I was not going to reply anymore to this thread because of all the DRAMA my original question stirred.Thank you, to all of you, for your well intentioned responses.Especially Frank.It is unuasual to see a designer and manufacturer respond.It shows the commitment and passion you must have for your product.Of course a tonearm will have a specific sonic signature,to me this is not debateable.Every component in the sonic chain has an identifiable sonic signature to one degree or another.I truly don't want to get into a debate with obviously well intentioned fellow music lovers,but I thought my original question could stand on it's own without having to outline what equipment I own,or discuss my musical tastes.To my way of thinking,the lack of any kind of bearing frictionand the attention to detail employed in you design giving me the choice of internal arm cable to match my system cabling,and the choice of different armtube materials,to match my cartridge (in this case a TRANSFIGURATION TEMPER-V)is just good science and attention to detail.One thing I have learned from my too many years in this hobby is(asside from the unfortunate fact that it is expensive)that the tiniest details stand out in BOLD relief when you finally have a good set up right.I would like to pose one more question to you Frank or any other listener with such experience.I notice there are a few arm cables on the market(arm to preamp)that offer such exotic combinations of materials that could potentially push the envelope in terms of better being able to transfer super fine detail.I'm talking specifically about such cables like those from PURIST audio and SILTECH which purport to use materials like silver and gold in conjunction with small amounts of copper or also,as in the case of the PURIST cables cryogenic treatment as well.I'm only interested here about the arm to preamp or phonostage cabling NOT the rest of the system,and please no infantile heated debates.Just for the record I heard a significant improvement in both my system and a friend's setup when we upgraded from the Graham IC-30 to IC-70,so I am curious to examine if more could be obtained from this particular area with an even more advanced material combination.Trust me I'm not looking to throw money away but I'm convinced that the very fine microsignal coming from the stylus tip is of paramount importance,which takes me back to my original question regarding the SCHROEDER arm and it's potential for a non resonant signature.If anyone thinks that is not a critical parameter go and listen to a really good straight line air bearing design.
Has anyone had experience with the Schroeder Arm
In a high res setup has anyone been able to compare this arm to the top pivoting competition.I think that the fact that the pivot is magnetic as opposedto a bearing like a unipivot(needing damping) should on paper be less resonant and maybe sound better.I currently own,and,am happy with a Graham 2.2,but the idea of a true frictionless bearing (all bearings have some degree of friction)really could make a real difference in a good setup.I'm not interested at the moment in straight line trackers with air bearings (although I love some of them)due to the hassle of external pumps and tubing runs.
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- 95 posts total
- 95 posts total