Dear T_bone, how to dampen a spring to be used in a dynamically balanced tonearm has been nicely demonstrated by Isamu Ikeda in his (...here we go again...) FR-60 series.
A new or in stock condition FR-60 tonearm will feature a long spiral spring which is embedded in a lot of white and creamy grease.
Much more than you can see on any of the pictures of dismantled FR-64/66 on the web.
If a spring is fairly large, fairly wide in diameter and quite solid (stainless-steel) it is - due to its location at the very center of gravity and inertia and to its position in conjunction with the surrounding grease and the fact that its edge is in contact with another surface on the whole length - most unlikely to resonate at all.
There are many more light-weight parts much less dampened in many more high-ticket tonearms past and present who are much more likely to resonate and add colorations to the sonic picture than a hefty and highly damped by several different measures spring.
Furthermore we do see dynamically balanced - i.e. spring loaded VTF - in very different tonearms ranging from high effective mass (FR, Exculsive, MAX (depending on armwand and headshell)) to medium and low like MA-505, SME V et al.
So it is neitehr a measure taken to deal with warp or high compliance (most unlikely to go with a high effective mass tonearm anyway...).
Interesting enough we see dynamically balanced design in the most expensive stock toonearms of the early 1980ies:
The Exclusive EA-10, Micro Seiki MAX-282, FR-66s/fx and SME V - all dynamically balanced.
All made by fairly large companies and/or specialized tonearm-manufactures which tried to set the benchmark for the component.
Constant VTF independed from the static balance mode of the tonearm does have several virtues and no disadvantage.
It can however - not be incorporated in every tonearm. It depends on the bearing you choose.
Consequently there must be disagreement about the dynamically vs static balanced mode - depending what "school's" scholar you are.....
A new or in stock condition FR-60 tonearm will feature a long spiral spring which is embedded in a lot of white and creamy grease.
Much more than you can see on any of the pictures of dismantled FR-64/66 on the web.
If a spring is fairly large, fairly wide in diameter and quite solid (stainless-steel) it is - due to its location at the very center of gravity and inertia and to its position in conjunction with the surrounding grease and the fact that its edge is in contact with another surface on the whole length - most unlikely to resonate at all.
There are many more light-weight parts much less dampened in many more high-ticket tonearms past and present who are much more likely to resonate and add colorations to the sonic picture than a hefty and highly damped by several different measures spring.
Furthermore we do see dynamically balanced - i.e. spring loaded VTF - in very different tonearms ranging from high effective mass (FR, Exculsive, MAX (depending on armwand and headshell)) to medium and low like MA-505, SME V et al.
So it is neitehr a measure taken to deal with warp or high compliance (most unlikely to go with a high effective mass tonearm anyway...).
Interesting enough we see dynamically balanced design in the most expensive stock toonearms of the early 1980ies:
The Exclusive EA-10, Micro Seiki MAX-282, FR-66s/fx and SME V - all dynamically balanced.
All made by fairly large companies and/or specialized tonearm-manufactures which tried to set the benchmark for the component.
Constant VTF independed from the static balance mode of the tonearm does have several virtues and no disadvantage.
It can however - not be incorporated in every tonearm. It depends on the bearing you choose.
Consequently there must be disagreement about the dynamically vs static balanced mode - depending what "school's" scholar you are.....