Dear Nikola
Please ignore my last recommendation. I fear if you try it and liked what u hear that you will be in for a bigger dilemma with your space constraints. I already have 3 TT's in one room but the room is dedicated. It is still lunacy to an outsider. I tell myself its keeping me from becoming a loon but probably too late. Too much beer and sun I fear at this point for me.
Anyway - I do not want to be responsible for any problems this may cause in your house.
Cheers Chris |
AT 616 height: 2 inches at lowest setting; 2.25 inches at highest setting. There's a set on eBay right now--but the price is not exactly friendly. If you really want them, Nandric, do like Chris did and post a want ad. Or, as Lewm said, there are surely good alternatives--it's just not clear what those are.
Halcro: you got a bargain with your pods (friend discount?).
Lewm: yes, you are boring on this topic--but it's nice to have antipodes. |
Halcro, the size of your pod (180mm x 360mm cutout the side with 55mm hole for tonearm) is why the cost is so much to machine. What is the height?
Building one similiar to ttweight is more inline of the cost of your casting. |
Corby, maybe a lead ring at the base would help the problem with your panzerholtz pod.
Do you have any breakdown pocs of your adjustable pod?
Brad |
Lewn, my arm pod path would probably not be for the garrard. My 301 is currently in a slate plinth that won't be easily changed to accept another tonearm, the reason for building others to come soon.
Here is the only example of one I ever seen on the net. Is that for a reason is the question.
http://www.theanalogdept.com/stefano_bertoncello.htm
I respect and agree with your opinion but also respect as stated earlier in the thread that it would be hard for me to comment negatively without having a direct experience.
Any of you guys checked out emachineshop yet? It really is a nice piece of softawre even it is only used for drawing and viewing a prototype of anything. I will soon setup my photobucket with a link to some pics.
Brad |
Brad, Beautiful stuff on that website. Thanks for the URL. I am drawing ever closer to a high efficiency, high impedance spkr system, if I could find one that I both like and can afford. |
Lew, at the bottom of that link there is a link to his blog with more great stuff.
Brad |
Ecir38,
The base height of the arm pod casting is 110mm and 130mm with the bottom spikes.
I can't tell you how many sleepless nights I had questioning the 'correctness' of the height before having it cast?
I changed it over and over again and checked and double checked against the TT-81 and all the arms I had.
To make it even more difficult.....every arm has a different 'neutral' position from its base mounting as well as different extensions via its VTA adjustment. :^(
Prices I obtained from machine shops were between $1600-$2100 per pod!!
The castings worked out IIRC to be $500 per unit for three (including fabrication of the mould). This was not mate's rates but an unknown commercial foundry. With the mould now in my possession, another casting would be $300.
To have each pod spray-painted and a machine shop to supply the linished aluminium 10mm top-plates and drill and tap the top holes and
bottom ones for the spikes, added $200 per pod.
Not included in the costs of course is all my design time (and anguish) as well as all the schlepping around.
But considering that each 2.25 metre Cardas Golden Ref phono cable cost me $1000 (and I needed four!)......I'm not really complaining :^) |
brad
i only have assembled pics. is there anything specific that you need to know?
also, thanks for the idea of weighting the panzerholz pod. for now, i am using it as-is since i do have another stainless pod half made. it will not have the micrometer in it as the first one does. |
Corby, you explained this in you prvious post to Halcro:
the vta is adjusted using the micrometer ath the top of the post, there is a thumbscrew on the side that you would loosen first, adjust the height and then retighten the screw to lock everything solid. the micrometer has a long rod attached to it that extends to the bottom of the pod. this enables the 1" shaft to be raised and lowered as required.
http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1294870073&openfrom&373&4#373
Assembly pics if it isn't a problem would give a better visualation on how it all came or goes together.
Is the brass sleve that the brass AX1 armboard just a spacer for the 1" shaft. Aluminum or stailless?
Thanks,
Brad
Another temp option to a lead ring is maybe some duct sealer that could be formed around the bottom. Duct sealer has been used as a diy dampening on speaker frames. It has a mass to it and can be molded similiar to clay. |
brad
the brass sleeve on the stainless shaft is just a spacer. it was easier to machine. i needed 1.18". machining 1.5" stainless would have been more difficult on the small lathe. so i chose to keep the shaft and mating hole at 1" and machine a sleeve using brass to bring the dia up to size.
i do not have any pics of it through the assembly. that would have been a good idea!
the shaft raises with the micrometer as it extends and lowers with gravity, when the micrometer is retracted. there is a light layer of grease between the shaft and it's mating hole in the base.
i could send you closer pics if you would like. |
Hey Corby, I follow you. It also looks like the micrometer body was machined to screw into the top of the 1" shaft.
