Turntables: 2 Tonearms. What do you Have or Know About?

sksos

that’s the 1st 4 arm TT I/we have seen here

from their web site

many variations shown there

https://www.kuzma.si/stabi-r-world-premiere-munchen-2018.html

’non flexible belt’.

.............................................

I have a vintage 1958 Viking 75 (telex) 2 track stereo Tape Deck (play only) that came out of my Uncle’s Fisher President II that I inherited. It has a ’non flexible flat belt’, the outer one of this set.

https://www.amazon.com/Replacement-Belt-Viking-Reel-Player/dp/B07GVJLCH4

.............................................

Tape Deck was from the ’crossover’ era: ’In-Line’ or ’Staggered’.

This shows

1. an erase head left (both tracks); and

2. centered: an ’in-line head’ (both L and R tracks ’in-line’ vertically (the final 2 track/half track accepted version)

3. 3rd head, one track only,, to the right, further along (staggared)

...........................................

4. Deck had a switch:

a. ’in-line’ position used the center 2 track head for stereo playback, 3rd head disabled.

b. ’staggered’ position used one track from the centered head, and the other track from the single track head further along.

5. eventually ’staggered’ method lost and the 3rd staggered head was eliminated.

........................................

I have a small collection of 2 track stereo tapes, some marked ’in-line’ and some marked ’staggered’ that came with the Fisher Console. They are not 15 or 30, but Pre-Recorded 7-1/2 IPS. They sound fabulous.

I have been trying to find a settlement with the idea of a Cantilever Sidebar TA Mounting Arm Board.

The Bolt Down method commonly seen is simplistic and hopefully is not compromised as a design.

I have a design in place for one of my Panzerholz Plinths to receive a Cantilever Side Bar TA Mount, where I have attempted to avoid  the usually seen Bolt Down Fastening of the attachment.

My design which lends itself quite nicely to being done in P'holz, is a interference fit Mortice and Tenon with a Flange to receive retaining fastenings into threaded inserts placed into the main plinth, as well as having two threaded inserts, inset into the Side Bar flange to receive fastenings to help release the part when not wanting it attached. The idea is for there to be a few parts produced, to be exchangeable, enabling working with differing lengths of Tonearm.

Slots to be used for allowing setting up varying length TA's in Plinths or Arm Boards are something I have commenced avoiding quite a few years past, all leads back to the rigid coupling principles.

My last two produced Plinths have extremely tight tolerances machined into the Plinth to receive the TA that is now used.

The Producer of my most recent produced Plinth, has an identical dimension Plinth > TT > TA and they are settled with a Slot in their Plinth.

Each to their own when it comes to such subjects.

I will be in a position to learn if a sonic is affected between a Plinth Mounting and Side Bar Mounting a TA, I will be settling with that as the only goal.  

@pindac  sorry for slow response. I have so far somewhat limited experience combining various thickness of Panzerholtz with HRS ( Harmonic Resolution Systems ) products - Typically NIMBUS couplers. So far i have had sonic rewards by reloading my NAS, Optical Isolation, ROON Core and a variety of Linear PSU on to 20 + MM Panzerholtz shelves / platforms. Hopefully this helps. my analog components all utilize CORE audio and or HRS products.

Best to you - I always enjoy your excellent contribution here

Jim

@pindac  sorry for slow response. I have so far somewhat limited experience combining various thickness of Panzerholtz with HRS ( Harmonic Resolution Systems ) products - Typically NIMBUS couplers. So far i have had sonic rewards by reloading my NAS, Optical Isolation, ROON Core and a variety of Linear PSU on to 20 + MM Panzerholtz shelves / platforms. Hopefully this helps. my analog components all utilize CORE audio and or HRS products.

Best to you - I always enjoy your excellent contribution here

Jim

@tomic601 The individual that I refer to as the Godfather of using P'holz for Audio use, has supplied information on their Qualia Labs Website about many materials measured damping/dissipation.

Their follow up exchanges that can be found on various forums, strongly siggests that when it comes to Board Thickness, a 10mm Board Thickness, is all that is required for a Phenolic Resin Impregnated Densified Wood (PRIDW) to attain the most desirable measurements for Audio Purposes.

I have been demo'd plinths made from Laminations creating a 35mm Board Thickness and from a typical production Board Thickness in both 25mm and 32mm. The detected differences on a Sonic in these thicknesses, are not as immediately discernable as when a PRIDW Plinth is compared to a standard Birch Marine Plywood, or a non-resin impregnated increased in compression Plywood.

I have a PRIDW Board of a 75mm Thickness, this is selected to embed my TT's Motor Unit into when I put together my own SP10 MkII Kaneta Design.