Detachable Head shell or Not?

Jafox, you’re replacing one conjecture with which you don’t agree with another conjecture that suits you. By the way shouldn’t the comparison be between tonearm A that has a permanent headshell, where the wiring runs all the way from cartridge pins to phono input jacks, vs tonearm B that has a removable headshell and a DIN output connected to a tonearm cable that has a female DIN at one end and RCA or XLR at the other? In this example, tonearm B in set up B would have 3 sets of physical connections in the signal path that are not present for tonearm A.

by any seat of the pants reasoning, it would be hard for me to believe that tonearm B would sound better than tonearm A with the same cartridge. But it is quite possible that there would be no audible difference, especially for a medium to high output cartridge.

Lewm - It’s not about any conjecture suiting me or not. And I did not disagree or agree on anything. I noted suspicions, based on cable differences I have heard, and that was it. The only variable in the comparison would be whether there is a DIN connection or not. Only when both arms are the same can such a test be made, to DIN or not to DIN.

One tonearm I have under consideration has a removable headshell. One appealing factor of this product is that the headshell connection is only a mechanical coupling.....the electrical connections are not made through the headshell as the wires come through the arm tube and directly to the cartridge; the only potential wire break here would thus be a DIN or some kind of RCA junction box if the customer wanted that.

The to-DIN-or-not hardware difference is what needs to be quantifed. Then compare that with a follow-on test between the arm with the stock DIN’d cable vs. my DIN cable. As stated before, my "suspicions" would be that the cable difference would more dramatic than the to-DIN-or-not case.

The problem with this discussion is that it’s often comparing apples and oranges. For a level playing field you’d need a comparison with one cartridge in the same arm with and without the option of detachable headshell. Like the SME 3009, which was originally available with both options. I never owned these, but I’ve made a comparison that could be regarded as sort of ‘next best’. I own an Audiocraft AC-4400, which has the option of interchangeable armpipes. There are various straight armpipes with fixed headshell as well as an S-type armpipe with SME bayonet to accommodate detachable headshells.
So just for the hell of it I made a comparison with one specific cartridge mounted in the straight armpipe as well as in a headshell connected to the S-type armpipe. Of course everything else remained unchanged, from the tonearm cable all the way to the loudspeakers.

I used a Sato Musen Zen Diamond cartridge as Guinea pig. The choice is purely coincidental, but it’s a suitably revealing albeit old MC cartridge (based on the Victor MC-L1000 direct couple but with diamond cantilever). I used the Audiocraft AS-4PL headshell to keep the comparison as ‘level’ as possible.

It may well be my aging ears, but as much as I tried I was unable to detect a discernible audible difference between both options. Direct switching was impossible because I obviously needed some time to chance over the cartridge between both armpipe/ headshell arrangements. To some folks this will likely invalidate the experiment, but nonetheless I would not make too much of a thing about this issue. If it’s flexibility you want, choose a high quality tonearm with detachable headshell option and don’t loose any sleep over it.

Contrary to Raul’s opinion I think very highly of the FR-64/66fx tonearm, but would strongly advise against having it converted to continuous wiring. If anything the very considerable market value of the 66fx will drop like a brick. Changing the internal wiring to silver could make sense though. Depending on the quality of the original wiring there can be an audible sonic benefit and it won’t have a negative impact on the market value.

Raul,

Thank you for joining this discussion.  Yes, my system has a lot of tubes.  The addictive bloom and decay presence that I had 15 years ago is now much more tamed.  I know you are not a fan of tubes from your many comments in these forums on their distortions.  And I imagine showing you a tube would be like showing a cross to a vampire but I just love these magical glass jewels.

A cartridge must be truer to the recording but unfortunately the cartridge quality level final performance levels depends of other links in the audio system and the tonearm is mainly the cartridge mate that at the end function as a " tone control ".

This goes back to the recording studio's microphones, 100's of feet of disaster microphone cable, the mixing console, etc.  Imagine all of the sonic magic that is lost by the time an LP is cut...or even the master tape.  With all the loss here, does it make sense to be obsessed with parameters such as "tube distortions" and resultant system "tone controls"?  Given the highly distorted resultant LP that ends up on our TT, we all have to accept that no matter how we implement our musical system, the end result is far from the live performance.  Some such home systems sound incredible and others rather atrocious.  This is life.

