What Does It Take To Surpass A SME V?

@peterayer Your parameters to select a Tonearm has been as good as one could want to be achieved. The discovery made by yourself about there being 'when discovered' something that is repellent about the Flagship SME Tonearms is in keeping with my own findings.

Your description is "over 'damped and coloured sounding".

It does not need such control parameters to be in place as you have used, for an individual to discover a experience that is extremely attractive to them.

A one off experience and a attraction made is a subjective evaluation, or a extended period of A/B comparison between devices, in a controlled parameter, is still a subjective evaluation.

If a device is used, and it hits a home run, that is perfectly suited to ones unique taste and preference, that is enough, the choice made is after all, made by the one who is to experience the choice made, as part of their intended wish to have musical encounters.

When I was learning about how a New Tonearm to myself could compare to my SME IV. I come to the description the IV was seemingly constrained and controlled. There was a overbearing perception that a freedom of interaction was missing and when aware of this, it was unattractive and become a repellent, quite a outcome for someone who had been Wed to the IV as a 'go to' Arm for many years.  

The Tonearm I have now in use has the capability to create the impression it is completely free from constraint, the perception is it has a tangible freedom, and is interacting as a 'tool to do a job' in a manner that is very attractive, ( the chisel certainly is not blunted ).

In your own evaluations you used a Tonearm Pod and it is possible this Pod or another version of one is still in use.

I have no concerns for the use of a Tonearm Pod, from my observation from a time when a Two Arm Table was an attraction, and I was looking at options to create the set up.

I viewed the Standalone Pod, as not too much different from a Side Bar Cantilever Arm attachment as seen on a variety of TT Brands looking to offer a Multi-arm mounting configuration. The Cantilever can present it own mechanical deficiencies, but not enough to make a replay unattractive, the Pod has the same condition.

There is a Standalone Pod Designs I have seen in use that have a Mass Structure and a Densified Wood Arm Board as a Interface for the Tonearm. When sharing a Support Base with a TT, where the base has very stable inherent properties, the methodology for this set up, is unquestionably fit for purpose and will adequately mount an Arm, not only as a trialing mount for an A/B but also as a permanent role as a Arm Support.

A friend with a SP10 R was investigating a New Tone Arm, to enable the variety of arms to be used for the demonstrations the SP10 R owner has has a Standalone Tonearm Pod produced. From recollection the Arms used were a Glanz MH-12000s and MH-900s and a Reed 3P (9" Model). These three arms were home demo's on a few separate occasions through a Local HiFi distributor.

My SME IV was loaned for a extended demo' period, as well as a Loaned OL Arm and there was a Linn Arm already owned. 

Each of the Three above loaned /owned arms were able to be fully understood for for their impact on the performance, when used with the SP10 R and a established impression was able to be formed about each. Neither of these found their place on a Shortlist as a Model to be considered.

The Arm Purchased after the experiences encountered was the Glanz MH-1200s, which has made such a positive impression on a Standalone Monopod that is where it remains mounted.   

Even though there is a difference in how the 3012 R and Glanz arms were chosen the control criteria in place to help make the decision is with similarities, and a arm was discovered that has made a very positive impression and wanted to be lived with.

I am able to enjoy the SP10R > Glanz (Standalone Pod Mounted)> Miyajima on regular occasion and have never felt at any time something is amiss, 'recording dependent' the musical experience encountered is jaw dropping good and always wanted to be revisited.

I am hoping your jaw has a drop now and again as a result of the good musical experiences being encountered, and whilst standing in a queue somewhere the desire surfaces to get back for a listen, with a Tipple in moderation of ones favourite at arms length.

@rauliruegas Thanks for the welcome.  I've been distracted from audio by other projects for the past few years, and now have more time to participate.  The better of my two 3012R arms was worked over by

There are measurements and there is listening.  People choose what sounds right to them.  

@peterayer , You choose what sounds right based on, design considerations and measurements especially when it comes to tonearms.

@neonknight , I also have a Cosmos. The TriPlanar is a great arm but it will not fit on a Cosmos. That dropped rear end runs into the plinth. The SME 5 is a great arm. Origin Live arms will fit but I prefer the 4Point 9 and the Schroder CB. I have a Schroder CB and the only bad thing I can say about it is it does not come with a tonearm rest. Mr Schroder thinks they resonate and will not put one directly on the arm. I made a locking one and mounted it on the Sota's plinth. You can see it on my system page. I have both walnut and cherry in stock if you would like one. Otherwise the CB is as good as a pivoted tonearm gets. It is neutral balance, is adjustable for different cartridge compliances and has a wonderful frictionless, magnetic anti skate mechanism. It's geometry is also right on the money and it lines up Lofgren B perfectly. The 4 Point nine is less expensive. The wire leads out over the plinth instead of under and usually has at least one additional connection. The Schroder is one wire clips to RCAs or XLRs. Otherwise the Kuzma is an excellent arm.