Comparison of sonic qualities of some tonearms

I used to commute with a Lady, who's husband is a nominee for the Nobel Peace Prize, as a result of their work in astronomy, where the supplied coordinates were located by all the major Institutions known for observing Space.

Curved light was discovered at a particular coordinate, that is now strongly suspected as being the point the Big Bang occurred.

The Theory has moved forward a few steps and the Hypothesis is certainly one that has extended and created a new era of Math. 

Is that not the irony, Talk Measurements to death and disregard all data at the expense of aesthetic. 

Beauty is in the eye of the beholder, but some beauty is the outward expression and not the coating that is seen. 

P'holz has oodles of outward expression 😍

My experience is to date, that Rega were instrumental in being responsible for the the commonly seen Tonearm Designs to date.

Rega as a fledgling Company had little if any protection for their IP.

This lack of protection and the response of the media to the Rega Products led to a spate of Copycat design and aftermarket modifications becoming seen in the market place for the Rega Design Tonearm and Geometry.

In a nutshell a very cheap Rega Tonearm was unashamedly being reported on in the mainstream media, as trouncing Established Brands Products.

The individuals who lurk with intentions, especially as Carpet Baggers, seeking out opportunist ventures, were very quick to offer their blingy wares under the guise of Upgrades.

Some of these Opportunists have become quite successful in creating healthy revenues, where they have taken the affair to the place where they are now competitors to Rega. Using Rega Design and Geometries to produce a Tonearm with its own Brand name and being a Market Competitor.

Then there are the Established Tonearm Brands not doing so well out of Rega being a competitor, sales are down, Olden Designs are frowned upon by the mainstream media.

Where does the established Brand go from here. 

How about a one piece casting for a Straight Wand, with the Headshell formed in the casting, obviously this is pure cutting edge innovation not heard of previously 😂🤣.

How about a selection of a Material, that is not used by Rega and a few changes to the Geometry, very Bespoke and Unique 😆.

"Viola", and an Arm is produced that Rega has not influenced in any way, well the notion of it is never to be mentioned anyway 🤐 . 

Most importantly, the 'J' or 'S' Wand is no longer king. 

SME, Linn and others all adopted straight cast wands with Headshell formed in the casting.

I moved approx' 30 Years past, from the SME 3009, to a Linn Cast Wand Design and then to a SME IV with the Single Cast Magnesium Wand design.

Prior to selecting the SME IV, I was able to be demo'd the IV and V side by side, where the V was not an arm that was seemingly advanced during the demo'. I have also been demo'd the SME V on many occasion since and have not felt something extra special is in use.

I have heard a selection of variants of the Rega Design Tonearm both modified and New Brands versions. I have even bought into another Model produced by one of the earlier referred to Carpet Bagger Companies.

I have learnt from these encounters, the designs are all much of a muchness in how the end Sound is influenced by the Design or Geometry.

Most encountered have all been very similar and I will claim usually it is easy to detect that there is a unique trait able to be perceived.

Once this trait is discovered and a different trait is heard that is seemingly the antithesis to the Rega Design trait, for myself there is no returning to a TA with a Rega Design/ Variant of Design or Geometry / Variant of Geometry.

The unique trait being the music being produced is able to be perceived as being constrained, inhibited.

The TA with Rega design/geometry is not able to present as a design that creates the perception of having an unabandoned freedom and being with no inhibition or the worse very very little.

Think ? Woodstock with the Venue being the Madison Square Garden Arena or Woodstock at the Max Yasgurs Farm, where would one like to experience their Woodstock.

My own TA of choice today, and only as a result of the design choices made for it,  is something leaning much more towards that from Max Yasgur's Farm Woodstock, there is without doubt, freedom of expression present and this is perceived in bounds. 

My Plagiarised Rega Design TA's are on the Subs Bench or boxed and Shelved, only getting a small dosage of replay time, usually  to demo' to others differences in the presentations between the similar designs and the alternate design in use. 

Note: Many of my evaluations have been done with same TT on a same Support Structure and System, but not all comparisons have been able to include the same Cart'. 

