What did I just write that’s in conflict with what you just wrote? And I know very well how you feel about the FR64S. Nothing I just wrote was in defense of the FR. Try to work on understanding my English before needlessly attacking it.
TONEARM DAMPING : DAMPED OR NOT ? ? USELESS ? ? WELCOMED ? ?
Dear friends: This tonearm critical subject sometimes can be controversial for say the least. Some audiophiles swear for non damped tonearms as the FR designs or SAEC or even the SME 3012 that is not very well damped in stock original status.
Some other audiophiles likes good damped tonearms.
In other thread a gentleman posted:
" If a cartridge is properly matched to the tonearm damping is not required. " and even explained all what we know about the ideal resonance frequency range between tonearm and cartridge ( 8hz to 12hz. ). He refered to this when said: " properly matched to the tonearm ".
In that same thread that a Triplanar tonearm owner posted:
" This is the one thing about the Triplanar that I don't like. I never use the damping trough...... I imagine someone might have a use for it; I removed the troughs on my Triplanars; its nice to imagine that it sounds better for doing so. "
At the other side here it's a very well damped tonearm:
https://audiotraveler.wordpress.com/tag/townshend/
Now, after the LP is in the spining TT platter ( everything the same, including well matched cartridge/tonearm. ) the must critical issue is what happens once the cartridge stylus tip hits/track the LP grooves modulations.
The ideal is that those groove modulations can pass to the cartridge motor with out any additional kind of developed resonances/vibrations and that the transducer makes its job mantaining the delicated and sensible signal integrity that comes in those recorded groove modulations.
That is the ideal and could be utopic because all over the process/trip of the cartridge signal between the stylus tip ride and the output at the tonearm cable the signal suffers degradation ( resonances/vibrations/feedback ) mainly developed through all that " long trip " .
So, DAMPING IS NEED IT AT THE TONEARM/HEADSHELL SIDE OR NOT?
I'm trying to find out the " true " about and not looking if what we like it or not like it is rigth or not but what should be about and why of that " should be ".
I invite all of you analog lovers audiophiles to share your points of view in this critical analog audio subject. WHAT DO YOU THINK ABOUT?
Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
Some other audiophiles likes good damped tonearms.
In other thread a gentleman posted:
" If a cartridge is properly matched to the tonearm damping is not required. " and even explained all what we know about the ideal resonance frequency range between tonearm and cartridge ( 8hz to 12hz. ). He refered to this when said: " properly matched to the tonearm ".
In that same thread that a Triplanar tonearm owner posted:
" This is the one thing about the Triplanar that I don't like. I never use the damping trough...... I imagine someone might have a use for it; I removed the troughs on my Triplanars; its nice to imagine that it sounds better for doing so. "
At the other side here it's a very well damped tonearm:
https://audiotraveler.wordpress.com/tag/townshend/
Now, after the LP is in the spining TT platter ( everything the same, including well matched cartridge/tonearm. ) the must critical issue is what happens once the cartridge stylus tip hits/track the LP grooves modulations.
The ideal is that those groove modulations can pass to the cartridge motor with out any additional kind of developed resonances/vibrations and that the transducer makes its job mantaining the delicated and sensible signal integrity that comes in those recorded groove modulations.
That is the ideal and could be utopic because all over the process/trip of the cartridge signal between the stylus tip ride and the output at the tonearm cable the signal suffers degradation ( resonances/vibrations/feedback ) mainly developed through all that " long trip " .
So, DAMPING IS NEED IT AT THE TONEARM/HEADSHELL SIDE OR NOT?
I'm trying to find out the " true " about and not looking if what we like it or not like it is rigth or not but what should be about and why of that " should be ".
I invite all of you analog lovers audiophiles to share your points of view in this critical analog audio subject. WHAT DO YOU THINK ABOUT?
Thank's in advance.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
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- 318 posts total
Dear @lewm : First I’m not attaking you.
" are mixing together two different phenomena " In my latest post I was not mixing anything but only said:
" It’s not that the cartridge /tonearm match can achieve that absolute necessary FREE MOVEMENT in the ridding cartridge stylus but that along that match the tonearm ( any ) must be a well damped design. "
both phenomena must exist always, no matters what and there is no conflict.
Btw, I’m talking for me. All those is only about the cartridge/tonearm but we must add that always we need a good damping TT mat and a good damping clamp as the reflex Bais audio and that the TT be well damped at its plynth and the plattform that's supporting it and we need not forget the tonearm arm mount that needs be well damped too.
R.
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I haven't read thru this entire thread.....sorry but been listening to music. Have a question. Why doesn't the new Kuzma Safir 9 arm not use damping fluid like 4POINT? Also have seen on other sites where people that own the 4POINT have actually removed the top dampening trough that they say improves sonics. Curious others thoughts. |
Raul, in alluding to the fact that “some” of the respondents have conflated tonearm to cartridge matching based on the standard resonant frequency calculation with how tonearms control energy put into them by the act of playing an LP, I certainly did not mean to include you. But I do maintain those are two different phenomena. Which might explain why occasionally a tonearm to cartridge mating that seems ill advised based only on the resonant frequency math can actually sound very good, if both elements are isolated from those frequencies below the audio band that might excite the pairing. I hope I’ve made my thought more clear. |
Dear @rsf507 : In theory the sapphire used in the arm wand Kuzma tonearm could helps for the tonearm been " well damped " but those 60grs. in EM goes against the cartridge needs matching resonance frequency inside the ideal frequency range: 8hz-12hz and in the other side that really high inertia moment is nothing good for the cartridge ridding and its suspension in higher ways than in more normal tonearms. Kuzma says that is the best ever tonearm arm wand by its rigidity and low resonant figures but the Technics EPA 100MK2 was and is in reality the best one about by its boron arm wand that has better characteristics than sapphire and not so weigthy and for that synthetic sapphire arm wand Kuzma ask 20K for its tonearm.
I can say that " on paper " I do not buy even at 2K tag price.
R. |
- 318 posts total