Looking for tonearm inspiration

I know is prety bad but this is not the real true issue.

When your comments become unintelligible, its actually hard to tell.

Just the first paragraph.

I got the last paragraph. He is saying even if a tonearm and cartridge are set up correctly you still need a damping device.

Yeah, I couldn’t make it out either. And I can’t sort out if he’s talking about a damping device like a trough or if he means a damped arm tube (another thing altogether) or if he’s talking about the mechanical resonance window.

@rauliruegas , again, use the google translator.


Go to Google,type ’convert Spanish to English’(https://www.google.com/search?source=hp&ei=kOdbX7HwLInbtQbhtpnYBw&q=convert+spanish+to+engli... )
Put your text in Spanish into the box; highlight the English result and paste it here.

When reading a post that you feel you need to respond to, do yourself another favor and drop the post into the Google translator, only this time using ’convert English to Spanish’. Then you can read it correctly.


As another tip, there is something called the ’Dunning Kruger Effect’. This is where a person that knows a little about something tends to think that they are a lot more expert at it than they really are. It tends to cause blind spots in a person’s perception of the world. In this case you might think you are pretty good at English; please use the Google translator.

You can match top cartridges with a tonearm only if the tonearm is well damped as better damped as better the matching with the cartridge ( any ), period.

Sorry- I cannot make sense of this comment. Raul, you might find it a good idea to use Googe translate- place what you want to say in Spanish in the translater, highlight the result in English and then drop it in here.

Actually Raul, from the best I can make out you don't like silicon damping troughs in tonearms any more than mijostyn. He was commenting on the fact that you mistook him entirely. Apparently this comment by you regarding this topic was spot on:

I don't know what you are talking about or what mean with properly matched.

but not for the reasons you seem to have imagined when you wrote that.

If a cartridge is properly matched to the tonearm damping is not required. It is just a messy proposition.

This is the one thing about the Triplanar that I don't like. I never use the damping trough, nor have I ever seen it used by Triplanar at audio shows. I imagine someone might have a use for it; I removed the troughs on my Triplanars; its nice to imagine that it sounds better for doing so.

@billwojo : atmasphere started about.
R.

This statement is false. Res ipsa loquitur when one is willing to contradict their self in order to make someone else wrong.

The DR3_VHC is a stereo pure class A non-feedback design with only 25 watts output power and a headroom of 6db.

That's pretty funny- if it is really class A, then the headroom is 0dB. So either its got 6dB headroom or its class A, but it can't be both.

You live in the past that kind of clipping just does not exist in SS today electronics even in the years of my Classé Audio.
It's not only totally inaudible but almost does not exist even if you try to you can't because the designs are very well care about.

This is also pretty funny.

 Tubes at any audio home electronics is bs. and unfortunatelly you can't do nothing about but to follow sale your electronics to the mediocrity/average of the audiophiles that were teached and learned through the corrupted AHEE where obviously you belongs as me and every one in audio. Period.

This word salad is not intelligible, and the reference to the 'corrupted AHEE' is weird- never heard of it. Nice ad for your preamp BTW- apparently you owe the idea of balanced operation to Atma-Sphere...

Well, if Raul is right in what he says, than solid state amps can't honor MUSIC no matter what. Period. Also.


Certainly of topic, but the problem here is output impedance and loop feedback used to reduce distortion. With tube amps, you can't add enough feedback to get the job done as effectively there isn't enough phase margin and gain bandwidth product in most designs, so the feedback will make the amp sound brighter and less natural.

But this problem is an epidemic in solid state designs- which is why the tubes/transistors debate has been raging since the 1970s and before. Until very recently, you simply couldn't get the gain bandwidth product needed in a solid state design to really get rid of the distortion that is introduced by the feedback itself- yet it is feedback that is used to 'linearize' solid state designs. As a result solid state has sounded bright and harsh; those that propose that is has been neutral have been resorting to a simple technique called 'lying'; the worst of it that they probably have been lying to themselves in the face of how much the amp cost them. 


Class D seems to offer a way out of this in self-oscillating designs, as the phase margin becomes unimportant in an amplifier that is expected to oscillate in order to work. In this case its possible to add enough feedback to not only compensate for phase response but also for the distortion caused by the feedback itself. That value seems to be north of about 35dB; less than that is 'harmful' in that the distortion I mentioned earlier (which is mostly very audible higher ordered harmonics and IMD) is not cleaned up.


So plan A: no feedback at all and we see a lot of tube amps (including ours) going that way to prevent higher ordered harmonics from being audible. Or you can go with plan B: add so much feedback that the amp can clean up its own mess. But if the latter is solid state, it will never be able to have a graceful overload character- clip it and the distortion is instantly audible. If the amp runs zero feedback it can be very graceful, especially if it is a tube amp. In the latter case, the output impedance will be fairly high, and the amp will behave as a power source rather than a voltage source, so speaker selection will be critical. But if that is done correctly, the amp can sound quite neutral as the ear will favor tonal aberrations caused by distortion over actual FR errors. So if the amp has relatively inaudible distortion (and the lower ordered harmonics qualify in this regard) then it will be quite neutral and transparent.

We built our amps fully differential and balanced from input to output (and they were the first tube amps built in this manner; one of the BAT founders was an early customer) and introduced balanced line operation to the world in the form of the MP-1 preamp, which was the first balanced line preamp for home use. The amps are also all-triode and have a direct-coupled output with only a single stage of gain throughout. I've been doing this for over 45 years at this point and this is of course my opinion only, but Raul's comment seems entirely out of line- if he's going to call it 'BS' he needs to step up and explain himself. IMO his comment was simply made out of a need to be insalubrious.

I asked for facts that can support it and his answer was and is: dead silence as in other of my questions.

I stopped answering simply because it was patently obvious you were not interested in the answer, although there is one and its actually rather simple. You need to take it down a notch and be less confrontational. Otherwise its not worth the time- as Samuel Clemens once wrote.

That I know SME never stated about. Where is your link on that precsie tonearm SME characteristic?

That was stated to me by my local dealer. At the time he was close to the people at Sumiko who were importing the SME stuff. One of his salesmen, Allen Perkins, was hired off from his store by Sumiko. Allen later left Sumiko and started his own business, part of which was importing Lyra.

If you don't have a specific answer is useless to post nothing about.

My answers are very specific but I think you are right, 'is useless to post nothing about' since its obvious you are simply attacking for the joy of it.

several grades? : how many grades and where are stated ?

@rauliruegas  If memory serves the bearings in the SME 5 are the hardest commercially available. The bearings in the Triplanar are not commercially available; Triplanar has a security clearance to get the bearings they use. Only one supplier exists worldwide that makes them.


Specifically as it was explained to me by Herb Papier, the problem he ran into was that over a period of years he noticed that many arms needed to be readjusted. He found that the reason was that the bearings would fail over time in the field- due to use and minor abuse the bearing points would blunt. Since he wanted to reduce friction, he used the smallest bearings he could find which made the problem worse. So brute force was applied (IMO); he found and installed the hardest metal bearings made anywhere, which solved the problem.


SME deals with the reliability issue by having physically larger bearings. So their arms tend to have more friction.

The Triplanar is one of the most adjustable tonearms made. Its bearings are several grades harder than those used in the SME arms. So it has very low 'sticktion' as well.

I operate a small LP mastering operation; the Triplanar is the only arm I've heard so far that gets everything right. Works fine with the Dynavectors too.