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Linear tracking vs. Pivoted tracking tone arms.

After searching all 735 existing analog "threads" I only found one short discussion regarding Linear tracking arms vs. tangential tracking arms. I have been a vinyl collector for over 32 years, and beleive that pure analog is still the "gold standard". In 1984 I purchased a Sony PS-X555ES linear tracking, biotracer, turntable. It is a fully automatic table with direct drive. This table has served me well, with no mechanical or set up issues. It is still in my system today. There are no adjustments other than balancing the tonearm to a netural position, then dialing in your tracking force. Two years ago I installed a Denon DL 160 moving coil cartridge, and am very pleased with its quality. I am considering retirement for the Sony and replacement with a Michell Gyro SE with Rega pivoted arm. Linear tracking arms are not availiable. This is a belt drive, full manual table. I understand that the master LP lacquer is cut on a lathe with the linear method. Should vinyl be replayed in the same manner for optimal sound? I would really like to hear from some hard core audiophile vinyl types on this one. By the way, my system consists of the followinig: Conrad-Johnson PV10B all tube pre-amp with tube phono stage. This is split into a C-J Primer 11 tube amp and C-J MF2250 FET amp, bi-amped into a pair of KEF Reference series 3-2 speakers. The Premier 11 feeds the mids and highs and the MF2250 feeds the bass section. All cables and interconnects are Monster Cables finest. Thanks in advance for any advice.
lbo
atmasphere's avatar
atmasphere
11,662 posts
 
Some of the Sotas had a vacuum system that kept the LP flat. The side that you weren't playing could get damaged by such use. That may have been corrected on later 'tables.
tonywinsc
583 posts
 
I don't see the vacuum hold down damaging the record. I do have an opinion about using the ET-2 arm on a Sota. I looked hard at that years ago. I had a buddy with the ET-2 on his Sota. In the end I concluded it is not the best match only because of the floating suspension. The mass of the tonearm is moving as the linear arm moves from the outside of the record to the inside. Since the chassis is floating on springs that changing couple causes the chassis to roll, ie. tilt less as the arm moves inboard. So the platter can be leveled only at one position of the tonearm. That is going to put an increased lateral force on the stylus and groove over some part of the record.
jwm
918 posts
 
Take my word, it sure does do groove damage to records.
dover
2,199 posts
 
I had Vacuum Sota/ET2 for a few years before my Final Audio.
No problems on levelling and maintaining level across the record.
No mistracking whatsoever, particularly compared with pivoted arms on demanding tracks.
I did have a couple of records that were noisy on one side and suspected the vacuum system, but have no real proof.
Had no speed issues either but had knocked out half the Papst motorboard and replaced with on board regulation and external regulated power supply.
The ET2 was stripped of all dampening material, custom arm/bearing tube bracket, air supply consisted on dual pumps ( one running out of phase ) and surge tank and added electromagnetic dampening for horizontal movement. Also tweaked the compliance of the decoupled counterweight in the horizontal mode for each cartridge.
lewm
12,611 posts
 
Dover, I do think Tony has a point about mating an air-bearing tonearm with a spring-suspended turntable. I think I have read elsewhere that such a pairing can cause problems. Especially I was dubious how a Linn LP12 would mate up with the ET2. (Someone else on this thread has that combo.) However, your success with the Sota/ET2 would go to show that what is problematic in theory is often OK in practice.
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