Is my anti-skating too strong.

Thank you Dover.  Finally someone who understands the principles and issues attaching to different arm designs.

Horizontal effective mass of a parallel tracker can inherently be much less than a pivoted arm.  Many parallel designs have arm tubes that mimic a pivoted arm because designers lack imagination and do not start with a clean sheet.  The stylus need only be two or three inches from the sliding bearer.  See Simon Yorke Aeroarm.
Dover, please note Aeroarm has adjustable VTA on the fly.

Yes, motorised carriages are nonsense.  They cannot constitute a low-friction bearing and will always cause drag or pull on the stylus in the groove.

Well engineered air bearings are very low friction, potentially far lower than gimbal bearings on pivoted arms.  Positive design features are very accurate machining - Aeroarm has a 5mu air-gap.  And vibration-free high and constant air pressure to fill the air-gap and keep the bar and tube in a steady-state relationship and not impose jitter or eddys.  Operating theatre compressors aren't cheap but do an excellent job.  They should be sited in a different room, a long way from the TT.  Don't use fishtank compressors, even big ones.

It is fundamental to prevent the stylus moving relative to the TT chassis, save as driven by the groove walls.  All other movement is other than what is in the groove and will be transmitted as distortion.

So pivoted arms hung on strings are utter nonsense.

Unipivots are also inherently unstable in that respect, so difficult to engineer.  Damping will tend to cause drag, although nearly all are damped, usually with liquid or gel.  The only solution is to site the pivot high relative to the record surface, but there will still be a tendency for the contraption to swing and allow the stylus to move from lateral perpendicularity in the groove.  Even a little of this is VERY bad.

Birds of a feather:-)

It is so nice to be popular. I draw the English majors like a magnet. Must be my crappy punctuation. If it were not for spell check I would be the laughing stock of this site.

Air bearing linear tracking arms can be made to have reasonably low moving mass, but, they lack the mechanical advantage of a fulcrum and pivot of a conventional arm, meaning that for any given effective mass, they do impose a lot more force on the cantilever to drag the arm to a new position than a conventional arm imposes in order to swing the arm around the pivot point.  This is an issue even if friction is zero.

This is not the case with linear arms that employ a conventional pivot and a sensor that detects when the arm is out of linear position and then turns on a motor to move the entire arm assembly.  But, as with every design, the motorized arm version has its own shortfalls, such as, vibration from the mechanism getting into the arm, lack of overall rigidity and mechanical grounding of tonearm vibrations).

The very short arm on some linear trackers (e.g., the ClearAudio arm), may give rise to another problem--a change in record thickness would mean a bigger change in VTA with a short arm than a longer arm.

The Schroeder LT is not a tonearm on a string design (I've helped set up and listened to a Schroeder arm-on-a-string and it is a good arm).  It has conventional pivots, but also an innovative mechanism that moves the arm, including the pivot point, in a semi-circle to greatly reduce deviation from perfect tangency while not causing skating forces.  Because it is using the drag of the arm tracking the groove to move the pivot, I don't know if it increases friction seen by the arm.  The Reed T-5 uses a sensor to operate a motor to move the base of the arm to achieve the same kind of result as the Schroeder.  

The bottom line is every type of arm has its pluses and minuses, and I haven't heard any type that I thought was obviously superior to another.  

@millercarbon could you post a link to any article that supports or further explains your skating force theory.

It's not a theory. It is physics. It is so obvious that Michael Fremer throws it out there as an off hand comment. I can explain it faster than I can find his 2 second sound bite in his 90 min video. So you go find it yourself if it is so important to you.

Here's the physics:

Draw a circle. Draw it nice and big, this will help for later. Put a dot in the center. That's your spindle. Now draw another point anywhere outside the circle. That's your tone arm pivot point. Now take a compass, or a stick, ruler- anything nice and straight- and set it up to go from the pivot point to anywhere, but let's stick with roughly an inch, beyond the spindle. This is your overhang.  

Now keeping the compass on the pivot point, swing it around across the platter until you get to the outside edge of the circle. Are you with me? Okay.  

Now go to the point where the compass is on the outer edge of the circle and very carefully draw a line parallel, that is tangential, to that point on the circle. Got it?  

Okay. That was all geometry. Now here comes the physics. The circle/platter is rotating. Rotational motion breaks down into vectors. The motion of each point on the circle breaks down into a vector that is pointed straight ahead, ie tangentially, and straight towards the center. Each and every point on a circle is the same distance from the center. Therefore the vector pointing towards the center is zero. The motion is entirely tangential.  

There are other forces involved but this right here explains why it is that if you spin a ball on a string and let go the string, the ball does not spiral off it goes in a straight line. So your straight line tangential to the circle is the only vector, and this means at this precise point where the stylus is the groove is moving in a perfectly straight line. A line that is infinitely short, to be sure, but straight nonetheless. (And this is why Newton invented the calculus, but never mind.)

So now look at your drawing. Notice anything? You did draw it I hope. No cheating! You asked me to explain, I'm explaining. Draw the damn thing!!!

What do you see? What I see is a straight line coming from the pivot point to the stylus, and another straight line tangential to the circle, and they cross at the point of tangency. They cross. They are not parallel. Are they? No. They are not. If they were parallel there would be no skating force. They are not. Which way is the tangent line headed? Slightly away from the spindle? No. Slightly towards the spindle? Yes. Draw an arrow on it. There is your skating force.  

What happens with overhang is the spinning platter exerts a large force pulling straight away from the pivot point, and also another smaller force pulling the stylus ever so slightly to the left towards the spindle. This is your skating force.

You can change the shape of the arm. You can change the offset. You can align the cartridge any old way you want. As long as there is overhang the inward vector will be there and that is your skating force.