Integrityhifi TRU-GLIDER Pendulum Tonearm

I just post here. My observation is that Mijostyn is gradually becoming an absolutist. Either that or he has always been one and is showing his colors more with time. His edicts are no different than a solid state person stating that all tube gear are nothing more than tone controls. No different than stating all wire is just wire. No different than stating that since a Benchmark DAC or Class D amp measures beyond reproach, they are the best in their respective categories. No different than stating that Tekton Moabs are the finest loudspeakers ever to see the light of day. No different than Millercarbon thinking we are interested in his life. Sorry I have intentionally meandered thinking I am funny. 
Just as there are countless ways to skin a cat, there are countless ways to get great sound reproduction in one's home. Audio reproduction in the home is as compromised as an under 10K automobile that meets all safety and emissions regulations. Mijostyn thinks audio reproduction consists of tangible ideals. It does not. What all this boils down to is this; a twelve inch arm can sound so good as to be the least of one's problems and compromises. On a scale of relativity, the inherent possible qualitative differences between a well engineered 9" and 12" arm is maybe a "1" whereas the qualitative differences caused by the quality of the record pressing is a "10".

Just to add a bit to my post above, if moment of inertia were such a critical design criterion why not a 3", 5" or 7" arm? We all know the answer to that. The formula for moment of inertia is I=L/w where L is angular momentum. Guess what, angular momentum is determined in part my mass, L= mvr with the m being mass. So if it were so critical, why are we not back to the days of the Infinity Black Widow tonearm? Anybody remember them? Google it. The unchecked pursuit of low mass tonearms personified. The answer to that question is that low mass brings it’s own host of problems. So suddenly we are to believe that a stout 9" arm like SAT’s top of the line arm is the ideal (until next month when Marc Gomez comes out with the next best arm) is without compromise? This entire argument surfaced when Mike Fremer, always the worshipper of the most exclusive, started parroting-and when it comes to engineering, Fremer is 99% a parrot of things he has been told by others-statements made by Marc Gomez of Swedish Audio Technology aka SAT. Until recently SAT offered 12" arms though Gomez was quoted as saying he only offered them to accommodate the market. Again, I don’t dispute that with certain cartridges moment of inertia is an important factor and that a 9" arm may well be optimum, everything else remaining equal. But only with certain cartridges since compliance, suspension design, and even the stylus shape and cantilever material will all play a role. A Koetsu may very well benefit from the inherent virtues of a 12" arm-greater mass, different resonant frequency, less tracking error-whereas Mikey’s current favorite-the Lyra Atlas Lamda- may sound slightly better on an otherwise identical 9" arm. Compared to the thousands of other compromises made in an entire system, the 9" vs. 12" is in relative terms de minimus in degree.

@mijostyn

Regarding your "system" (yes, I put "system" in quotes because to me it resembles something Tim Burton might have dreamed up).

From a purist's perspective this system is a complete nightmare and not worth a second look never mind listen.

Agreed.

Everything works and sounds great except the right interface still got hot as a pistol. Fortunately the resistor will take 200 degrees C about 400 F. Something else was wrong. Yup, compliments of digital room control run amuck.

From the mouth of babes (or boobs). 

MS Tool and Woodcraft is me. I make gallery furnisher.

Interesting sentence structure. Just what is a gallery furnisher? You furnish galleries?

But let's get away from the ad-hominem stuff that I have admittedly just stooped to. 
You say you are a tube and SS guy but I see minimal tubed gear in your system. You say you are a digital and analogue guy and yet your turntable is not apparent in any of your photos, you don't bother to list your choices of cartridges, and your long diatribe refers to one digital recording after another. I don't buy an iota of your BS. 
It seems obvious to me that you don't trust your own ears and think everything is "working wonderfully" (a phrase you utter as some people utter "you know" in between real words) so long as your computer tells you so. The proof lies in your long effort to convince us that you have one hell of a listening room and sound system as proven by your TACT screen-shots. 
I guess Jim Smith has no clue what he is talking about in his books and videos. I guess his proven track record of solving show condition conundrums for show exhibitors is mere anecdotal mythology. To hell with speaker positioning and methodical trial and error and the hundreds of other variables that he addresses. Just shove your transducers wherever you wish-yours appear to be simply shoved up against the front wall with a video screen perched between-and simply use a digital equalizer and adjust for a straight line from 20-20K. Huh. Even Kal Rubinson would not stoop to such a weird amalgam of simplicity and [needless] complexity. 
While you don't claim to be an engineer you are taking a pure engineering approach to recreating recorded sound in your home. In my 45 years in this hobby I have observed time and time again that what makes this hobby so fascinating is that it involves a healthy mix of science and art. The history of audio is replete with instances in which an engineer designed and put to market a product relying solely on measurements and nobody could bear to listen to it.