Graham tonearm tweaking

Metralla,sorry for being so obnoxious,in my response.I am a "one finger at a time typist",though getting better.I will try to learn a bit more as you seem sincere.Originally,I thought you were putting me on.The thing is that I got so excited about sharing this info I just started to fly on the keyboard(slowly)without thinking.Also,to be criticized,after putting in such an effort,with the nagging of my family to "get off the computer,and take us out to eat"really rubbed me the wrong way!But,that's the past!..........As for any ego, for readership,though the responses are a true compliment,and,I appreciate them,I was only concerned with the RESULT,of other hobbyists gaining REAL pleasure,from what took me eons to learn............Bfuerher,I have a dear friend that has an,almost,exact system as mine.We do our tweaking together,for comparative results.The "Blue" fluid IS DEFINITELY superior.No contest,actually.Also,for those with a 2.0,the upgrade to the 2.2(which I did)is FAR superior to the 2.0.Also,very easy to do,and not expensive..........I suspect(just my opinion here)the Phantom is not as critical to fluid level,since the literature claims that the magnet assembly aids "damping".I don't like this,as I feel the tuneability of the 2.2(once understood)is a REAL ADVANTAGE.Also,as I understand it, the Phantom is a MUCH more massive design.Since I have a cartridge weighing only 7gms.I like the idea of putting less mass(arm/cart.)over the groove.The benefit of this is mentioned on,both,the Van den hul,and, Air Tangent web-sites.Though,for heavier cartridges,the Phantom is probably the way to go(lets see some"REAL" reviews).Enough with the endless quantities of pages,every issue, of recommended components.This takes copy away from "real" issues.I'm not holding my breath!!Anyway,the 2.2 is a rediculously good arm.Why do you think Graham kept it in production?

I like to offer my school boy explanation. The fluid level is critical because it affect the sonic energy resonates and dissipates from the tonearm. For bearing tonearms such as gimbal and unipivot, the bearing friction is critical. Remember your good old school days, when you drag your finger nails across the black board, the screechy noise frequencies depend on the pressure on your finger nails and the dryness (friction coeficient) of the board. Frictionless tonearms don't have this problem but they have problem with stability.

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Sirspeedy's post (and David's) are right on the money. It is well worth anyone's time to fiddle with the damping fluid levels on a Graham 2.2.
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After reading Sirspeedy's and David's post a while ago, I played with the damping fluids and was rewarded with some stunning improvements in detail, dynamics and bass attack/control/tunefulness.
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Rgds & Thanks again to Sirspeedy & David,
Larry
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sirspeedy,
Do you change the fluid level for each record? Or once you get fluid level, VTA, and weight where you want them for your most challenging record do you just leave them there?
George

George_a,

If you changed the fluid level on a Graham 2.2 for every record you could only spin 1 or 2 records a day. It is a potentially messy process that must be done with considerable patience and care. If you only have one pair of hands it may take 5-10 minutes per change, and if you're using the (reportedly superior) new blue fluid it takes hours to settle in thoroughly, as sirspeedy has explained.

I admire your spirit and dedication though. You're even more insane than I am, and that takes some effort!

Once you find the right fluid level there's no reason to change it until you change cartridges. Each cartridge requires its own unique level. Even the three similarly compliant ZYX cartridges we listened to on Cello's Graham performed best when damping fluid was fine tuned for the individual cartridge.