Note: A Rega Design TA will replay music just fine and recent experiences of the Origin Live TA's with a Sumiko Pearwood Cart' has left me quite impressed, but during the demo' of a certain model, there is the perception of being constrained being detected and today for myself that is a detractor and is little different to knowing a Speaker Cabinet Colouration is impacting on the sound being produced, it is not a rattling ornament distraction in any way.

As somebody who has been through a selection of Cart's on the SME IV and lesser Cart's on a variant Rega Design and an TA used in conjunction of a SME version of a Rega Design TA. I have no upset or regret for spending many hours of replaying Vinyl with such a tool.

What is different at present and for the foreseeable future, is I now use a TA that is complete as a design, but also able to be treated with further upgrades of which  a few I am instrumental in encouraging the investigation and resulting realisation of  methods being adopted for both  Mechanical Interfaces and the Signal Path. 

I am thoroughly impressed with the Design for the Tonearm as it stands, when used as a comparison to the upgrade options in place, I am blown away by the changes the few adopted design methods are able to achieve. I don't need the upgrades, I am for my purposes way out in front of my other adopted methods no longer in use for a Tonearm.

The real attraction of the Upgrades is that I know my input to the stimulus that created the curiosity and manifestation of their presence.

As for my posts in this Thread, it is strictly to inform the OP, there are range of TA's as a result of the design adopted. That will impact on the end sound with a similar perception, being a constrained presentation. My conjecture on this, is that it is seemingly being created by the TA's design for a Mechanical Interface, design for the Geometry, or a combination of both.

I will not suggest this is to be avoided, but more to the like that it is to be discovered. Only when discovered will the OP be able to decide if a TA that has a increased perception of being inhibiting or lesser perception of being inhibiting is where they would like their investigations to head.

Note: At no time am I suggesting the noticeable lack of liberty or liberty perceived when a TA is in use, is a perceivable sound signature belonging to the TA design. I do not refer to it as a flaw. I am strongly suggesting that when the perception of a constraining design is discovered, it becomes noticeable, and has a presence as do other influences known for being noticeable. 

For myself it is the electronics that create the sound signature and the failings to manage transferred energies that are the Colouration that can be detectable.  

Leif Johannsen had once made it known the SAT Tonearm used by Ortofon is the only Tonearm, the Company has used that gets out of the way and allows the Cart' to do exactly as it is designed to do.

I am sure I have a much improved understanding of this now I use my most recent  adopted design for a TA.    

@lewm The 80's was a time when the MC was beginning to Supersede the MM Cartridge.

MC's are best served with a medium mass arm, well that is what Rega believed and got to work on their designs.

SME were quite focused as a Company of the lightweight arms most suitable to MM's.

The second thing that happened was that Cast Arm Tubes incorporating the form of the Headshell were discovered to be very very attractive by the Press and numerous others, hence Rega's affordable arms were not, according to the mainstream media, just merely a Giant Killer, they singularly decimated legions of Ork's.

Shortly after this nearly all very well established Companies started to make it known about their Cast Arm Tube Designs with formed Headshell and some even had their first MC Cart's produced in conjunction with the debut of the TA.

If Rega had been more protective, the plagiarism would have been a lot less at thei era in time.

Without the Rega on the Market stealing multiple sales from the Big Names, there will not be a SME V and IV chasing its market share.

Anybody who is suggesting a V or IV will trounce a well honed design for a Rega TA is giving very misleading information, the materials used on either might be the only real detectable difference to the produced sonic, the extraction from the Groove are way too similar as a result of the designs for each and how the design allows for the interface with the Cart' set in the Groove.    

There is Zeitgeist to be considered, the UK was heading into the World of the MC, these were being heavily covered in the Mainstream Media, I myself was drawn in and even bought Demo' models from a particular HiFi Magazine.

There was a growing trend being generated toward MC's from the Market Leaders. Others  competitors were no doubt in the wings sharing an interest in benefitting from the growing trend.

A Tonearm Producer did not have to express any great interest in a particular Cart' design, the changes were occurring very very quickly and they were riding on the wave of interest. The MC idea has stuck to this day. Most with an interest in vintl replays have the underlying idea a MC being selected is a step forward over the alternative designs.

Linn were commencing to supply a range of MC Cart's, with the the Ittock as a Tonearm.