If you ever tear it down take some pics.
much appreciated
Brad |
brad
the mic is set into a counter-bored hole in the top of the shaft and held with a small set-screw from the back.
there are many different mic heads available. just check out the starret website to find one that suits your application. they are appx $80.
don |
<<I changed it over and over again and checked and double checked against the TT-81 and all the arms I had.
To make it even more difficult.....every arm has a different 'neutral' position from its base mounting as well as different extensions via its VTA adjustment. :^(>>>
Halcro, I feel ya and the end product makes you feel so good, kudos to ya. DIY makes you a appreciate the cost we pay for this stuff to a certain degree, others that don't diy just don't understand.
Brad |
Thanks Corby, the final piece to me figuring your puzzle.
I'm going to draw this up in emachineshop.com to get and idea in cost between stainlees and brass with the adjustable outriggers optional.
It looks like your base is 3"h x 3"od?
Halcro this could be truely universal if there were differant length 1" shafts with differant length micrometer shaft extensions.
Brad |
Dear Brad, I certainly can comprehend the joy involved in
making something on your own. But because of this division of labour we are not equal.The 'wish' or 'desire' don't imply any capability a priori or in advance. I myself am very glad to know an machinist with the CNC lathe. In my
most optimistic dreams I see my self not working with the
'tool' mentioned. This is also a part of our 'understanding'.
|
Nandic, the thought behind the design in something like Halcro and Corby's pod is 80-90% of the work. Even if there is no desire to own a CNC and that is outsourced it is still your mental labor that made it come together.
You are lucky to have a machinist as a friend.
Brad
|
Brad,
There are unfortunately no free lunches?
A truly "universal arm-pod" like Corby's, requires many 'connections' and 'cantilevers' all held by grub-screws or something similar.
The vertical micrometer is in itself a cantilever from the fixed base and then the arm 'platform' is cantilevered from this shaft.
In any cantilever, the bending moment increases as the square of the cantilever. The deflections involved in such solutions render the stability of the arm-pod questionable.
I find with my DaVinci Grandezza 12" Ref tonearm, that even extending the shaft to its maximum for VTA adjustment, affects the sound rather badly :^(
Cheers
Henry |
Dear Brad, The machinist in casu is alas not my friend, so
even just one lunch , not to mention the plural, is out of question. My 'luck' is that this guy is also interested in tonearms. However my armpod is made by my
real friend Vidmantas by the Reed company. I am also lucky
I should think that I am able to pay for the 'lunches' in plural. BTW there are 'many' other things involved by the tonearms so to 'have' a machinist is as important as to have an 'beautiful lady' ( not from Italy of course).
Regards, |
brad, you are correct in the 3" dia and 3" height. it's solid stainless and it is heavy. you're also correct in the amount of thought required with the design. i spent lots of time at that stage before the machining started. all of my plans were on scraps of paper and napkins! the emachine drawing is a definite asset.
henry, your observation about the cantilevering is a correct one. the only issue that i have with that is my armboard. the vertical shaft is solid 1" stainless. i can understand the extension within the arm itself making a sonic difference, since it's really only a relatively thin-walled tube supporting the whole arm. mine is set down, bottoming out and i let the 1" shaft provide the height adjustments. the reason that my armboard is so long is that i wasn't sure how much clearance that i would need for the grandezza as it swings past the micrometer. it turns out that i have a good 1" plus clearance, so i will make a new armboard, shorter and thicker at the shaft end for more contact area. i am happy with it now and don't want to break the set-up, but i will in the very near future.
thanks for the comments. it's still a learning experience.
don |
Don,
It seems as if you know well the pitfalls of 'structural gymnastics' and are learning more 'on the job'...so to speak :^)
I'm impressed and looking forward to further evolutions of your ingenious arm-pod.
Cheers
Henry |
I am lucky in that the tonearms I was using when Henrys thread came about were top mounted ones. This made design of my pod very easy and allowed for all the mass to be in the pod itself no hollowing out required no extra parts - so to speak. It wont win any design awards but its purpose is all functional and it is immovable. If you can tap holes for screws and spikes u can make this totally yourself.
