resulting schemas can form the basis of the conclusion regarding the pivot friction forces that influence unipivot tonearms and this will help you synthesize extensible paradigms but please remember that the results you obtain will be limited to the specific example of tonearm that you have so carefully measured.

I do hope that you will share your results with this group so that we verify your calculations.

Dear @moonglum : There are several audio subjects we are not totally aware of or that just we need to remember it.

Cartridge/tonearm/LP relationship is the most important subject in the analog experience.

Those very high forces generated in between puts its own " signature " on what we are listening.
It is not only that ( for me ) unipivots are forbidden tonearm designs but at almost the same critical importance is the tonearm necessity of been perfectly damped through its design or other way: forbidenn.

We have to remember that all those generated vibrations/resonances/errors between the LP/cartridge/tonearms continuously are generating feedback through that " circuit " adding complexity to the whole main subject.

Good that you had that " number " at the tonearm bearing.

Over the net exist " formidable " scientific information. AES/BAS are some sources about but I can see that in your country you already was aware of all those.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.

Dear Raul,

The report you published is the first I’ve seen that confirms my long-held belief that diamonds “burn” more than they “wear”. Many thanks for that! :)

 

The importance of the “message” rather than the messenger is the main thing. People may differ on what they regard as the perfect analogue medium or how to achieve it but it is gratifying that vinyl records are still being celebrated today regardless of those differences.

 

Diverse solutions are also something to celebrate.

It shows that we’re still alive and thinking even if there are downsides and compromises. :)

Best regards,

Bill

For those seeking a more "stable" platform for their cartridge that combines all the virtues of 3D construction (non-resonant, tonal purity) and unipivot design (extended treble, lots of inner detail) you may be interested in the new VPI 10" gimbaled arm that is a (superior) variant of the one that will appear on the Levinson table. I had a unipivot 3D-10 for about a year and it performed extremely well on my vintage Scout. I was able to work with Mat and Harry to outfit a "curvey" Scout plinth with their new gimbaled 3D-10 and can tell you that it has all the virtues of the unipivot but improves upon the bass response (deeper and tighter), imaging (tighter focus) and resolution (more inner detail and less distortion). The sound has that elusive combination of a relaxed presentation with extraordinary detail that I have heard in a few select top tier vinyl playback systems. I posted pictures on the VPI forum for those interested in taking a look....

http://www.vpiforum.com/viewtopic.php?f=11&t=9306