Tracking error or ??

@yeti42   Thanks. I agree the WTA is difficult to replace. I have listened to a number of tonearms on the LP12, including the original Aro, the Ekos SE-1, and a few SME's. None were clearly superior to the WTA in most areas, and a few just didn't sound right at all. The WTA 'Black' is like you describe, lacking in fine adjustment, but it is also a very forgiving arm and works quite well with my Lyra. The new Aro may be a contender, if it is sold separately? 

As an owner of a Well Tempered Vesalex with an LTD arm, I can attest to its tracking ability... at least with a Lyra Kleo or Kiseki PH cartidge. I would ignore the critics who like to point out "flaws" in a design and most likely have never even taken the time to listen to a WT arm. I guess it's just easier to do that.

The overloading that you are detecting might be due to your phono stage or you might need to increase the tracking force.

@grk   I did as suggested above and increased the Anti Skate a little. This seems to have solved the problem, although I still need to listen further to some of the more 'dynamic' passages. 
Agreed, there are always folks who will naysay any product, even with absolutely zero knowledge or experience with it. Not sure why this is a thing? 

It just is. Just like I knew it was anti-skating, others know its something they know nothing about. One of the mysteries of the universe. 

Davyf, AJ considered The Work of Art to be his magnum opus and I have heard one. AJ tried to get me to buy it!
Now, as for your complete and total misunderstanding of the Kuzma 4 Point arm. They are in no way, shape or form similar to a unipivot. The Kuzma uses needle bearings, four of them that produce a solid low friction 2 axis bearing system. The vertical bearing is exactly like what Origin Live does in its better arms. It is the horizontal bearing that is special. The vertical bearing platform hangs from needle #3 which engages the top of the center post. Then in front of the post is a slot that engages needle #4. Since the weight of the tonearm engages the platform in front of the post needle #4 is force back into that slot. Needle #4 prevents any torsional instability. I can only move through an arc of 70 degrees which is more than enough to play a record. There are breakdown pictures of the 4 point bearing if you are having trouble envisioning it. It is not easy to describe. I have installed 4 Point 9's on two Sotas with excellent results and it will do great on an LP 12. I would be very surprised if you did not immediately notice an improvement. 

grk, there's that listening thing again. You can not trust any single individual's listening skills. Regardless of the way you think that arm sounds it is a more defective design than even air bearing straight line trackers. Forget about what your ears are telling you. Get a better arm and they will be even happier. Tonearms are very simple devices. There job is to hold the cartridge perfectly rigidly except in two directions, up and down, side to side. If it does not it is automatically disqualified from being a decent tonearm. Even the possibility of movement in another direction is not acceptable. After this are the finer points of good tonearm design, geometry, bearing design, anti skating, resonance characteristics and such. There is certainly room for creativity and original thinking. Both Frank Kuzma and Frank Schroder are great examples and both have designed some klunkers. 

Never be ashamed of buying a bad piece of equipment. I have had my fair share. That is how you learn. I was lucky early on getting a lot of exposure working in the business. But, I let myself get waltzed into some pretty stupid stuff the highlight of which was a tonearm. The Transcriptors Vestigial Tonearm a very strong contender for the worst tonearm ever made.