All of the hinges, bolts and screws that I adjust for VTF, Azimuth,
are part of the tonearms themselves. This is just one solution and it has made life for me and this part of the hobby a simple and satisfying one.
My latest tonearm the DV-505 was selected because it looked very interesting yes, but it is also a top mount and looks like it was built by Dynavector for a Pod. Its very portable. Its perfect for it. I have been totally intrigued by its design and its ease of setup on both a pod and a plinthed TT using the Dynavector Jig.
Cheers Chris |
Hi Chris,
The Dynavector DV-505 (and its later 507 version) has alway enticed me because of its distinctly architectonic appearance?
I have never though, read a really thorough review of its performance vis-a-vis other tonearms?
It would be good to hear your impressions?
I think Lewm also has one of these on hand?
Cheers
Henry |
Hi Chris, According to Kessier& Pisha ( Tonarm Geometry and
Setup; Audio,January 1980) some Japanese tonearms were not
optimaly designed .Ie in the sense of 'optimal geometry'.
Dyna DV 505 : the offset angle is 21.500 while the optimal is 22.814; the overhang is 15.000 while the optimal is 17.164.
Lew mentioned some problems with the adjustment of his DV 505 but in the
context of Baerwald, etc. To my mind the 'zero points' are
about our preference regading the question where on the
LP radius we want the least distortion. But I will gladly let
the (possible) technical implication to Dertonarm, Halcro, Raul and others.
Regards, |
Yes. Love my DV505 so much that I have two of them. And then on top of that a dear friend (my longest term audiophile friend) gave me his DV501 last year. The DV501 was introduced shortly after the DV505. It is very like the 505 except that it lacks a few doodads, so it could be marketed for a lower price. DV501 uses counter-weight balance instead of dynamic balance, lacks the little spring-loaded resonance-reducing gizmo that is tucked up under the horizontally pivoting part of the 505 and 507. Some liked it better than the DV505. I preferred DV505 to 507 because the 505 can be surface-mounted; you don't have to drill a hole in your armboard or plinth to accommodate a vertical shaft that goes below the top surface of one or the other. When I built my early slate plinths, I decided to limit myself to surface-mount tonearms so as not to have to implement removable arm boards. The fully developed Mk3 plinth does have a removable slate or alu armboard, however, can use any tonearm of 10 or more inches effective length. |
Dear Nandric, dear Lewm, the japanese tonearm engineers of the 1970ies and 1980ies did not at all sign up to the Baerwald tangential curve.
At least not the majority of them.
And for some good reason.
They realized pretty early, that the situation for a stereo stylus is different and that the decreasing groove radius towards the inner label becomes more and more difficult.
Thus we see a lot of classic japanese tonearms with geometries pointing more toward Stevenson and in general more toward DIN-standard then IEC.
I won't say it is "better", but I would say that there are good reasons for not following the way of the "average lowest distortion".
Having an eye of where the maxima and minima of the derivation from tangential zero error are in fact located can bring interesting results.
In the western audio hemisphere it was/is - in general - all Baerwald/Loefgren A (with very little Loefgren B ..).
The fact that Loefgren A/Baerwald was calculated when no one dreamed yet about a stereo stylus is seldom mentioned today.
There are calculations which can indeed give lower average distortion as Baerwald - especially when tracking a stereo groove.
Cheers,
D. |
Dertonearm. Yes, before your protractor existed I had aligned my DV505 on my Lenco using Baerwald. The cartridge had to be twisted inward in the headshell, and the sound was not so good, which I tended to blame on the cartridge, since it was my first time hearing the Lenco, the DV505, AND this particular cartridge (which I think was the Ortofon M20 FL Super). However, when I finally found a Stevenson protractor (for free on Vinyl Engine) and used it to re-align the cartridge, things got a lot better. I concluded that the DV505 was designed for Stevenson or something very near it. |
Dear Lewm, youe assumption is correct - the Dynavector tonearms are designed following Stevenson IEC calculation. Stevenson IEC was pretty popular among japanese tonearm designers in the 1970ies and after.
While I am not really a fan of the Stevenson-curve (very high derivations in the last 3rd of the groove - then steep nose-diving to zero on the IEC/DIN standard point of inner groove limit ) - it has some merits.
But substituting Baerwald with Stevenson is jumping out of the frying pan and straight into the fire. Before going for Stevenson IEC, I would rather try Baerwald DIN or UNI-DIN instead - even with a Dynavector.
