Take a look at the SAT and work backwards from that.
If you were to design a tone arm, what would it look like and feature?
There are a good number of different tonearm designs currently on the market. Some feature a uni-pivot, some gimbal bearings, some are air bearing designs, others use a knife edge...etc. We also have multi adjustability ( SRA, Azimuth weight, etc) and size--9 inch 10inch..twelve inch. Then we have the SAT tonearms that also feature carbon fibre etc.,
If money was no real object, what is your idea of the 'ideal tonearm' that you would design...and why?
If money was no real object, what is your idea of the 'ideal tonearm' that you would design...and why?
- ...
- 26 posts total
I want a tonearm like the E.A.T. F-Note, with Laser VTA and Azimuth adjustment, I also want it with automatic adjusted anti-skating, automatic arm lift, remote controlled VTA, remote controlled stylus drop and lift from any record tracks. https://www.europeanaudioteam.com/en/e.a.t.-f-note-tonearm-wp000102.html |
I have no idea which design or elements of an arm will result in the kind of sound I would like. I would like to hear the Reed T-5 arm out of curiosity because it does have a lot of design elements that address theoretical issues with tonearm performance. By using an arm base that rotates, it achieves what linear tracking arms achieve without resort to air bearing or other such mechanisms to achieve tangency across the record surface (i.e., it does this without excessive lateral mass, and without putting lateral strain on the cantilever). By rotating the base upon which the arm is located (moving the pivot point), the headshell also doesn't need to have an offset angle, so no skating forces are created). The motorized base's movement is controlled by a laser that measures deviation from tangency. But, I have no idea how all of this translates into performance and whether the arm would work well with the cartridges that I like. |
- 26 posts total