The damper, the tension wire and cantilever position


This question is for Dover. I would prefer our ''heighest authority'' Carr but

am reluctant to bather his with possible silly question. Dover however,

whom I regard as ''second authority'' , is used to answer also silli questions.

Now my assumption is that damper to which coills are ,say, pressed

by tension wire  balance cantilever/stylu combo in  ''all directions'';

left and right and above and below . BUT they also MUST FOLLOW

the GROOVES.

My observation however is that also ''deviant'' cantilevers which

nobody would buy look STRAIGHT IN DE GROOVE. Ergo:: it is

the groove which determine cantilevet/stylus position .?

128x128nandric

Dear Nandric, I know about those stories but as long as Van den Dungen remains silent we will never know the truth. It's not in my nature to serve both sides of an argument, but this might be an exception. Why?

Well, most Kiseki's (Blue, Purpleheart and Agate) were high impedance systems, which could point in the direction of Dynavector, whose systems were mostly high impedance. Probably because they used exceptionally thin coil wire, which required more turns. The Blackheart and Lapis on the other hand were low impedance systems (around 5 ohms), so different coil wire and possibly also magnets were adopted. The Kondo (then Audio Note) cartridges were also low impedance designs, so you could be right in believing that vdD asked his friend Kondo to built these top systems to his specifications. But this is pure speculation.

The armature to which the cantilever is connected should remain symmetrically in the magnetic gap. Assuming the cantilever is installed correctly perpendicular in the armature it should remain perpendicular to the face of the cartridge while tracking the record. You always set up the cartridge by sighting the cantilever. But Lyra cantilevers should always be perpendicular to the face during play or the cartridge may not be performing at its best. The tether does not determine the angle. This is determined by the way the armature sits on the suspension. 

Dear edgwear, As support for Nandric ''thesis'' about his and Alesandro's character

I must mention that all Blue Kiseki's , which BTW I all own are 5,2 Ohms . Two of

''Kondo's'' SUT's are made for those. The 40 Ohm kinds are an enigma to me..

But as I also mentioned (?) my Kiseki Agaat has ''deviantt cantilever''. My on

induction based argument ( from  one to ALL)  is this  same Agaat.. Despite

crooked cantilever when it really counts the beauty behave as a real LADY.

and folllows  the grooves in straight ''position''. Otherwise ''she'' could not

be described as a BEAUTY . 

Dear mjiostyn, I hate  mathematics my whole life and ''it'' icludes 

geomatry. So I have no idea what you are tolking about. 

Dear edgewear, From wrong assertio or premise one can not get 

triue conclusions. Your premise  is that whole  series  Bleu is 40 Ohms 

while all are 5,2 ohms . For those Kondo san designed 2 SUT's ,

One of them is made from SILVER .Probable from 100 year old

ITALIAN SILVER. This may be the reason for Alessandro's

admiration. BTW for  this one one should be looking . Than those

40 Ohm in between and your Lazuli as well my Black heart are again

5,2  Ohm . The nr 3 SUT is made for both 5.2 as well 40 Ohm but

one need to switch  between them with ALL intermediary wire,  Not

what one would call ''pure ' or conssequent  solution . .