Time to choose: Baerwald, Lofgren, Stevenson ?


I’ve managed Dr.Feickert Analog Protractor for a decent price (build quality is superb, such a great tool).

Time to play with Baerwald, Lofgren, Stevenson alignments on my Luxman PD444.
Need advice from experienced used of the following arms:
Lustre GST 801
Victor UA-7045
Luxman TA-1
Reed 3P "12
Schick "12

Baerwald, Lofgren, Stevenson ? What do you like the most for these arms?
Manufacturers recommend Baerwald mostly. 

Dedicated "7 inch vinyl playback deserve Stevenson alternative, maybe?
Since it's a smaller format than normal "12 or "10 inch vinyl, it's like playin the last track's according to position of grooves on '7 inch (45 rpm) singles. RCA invented this format, i wonder which alignment did they used for radio broadcast studios.   

Thanks

128x128chakster

Showing 5 responses by pryso

A general rule?

OK, I’ll admit that can be dangerous, but how about this? If you need to set up for 7" records (nandric, those large center hole 45s) or mainly symphonic classical, then Stevenson may be your best alignment.

Otherwise, play other LPs (33 or 45 should make no difference) set up with the more common Lofgren/Baerwald.

Of course Lew’s recommendation to follow your arm design may overrule this. But then that may also guide you as to which type arm to select based on the records you intend to play.

I use a Dennesen Soundtracktor for alignment and that was designed to conform with Baerwald. I still have nearly 100 45s from high school but those are hardly ever played. And I enjoy many symphonies but they are a smaller percentage of my overall listening. So I’ve never felt the need to try the Stevenson.

Now, the truly anal may choose to have multiple playback systems, each specifically set up to play a particular type of record. ;^)

Hi nandric, you seem to be quite specific with language so I will try to clarify my intent.  In my mind a general rule does not set a standard.  It merely suggests something which may be followed or expected the majority of the time.  So a general rule is not hard and fast (possibly an American expression?). For me, a standard would be more inclusive, defining all that met a minimum level of performance/results.

My hope was to offer a simpler solution which does not require measuring "zero" points or specifically identifying crescendos.  Instead, one might need only consider the size of the record and/or type of music utilized for the majority of their listening.  In fact I recall reading that Stevenson stated his alignment was intended to optimize symphonic music playback.

Since downunder raised the point of alternatives to the "big 3" for alignment, I'll further muddy the waters by suggesting yet another.

This one comes from Allen Wright's site for vacuumstate.  I happen to own one of his JLTi phono stages, but that's another story.  He attributes this alternative alignment to someone named Rowan McCombe who he calls "The Guru".  I've traditionally utilized Baerwald but currently have The Guru alignment and enjoy it's musicality without any hint of distortion.

http://www.vacuumstate.com/fileupload/GuruSetUp.pdf


Raul,

Appropriate to the subject line for this post there are three primary alignments commonly used, identified by the names of the men who developed them.  I jokingly referred to them as the "big 3".

My reason for commenting yesterday was to add to downunder's mention that other alignments have been put forth.  I was not suggesting The Guru method is the best, only that I tried it and found it enjoyable.  I attached a link in case anyone else might be curious to try it as well.

Peace

Lew, I've been happy with a Dennesen for alignment for years.  I find it so much faster, easier, and therefore more likely to be correct than 2-point arc protractors, such as the DB Systems I used previously.

However, I do utilize a good light and small hand held magnifier, then I have no problem seeing when the stylus tip is in the dimple and the cantilever properly aligned with the guide lines.  Mine are not faint, just tiny. ;^)