@lewm , there are people ready to try anything to make their product stand out. Separating vertical and horizontal resonance by a little avoids there being one large peak, you get two smaller ones but blended together. In the case of the ET2 and other air bearing arms the EFs are so widely separated you can not find a happy medium. If you set the arm up to achieve an RF of 10 in the vertical the EF in the horizontal will be so low that the cartridge winds up leading the arm. You can actually see the cantilever drift as it pulls the arm along. I have actually seen them pogo ( a Clearaudio arm) This assumes that the arm is dead level, another big problem with these arms. This places the cartridge suspension in a very unfavorable position. I have never used a Dynavector arm but there is no way you would ever get me to buy one.
What Does It Take To Surpass A SME V?
Thinking about the possibility of searching for a new tonearm. The table is a SOTA Cosmos Eclipse. Cartridge currently in use is a Transfiguration Audio Proteus, and it also looks like I will also have an Ortofon Verismo if a diamond replacement occurs without incident.
The V is an early generation one but in good condition with no issues. Some folks never thought highly of the arm, others thought it quite capable. So it's a bit decisive.
The replacement has to be 9 to 10.5 inches. I have wondered if Origin Live is worth exploring? Perhaps a generation old Triplanar from the pre owned market?
Any thoughts on what are viable choices?
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@mulveling , That is wrong. When you lighten the counterweight you drop both the horizontal and vertical EFs. You might be able to live with this discrepancy but it will adversely affect performance. |
@senza Yeah the thread is pretty well useless. I don't see much value in it either. |
@neonknight It is strange that your evaluation of the development of the Thread into how a Mounting for a TT Platter Bearing and Tonearm should be produced as a structure. Using the Single Minded 'one method only' approach, that is being so fought for, to prove it as the absolute and only method to be used. It Clearly is stating the first reference to a comparison between a SME V 12" and an alternative SME 12" Arm have been inadequately carried out. The statement is also making it known the Methodology incorporated as Part of the design on your Turntable are flawed and a failing, so your use of the SME V are questionable in the individual making the statements assessment and any other that is agreeing with their view. It is also heavily leaning toward the notion that a TT that has a Bearing Mounted on a Chassis, and the Chassis Mounted on a Plinth, along with a Tonearm Mounted on the same Single Material Plinth is Flawed. The Chassis is a different material to the Plinth and an impediment to how the energies are transferred and the mechanical coupling between Bearing and Tonearm are rigidly interfaced. To have a Tonearm attached to a Sub Plinth and Turntable Bearing on a Separate Plinth, is stated to be wrong, and 50 years of experience from the individual fighting their corner for the 'one method only' approach, has found proof to confirm that your Tonearm in use and any other you might choose to use are totally flawed in use, due to the design for the TT / Tonearm Interface. I am not seeing any value to this, it is a flawed approach with limitations, as the real science will most likely show most Rigid Coupling Designs are with a compromise and a deviation for the real mechanical requirements. As Stated Previously in posts, There is a TT Design to be tried imminently that has athe chassis removed and and a Densified Wood is the surrogate Chassis and Plinth to receive Tonearms. This is produced as a result of my interest in developing the Rigid Coupling Theory and an attempt to further remove the usually seen impediments present for the design. My experiences supply myself with quite different outcomes, in how I percieve how different TT / Tonearm Interfaces Perform. I am 'out there' experiencing what other do. I am not locked up in a Room all insular with a single minded attitude, that is not offering a constructive criticism in any manner. It is a attack on the usage of other methodologies, that are seen in use and endorsed by numerous individuals, who are designers, producers, dealers and enthusiastic end users. I know there is an endless experience of Successful Replays being experienced as a Musical Encounter, as a result of not having a Turntable and Tonearm rigidly coupled to a Single Material Type on the same plane. On that note - I'm out of this thread as well, it has become a place to endorse the Poo Pooing all over methods adopted by a Vast Amount of Vinyl users. |
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