Roksan and Audio Note and I am sure a few others also produced a MC in this period. Goldring came to the market a little later. 

With this homebred interest, there was inevitably the extension to the Japanese, Scandinavian and other European Countries offerings.

The Cast Singular Arm Tube with a Formed Head Shell become the Tonearm of choice to exploit the encounters to be had, very rarely was an other type seen used in the media and at industry events.

The Rega Design sold like hot cakes, I believe I have seen 400 000 models were sold over not too many years.

SME, Linn, Roksan and a search will find others that during the 80's had produced new Tonearm Models with a Cast Singular Arm Tube or Singular Arm Tube and formed Headshell.

Later others come forward with the same design types using modern materials  such as the WB- A.C.T One. 

Statements like the Rega has been inferior are not entirely accurate, there is way too much info available to suggest differently.

My view on the design and its variants being much of a muchness stands, as this is the result of a broad range of experiences of these design types.

The Korf Blog has put the RB 300 through the wringer and it stands tall, interestingly the formed Headshell is seemingly the most obvious weakness when assessing measurements taken.     

I have been instrumental in encouraging a design to be produced for a removable headshell, that has the intent to surpass a Typical SME Bayonet connection.

The design selected is a little more involved when a Cart' remounted to a Headshell is to be exchanged. 

If mounting a Cart' on an alternate material or weight headshell, this process will be quite similar to the previous design.

The New Design is based on two interfaces both being interference fit, which as a end result creates a coupling that is substantially more rigid. 

Both the New and the old have been given a lot of time to be A/B compared, using same TT >TA >Cart'>System.

The outcome has proved to be one where the new design is as a end performance, one that is more than the sum of Parts used.

My assessment on the day, but realistically fair, when a Styli / Cantilever is concerned, has been that the typical design, has headshell functioning as a flag on the end of a flagpole.

I am a advocate of removable headshell, I now know the removable headshell design worthwhile aspiring to. 

During the design stages for a new design tonearm, I have been party to. I was quite encouraging in having a removable headshell design to be adopted that is quite different from the typical seen versions.

This not so commonly seen design for a removable headshell is now realised and in my recommended material. 

@mijostyn Thr design I am referring to is a Tonearm that has also been converted to a Continuous Wire TA.

I am not instrumental in the decision made to use Continuous Wire, but very much influential in the decision made to use PC Triple C Wire.

The only other Models of TA using PC Triple C is a SAEC Arm costing approx $15K, and the returned models to the TA Designer/Builder as a Signal Path Upgrade, which has proved to be a substantial upgrade to the previous wire used. 

The conversation only really matters, in relation to what one can afford to purchase.

A SAT TA, is not a TA that many would not be interested in considering, or for the multiples even know exists.

Touting the math is one thing, user experience is much more, there are converts to the VIV TA that do the math and also do the experiencing, who have been taken aback by the outcome of becoming less prejudiced.

As stated in my own case, I was introduced to something not quite conventional and the impact on myself was profound, I immediately commenced on a plan to change a very established way of thinking, of which for a few years know is fully realised.      

@tomic601 I encourage you and any body else to have the comparison experience.

It is a practice I have participated in many years as a sole participant and for many more years and on more occasions than I can count and have travelled many miles to meet with others who encourage comparing devices dedicated to be used in a audio set up.

Comparisons for me really work when encountered as a Social Activity, there is something quite satisfying in being a member of a group carrying out assessments.  

A Wise Person once left a legacy statement as follows:

"Comparison is the thief of enjoyment"     

I fully see the two edged cut this statement wields, and am always careful to discover the fun element of the participation, it is possibly this character being expressed that keeps the invites coming to be present at more to come.  

I myself am a advocate of Magnesium and have Headshells between 8 - 10 Grammes produced from it.

I also have the same arm tube as the SME V on my SME IV, I bought this under the guise the Magnesium Cast Arm Tube will have been the better material than the Rega Cast Aluminium Arm Tube of which SME were copying.

Magnesium does have properties that are stronger and stiffer than Aluminium, but for myself I can not say that it is an audible property. 

On a Budget Aluminium wins as it does not need to be coated to prevent corrosion where as Magnesium corrodes and needs a anti corrosive coating. 

