How to choose an upgraded tonearm.

@lewm , that would be incorrect. It is all about the location of the vertical pivot. The tonearm describes an arc as it travels up and down. Think of it as drawing a circle with the stylus. What happens to the location of the stylus when you move the center of the circle up. The stylus now moves forward as it travel upwards. This transiently slows the speed of the groove by the stylus creating wow. The higher you go the more wow is created. If you lower the center of the circle the opposite happens. Groove speed increases as the tonearm moves up. The least amount of stylus translocation is created when the center of the circle is at record level creating the smallest amount of wow with changes in elevation. This was demonstrated in the video. Although this video uses the AR XA as it's model and shows how advanced it was in it's day. It also explains a number of concepts that are important to any tonearm and turntable. The only severe error it makes is with it's deflection of anti skating. The XA actually did have anti skating. It's horizontal bearing had to be the worst design of any tonearm ever made. Friction did the job. I do not really care for his description of the head shell either. It is a must watch for people like @skyscraper. My point in all this is that people become so concerned about the wow and flutter specs of turntables and not about other issues that cause significantly greater speed irregularities like tonearm design and warped records. 

Lew, I was not insulting your intelligence. I was joking with you to try and get you to watch the video. It obviously did not work. Next time I'll try another approach. 

@skyscraper , You can mount any tonearm of the right length on any turntable if you are clever enough. That may or may not involve significant modification to the table. It is has a removeable tonearm board you are all set. Just get a new one and have at it. If not you will have to evaluate each arm and it's mounting method in the context of the real estate you have available. I do not know your table well enough to be able to comment. Like some other people on this site I would NEVER use a tonearm on an outboard platform. 

Mijostyn, I’m not going to take a chance on doing any type of modification to the table of my VPI Classic 2. These turntables are refined machines and though I might be able to dope out what to do, the chances of messing things up are simply too high for an an amateur at this to be taking chances with on a $3000+ turntable. Although I’m proficient with tools, having built, plumbed, wired, and done HVAC on my home, I don’t want to get in over my head.

That being said, I’d be perfectly able to unscrew the unipivot point of the Classic 2’s tonearm base and to bolt in their pricey Fatboy gimballed tonearm. I simply don’t want to spend that type of money, S4500, on their Fatboy, or to replace the entire turntable to be able to use other possibly better arms. I don’t want this cartridge upgrade to a Lyra Kleos to turn into a money pit.

Unfortunately no one so far has been able to suggest another manufacturer’s tonearm that could be definitely be bolted in similarly. Maybe there are none and the VPI’s proprietary design rules out that possibility. The Rega arm appears like it screws in with Philips head screws at a different location than the VPI tables single centered bolt hole would allow.

If I have some time today or tomorrow I’ll be calling to see if VPI would offer any other aftermarket suggestions other than their own $4500 Fatboy. Since I’m not going to replace or modify the Classic 2 turntable, the only other alternative I’m seeing right now using the current tonearm base is to either pony up the cash for the Fatboy either later or now, or do without.

I did mention earlier that the Triplanar and most if not all Reed tonearms are surface mounted, such that no new hole is needed for a vertical shaft that needs to penetrate the mounting board. You would only have to drill usually 3 small holes for screw fasteners. In some cases, that would work. You'd have to orient the new tonearm so its 3 screw mounts lie on solid material for drilling.

Throughout the Years, I have had owned Tonearms mounted on a host of materials.

The list might be of interest to the OP.

Note: it is not really possible to carry out an A/B assessment of a TT with differing Plinth and Tonearm Mounting Materials, the recollections are usually made from the knowledge that a presentation was an enjoyed experience and happily lived with and the overall impression made will have been a subjective evaluation. 

Man made materials produced from organic plant based waste materials, i.e, Plinth Top Plates made from Chipboard and MDF, commonly seen in use today, for the economical solution they offer.

Man made materials produced using dedicated purpose produced organic materials, i.e,  Birch Plywood 650Kg per cubic metre, MU 25 Birch Plywood 750Kg per cubic metre, I have Panzerholz and Permali to be tried at 1400Kg per cubic metre, used today, but will most likely be found as a Bespoke produced Plinth.

Man made materials produced from stone and resin being Corian, used today, but will most likely be found as a Bespoke produced Plinth.

Man made materials produced from metal,  Aluminium and Lead, Brass and other Metal Alloy, used today, Aluminium is the most common to be found, but in general will most likely be found as a Bespoke produced Plinth or Ancillary part to be added to a plinth.

Natural Materials such as Granite, used today, but will most likely be found as a Bespoke produced Plinth. 

It is not so much the material that is used for the Tonearm support that is the concern when in use, they all can sound quite satisfactory, if the TT's mounting is adequately prepared for.

Working with the heaviest materials takes extra thought to achieve a adequate mounting.

The concern is whether the material used to mount the Tonearm is stable throughout the year as the system is exposed to environment changes.

When the movement that I referred to earlier, that has been detected in a TT's Platter Spindle Bearings is considered, the stability of the Tonearm Mounting material when met with a play in a spindle bearing becomes an insignificant concern, as there are other mechanical interfaces needing to be addressed. 

A Standalone Pod, with a Tonearm mounted upon it, when sharing a Sub Plinth produced from a stable property material, and used on a TT, with a correctly functioning platter spindle bearing, will in my view be a very acceptable interface.

It would in my mind, be a more trusted mechanical function, than one that has a concentric rotating spindle on TT with a Tonearm attached to the Plinth.