Comparison of sonic qualities of some tonearms

I don’t think you got my point. My point was you really cannot listen to a tone arm in isolation, because you are always listening to the combination of a cartridge and the tone arm with a dollop of turntable effect thrown in for good measure. Therefore I think one has to judge a tone arm in one’s own listening environment with a variety of cartridges before drawing any conclusion about the tone arm itself. Of course, this is assuming the tone arm is of a basic decent quality to begin with.

@lewm 

While, theoretically, you are correct about comparing tonearms (or anything, for that matter, as no one is even the same moment to moment); realistically, assuming that you have a cartridge that doesn't resonate poorly with the tonearm, keeping the turntable, cartridge , and LP the same, and changing out tonearms to compare differences in sound quality, would be a very good comparison.  That's all we need, but apparently almost no one (except probably dealers) does this to any degree to offer real insightful comparison of various tonearms. 

Never say never.

Wooden arm delivers astonishing detail retrieval. 

Umami Red cartridge in a Reed 3P 10.5 inch Macassar Ebony arm and yes the cable comes out the side. Grand Prix Monaco 2.0 direct drive turntable with battery power supply. Nagra HD Phono stage. 

Tangential arm sounding great with a more forward sound than the wooden arm.

Benz Gullwing cartridge in an Eminent Technology II tangential air bearing arm in an Oracle 7 turntable. Moore Frankland Super Lumi phono stage.

Don't let anyone put you off with sweeping generalizations like stay away from wooden or tangential arms. Keep exploring and find the solution that works for you. 

The website for Origin Live Turntables says there are more than eight hundred turntable companies. That's a lot to plow through before you can make sweeping generalizations. When experiment contradicts theory, theory must give way no matter how learned the theorist.

* listened to a variety of music. e.g. Brahms German Requiem conducted by Klemperer, Allman Brothers Live at Fillmore East, LA Four Executive Suite. And lots of others. On both setups you can clearly hear the difference in recording technique going from one album to the next. Both turntable setups were highly enjoyable and emotionally moving.

drbond, There is really no difference between the experiment you propose and my recommended approach, except a different variable is being manipulated, and by the way, you have to have a control for any experiment, which in my case would be other tonearms with which you are familiar, and it must be in your own home system, not at any dealer's.  This is not something you can do in a day or two.  For good measure, you should plan to go back and forth between the tonearm under evaluation and the one or two tonearms you are using for controls.  No one is going to do any of this, which is why opinions on tonearms published here are usually to be taken with a bag of salt.

@terry9 I don't share the extent of materials and designs put together for testing as you have, but do have an experience of different materials, designs and interfaces to have drawn on my own thoughts, that enables myself  create a reasonable description, being one I will refrain from being cocky, and suggest it is not conclusive.  

It is no secret, that the quality of the end produced sonic that are very much recommended by those with experiences of attempts to optimise the final presentation are dependent on much more than the Tonearm alone.

The Platter Spindle Function, Tonearm Function/Set Up, Tonearm Geometry, Cart Geometry, Cart' Design/Function and Signal Path, all contribute to certain degrees of influence on the end produced sonic, especially in how the term Quality will be assessed.

With the above list in mind, it strongly suggests each experience will be met with variances in how an impression is made and how one is influenced from the experience had, as not oine individual will be commenting on a ubiquitous set up. 

Bypassing the above list and focusing on Materials used for a Tonearms Assembly.

From your experiences do you have a assessment, and possibly one that aligns with my own that strongly suggests.

The parts that are rigidly fastened when in use have an impact on the end sonic in a way that improves the quality of sound, i.e, enables more Attack, Detail, Dynamics and Envelope to be resolved, or impacts in a similar discernible perception impacts on the tonality and timbre of the produced sound of which a certain material may be able to create a tonal range and timbre that is more aligned to ones own preferences.

My most recent experience with an indelible outcome, has been on the Tonearm where I was very encouraging for the use P'holz as a headshell.

The previous headshells produced in Plastics, Thermoplastic, Aluminium and Magnesium were Superseded by the use of P'hpolz.

It was this experience that encouraged me to pursue a P'hpolz Headshell @ approx' 9 grams, be produced for the modified uber rigid SME Bayonet connector I have access to.

I am hoping to have an experience very soon in March of comparing the headshell types Magnesium @ 9gram, AT Technihard and P'hpolz @ approx' 9 grams.  

I am also to give my friend who will be present and also produces' the Tonearm in use for the demo's, the  go-ahead to have the AT Technihard reduced to approx' 9g if the material presents in a way that impresses.