I've handled many many Magnesium Headshells and sold on plenty as the corrosion is lifting of the coating. I keep the pristine ones for myself and gifts to friends.

Interesting as well, last time checked anyways, how thpe Korf Blog has never tested a Magnesium Headshell against the Ceramic Design so well supported ?

me   

@lewm I am very pleased to witness your statement, That you are very pleased with your Viv investigation and that there is a indelible recollection of a Blissful Memory of a particular permutation for it's use.

I know this experience, which I will suggest is one that is quite discernable and a betterment over previous commonly encountered experiences.

As for my best experience with my Tonearm of choice, it is when a group of  Like Minded friends were visitors and among the banter and spread of food, they were just so influenced by the presentation and ended up re-evaluation their own vinyl sources.

@mijostyn As for P'holz, I have encountered it veneered with beautiful Cocobolo and Pippy Maple, as well as Polished Metal.

I take both life and my P'holz neat  

On the Tonearm subject, the Supatrac Blackbird, has had it's own path of crtitics to get to the point where it now has the endorsement of Mark Dohmann and is a offering from Dohmann Turntables. 

Additionally, Micheal Fremer has also recently put it through the Wringer, and the impression made is well worth reading. 

I know of this TA and the good impression it generates. 

Back on the Threads Title.

For myself I can't say a TA ,has a sonic quality that is better or worse than any ,other.

I am without any doubt there are designs much better through design choices and materials selection that come with inherent capabilities, that will be discernible and ,potentially quite noticeable in, how the Cartridge can function. 

As the Cart;' is Transferring the energies ,produced from ,having groove modulation ,pass by it. The Cart's function and dependency on the TA is looking like the device in conjunction with  the TA, that is responsible for the sonic quality.

The only other attachment to Sonic Quality from a TA is the Signal Path designed for it, ,how many connections from Cart' Pins to Phnonostage and the Wire Type.

I don't see the TA's Structure or Materials being solely the Sonic Influence, but   more the means to manage energies of which some might be possibly an audible and detectable colouration ??  

@terry9 I don't share the extent of materials and designs put together for testing as you have, but do have an experience of different materials, designs and interfaces to have drawn on my own thoughts, that enables myself  create a reasonable description, being one I will refrain from being cocky, and suggest it is not conclusive.  

It is no secret, that the quality of the end produced sonic that are very much recommended by those with experiences of attempts to optimise the final presentation are dependent on much more than the Tonearm alone.

The Platter Spindle Function, Tonearm Function/Set Up, Tonearm Geometry, Cart Geometry, Cart' Design/Function and Signal Path, all contribute to certain degrees of influence on the end produced sonic, especially in how the term Quality will be assessed.

With the above list in mind, it strongly suggests each experience will be met with variances in how an impression is made and how one is influenced from the experience had, as not oine individual will be commenting on a ubiquitous set up. 

Bypassing the above list and focusing on Materials used for a Tonearms Assembly.

From your experiences do you have a assessment, and possibly one that aligns with my own that strongly suggests.

The parts that are rigidly fastened when in use have an impact on the end sonic in a way that improves the quality of sound, i.e, enables more Attack, Detail, Dynamics and Envelope to be resolved, or impacts in a similar discernible perception impacts on the tonality and timbre of the produced sound of which a certain material may be able to create a tonal range and timbre that is more aligned to ones own preferences.

My most recent experience with an indelible outcome, has been on the Tonearm where I was very encouraging for the use P'holz as a headshell.

The previous headshells produced in Plastics, Thermoplastic, Aluminium and Magnesium were Superseded by the use of P'hpolz.

It was this experience that encouraged me to pursue a P'hpolz Headshell @ approx' 9 grams, be produced for the modified uber rigid SME Bayonet connector I have access to.

I am hoping to have an experience very soon in March of comparing the headshell types Magnesium @ 9gram, AT Technihard and P'hpolz @ approx' 9 grams.  

I am also to give my friend who will be present and also produces' the Tonearm in use for the demo's, the  go-ahead to have the AT Technihard reduced to approx' 9g if the material presents in a way that impresses. 

