What makes a good tonearm?


I'm entering the world of decent analog and believe I understand why the turntable design is critical (e.g., vibration isolation, balance and speed stability) but am scratching my head a little about tonearms. What makes a good tonearm good and a great tonearm great? The resulting sound is always the key, but what design characteristics contribute to that sound? Tonearms are a big investment and can be tough to change later so I'd like to understand more about them before I buy anything. Thanks in advance.
ozfly
Great articles! Now I know enough to be dangerous! Thank you for the great reads. My objective is to get a relatively maintenance free arm and these article pointed out some ways to do that. The Audiomeca parallel tracker was also interesting. Thanks.
If you take a close look at the Technics' 1200 tonearm you'll see the features of an outstanding tonearm. Full gimbal w/ extremely low friction bearings (published spec), s-shaped and bent at two unequal distances to avoid resonance, damped counterweight. It's a great design--a litlle heavy, being a cheaper version of the titanium EPA tonearm. THe tonearm is overall non resonant and neutral. Right, TWL?
Ozfly, if in your studies of gimballed arms, you find a tonearm that will outperform an RB250, fully modified, with Cardas Litz (or equiv.) wire, stainless end stub, adjustable Heavyweight and VTA adjuster, under $500, even under $1000, make me the first to know, would you?

Over $1000? Other options are available. But you will be surprised at how few with an equivalent price/performance ratio.

IMHO.

Happy Listening, Ed.
Buscis2, I have been looking at the Origin Live Silver, which is a heavily modified RB250 and favored by some Analog gurus here on the 'Gon. But, if some great used package deal comes along with a nicer arm, I'd certainly consider that too. Still looking. Thanks.