TONEARM DAMPING : DAMPED OR NOT ? ? USELESS ? ? WELCOMED ? ?

It is very difficult to arrive at a general principle regarding tonearm damping, because in each individual instance any two different tonearms are going to be different from one another in many other ways, besides the presence or absence of damping and notwithstanding how the damping is applied, where there is any damping.  So I have come to evaluate each tonearm as an entity unto itself.  I own a Triplanar and wouldn't think of using it without its trough, although removing the trough from the Triplanar is a common theme on this forum going way back to Doug Deacon.  I also own an FR64S which I like very very much with many different cartridges, despite its lack of formal damping.  But the FR64S, at least as I use it, does employ mass damping, especially if you use it with its B60 accessory which adds a lot of mass to the base of the pivot.  On top of that, I mount mine in a mass-loaded tonearm mounting board consisting of two large pieces of machined aluminum bolted together (photos upon request).  Mass damping is still damping, even without some gooey substance dragging on the tonearm.  At the opposite extreme, I am not familiar with the latest Well Tempered tonearms, but I did have a lot of experience with the WT Reference tonearm, which in my opinion is WAY overdamped and makes every LP sound the same, regardless of the cartridge.  So, I would approach this question as regards one particular design and then ask does it sound better with or without damping.  I also don't agree with Mijostyn's oversimplified idea that if the resonant frequency is between 8 and 12Hz, no damping is needed.  Damping done right can broaden the resonant peak and reduce its maximum magnitude, which may be worth doing even within the magical boundaries of 8 to 12Hz.  But one would have to listen first.

i agree with sentiments stated that overdamping is a common fault when using these tonearms/systems that allow fluid damping to be applied

less is more for sure

but some is better than none has been my experience

like all else in analog system ownership, finding ’just right’ is the trick, and it takes patience and sustained effort to achieve it

Dear @noromance : the Jelco tonearms I know came/comes with oil damping system at the " top cup " of the pivot. Models SA and this new one too:

https://audiosensibility.com/Store/us_store.htm#!/Jelco-TS-550S-MKII-9-Tonearm-***-New-***/p/1893469...

R.

As I do have this Jelco 750EB with "top cup" - I can say that if not damped it's rather inferior with high compliance cartridges (no silicon oil in cup) 

With heavyweights/low compliance like SPU difference isn't so obvious, it takes time to understand that damping (silicon oil in cup) is better.

With high compliance difference is night and day.

Dear @millercarbon  and friends : " Of course they need to be damped. The question is in what way? And how much? "

Totally in agreement. Yes, one way or other tonearms must be damped.

 As a fact any analog rig item and the whole room/system needs always some kind of damping even electronics at its circuit boards passive and active parts, same for loudspeakers but at the analog rig and due that is almost a mechanical " system " the damping down there is need it no matters what.

Room/systems can't avoid its ( any kind. ) developed resonances/vibrations that per sé always degrades the audio signal.

Resonances/vibrations is the true DEVIL that impedes to have better quality level listening experiences in any room/audio system and we can't avoid/disappears totally, the only alternative is to lower the levels of those resonances/frequencies and this can be achieved using different dampening solutions.

In what way? ( example in room ): acoustic treatment as bass traps, acoustic panels and difussors.

How much?, this is a really hard to say/answer because depends on many factors.

 It's not only the need or not to damp the tonearm but to take in count that tonearm is part of the analog rig because is mounted/attached to a TT that is seated ( normally ) in a damped plattform but some times it's not over that kind of plattforms and things about goes with higher resonances/vibrations developed around it.

I think that we need to analize the complete analog rig to decide that " how much ".

 The TT it self is a resonance/vibration source always through its motor, plinth, platter, bearing and arm board.

 One way or the other we need to take care that the whole TT be good damped and after that we can focus in the cartridge/tonearm damping and here exist variables that we have to take in count to define the damping issue: we need to own a good platter mat, A PLATTER/lp CLAMP, TO KNOW THE CARTRIDGE SELF TRACKING HABILITIES ( NOT ONLY ITS COMPLIANCE ), cartridge/tonearm resonance frequency, how good is damped the cartridge it self ( example the AT ART1 has a titanium body and has a rubber body cover at the below plate. ),   obviously how well is damped the tonearm design and how good is the tonearm bearing and if it's an unipivot desing or gimball type or LT, how many play hours has the cartridge stylus tip, SPL usually we listen the LPs.

All those " characteristics " and several others ( like an accurated cartridge/tonearm alignment set up. ) will condition what we can do about and that through several controled listening tests can confirm that " how much " and where.

As we can see not an easy task and our music/sound trained ears levels and room/siytem resolution will have the final decision with each cartridge/tonearm combination.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.