"...you pick your tonearm to match your cartridge..."
Lewm, did you mean, pick your cartridge to match your tonearm? That seems easier. But since each component has its own makeup and sound, it's still a complex issue. I had an interesting experience several years ago. At that time, I had the same table I have today, the VPI HW-19 Mk3. I was seriously considering the purchase of a new table. Without mentioning its name, I was given the opportunity to audition it in my own system. I'll only say it was and is no stranger to a number of Audiogon members who have owned it or one of the other models in its line. And, it cost at least four times the price of my VPI. With this table I was supplied the armboard and hardware to mount my SME IV.Vi tonearm with either one of two cartridges I had at the time, a mid priced Benz and the low output Grado Sonata. I did let the table run in for some time. I heard what I felt were the same basic sound characteristics using both cartridges with the same tonearm. I'll mention only one that was quite prominent--a lifeless quality. I did not hear these things at all using the same arm/cartridge combinations with my VPI table. I returned the new table. There was verifiably no mechanical problem with it. This experience seems to confirm though a table "does its job well", it will also contribute to producing some different sound or sounds with the identical arm/cartridge combo.
Of course, you allude to the Reed's many different combinations. This is why I wrote to those at Reed, asking what kinds of sounds are imparted by some of their wood parts and copper versus silver wires. They also offer Eichmann silver and copper bullets as plugs inputting into one's phono preamp. I have previously done my own research as well as listening comparisons with both types of Eichmann plugs on the same cables. In addition, I've compared and presently continue to compare the sounds of different types of internal tonearm wire. It is very obvious to me that these different plugs and wires contribute to audible differences that are in no way[s]minor.
We are almost continuously reminded of the complex interrelationships between different components and the variety of sounds they produce. Most of the time, unless we're able to actually audition something in our own system, we take our chances based on the impressions of established reviewers and/or non reviewers. Typically, turntables and tonearms are among the most difficult components to secure auditions for. Considering the big sum of money one might be spending as well as the realization that though the chief reason we're looking to buy something is because of its sound, it is troubling to say the least that we often can't get an idea as to whether or not we will be satisfied with what we're anticipating shelling out a healthy sum of money for....Well,'nuff of all that for now.
Lewm, did you mean, pick your cartridge to match your tonearm? That seems easier. But since each component has its own makeup and sound, it's still a complex issue. I had an interesting experience several years ago. At that time, I had the same table I have today, the VPI HW-19 Mk3. I was seriously considering the purchase of a new table. Without mentioning its name, I was given the opportunity to audition it in my own system. I'll only say it was and is no stranger to a number of Audiogon members who have owned it or one of the other models in its line. And, it cost at least four times the price of my VPI. With this table I was supplied the armboard and hardware to mount my SME IV.Vi tonearm with either one of two cartridges I had at the time, a mid priced Benz and the low output Grado Sonata. I did let the table run in for some time. I heard what I felt were the same basic sound characteristics using both cartridges with the same tonearm. I'll mention only one that was quite prominent--a lifeless quality. I did not hear these things at all using the same arm/cartridge combinations with my VPI table. I returned the new table. There was verifiably no mechanical problem with it. This experience seems to confirm though a table "does its job well", it will also contribute to producing some different sound or sounds with the identical arm/cartridge combo.
Of course, you allude to the Reed's many different combinations. This is why I wrote to those at Reed, asking what kinds of sounds are imparted by some of their wood parts and copper versus silver wires. They also offer Eichmann silver and copper bullets as plugs inputting into one's phono preamp. I have previously done my own research as well as listening comparisons with both types of Eichmann plugs on the same cables. In addition, I've compared and presently continue to compare the sounds of different types of internal tonearm wire. It is very obvious to me that these different plugs and wires contribute to audible differences that are in no way[s]minor.
We are almost continuously reminded of the complex interrelationships between different components and the variety of sounds they produce. Most of the time, unless we're able to actually audition something in our own system, we take our chances based on the impressions of established reviewers and/or non reviewers. Typically, turntables and tonearms are among the most difficult components to secure auditions for. Considering the big sum of money one might be spending as well as the realization that though the chief reason we're looking to buy something is because of its sound, it is troubling to say the least that we often can't get an idea as to whether or not we will be satisfied with what we're anticipating shelling out a healthy sum of money for....Well,'nuff of all that for now.