As said earlier, any Tonearm comparison is limited if the experience had is one that is using different mounting for TT, Different TT, Different Cart’s and Electronic Signal Path.

The only honest thing that can be deduced is by the individua; present, and this will be limited to such a decision to the likes, of whether the Tonearm has impressed enough to have it as a contender to be used on the home system.

This as a practice is not comparing Tonearms in any way, shape or form, it is merely expanding ones experiences only.

Most of my Tonearm Comparisons over the past few years, have been same TT support, same TT > Plinth > same TA Mount > same Cart.

In many comparisons it has been modified TA Model vs earlier guise, and prior to this, it has been on a few occasions the TA in comparison to other TA’s.

An Upcoming session has a TT produced to enable multi arms between 9" and 12" with the same Cart’ mounted, and one of the TA Models which is a new design will have options on different Signal Wires to be used as well.

There is a hope to have approx’ 5 Branded TA’s used in comparison to the New Design TA.

It is during this session or one of these sessions depending how it unfolds that the underhung geometry will be used for the New Design TA, this in itself has an attraction to myself, underhung discussions has got intrigued.

@lewm I have a familiarity with a CF Headshell from many years past, which was experienced in a few different set ups and did not wed to the tonal influence, I personally don’t know anybody who uses one at present.

The very light CF Headshell, I made known recently, that one got my attention, so who knows, If I find one at a reduced price, maybe CF will get a revisit.

What is also being overlooked is how the Speaker producing the sound couples to a room and how the design for the Speaker influences the end sound as a result of upstream devices creating and managing the signal along its path.

One Transducer to another is the aboard and alight stops on the Journey.

The aboard (Cart’) is very much covered in talks about the source and the variances of the aboard are well documented on how one leans towards the voicing produced.

The alight (Speaker Driver) is not so commonly referred to in discussions being had. About the qualities being discovered when Vinyl as a source material and the supporting Trilogy of Ancillaries to enable a reply are under the microscope.

The end sound is the defining factor and the experiencing of the produced sound is the substantiation that all evaluation and assessments are made on.

Anything that happens upstream is not sound, the Groove Modulus, the Styli > Cantilever > Armature > Damper > Coils are not sound, but only precursors to the signal being generated.

The path for the signal has a real mine field to go through to the point it is at the Xover.

On exiting the Xover the Signal now converts electrical signal into a mechanical energy, with the end result being moved air that manifests as sound.

Speakers will through design and design types do very interesting things to the sound that are quite discernable.

Speakers will enable Sound to appear Voluminous or Confined, have a perception of Speed of delivery being quite responsive to laid back.

Structures for the Speakers in use will produce varying levels of detectable colouration.

The sound from the Speaker is the most important factor in a decision to be made, it is how this sound stimulates the Amygdala, that really matters.

The Amygdala is taking charge and is the rectification that is at work in advance of the chemistry produced that controls the Brains Auditory reception.

It is the Amygdala that produces the Chemicals, Neurone , and Motor Neurone responses that make one like or thoroughly dislike.

As all individuals are unique and very much bespoke in their reactions to environmental influences, especially ambient sound, it is impossible to make an evaluation that has a trustworthy accuracy based on a individuals description. It is impossible to suggest ones own findings are to be ubiquitous.

As said previously, all that can be deduced, is how the experiences had have effected the individual only.

The subject under discussion really is traipsing in ones impression left of a experience had, being an attempt to strongly suggest or a attempt to prove that certain devices are better than another.

'Beauty is in the eye of the beholder' and 'One mans meat is another's poison'.  

@yoyoyaya I have heard the SME 3009, but not for a few years now, the one I used to be able to be demo'd in use after my own very long period of not using one, was a model that had been stripped back and all parts that were an interface, having been honed to a very high level of finish.

I was demo'd this TA in use with  MC's and a few MM's, I can't fault its presentation with a MM, from recollection there was much on offer to be attracted to.

I do recollect with the MC, the presentation was reigned in a little more to what I know the MC Model could usually present as. 

No Harm Done, two individuals confirming that the Olden Tech' Tools, in their geriatric years, still can make a good impression to how it contributes to producing the sound that has a unique impact for being a stimulus to ones Amygdala and Limbic System.

