Graham tonearm tweaking

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.

I hope you are kidding!I use a series of records with complex,and difficult to track material.I also use some discs that have a variety of different instruments,showing off their timbres and harmonics.The most difficult thing to get right is CORRECT timbres and harmonics.That is when you know the arm is "RIGHT".Forget about setting up for percussion,as it can fool you into thinking you have it.
Once you have spent a few listening sessions, and are happy with the results,there is no need to "FOTZ" around anymore.Of course unless your audio pals are like mine.Never happy!!