Anybody who has genuinely worked with a nterfaces between devices will have had a experience, where the assessments are creating varying descriptions.
A Tonearm can have a Internal Wire bypass conventional set ups and have the Wire extended and be produced to a design where the Wire is directly connected to the Cartridge, and the Wires second connection point is at the Phonostage end.
This can be taken even further, with the Wire being Hard Wired into the Phonostage.
The other option is to have a Pillar End Connection, as a short extension,
that terminates as a Male RCA.
This will allow for a further experience of IC's without requiring to have the IC's Termimated with a 5 PIN Din Plug.
All of the Methods referred to above have been offered to me.
I have declined as I need a robust set up and am content with how the conventional set up performs and allows me to travel with kit.
I am getting a v ery satisfactory SQ from a conventional set up.
I can communicate this to others in a confident way and I am not looking to encourage a work on a Tonearm that will potentially need a Third Party help to achieve.
A work that 'might' devalue a expensive Tonearm, or at best make the Tonearm a less atrractive purchase option to another Party, when is a modified condition .
As an expample, I don't see how a SME IV or V will be viewed as a attrctive option as a Purchase if the Inners are modified to allow a Bypass of all factory supplied connectors.
I don't really want to be in a discussion with a Buyer, explaining that the Tonearm has been modiified to function in a particular way and is now back to its original condition.
I would like to think that if this was a discussion to be undertaken,
a receipt for the returning of the Tonearm back to Factory Specification is available from SME or a SME Appointed Service Enginneer, to support the Quality of the corrective works.
Much of my HiFi communication is undertaken with individuals that use a conventional set up.
It makes it easier for me to communicate my experiences, when they are from using similar designs.
Hence I have remained using a Standard Tonearm Wiring Set Up with a Wand containing Wire, with a Male Pin Connection at the Headshell End and a 5 Pin DIN connector at the Pillar End.
I have swapped out Tag Wires and 5 Pin Din IC's.
I am always going to do these types of investigations, as they are simplistic to achieve and can be quite revelatory in what becomes on offer.
I am not 'anti' One Wire from Cartridge to Phonostage,
I have heard then in use and enjoyed the experience.
I don't recall feeling the need to have a Tonearm modified Internally to produce a version.
I have looked at a Method to enable a Wire to be mounted externally on the Wand, so I can try out a Wire I am keen to trial and have the wire as a detachable material.
I am yet to source the Wire without a need to purchase a expensive cable and strip it, this has limited my investigations into suitable external mounted designs for a Wand to support wire.
My main interaction with my system is all about Listening Enjoyment and Travelling with the System or Devices belonging to the System,
to be a Social Participant in HiFi Enthusiast Meet Ups or Events.
This can prior to COVID with Travel Time added, be approximately 20% of my sit down in front of the System Listening.
Being able to Pack the devices with a minimum risk of a damage being incurred is a governing requirement.
Excess Lengths of Internal Tonearm Wire to deal with, are not robust enough or ideal for myself to have to manage.
The OP inquired about Headshell Tag Wires, not about modifying a Tonearm to use a continuous wire from Cartridge to Phonostage.
I think my responses have been in keeping with the request for information, even though I did not discuss Silver as a metal.
