Well Tempered Reference Arm and Koetsu Rosewood Signature Combination

 I have a well tempered arm and at first I agreed with Lewm regarding azimuth. Since then I have fiddled with things and experimented with differing amounts of fluid and I believe I have things working well. I just absolutely love the arm now! I have a Lyra helikon  on it and things have never sounded this good! The bass is very deep and tight.  Things just sounds very musical and right.  
 I believe my lira has a compliance of 12 but unfortunately I have no experience or knowledge of the Koetsu's 

Speaking to azimuth and the original Well Tempered turntables Player, Classic, and Reference models. The platers have a slightly concave record surface. Along with a an assortment of threaded record clamps the combination is intended to address warped LPs to some degree by preloading the disc from the outer edge downward at the spindle.

The Classic and Reference forked arms are equipped with anti-skate and azimuth on the fly adjustability. Using the Fosgate Fozgometer and the Clearaudio azimuth test record its simple to get a reasonably accurate azimuth setting.

In my experience the fly in the ointment is the irregularity in the thickness of the vinyl in the label area and weather or not the clamp is all the way down. This can affect the Fozgometer reading slightly. Audibly, I'm unable to hear the difference.


Another observation. I've found changing the tonearm cup fluid with 100,000 cst polydimethylsiloxane fluid from Turntable Basics at least yearly has had a noticeably audible affect. Two 10ml syringes should be enough for the job if the paddle is properly located.  

I have no experience with the Koetsu. I've had Benz Micro Wood Lo and the 10.7 gram Ruby Z, compliance 15, tracking at 1.9 grams.


IMO the biggest improvement in LP playback is ultrasonic record cleaning.  

 

I don't want to rain on anyone's parade.  If you like the WT Reference tonearm, that's fine.  But I do take issue with the bit of propaganda put forth by WT to the effect that it has "no bearing".  Because it pivots, it MUST have a bearing, by the very definition of the word.  It's fair to say that it does have a very novel bearing, the likes of which is found nowhere else.  Whether that makes it a great bearing in terms of function is where I might disagree with its adherents.  Also, I am not including the Amadeus tonearm in my comments, because I never worked with an Amadeus.  On the Reference tonearm that I did use, the azimuth could be seen visually to change as the tonearm traversed the surface of the LP; I don't think that is desirable.  If that is not happening with yours, that's great.

I have a Koetsu Urushi which is a modern product of the company and therefore almost certainly was not made by the senior Sugano.  I like it a lot.  Since one can never hope to buy a Koetsu made by the father, why worry about the difference between the old and the new, at all?  I would judge the cartridges based on what they are now, and in doing so I would ignore the testimony of those who say the cartridges made by the elder are so wonderful.  A lot of cognoscenti seem to love the stone-bodied Koetsus, albeit they are very expensive.

Lewm, regarding the Well Tempered forked tonearm I, for one, understand and agree with your point regarding the semantics around the word bearing.

My concern is the issue that would have allowed you to visually notice a change in azimuth as well as the over damping. A few things that come to mind:
 
If the plane of the paddle was too far out of relationship with the cartridge mounting surface this might have created an azimuth issue. I've seen arm wands that have spun within the paddles T support which cause this. If the paddle had contacted any part of the cup during its arc across the LP it would have caused similar problems. 

A difference in vinyl thickness and or a variability in how the record was clamped down to the platters concave could have been viewed as a misadjusted azimuth. This is one of my personal dissatisfactions with the early Well Tempered system.

Over time the viscosity of  the tonearm damping fluid increases which is just as unnoticeable as the wear of a vacuum tube. The difference isn't noticed until its been replaced. Some have used the much more viscous platter cup fluid in the tonearm cup. Some have even admitted to using automotive additives for these fluids. 

In any case there may have been an issue with the setup of your Well Tempered tonearm. All the best with your current collection of spinners, very nice.

The WTR in question was not mine. It belonged to a very close friend who lived in my area. He purchased it way back in the 90s for its list cost of nearly $10K. In his later years, he developed dementia. When his symptoms were still rather mild, I went to his house to help him mount a new cartridge. It was at this juncture that I noticed the problems with azimuth, excessive damping, etc. Prior to the onset of his illness, he was a very knowledgeable audiophile with an engineering background. I doubt that he mistreated the tonearm, but it is fair to say that I did not have continuing use of the WTR tonearm and so cannot say whether it was in tiptop operating status when I played with it. Sadly, I doubt that he ever got to use it again, even after I helped him with setting up his new cartridge that evening.

I should add that I "heard" the WTR many times at the home of my friend, over many years when he still had all his faculties.  He owned 6000 LPs.  My overall impression was that it made most LPs sound "good" or "pleasant". Perhaps this state of grace could be described as euphony.