Dover,
That's right....the Cobra and Copperhead arms are dual pivots. Not too many of them around?
All the tonearms you define without headshells actually have very well defined headshells. The Syrinx PU2 even has a solid bar fixed across its armtube to which the cartridge is screwed. The other arms have a flattened out shaped metal headshellsl welded to the armtubes. Because you can't see the welds doesn't make the headshell invisible?
All the counterweights you cite are well above that of the Continuums but more importantly, change their Moments of Inertia about the pivot with each addition or subtraction of a counterweight.
Because the Continuum's counterweights face downwards, the Moment of Inertia about the pivot remains constant.
The ET2 wiring exits from the top and lies loosely across the arm putting lateral force into the arm tracking. There is no vertical support hoop as in the Continuums?
But the most important and revolutionary impact of the Continuums is the shape and material (not carbon fibre) of the tonearm and the way this shape and construction were calculated with the aid of aerospace computers.
A pivoted tonearm is a very complex structural diagram to plot.
It is not a full cantilever because it is semi-propped by the stylus.
It is also a counterweighted cantilever which gives a totally different vector forces diagram than a pure cantilever.
Almost every tonearm in history has tended to ignore this structural complexity and make the armtube constant shape from pivot to cartridge whilst others have tapered the tube in a classic cantilever response to stresses.
Neither one is structurally correct and when lateral movement is added to the equation, these two basic solutions are unsophisticated.
For the first time in history, the same computer power that designs the structure and air effects of Formula 1 cars is utilised for tonearms.
As for the fit and finish of the DaVinci qualifying it for 'advancing' the state of the art.....you surely jest?
I have the DaVinci, the FR-66S and the Copperhead head to toe on the Raven AC 3 and the 35 year old FR-66S looks newer than the 4 year old Grandezza. The Copperhead is perhaps a fraction below the fit and finish of the DaVinci...but not far at all. The SAEC WE308 is a notch higher than the Grandezza whilst the SAEC 407/23 is another notch further up and the Mixro Seiki MA505S is a clear 3 notches higher.
You obviously don't wish to see the facts behind these revolutionary arms but there are better judges than you or I who have already written their verdicts :^)
That's right....the Cobra and Copperhead arms are dual pivots. Not too many of them around?
All the tonearms you define without headshells actually have very well defined headshells. The Syrinx PU2 even has a solid bar fixed across its armtube to which the cartridge is screwed. The other arms have a flattened out shaped metal headshellsl welded to the armtubes. Because you can't see the welds doesn't make the headshell invisible?
All the counterweights you cite are well above that of the Continuums but more importantly, change their Moments of Inertia about the pivot with each addition or subtraction of a counterweight.
Because the Continuum's counterweights face downwards, the Moment of Inertia about the pivot remains constant.
The ET2 wiring exits from the top and lies loosely across the arm putting lateral force into the arm tracking. There is no vertical support hoop as in the Continuums?
But the most important and revolutionary impact of the Continuums is the shape and material (not carbon fibre) of the tonearm and the way this shape and construction were calculated with the aid of aerospace computers.
A pivoted tonearm is a very complex structural diagram to plot.
It is not a full cantilever because it is semi-propped by the stylus.
It is also a counterweighted cantilever which gives a totally different vector forces diagram than a pure cantilever.
Almost every tonearm in history has tended to ignore this structural complexity and make the armtube constant shape from pivot to cartridge whilst others have tapered the tube in a classic cantilever response to stresses.
Neither one is structurally correct and when lateral movement is added to the equation, these two basic solutions are unsophisticated.
For the first time in history, the same computer power that designs the structure and air effects of Formula 1 cars is utilised for tonearms.
As for the fit and finish of the DaVinci qualifying it for 'advancing' the state of the art.....you surely jest?
I have the DaVinci, the FR-66S and the Copperhead head to toe on the Raven AC 3 and the 35 year old FR-66S looks newer than the 4 year old Grandezza. The Copperhead is perhaps a fraction below the fit and finish of the DaVinci...but not far at all. The SAEC WE308 is a notch higher than the Grandezza whilst the SAEC 407/23 is another notch further up and the Mixro Seiki MA505S is a clear 3 notches higher.
You obviously don't wish to see the facts behind these revolutionary arms but there are better judges than you or I who have already written their verdicts :^)