As for adjustability, for some body wanting a simplistic method to adjust Pillar Height.

A new card deck has Cards with a almost consistent dimension of 0.2mm per card.

Using the deck or proportion of deck set upon a LP and under the arm wand close to the Pillar, enables very controlled incremental changes to the pillar height and VTA/SRA. 

The Azimuth adjustment is more complex to control, depending on Headshell Type, to achieve the 90 degrees to the Groove will take on different processes.

The Zenith adjustment, setting the Styli parallel to the Groove is the one most overlooked.

Manufacturers of Styli that set the gem on to the Cantilever are not too up to speed with their quality control on setting the gem. 

I don't know who has the perfect Zenith and who does not, I will know I could improve on this area as a discipline. 

@drbond I have posted many times in the past about certain individuals involved with Audio Equipment seemingly having developed a Behavioural Addiction, where obsession has become the driving force of the interest.

Obsession being a out of harmony balance and an over interest to varying degrees, especially to the place where the obsessional thought will be the thought that Supersedes all others, can typically be seen to manifest through the presence leaving a very difficult place for the individual more balanced on the subject of Audio Equipment to communicate.

Your Thread has started with your inquisitive request to understand how a Tonearm design can influence the sonic produced and which designs are seen as the betterment over others.

The reality is there isn't a best or worse, as there are too many variables to influence the end sound that has very little to do with the TA design or Materials used to produce it.

All Tonearms born from a Particular discipline for the design and build will assist the correct choice of Cart' to replay music to a very high audible quality.

To have a reality check, the Amygdala is the part of the brain that rewards for audible exposure in a particular environment, as long as the sound produced is a stimulus emotion and reward are produced, it is this only that is the bias for selecting a good experience or not so good experience.

The math helps for the designs produced but is not the 'be all and end all', it is the how the Amygdala creates a chemistry and neurone activity that is the stimulus to encourage behaviour that is wanting more of what is experienced, which can for many become an unbalanced and overexposed experience, manifesting as a addictive behaviour.

Interestingly, it is the same for those who abuse themselves through overexposure to the Web and endless exposure to Phone Media Data, the overindulgence is an addictive behaviour, one that is formed from bombarding the Amygdala with a sensory overload, through an excess of reactions being created to content being observed. 

Such endless exposure is a Trauma to the Limbic System.    

@mijostyn Can I rephrase your comment.

"I am projecting you are inflicted with the same level of obsession I do or don't know I am suffering from as a disease."

I myself can't project how much of a disease is present in another from witnessing the end product of their use of a keyboard.

I can see enough in the content of the written information to be aware that the disease has a influence on certain individuals.

For the record for the past few years the largest proportion of my listening to a dedicated audio system is a result of attending social get togethers.

I am not locking myself away in a room, avoiding life and family experiences, being a nursemaid to a unbalanced interest and even possibly a unhealthy interest.   

It remains of interest how all is still remaining centred around design and Brand, where the subject content is all about what is material and tangible.

Neuroplasticity, as a result of environmental impact on the Amygdala can't be discounted, and especially how each individual is absolutely unique in how environment influences their overall person and steers them in relation to choices being made.

Obviously some choices do have a associated cost, if wanted to be maintained as an experience and continued influence.   

@lewm I am not a medical professional, but have become quite familiar with both Behavioural and Substance addiction. 

Walking in their Company and having left their worse influences far behind. 

The learning opportunities that followed have placed me in the world on environmental influences and stimulus that is generated. 

I stand by my not so usual descriptions, even as layman for this forum as they are.

Funny how captive Dolphins that are not able to be influenced by what captivity offers, are in certain cases capable of ending their lives by no longer surfacing for air. 

Mammals and the Mammalian Brain Crave, and to Crave is to seek out stimulus. 

Audio Equipment is an environmental influence, and the use is a means to create a stimulus. 

"Our knowledge is always incomplete. The best one can hope for is to learn over time."

 "There is a principle which is a bar against all information, which is proof against all arguments and which can not fail to keep a man in everlasting ignorance-that principle is contempt prior to investigation."

I have found the latter above the route to very valuable change throughout most of my Adult Life.

