The Arm/Cartridge Matching Myth


When I began my journey in high-end audio 36 years ago….no-one ever wrote about arm and cartridge matching nor tonearm resonant frequency…?
Over the last 10 years or so…this topic has become not only ubiquitous, but has mutated beyond its definition, to THE guiding principle of matching cartridge to tonearm….❓❗️😵
The Resonant Frequency can be calculated using a complex formula relating Tonearm Effective Mass to the cartridge’s Compliance….or it can be simply measured using a Test record of various frequency sweeps.
The RECOMMENDED Resonant Frequency of any tonearm/cartridge combination is between 8-12Hz.
But WHY is this the recommended frequency and WHAT does it really mean…?

The raison d’etre of this Resonant Frequency…is to avoid WARPED records inducing ‘resonance’ into the tonearm…..
Say what…❓😵
WARPED records….❓❗️
Yes…..ONLY warped records❗️😎
But doesn’t it have any meaning for NORMAL records…❓
None whatsoever…..😊👍
Let me explain….🎼

A badly warped record induces the tonearm to rise and fall rapidly on the ‘sprung’ cantilever of the cartridge.
Depending on the severity and frequency of this warping…..a subsonic frequency between 2-5Hz is induced so if your tonearm/cartridge Resonant Frequency dips into this frequency range….it will begin resonating and thus miss-track and/or induce hum through your system.🎤
Keeping the lower limits of your tonearm/cartridge Resonant Frequency to 8Hz simply insures against this possibility.🎶

So what about the 12Hz upper limit…❓
This simply insures against the possibility of any ultra low-level frequency information which MAY be on the record, also inducing this same miss-tracking or hum. For instance if your tonearm/cartridge Resonant Frequency was 18Hz and you had an organ record or one containing synthesised bass going down to 16Hz…..your tonearm may miss-track or you MAY develop a hum❓😢

So how many badly WARPED record do you possess…❓
I have three out of a thousand or so……and have NEVER experienced miss-tracking or hum even on these three…❗️😍

Yet these days….everyone (without exception it seems)…even tonearm and cartridge designers….happily follow the dictum of this Arm/Cartridge MATCH as if it affected sound quality…..❓
This Resonant Frequency has ZERO affect on the sound quality of a particular tonearm/cartridge combination and I have proved it hundreds of times with a dozen different arms and over 40 cartridges.

The best match for ANY cartridge ever made….is simply the very best tonearm you can afford…whatever its Effective Mass…😘
128x128halcro
Halcro, I think I see where you are having difficulty. The FR-66 is not a "very high-mass" tone arm- although its on the high side for sure, but not 'very' high. Additionally, its tracking weight method uses a spring, which can reduce the effective mass somewhat. Since the counterbalance is part of the effective mass, the result here is that the actual effective mass is probably lower than you imagined.

What is the highest compliance cartridge that you have used with this arm?
Hi Halcro, I gave one example from a personal experience. The tonearm/stylus was cycling at 16 Hz while playing a record. It was interesting to see. Long term it would have worn out the stylus for sure.
The other thing that I have seen happen before is the stylus jump the groove with only the slightest provocation.
That makes me think of something: Is it only me or do others try not to cue the needle in the middle of the record? I have this feeling that dropping the needle, even ever so slowly in the middle of the record will leave some minor damage in the groove. So I tend to cue at the beginning and let it play through to the track that I want to hear. Is that a pointless exercise?
VE database has the FR64FX at @ 20g and the 64S @ 35g

Is this is correct?

I'd guess the 12" arms are heavier.
The previous equation seems insufficient to me because I can
´t add VTF anywhere, maybe my old computer can´t download
the whole thing ? And I can´t get the whole picture of the
situation :/

This explains better:
https://www.google.fi/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4
QFjAA&url=http%3A%2F%2Fwww.reed.lt%2Fresearch%2F53-
research&ei=tc1AVJjxG4PMyAOF_oCABQ&usg=AFQjCNEf9XrvTXFC6pusi
SMCBYgueJxhvA&sig2=_x5-iRRiVyPPyn0S9kI9hA

As we find out, for approximate calculations we need only
cart´s inertia Ic.

This explains the resonant frequency more closely but it´s
basically the same as the first equation I mentioned
earlier:
https://www.google.fi/url?
sa=t&rct=j&q=&esrc=s&source=web&cd=2&cad=rja&uact=8&ved=0CCg
QFjAB&url=http%3A%2F%2Fwww.reed.lt%2Fabout&ei=tc1AVJjxG4PMyA
OF_oCABQ&usg=AFQjCNG6_QFNv0_fVjFLmtuMpe0A6lqUug&sig2=Ew7sZSC
PJIblULLCnN2fog

All this is simple basic mechanics. Approximate calculations
to start with.

But the mystery remains. We need to find out
The Calculation of Everything including all variables, VTF,
VTA, structures & materials inside the wand, magnetic fields
within etc.

I believe in natural sciences only. And Halcro´s
experimentations and observations as well, although they are
unorthodox.
I think we should ask Stephen Hawking.
Picture Ella Fitzgerald focusing her voice on a crystal goblet. She finds the resonance frequency of the goblet and then sings holding that frequency steady. The glass responds to that input. The goblet starts to ring and the amplitude builds until the glass shatters. All with the relatively small energy input of her voice.
I don't believe Ella ever managed to do this...❓😎
In fact....there is only one scientifically recorded instance of the human voice ever being able to do this under controlled conditions....and the SPL needed to succeed was greater than 110 dB...😱🎵
Incidentally...it is not the glass itself that reaches its Resonant Frequency.....it is the VOLUME of the glass with water that allows the Resonant Frequency to be raised to a level where it is audible....remember playing tunes on the rims of differently filled glasses....❓😎