Schroder sq and the new talea

Mosin, the most important (and true genius ) thing about "thinking outside the box" (in audio) is the ability to sell it (the mere thinking and its results...) to those inside the box.......
Its not the devil who is in the details but - according to Mies van der Rohe: "God lives in the detail".
True art is the result of craftsmanship combined with inspiration and (most important and mostly lacking) taste. And there are always only two options in taste - good and none.

The discriminated analog Enthusiast shouldn't be despaired, do your own comparison with the Originals: Well Tempered Arm /Triplanar.

Good point, Syntax. The Schroeder is son of Well-Tempered, and the Talea is son of Triplanar (as are Reed and Grandeeza).

Syntax & Lewn: this might be a silly/obvious question on my part but how do you guys know that Schroeder has its origins in the Well-Tempered tonearm & the Talea in the Triplanar??
Is it the mere looks that gives this information away? Any material I can read to educate myself?
I am interested in knowing more about both arms hence my question(s). Thanks.

In the elder days of Art,
Builders wrought with greatest care
Each minute and unseen part;
For the Gods see everywhere.
(Longfellow)

Granted that it was impossible to distinguish the effect of the tonearms in this comparison. But one thing was clear to me - the Talea setup outperformed the Schroder setup by a significant margin. Joel Durand played a piece by Ravel that floored me. He played it at concert volumes, which is to say, much less loud than what you normally hear out of a stereo reproduction. This is a huge challenge to stereo playback because we often compensate for lost detail by raising the volume.

The Ravel piece had three crescendos of very short duration. The rest of the piece ranged from rather quiet to extreme pianissimo. In this range I have never heard such dynamic nuance and tonal color coming from a stereo system. I have only heard that in a concert hall. Without these nuances the music is generic and dull. My perception was that the listeners in the room fidgeted quite a bit when the piece was played on the Schroder system - and for good reason. It could not deliver that level of detail. So the musical interest was lost.

Fascinating to hear the Talea setup in absolute terms, not just in comparison to the Schroder setup.

Lewm: You stated: "For what it's worth, from where I stood in the back of the room, I slightly preferred the Schroeder/Sussuro/Artemis to the Talea/DynavectorDV1S/Atma-sphere, because the former sounded a bit more lush and dynamic (to me, from where I stood)."

I was sitting dead center second row and I had an SPL meter. Every time the Schroeder was played, it was played at 5-8db louder which could explain what you heard. I would say where I was, the Talea setup had greater body, texture, inner detail and naturalness. It just sounded more lifelike.

I actually complained a number of times that the volume wasn't matched between the two setups and I was ignored. I finally walked out after about 4 tracks being played on both arms.

I have no financial interest in either arm. I have heard the Talea more than a few times before and have compared it with several top arms and it is absolutely outstanding. I have also listened to the top of the line Schroeder in my system as well as many others and while quite good, I do not have a sense that it is in the same league as the Talea.

Listening at RMAF did not change my view at all.