Origin Live Tonearms

@dodgealum I just need to use a Dremel tool to cut away enough to fit the mounting plate. Fortunately, I've got some virtual help with doing this. So I'm getting that you believe the Silver to be a well built tonearm despite the Zephyr being more so. Once my cartridge is mounted and the alarm is adjusted, it'll be left alone.

@noromance I can see where the extra $300.00 might be justified by getting an arm with better bearings. Better arm material would be a plus but not sure if it’s as important.

@noromance In a free market economy that pretty much amounts to anything.

I'm getting the impression that the Silver is cheaply made, that the bearings are like those in the older SME tonearms? That the arm tube possibly resonates? Regardless the Zephyr and the Silver sound the same, it's rather confusing.

@mycarnival789 Sure I'm going to follow my heart or even more so, my wallet. I'm using a modified Thorens TD 160. It's essentially a TD 160 Super with the work I've put into it. So it's similar to your Linn but without the advantage of a decent Linn tonearm.

@wturkey Currently, I'm pretty set on it staying a mono table but you're possibly correct in that I'll eventually want to mount a stereo cartridge. I'd like for someone to actually insist that the Zephyr sounds better than the Silver ( if it's true) but I've only read that they sound the same, which of course is the impetus for this post.

@noromance Actually didn't know how right you were. However, I've decided to wait until I can afford the Encounter. I believe I'd be much happier with that arm than either the Silver or the Zephyr. Also, I just upgraded my renderer/streamer so I need time to absorb the financial impact. Thanks!

@drrsutliff Given you've tried those OL tonearms and have a good opinion of the Encounter is encouraging. As mentioned, my sole purpose for this table is to make it a dedicated mono turntable with a very good cartridge, so I expect that the vertical tracking of this arm will handle grooves that present themselves with much of the difficulty I am currently experiencing. Especially titles involving piano.

@pindac I've also read that this tonearm sounds neutral and tracks effortlessly, giving a very natural presentation. I believe that's what sold me.

@pindac Interesting, I've gotten mixed opinions about the SME tonearms. Originally, it was suggested to me that if I wanted a good but less expensive option in choosing a turntable, that a Thorens TD 160 was a good place to start but that some modifications would be necessary, including the replacement of the stock Thorens tonearm. So replacing the tonearm was a priority even prior to the plinth replacement, dampening of sub chassis, etc... It's just taking me a while to get to it. And, I'd be willing to consider the OL motor upgrade however the Thorens motor is apparently one of the reasons it was so highly regarded back in the early 1970's. Anyway, the original Thorens stock tonearm is underwhelming and with a better tonearm such as the OL, having a better tonearm cable running directly from the cartridge to the phono stage is an ideal solution. My other consideration within the same price point as the Encounter is the Thomas Schick tonearm but as good as the Schick appears to be, I'm guessing that for a few hundred dollars less, the Encounter would be a better value. But back to your description of the Garrard 301, that tonearm would have been a 12 inch tonearm meaning it could render a better tone than the 9.5 inch tonearm however I'm hoping that not to be the case. Anyway, it looks as though I'll have to eventually use my credit card for a portion of the purchase cost.

These tonearms, do they have a product name? Are they in the public domain? I’m just wondering. My understanding is that a 12 inch tonearm need not be hindered by anti skate and that this fact alone gives the longer tonearm an advantage. This is about the extent of my knowledge.

@pindac All-right, I misunderstood. So you're involved in research and development. I'm assuming you get paid for this? I had a friend, now passed, who I had encouraged to develop a tonearm due to his level of skill, experience and knowledge but he had no ambition and stated that there was no money in it. These bespoke tonearms are certainly nice (and usually expensive) but I have to wonder how they can compete with big companies like Kuzma or SME. There's the, 'I can build a beautiful and refined sounding tonearm of the highest quality' side and there's the business 'I need to make as much money as possible ' side and I'm not so certain that very many folk can do both.

@mijostyn Then why are so many twelve inch tonearms intentionally made without anti skate?

It may be a generational thing but I've heard older friends of mine say that they believe tonearms sound better with the anti-skate off. Also, I've read where certain tonearm makers have claimed that a 12 inch tonearm is long enough not to need anti skate. Of course, I've always used anti skate and understand the principles and what it accomplishes. There seems to be a lot of differing opinions on this topic alone.

@noromance you have a nice analogue rig. Your comment on not using anti skate on your 12" tonearm because it sounds better is what I typically hear from others. I personally believe that tonearm science is very much an art where the slightest little adjustments have a noticeable affect. I recently just finished making adjustments to my Thorens TP16 Mk1 and it's tracking better than before however it's still just a utilitarian tonearm. The most noticeable issues that I've been having are slight pitch/tonal fluctuations, especially regarding solo piano, i.e. Glenn Gould Beethoven Sonatas Speakers Corner/Columbia. These groove are tricky and I don't think the TP16 is up to the task. So while it's a mono dedicated table, I think the cost of the OL Encounter is justified. I wish I could hear those London/DECCA cartridges.