Cheers,
D. |
Dear Daniel, I don't like to use the 'Greek way out': knowledge beginns by knowing to not know. My point is much more simpler. If you know that you are ignorant about something you should ask questions and not bother about your own 'knowledge status'. Because I got the impression that we are free to choose where we want the least distortion on the record radius, irrespective of the tonearm kind or lenght (aka 'zero points') I thought that
the tonearm design and its 'own geometry' is, say, a 'different animal'. I still remember this issue about the 'optimal effective lenght' of the FR-64S. Was Ikeda san wrong, the user manual or who or what? In the same article by Kessler/Pisha I read: by the overhang of 15mm the only effective lenght that will be optimal is 274 mm, a lenght larger than many TT bases can accommodate. The authors also refer to Bauer and Seagrave (56/57) and not only to Bearwald btw. I have no idea when first stereo LP
was produced but assume, after reading you contribution, that their basic premise was Bearwald from 1941. And then to think , as I deed, that after my high school I was liberated from math. for the rest of my life.
Kind regards, |
No. I will stick with Stevenson for DV. In fact, this experience (Baerwald vs Stevenson on the DV505) was a good lesson for me on the importance of geometry.
And now, back to your local Copernican view. And as Thuchan says, "all in fun". |
Dear Nandric, In regards to your post of 08-10-11, I think that the maker of the tonearm, by selecting the offset angle of the headshell and by selecting an upper and lower limit for effective length (the margins for this being equal to the length of the parallel slots in the headshell that permit fore and aft movement of the cartridge), has pari passu selected for us an optimal geometry. We (the end user) are largely denied the luxury of deciding for ourselves where we want our null points with respect to innermost vs outermost grooves. Unless of course one wants to put up with distortions created by forcing an inappropriate geometry to be made to "work". In my experience of N=1 it is best to go with the tonearm designer. |
Dear Lew, The math was alas my worst subject at school
but I thougt in terms of 'variables' and 'constants'in this context. I know that the term 'variable' has no sense in the math (thanks to Frege)but we are used, so to speak,
to use those terms. Well if we are free to choose the 'zero points' as we like or depending where we want the the least distortion than this means to me something that is 'variable'. So consequently there must be 'something' which should be constant. So I thought that
this must be the tonearm 'on its own'. I am sorry for my terminology but that is what I thought. From your statements I 'see' or deduce that we have no choice at all in the sense mentioned. Ie the designer of the tonearm in casu predeterminated our 'choice' in advance , so to speak. Ergo we have no 'free choice' at all? What an hobby!
Regards, |
Dear Nandric, dear Lewm, I am happy to talk in length about tangential curve and tonearm(s) "on their own", but we should do this in a separate thread.
Because - IMHO - this will soon leave Copernican view and separate arm pods ....
So much for now - no, you can't choose your zero points freely (at least not on a 12" record ...) - not if you want any decent positive results from tracking the signal in the groove.
Cheers,
D. |
Dear DT, It's relevant to this thread only in that it points out the critical nature of tonearm alignment for those who wish to use outboard arm pods that are free to move about in relation to the tt spindle. (I will now don my armor plating.) |
Lewm: I hope that armor plating doesn't shield you from the truth, because here's some coming at you.
I aligned my cart with a Mint protractor around a week ago. Your post and my previous concerns prompted me to check alignment just now. It's dead on. I used a 10x loupe. I must say I'm slightly surprised by this, but in my mind this is pretty conclusive as to the stability of the Copernican system. |
The Dynavector DV-505 (and its later 507 version) has alway enticed me because of its distinctly architectonic appearance?
I have never though, read a really thorough review of its performance vis-a-vis other tonearms?
