Unipivot and suspended TT?

I have used my Naim ARO unipivot on my Linn LP12 very successfully for over a dozen years. It does require that both the arm and table is correctly set up, but the rewards that it brings are spectacular.

Seeing as how you already have the Hadcock, you should as Raul suggested give it a try. You have nothing to lose and everything to gain.

Good luck

Many thanks for your responses. It sounds like the Hadcock is worth a try.

Richard, your VPI is so stiff I forget that it's suspended. The Delphi has a much greater range of motion. It's almost bouncy. I just ordered the maintenance kit from Oracle. Hopefully it will tighten things up. I'll definitely have you over when it's up and running.

07-18-09: Albertporter
I've run several unipivot arms on suspended tables and they can certainly sound great. I think the controversy arises from the fact that if the table is less than perfect level, the azimuth of the arm is off by that same amount. A unipivot arm seeks level based on gravity, not by it's bearings or where the turntable is sitting.

This seems to be the crux of the matter... keeping the table consistently level so the azimuth is on target. I may have a problem achieving this with my suspended wood floors. My tables are currently on a bookshelf and I hear thumps from footfalls. I probably need a wall mount to get the best performance. Any thoughts on this?

Thanks again,
Mark

Mingles, You've heard my VPI HW19IV/Moerch UP-4 setup so you know the combo of suspended TT/unipivot arm can sound very good.
You should mount your Haddock and invite me over for a session.

I am currently using a Scheu Taco arm (unipivot), mounted on my Avid Volvere deck with no issues, for the contrary - I witnesed every single word from a review I read some weeks back where a Naim ARO arm was compared vis-a-vis with an SME, the reviewer found a more musical, liquid and non-mechanical sonic reprodiction from the Naim arm vs the SME fixed pivot design.

I simply meant that heavy arms are often incompatible with lightweight tables. Being a VPI dealer I can see how heavy their arms are and as they are probably the most common unipivot arm I suspected someone had tried to mount one on a table that was too light. There is nothing about a unipivot arm that would prevent it working with any table that it was physically compatible with. I am probably one of the few left who used the Pickering unipivot arm, which was a steel spike resting in a plastic cup on the arm, seemed to work then. I had the Transcriptors fluid dampened arm, which was probably the first one of it's kind. As well as the one [audio & design?] which rested in a mercury bath, no wires as the mercury was suppose to conduct the signal. I was smart enough not to set the last two up as they were Rube Goldberg on steroids.

Stanwal, I don't know if your response is to my post or something you were just adding to the thread.

I agree the mass of the tonearm is detrimental in the situation you list but I assure you incorrect azimuth is very audible and difficult to get perfect when you have a floor and/ or turntable that frequently go out of level.

This idea may have arisen from someone using something like the VPI arm on a light suspended table like the Linn, the arm is much too heavy for the suspension, it has nothing to do with the arm's bearing type.

I've run several unipivot arms on suspended tables and they can certainly sound great. I think the controversy arises from the fact that if the table is less than perfect level, the azimuth of the arm is off by that same amount. A unipivot arm seeks level based on gravity, not by it's bearings or where the turntable is sitting.

When I ran a Basis Debut MK4 and later the MK5, I owned various Graham tonearms and the Basis often required leveling to put the Graham right.

Starting with a perfectly level turntable, a simple test for the Graham that can probably transfer to the Hadcock is use a very fine artists brush and apply micro pressure to the azimuth weight while listening. This makes it very easy to hear correct azimuth. If later the suspension (or floor) causes things to go out of level, a bubble will put both table and arm right.

I found this test both safe and effective. In a case where you accidentally apply too much pressure the fine, soft bristles push past the counterbalance and you start again.

I always used a retouching brush made from Red Sable, one of the smallest and softest for the job. For listening test I used familiar music with great staging and then a mono of spoken voice to make the adjustments.

Fwiw, I've never sensed any issues using a 1980's Magnepan Unitrac tonearm on a SOTA Sapphire turntable.

Regards,
-- Al

Dear Mingles: I think that the best answer is from your own when you mount it in your Oracle TT. I don't see much trouble about, the Hadcock is very good design/build unit.

regards and enjoy the music,
}Raul.

I'm using a Graham 1.5tc/2.2 tonearm on a Gyro (similar hung suspension system to the Oracle), and it sounds fantastic.

I think the issue with unipivots on suspended tables is generally considered to affect the suspended from underneath (ie LP12) style turntables, but I know there are many people using Graham 2.2's on Oracles.

That said, I don't know much about the Hadcock arms.