The @jollytinker statement is the only way to expand on ones knowledge base, stick with the subject and all the necessary variables will start to show, becoming inclusive in subject discussion.

My introducing a variable is as valid and relevant as a reference to a ADEC Type Bearing or Fixed Headshell vs Removable Headshell.

Decisions being made are not only resulting from the tangible or visual, there is much more, and unique to each individual brain chemistry as a result of stimulus, is a massive factor.

Hence, not one person can vouch for another each encounter is totally isolated and unique, hence each report can only be taken lightly, it is the individuals reaction to the experience, that only matters, and if it is one they would like to maintain.

One mans ADEC 9 Bearing - Magnesium Structure is another mans Knife Edge Bearing - SS Structure, or Viv Labs Oil - Carbon Fibre Structure.    

@mijostyn I have read most posts with interest, have I missed something.

Does a Tonearm have Sound as you are suggesting. 

I understand a Tonal  influence might be detectable?  

My own experiences always are dependent on the Cart' for sound.

Engineering, depending on the designs being produced, is a means to a consistent and predictable performance, not necessarily a betterment over other options.

I could happily live with a Kitchen Cabinet Door or Drawer that is not a Soft Close design. 

'Affect Sound Quality' , is quite different to 'how it sounds'.

Tonearm will impact on the sound the Cart' is able to produce, and certainly has the possibility to Influence Tone and dare I say Timbre. 

@lewm you completely discounted my second paragraph.

I have not opened the links, why would I, 

I might as well warch Panganini videos on the autobahn as well, 

Neither is wanted as part of my life. 

I used to run the Vinyl Album and CD Album as Parallel Timed to be useful. Switching Selector and a Tweak to the VC to compare Digital Source to Analogue Source.

This one is no longer necessary but visitors are always keen to hear two sources so this is usually their first introduction prior to selecting a few tracks they know well.

The Links are more than adequate to experience the Sat TA. 

Many buy blind without such prior investigation, maybe just the sales brochure spiel, is the supplied info to seal the deal.

@dogberry I clearly state endlessly that I attempt to make references to my experiences only.

If I do add experiences not directly observed, it will only be about comments I received about an extension of experience I had prior to the one being updated on, with content supplied from individuals whom I have come to trust substantially in audio related topics.

@dogberry 'write' and 'wink' your inaccuracies as you please, I have nothing to prove, my time on here is solely to offer another forum member, a alternative way to consider when looking to learn or make changes.

I am successful at that, I can assure you, even though it is most likely blind to yourself.     

I'm glad I am usually looked on as a enigma, it sure beats other Labels one can be attached with.

Maybe it is just plain old speaking what you know, that makes the content seemingly indefinable.

How many can say their interest in music is not really such, but more a nurturing of friendships, well worthy of looking after.

I don't have a alter ego when behind the Keyboard, maybe just a Wax Lyrical use of words on occasion.

I don't see too much within this Analogue Forum that really shows it as being a cutting edge place to be, there are only a few I know, who really have found a way to rise to possibilities through not displaying procrastination, these very few are a pleasure to see a post from.

Much of what is seen from the Old Guard is their 'resting on their laurels', this is not a valuable message to send to anybody very keen to work with the Vinyl LP as a source material, especially if they want to optimise the function of the additional equipment required to create the signal for producing sound.

For an upcoming experience, that in my mind one I am very much looking forward to. T

The Designer / Builder / Owner of the Tonearm to be put under further trials, is looking to set a date for this period to commence, but it is predicted it will most likely be a set of dates, as the intention is to run things on to allow Wires to optimise.

To assist with this period of trials, I have purchased a Batch of Wire to be used as a continuous Wand Wire on a new design Tonearm.

Wires Purchased are from 0.1mm - 0.3mm Diameter, of which some are a Solid and some are Stranded.

Wire Types are Copper and Silver, with the intention to put PC Triple C and PC Triple C /EX Wire in the line up, as this type is what I know as a modern design for a Wire, and the only TA from a commercial entity using it as a Wand Wire is SAEC in their WE-4700 $13000 TA.

D.U.C.C Wire is a modern Wire as well, this might be introduced at the latter stages of trials, when another Branded Wand Wire is trialed.   