It would be good to hear your impressions? Hi Henry I will be posting tonearm and drive impressions on my system page. BTW - I thought that was a very interesting comparison of the Raven 3 motor BD versus JVC DD you did on your system page. I did a/b the DV505 with the ET 2.5 on pods already using the sp10 which I believe the dv505 was designed for. The dv505 was not using the same cartridge as the ET which had the empire 4000 diii gold on it. So I will hold off on what I heard. I am waiting for another empire cartridge from a member here but the delivery got botched up so I am still waiting for it. Thought I would have it in time for when I got back from vacation. So - for the older thinkers out there I mounted my second ET the smaller brother version 2.0 on the Lenco along with the Dv505. Lenco 75 Dv505 Et 2They will both be using Empire 4000 diii Gold. If it does good against the 2.5s little brother will try it against the ET 2.5 again. Mechanics, magnets, strings and funny hanging stuff up against a frictionless air bearing linear tracker. Lew - do you have the Dynavector stylus / spindle alignment gauge? Cheers Chris |
Dear DT, It's relevant to this thread only in that it points out the critical nature of tonearm alignment for those who wish to use outboard arm pods that are free to move about in relation to the tt spindle. (I will now don my armor plating.) I totally agree Lew that where the stylus "hits the road" is the most important thing for tonearm alignment. And after reading the last half dozen posts here about pivot arm stylus "driving problems" it really doesn't get any easier than this. IMO "I rest my case" as Nikola would say ? Stylus on the Road :>) |
Dear Lewm, while tonearm alignment in general is the most critical mechanic-related topic in the whole audio periphery, it is even more critical in the "outboard arm pod".
We like to think that if we do not "touch" the arm pod nor the tt by accident, the distance between the pivot and the spindle will stay constant if the arm pod has any decent mass.
Unfortunately this is not the case.
The "eigen"/resonance frequency of the two different masses in relation to each other will inevitably cause a movement between the tt and the "free" arm pod.
Or mechanical world isn't as quite and stable as it seems to the mere eye.
It is a bit like the nice example with old church windows.
Glass is a liquid not a solid. It just appears to be solid, because it is moving so slowly, that we can't see it.
The movements of arm pod (separate and not fixed to the solid ground) in relation to the turntable is ever so subtle ( at least in our awareness ..), but there is almost constant movement in microscopic dimensions.
Now the polished area of the stylus itself, as well as the most subtle modulations in the groove are already in the scale of 1/1000 of a millimeter.
You stepping on the ground while walking, a car passing by your house, the slamming of a door, a truck passing 3 blocks away from you - all this and much more is causing movement of your "free" arm pod relative to the turntable and as such a movement of the pivot in relation to the spindle.
Nothing apparent to ou eyes at first glance of course.
In addition, there is the chain of mechanical "detonations" by the tracking process of your stylus in the groove. It puts energy into tonearm, arm pod and turntable - all causing movement.
The energy of the tracking process is causing resonance and stimulating movement.
All this is subtle and you most likely won't notice anything.
With an electron microscope you would even see and could measure the movement. Not linear nor in a particular direction.
A "free" arm pod is what it is: - free ..... to move.
Forced by nature.
Cheers,
D. |
Hi Chris,
Glad to see that you have mastered the A'gon 'Link' bracketing system :^)
Not very easy at first?
Cheers
Henry |
Dear Chris, "I rest my case as Nikola would say''? I 'would' if I was able to to understand the connection between the 'mathematical symplicity' of the tonearm geometry and the actual state of affare in adjusting the damn thing(s). So I started a separate thread to please some German friend of my as well to 'enlighten' the 40 years of 'darkness' in my life. As Halcro 'would say' the 'heliocentric illusion'.So I am waiting for the promissed
lecture or/and enlightment.
Regards, |
Oh my, oh my. I 'see' Lew for my 'mental eye' shouting:
'I knew I was right with my galleons!'But my position is different. I at last 'grasped' what the religion is about. But if anybody is free to choose his own religion and even
his political preference, why should this be different with the 'world outlook'? My quess is that some very strong feelins are involved. Well I care much about my armpod.
So if the 'heliocentric world view' or the Greek orthodox kind of religion to which I belong by burth, is more accomodating than my choice should be obvious. But it hurts
when someone who you regarded as a friend can do such thing to you. I think that Kant should be blamed for this.
Regards, |
Dear Nandric, - yes, science is a cruel misstress and the physic laws which apply to the circumstances on this particular planet aren't always to my liking too.
I really hate gravity for instance ...;^) ....
Cheers,
D. |
Dear Daniel, What an suprise. I thought that you are 100%
Kantian. Ie ready to die for the 'absolute truth'. What is
wrong with the gravity? Some problems with your TT design?
We all, I think, have some peculiar problems with what you
call a 'cruel misstress'. We are the human kind and this means
not nesessarily the Kantian kind.
Kind regars, |
Of course Dertonarm is right that there are
. almost constant movement in microscopic dimensions of which we are not consciously aware.
How does that affect the ouboard tonearm pod in the Copernican turntable system?
Firstly lets look at the manufacturing tolerances achievable in the real world:
Some of the tightest tolerances available are +/-75 microns (a micron being 1/1000 of 1mm).