Regards and enjoy the DISTORTED MUSIC

Oh, AND LONG LIVE TUBES.  8-)

John

The idea of having a continuous Tonearm Internal Wiring connect to the Cart's Tag Wire Connection Pins, and be free of any connections util it is RCA/XLR terminated to connect to the Phonostage is an age old discussion and will always live on, as the idea of reducing the wiring connections along the wiring route / signal path is seen to have benefits, as the signal path is a continuous material produced from a wiring of choice, as well as having the options added for choices on Tag Wire connectors and RCA/XLR Connectors.

The method when adopted will allow the user, if involved in the selections of materials used in the assembly to feel empowered in the choices, and instrumental in producing a bespoke design for a used device.

The less seen discussions on this subject are the importance of the Wire Type selected and the impact of the loom within the Wand and Pillar on the function of a Tonearm.

A wire needs to be extremely supple offering the minimum resistance to the free operation of the Tonearm, with '0' impact on the Tonearms Mechanical Function being the goal. To achieve a wire that can be routed within the Wand / Pillar and not create an unwanted level of interference to the free operation, a very small gauge wire is the usual candidate, usually found in approx' 30 Gauge (0.2 - 0.3mm).         Wire Gauge such as these will be available with different sheathing and different wire production methods, and even to the eye on observation appear to be extremely supple, certain wire types when compared are with a resistance to yeild their form.

When a wiring is within the Wand and Passing into the Pillar, there is a critical interface point now met within the assembly, where the bespoke chosen wire type and the produced wire loom, will if not very carefully thought out, be a detrimental  impacted on the Tonearms designed function, as the wire choice and configuration for the wire within the Wand / Pillar, will be able to effect the function of the tonearm and impact on the free movement that the bearing assemblies have been designed to create.                                                                                                            Additionally the impact of the chosen wire and methods used to route it,  can potentially require that built in ancillary devices onto the Tonearm may need to be set up to be over compensatory, to be used to counteract the impact of the chosen wire in use, as the ancillaries are designed to create the absolute control of the Stylus Interface when in contact witha LP. Their design function is not to correct a  Tonearm that has encountered a resistance to allow it to move with freedom, from a outcome of a wiring design change.

A Tonearm with a exchanged wiring from the original used wire, but uses the original designs terminations for the wire used in the routing of the wire, is now a bespoke design, that if completed by a competent technician should offer the same mechanical interface properties of the original design.                                                Any comments made on the perceived changes being assessed as a result of a different wire in use are going to be a subjective description, and only available from a very limited amount of individuals who might have received a demonstration, maybe even as little as one individual, that is ensuring their choice is the best option. 

 A Tonearm with a exchanged wiring from the original design, and is produced to have a Wire run continuous from Cart' Pins to Phonostage connections is no longer a design that is the intention of the original producer, it is now a Bespoke Modification and if this modified design is not very carefully produced, where the signal quality is the least of the considerations and using the materials most suitable for the mechanical interface is the utmost consideration, the modification can quite easily prove to be inferior to the original designs end performance.

The Bespoke Modified Arm does not really qualify to be referred to as the original model any longer, it becomes a Sub Category, Such as 'Big Joe's Modded SFR iv mk vii' as it is a substantial design change, that if not carried out by a individual that has the knowledge, can become Tonearm that can impact detrimentally on the original designs function.

From a Personal Stand Point, I am using a Tonearm that is a Bespoke Modification to a Branded model. The design on offer was carefully assessed prior to entering into the purchase, and the dialogue about the modifications, the selected parts in use, the R&D, the micro mechanics being considered, and the friendship formed with the designer is still ongoing. 

I also have in my possession a further selection / surplus of Tonearms, of which one is a Branded Tonearm with a Manufacturer Designed continuous Internal Tonearm Wiring.                                                                                                           None of these Tonearms are able to offer the impression made by the Bespoke Modified Model.

To go out and buy a 'one off' version of a modified Tonearm without having full knowledge of the design considerations, or donate a very respected Tonearm to have a Bespoke and Unique modified Tonearm produced from a service that does not freely communicate the design parameters being used to ensure the Tonearms function is the total consideration, Fortunately is a route I am avoiding.