Dear @mikelavigne : "" what do i mean by fast? i’m hearing considerably more information, ""
First the signal information is what each cartridge it self can pick up and depends that the alignment set up between tonearm/cartridge be accurated and that the resonance frequency be inside de ideal frequency range.
You/we can’t get more information from the LP recorded grooves what we can get is a different kind of presentation of all those recorded information.
It’s not easy to translate in objective terms our subjective appreciations. You said " fast " but the word could be not the rigth one because what the stylus tip movements pick-up and translate in an electrical signal pass directly to the the tonearm wire does not matters in which tonearm the cartridge is mounted that path does not changes and in a 12" the signal can’t be faster than in a 9"-10.5" tonearm that have shorter wires.
So, what really happens ( to me ) is the FCL presentation is different and certainly with a signature/colorations ( developed distortions ) that are what you are perceiving. Many of those colorations comes from the kind and levels the tonearm hnadled the developed distortions and especially with signal transients information.
It’s a true departure for what you was accustom to with your other tonearms?, I could say not a real departure but something different that at this moment like you more that what you listened with your other tonearms.
Remember that I posted that unipivots " looks " as has or puts " aliveness " to what we listen through it vs non-unipivots tonearm designs? that kind of aliveness is part of unipivots and maybe is what you are translating as " fast " but not more information.
Certainly I can be wrong with all those but today it's my take about your susbjective explanation.
Btw, I own the original Grieg London recording.
R.