On the microscopic level, a molecule is measured in Angstroms (1/10,000,000mm), whilst an atom is approx. 1/1,000,000,000mm.
Now imagine the platter of your turntable, machined to the tightest tolerances of flatness and roundness with the tightest tolerances of spindle centring available?
In terms of molecular and atomic accuracy, the platter will deviate from perfect flatness and roundness by millions and hundreds of millions of molecules and atoms, whilst the centre of the spindle will be millions of atoms off-centre.
The record of course, not having its centre hole or overall diameter even remotely close to +/-75 microns in accuracy, will be wobbling its way around the spindle with gaps between its centre edge and the spindle itself, measuring hundreds of millions of molecules wide.
This manufacturing INaccuracy is repeated throughout the tonearm and its bearings which are slopping and rattling with gaps millions of molecules wide whilst the deflections and movements in the tonearm on the molecular level, resemble slow-motion images of earth-quake affected suspension bridges.
So worry if you must, about the microscopic movements being inflicted upon your turntable system
.but fear not for your proudly sitting outboard tonearm. It stands solid and immovable (the more mass the better) and the accuracy of your tonearm set-up will remain unchanged month after month as evidenced by we, who actually have them, can testify. |
Halcro, your decription of Corby's armpod stability being questionable due to the amount of cantilevers involded surely contradicts your above response unless I am missing something.
http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1294870073&openfrom&468&4#468
Brad |
Dear Nikola, I died many times for the absolute truth and will most probably continue to do so.
My problem with gravity is that I never managed to overcome it in the sense of Douglas Adam's "Hitchhiker's Guide"-Circle...... ;^) .....
The "cruel mistress" on the other hand never becomes boring nor loosing it's grip on my senses and interest ( remember Winston C.'s famous quote ? - "I've never been bored...").
Kant was a human being ....... so in his sense of conjunction of human kind...;-) ...
Cheers,
D. |
Brad,
Corby's response to my concerns shows that he has an understanding of structural rigidity and its limitations.
His centre cantilevered vertical 'pole' being solid rather than a walled tube, and extending well down into the bottom solid pod imbues the structure with vastly stronger rigidity than I otherwise imagined?
Of course, the cantilevered arm-fixing plate is still a weakness which Corby realises.
Bear in mind that many turntables employ the same cantilevered metal armboards incl. Raven and Micro Seiki.
They can be rigid enough........as long as we don't get into sub-atomic movement? :^) |
Dear Daniel, I thought so but there is a proverb in Holland : 'the cat has seven lifes' which may imply exclusion of the number 8. Some concessions reg. the 'real life' look to me as reasonable. Ie I still think that Kant was to severe as well as to optimistic.
Regards, |
Such passion over a hunk of metal ! Is this not a great hobby that can generate this much passion over an inanimate object.
Dear D, Lew - I realize that Henrys pods do kind of look like little gods in the sun but trust me they are not real. This is not Greek Mythology. They don't get up in the middle of the night and start dancing together.
No - Something tells me there has to be more to this to stir up these emotions because building one is not rocket science.
- Could it be egos ?
- Could it be religious in nature ?
- Could it be this POD changes our way of life ?
- Could it have an impact on my business $$ if it becomes mainstream in this hobby ? Ouch that one hurt.
Pick one or make up your own because I really dont get what the commotion is all about.
For those of us that use them they bring better sonics, flexibility, choices we never had before.
"Excuses", at this point, are just a mask for some form of bias or denial. Arthur Salvatore |
Just wanted to add from my direct experience and conversations with other people that use PODS. Most do not have 4 pods set up ready to go like Henry does.
So others change these PODS in and out with different tonearms and cartridges frequently - weekly to monthly for some who prefer certain tonearms/cartridges with different music.
To these people - aligning a tonearm/cartridge on a pod takes literally all of 1 or 2 minutes. You move the whole pod around till its lined up. Hence their popularity, flexibility and advantage, regardless of the better sonics being discussed here.
So IMO - the theory of these microscopic movements never comes into play here. Its a moot point based on the vinyl POD persons habits.
I can also add from my direct experience and I know that D is aware of this. Unlike a pivot arm - a linear tracker tells you right away if something is out. In fact it screams it. If it is not dialed in, it is like watching TV in the old days with an antennae remember the haze around the image until you moved the antennae around to get the image clear.
Cheers Chris |