The intention is to select a Wire that the listening group unanimously agrees on select a Wire the designer builder would like to run with.

The next intention is to become quite familiar with how each is able to impact on the sound being produced across a selection of systems.

When this is done the intention is to bring the AN Kondo Silver Wire in as a further  comparison, to see if anything manifests to change the opinions of the previous choices made by the attendees at the demo's.

The AN Wire will sell on very quickly if not up to the task, or will be retained and could be a wire that is possibly offered (?), as a Upgrade Wire Option when the TA's become a sale item.

All trials are to be carried out initially on a same support structure, same system, using the same TT > Plinth > Tonearm > Cart.

Additional Phonostages will be utilised either as a SUT - Head Amp > MM Input or as a Dedicated MC Input.

This same trial type will also be done on the same system to compare Tonearms of other Brands as the Plinth is produced in Panzerholz and is purpose designed for this experience, enabling it to receive additional arms between 9" and 12".

Same Brand Cart's are available with a very similar usage life to be mounted on the Tonearms. 

My own SME IV will be one of the TA's used for the comparisons, as will my TA, that superseded the use of my IV and my owned Audiomods Series Five.  

@unreceivedogma I as an individual am very pleased to hear your commitment to a Vinyl Source of 40 Years.

I myself have used and do use TT's of this age and older, as well as a Tonearm from this era as well, even though fully redesigned as a functioning model.

I have been able to witness the state of mechanical interfaces from devices used for replaying vinyl from this prior to this period, this period and newer, where the build up of contamination and loss of a functioning lubrication is nothing but detrimental to the function of the moving part, even could be described as catastrophically impeding the function.

Thorough Cleaning, Servicing and even Repair is a must. 

I will find it very very difficult to accept a optimum performance is on offer from a very old mechanical interface that has not had TLC administered from a competent person.

These partially functioning devices will replay music, but only as a version of what their youthful formers selves could create.      

@unreceivedogma I very much know how a Social Get Together with a audio system in use for the listening to music, as the main topic on the agenda, is truelly good for ones spirit.

I participate in such activities regular and am a active individual extending invitation and meeting new like minded enthusiasts on regular occasion.

My local Audio Group are keen to put on a Weekend of a Social Activity extending invites to the Wider Audio community, and I have now found a Ideal Venue for this that has a wonderful acoustic produced in the space, as a result of  Multi Faceted Ceiling that is continuous in gaining Height within the Space to be used for Listening, there are also Tie Rods used for ceiling structure that are approx' 10" above floor level, so a light weight absorption or diffusion can be suspended to further treat the space.

Note: at no time did my post suggest that your equipment was without service, I was not given any indication that the equipment you are using was without a service.

  I was commenting on my experiences of seeing what lies under the hood of a variety of Audio Equipment that has a mechanical interface as part of the design and has a long term history of being produced.

If one really wants an eye opener, have a look at the images that can be found of Cart's that are only a few years old and been sent to a Third Party Repair service that Photo Documents  the before and after work. There are Cart's that appear to be so heavily contaminated, the crud looks like it could have been from usage in Sand / Dust Storm.

There is also the degrade of the critical materials caused by moisture or UV. Dampers looking like they have been eaten away on the side that has received th most UV exposure and Rust Particles (shorting risk, rusted or not) when collected  on Coils, or even Verdigris oxidation seen on Copper Coils.

To the individual with a keenness to experience Vinyl Replays at a high level of quality for the end sound, these conditions that can speedily manifest are a condition needing to be avoided.

There are third party services that do recommend a dehumidifier is used, I have often though maybe a inclusion of a recycling air filter as well, with a micron type filter screen.    

I see there is a virtual community on offer, that has a popularity and is followed. I like to see this type of thing and am encouraging of it, individuals with a interest in audio spend way too much time being insular and not experiencing much more than what they have. With nothing to use as a gauge/measure how is an individual able to ascertain if their design for a system is one that parallels others worthy of being experienced and mentioned.

I've created a Thread not too long ago, to show others within the Forum that like minded individuals can be encountered on particular dates throughout the month. What follows on from such encounters is what one makes of it.

If you missed it have a look.

 Audiogon Discussion Forum