DaVinci tonearm and azymuth


Great tonearm. Unfortunately the azymuth is several degrees from flat, clearly visible with the naked eye. Has anyone else had this problem with DaVinci? Should I just adjust the balance with my preamp and live with it?
psag
@Feickert: as I can see from your post, you haven't read my posts. Or didn't understand them. I didn't say that your software would "balance" the outputs at all.
Hi Dertonarm,

so the following lines were not written by you?

As for the Freickert-software... it implies for correct function in azimuth-adjustment mode, that both coils of a given cartridge do have 100% identical output.
If this is not the case - which you can count on in 99,99999 % of all cartridges - it will help you little to adjust azimuth. As it compares output of both channels to give identical readings.

Well, maybe I need a visit at my doctor to have a general check of my eyes.....

Cheerio,

Chris
As I understand it, the goal in adjusting azimuth is to minimize crosstalk between channels. This means that the amount of crosstalk will not necessarily be equal for both channels (in fact it almost never will be equal) but merely that it will be as low as possible for each channel. The goal is not to achieve equal crosstalk but rather minimal crosstalk. (This usually involves a compromise in my experience doing it with a Signet cartridge analyzer and a test LP; when you get to the lowest crosstalk for one channel, the crosstalk in the other channel is frequently unacceptably high and can only be reduced by adjusting azimuth further, such that there is some small sacrifice in the db of crosstalk for that first channel one measured.) As one plays with azimuth by ear crosstalk reaches a happy medium, which we hear as "good soundstage". I am not familiar with the Feickert method, but if indeed it does allow one to measure and minimize crosstalk, it should work to bring one closer to "goodness" (optimal soundstage). The fact that nearly all cartridges will have slightly unequal outputs between channels will have no effect on this process, although it probably has a small effect on the actual numbers of db one measures. This is assuming that no cartridge that is not "broken" will have more than a 1.5db or less difference in absolute output between one channel and the other. Ergo, I would say that DT is off-base in his statement that one must know the difference in output between channels (which anyway one could measure) or that a cartridge has to have perfectly equal output between channels, to properly adjust azimuth using an electronic device.

One of the main reasons I bought my Triplanar many years ago was the demonstration of the effect produced when azimuth is properly adjusted and the ease with which this goal is achieved using the TP. I am really rather shocked to learn that the DaVinci has no provision for this important facet of tonearm function.
Lewm,
Thank you for redirecting this thread towards the realm of commonsense.
No, the magnificent DaVinci Grandeeza tonearm has no provision for azymuth adjustment. Would appreciate it if anyone could comment on the pros and cons of this design decision.
Pro: Most mechanisms for adjusting azimuth introduce some compromise into the rigidity of the cartridge-headshell-tonearm-pivot linkage. Leaving out the adjustment eliminates such theoretical "issues".

Con: You cannot adjust azimuth. You therefore may be missing some of the wonderfulness that comes when soundstage snaps into place and sounds "right". As has been said, you may be able to correct azimuth by the judicious use of shims here or there. But after living with the TP for the last 15 years, I would hate to go back to that method.