Discuss The Viv Lab Rigid Arm

@lewm , Never second guess a tool collector. The only thing I am lacking are the LPs. Go to Channel D's web site and check out Mac the Scope and Waavebox.

I use a calibrated microphone and an audio analytic program to measure the output of the system on top of the measurements the preamp processor makes. Most of my testing is on the output of the system. It seems your memory is just as bad as mine. Old age sucks. 

@intactaudio , All these parameters count at some level and every type of distortion has a range of volume. At some low level the distortion becomes inaudible. The key is to minimize all parameters to the point where each one is inaudible which requires a balanced design with the appropriate compromises. To go all the way with any one parameter at the expense of the others is a huge mistake. After the 9" offset, pivoted arm the  arms that do the best job of this are the Schroder LT  and the Reed 5A and 5T. A carriage driven straight line tracker like the Dereneville DTT-05 could be a contester if it were not for the stupid price.

I am neither polite or politically correct. The Viv arm is a pitifully sad design for a number of reasons. The fact that it can sound OK speaks only to the mediocracy of some systems and the inexperience of some listeners.   

After a discussion with one of my Tonearm Designer friends, it has ben agreed that on a Tonearm being produced to enable a ease to experience Wires for the Signal Path against a Tonearm with a permanent wire configuration, using the Wire of choice.

There is now to be a Underhung Geometry produced for a demonstration on the Tonearm with the option to use easily exchangeable wires.

One thing this Tonearm will offer as well, is that the Styli, when in contact with the LP Groove is positioned on the same plane as the Vertical Pivot Axis. 

The lessening of friction resulting from the above above Styli/Pivot Geometry, along with the tolerances produced for the Tonearms Bearings and extremely low friction present during operation, is going to supply a operational environment for the Cart' that is difficult to surpass.

The TT to be used has not undergone the Platter Bearing Modification that my own one has, as a result, a extra run off will most likely be present with this bearing in use. There is a plan for a New Bearing design for this TT, but to have the most modern methods used, a new stator mounting bowl is needed to be produced, this is a later design to be developed.

The Speed Control on the TT to be used for the trials is modified and functions as my own TT does. 

There is a possibility that I might take my TT out of storage and put it to use on the Panzerholz Plinth being used to mount the Two Tonearms. This assembly will be mounted in a manner to create the control conditions that iron out unwanted influences during the assessments.

Note: As with what is assumed is the content of 99% percent of assessments discussed by numerous contributors anywhere, all follow up discussion will be a subjective evaluation and the impressions made will be described.  

Lew,

It wouldn't be the first time logistics determined merit in audio.  Everyone is allowed their preconceived ideas of what constitutes a good design. Universally extrapolating those beliefs and decrying anything that does not align with ones 'ideal du jour' serves little purpose.  This is just another case of how much better my half empty cup of Evian is than your half full cup of tap water.  If we don't accept the possibility that something outside our realm of experience might be better the chances of actually moving forward and learning are slim.

dave

@intactaudio " If we don't accept the possibility that something outside our realm of experience might be better the chances of actually moving forward and learning are slim ".

I have learnt over the years the value of this statement, I have never sat tight in a belief, I have always embraced what others are doing and made the time to experience it in use, when ever possible.

As stated by myself recently, I do feel I was wed to the SME IV for a longer period than was ideal, and could have experienced other Tonearms as a Tonearm of interest, as part of the experience/journey with the IV. When this commitment to the arm eventually faded, I bought in a similar arm, and it was the similarity between both arms, that started the quest to discover a arm that was discernably a betterment. 

Through travelling and meeting, I discovered an arm design that stood head and shoulders above other items present on the day, on a follow up inquiry and comparing to an owned arm, the change in direction was a no brainer.   

As a result of the willingness to experience what others are doing, I have for one been instrumental in creating a social structure with like minded enthusiasts, this has now got friendships born from my willingness to travel and meet with like-minded individuals going back approx' 28 years.

