Jazzene yes, that is part correct. see Harry's quote below. Bottom line, Harry is the tonearm designer and I agree with my 12.6 & 7, his alignment overall sounded better that B or L. This is probably no different approach to the designers of the FR tonearm, Ortofon, SME, rega, Pioneer/Exclusive, SAEC etc etc - they all did not like B, L or S for probably very good engineering and musical reasons - Something Raul aka " Charlie Sheen - Winning " fails to even try to acknowledge or understand. If you go by science, bumble bees can't fly, tell them that when a hive is chasing you. Seriously, I don't use either of those curves, I did it by ear on my system, not by math on a computer. If you go by distortion you would never use tubes, only solid state. I began using the Mitch Cotter system and tweaked it from there.
This is not a condemnation of eithet system, it's just that I know what they sound like (doing this since 1958) and like my system better. That does not say you shouldn't make the guage, it may sound better for you so I would do it.
They said the same thing on Vinyl Asylum and the German guy ran the number and said the distortion is higher, then he listened to the arm and said I understand why he uses it.
Just my take on audio, yours may be different and there is absolutley nothing wrong with getting the lowest distortion possible.
HW |
Thanks Downunder. My point exactly. The quote from Harry nailed it on the head. I rest my case. |
Dear Genesis168: I understand what you mean with " sound " but we are not talking here about " sound " but what is right and what has higher distortions.
Btw, Stevenson don't fix any of the Löfgren shortcomings. Stevenson always has higher distortions even in the inner grooves, please read my 2-3 last posts or better yet use the VE last link I give to you and make for your self the calculations: it is extremely easy.
I don't give the Dennes white paper link for the figures and plot that you seen " many times " ( good ), I give you mainly for you read all what Dennes write other than those figures/plots/equations. I hope that with a new read for your self this time you understand in deep and clean/precise way: good luck!
Regards and enjoy the music,
raul. |
Dear Trabvrow: +++++ " A tracing arc with a specific distortion curve should have the same geometric error and distortions regardless of the arm, cartridge stylus or if the record is stereo or mono, I thought? " +++++
Bravo!!! because things are so easy and not so " clouded " as he want to paint the picture.
+++++ " but picking a tonarm/cartridge set up geometry that has more tracing error will produce more tracing distortion, unless the mathematics used to figure these distortions are a lie. " +++++
I can't say it with better and simple understanding words. This tonearm/cartridge set up is not a Rocket to Júpiter!
Regards and enjoy the music,
Raul. |
Dear Jazzgene: Of course you can make the set up at random by ears only, at the begining of some of us on analog ( very old times. ) many of us that have cero know-how on the subject always made this set up almost by ear! so this is not a new menaing.
But ( always exist those " but ". ) that kind of ears set up has several disadvantages like: ears has no Universal " sensitivity ", the ears/mind are biased for what we like or not and that could be far away from real/true, it is almost imposible to make by ears set up a set up with low distortions, a cartridge/tonearm set up must works in any audio system and how could this be when you make the " voicing " in a very limited number of audio systems and audio items?, etc, etc.
Now, I can tell you that VPI was not made it ( set up geometry parameters ) only using ears at random overhang/offset angle. IMHO what he did was using known geometries and adjust by ears what he likes and that's all, changing some of those mentioned three input data. So in reality was not 100% by ears, the posibilities that you can be " there " by ears at random are infinitely low.
Regards and enjoy the music,
Raul. |
