Raul,
You are right about trying to minimize the factors between tonearms. However, I agree with Paul about the important fact that using a wire that is not offered to customers would be a serious problem in any type of evaluation. Nobody would know what the "real" tonearm would sound like.
I don't think Frank and I use the same type of cable.
Another aspect of this is that, to a certain extent, the tonearm is "tuned" with the cable I'm using. If I used another wire, I might have to modify other things to get to the sound I want. In that sense, the cable is as important in the global sound result as, say, the wood I use for the armwand, or the material I use for the counterweights, and so on. Any change anywhere modifies the delicate balance between the elements. It can bring the whole thing to a higher level, of course--I'm not implying that I currently have the perfect recipe--and when that is the case, I adopt the change.
Joel
You are right about trying to minimize the factors between tonearms. However, I agree with Paul about the important fact that using a wire that is not offered to customers would be a serious problem in any type of evaluation. Nobody would know what the "real" tonearm would sound like.
I don't think Frank and I use the same type of cable.
Another aspect of this is that, to a certain extent, the tonearm is "tuned" with the cable I'm using. If I used another wire, I might have to modify other things to get to the sound I want. In that sense, the cable is as important in the global sound result as, say, the wood I use for the armwand, or the material I use for the counterweights, and so on. Any change anywhere modifies the delicate balance between the elements. It can bring the whole thing to a higher level, of course--I'm not implying that I currently have the perfect recipe--and when that is the case, I adopt the change.
Joel