Over the years, I have built on this and have been demonstrated many devices and designs put to use in systems belonging to others, as well as being loaned items to experience in my own system. It can be seen in plenty of my posts made by myself, I readily loan devices to be used in systems belonging to others. 

As a result of this, I have today in use in my system, designs produced by individuals I have met as a result of my willingness to travel and meet, I am not a Branded Equipment user, nearly all devices are Bespoke Built or a substantially modified Brands Model.

I have been fortunate, and have been able to shape a system and sound that for my own purposes is totally satisfying, and one that when the system is assembled and up and running, there are invites immediately taken up to come around and listen to some old favorite tracks along with newly acquired ones.

More recently this has expanded to CD and not just Vinyl replays, the Perfect Wave Audio CDT, is the only non-modified Branded device used in the system.

This thread has also gave me a few memory jog's, it has pushed myself to recollect some of the equipment specifically singled out for demonstrations during the late 80's / early 90's.

It has also helped me remember the times when I would take individuals out to sophisticated dealerships in the 80/90's and introduced them to the aspire to Vinyl Set Ups, from the likes of Roksan, Michell, Rega and Linn and I am sure some others as well.

I also recollect getting a group of like-minded friends to accompany myself to a London Hotel where Ivor Tiefunbrun was hosting a Seminar on Turntable Design and obviously relating the technical jargon to Linn Philosophies. 

It was around this time as well, I went out of my way to experience the EAR Design where a Quad ESL 57 was directly coupled to Valve Amp Power Supply. The influence that TPV has had, has been permanent, I probably got my first 'must have' obsession, which produced in the late 90's had a Commissioned Bespoke Built Power Amp design specifically to drive Quad 57's. 

I will claim these have been my very early endeavours in enjoying the set ups of others without too much of a personal interest attached, just present for the convivial side and the gaining of experiences. 

I do recall there was intelligence to be found around vinyl that was a stimulus, very interesting individuals who were toying with extracting the betterment from the available TT's.

In the latter end of the 90's, I abandoned the use of Belt Drives and went down the route of the Idler Drive, this is where I first encountered engineering practices from adept machinists and had a Bearing Upgrade produced from a cutting edge service from the day. The road led on to being interested in mechanical interfaces and the tolerance constraints that could be worked with, I learnt a lot.

It all changed to a new direction and excitement, when introduced to modern materials and designs that are able to work with such materials in use, that the knowing about new options leap frogged forward. There are materials in use today, that are not mainstream, probably even not spoken of publicly, as the use of them can have official secrets documents signed onto by those in the know. Being informed of such materials in private conversation and the other substances used to enable the optimised performance has been quite an experience of learning.

To have been demonstrated the work undertaken and immediately recognising how discernable the end products are in use, has been a special experience and almost unique, not encountered by many.

Today, I do believe I am in contact/friendship with individuals adept in their skills. I am certainly experiencing the work created by these individuals, that are undertaken where the materials used, is enabling engineering dimensions to be produced to the tightest of tolerances and able to maintain a friction free operation for a critical interface in a Tonearm and TT's Platter Bearing. 

Nearly 30 years in and the inquisitiveness remains strong, and the results being experienced are today the ones superseding the previous indelible memories where a very good impression has been made.

I am not apologetic in any way for my not being a 'hands on type', when it comes to micro-engineering and electronics, I am fortunate to share the company of those that know better.

Producing Structures is where I excel, buffoon fingers are tolerated better in that environment.

@intactaudio  : " If we don't accept the possibility that something outside our realm of experience might be better the chances of actually moving forward and learning are slim....""

The thread is about VIV tonearm and till now you posted no evidences/facts that could be the foundation of your statement.

Where are those evidences/facts/measurements?

Btw, even dirty stylus tip/LP grooves could cause mistracking and over 500 playing hour the stylus tip will shows an unevenly wear that could increment the normal mistracking.

R.