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Correct alignment for Fidelity Research 64fx/SPU?

Hello,

I've recently paired SPU Spirit with FR64fx (& additional counterweight).

FR64fx is mounted at 230mm pivot to spindle distance on my Garrard 301.

I currently experience a light distortion and mistracking. As I tried the SPU before on almost ad hoc mounted 3012 and that sounded technically correct (though not as convincing as with FR64fx in terms of emotional performance), I'm pretty convinced I will need to realign the tonearm.

I would appreciate any info related to an experience of 64/SPU users here, which would differ from a usual 230m PTS alignment. Also, I keep on reading that Stevenson alignment would be preferred, is there any explanation why so?

Basically I need to make a good decision as I have no armboard - whatever decision I make I will need to get a new top board with a new hole for a new alignment.

Many thanks!
anubisgrau

Showing 5 responses by edgewear

edgewear
543 posts
 
The alignment of FR64 arms with integrated headshell cartridges is pretty straight forward. Ikeda designed the arm to accomodate his FR7 cartridges with integrated headshell allowing 51mm stylus to arm collar distance. When you observe the specified 230mm spindle to pivot distance of the FR64 you get perfect alignment with the Stevenson geometry. This set up has the convenience to also operate SPU's without having to change the S2P distance. This suggests that the stylus to arm collar distance on SPU is also supposed to be 51mm. Perhaps Ortofon has changed this recently, but my SPU's have 51mm and fit the FR64 perfectly. No tracking errors.

edgewear
543 posts
 
@rauliruegas  I should have expressed myself more accurately. Obviously there are tracking errors with any pivoted tonearm. In response to @montesquieu  I should have said "no nasty tracking errors". You see, I don't hear audible distortions using Ikeda's specified 230mm S2P distance for the FR64 in combination with the FR7 cartridges, which were designed to be used with this arm (and the FR66). The same goes for using the FR64 with SPU's: no 'nasty' tracking errors. 

I know you hate the FR64, but I happen to admire Ikeda's designs and I have no reason to doubt that he knew what he was doing when he chose the Stevenson geometry for his products. As far as I'm concerned the sonic results speak for themselves. If you happen to think differently, that's perfectly fine. I couldn't case less.




edgewear
543 posts
 
@rauliruegas we agree to disagree, no problem. In my system using the same turntable and the same cartridges I can compare the FR-64S directly to the Audiocraft AC-4400. As you well know this is a tonearm with variable damping. There's no doubt these tonearms have different characteristics, also taking into account the difference in effective length. But even in direct comparison I don't hear the kind of distortions that you attribute to the FR-64S.


edgewear
543 posts
 
@chakster I also own the 64fx (with silver wire inside) and I've made some thorough comparisons between them. I like them both, but ultimately I prefer the 64S (also silver rewired). Especially with heavy low compliance cartridges like FR7 and SPU. 
edgewear
543 posts
 
@rauliruegas the box of my AC-4400 says 'double points oil damped' tonearm. So not unipivot, contrary to the AC-3000/4000. In any case it doesn't 'wobble' like unipivots do.

@chakster I have no personal experience with Ikeda 345, so can't answer your question. 

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