OPR8R
500+ Head-Fier
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Correct me if Im wrong, but aren't records cut and masters EQ'ed to compensate for the alignment changes that occur as a tonarm/stylus tracks across a record?
And if that's true, isn't linear tracking solving a problem that doesn't exist? Actually performing worse than a conventional tonearm?
I never did understand this one...
I want your heart...your soul...and your mind...
I don't mean to be negative on everything said above, but cartridgealignment is not that hard... You can't really go wrong with 2 screws and four clips. Just like a broken clock tells the correct time twice a day, the horizontal alignment on a normal radial arm is never really right but for two places. If you are not a complete klutz. There is no absolute right or wrong in horizontal angle because it changes all the time.I dare say that if you play mostly singles a different alignment optimized closer to the spindle is preferable to the standard alignment. And if you play mostly older shorter records where the groove is cut more towards the rim you need the opposite.
The best you can achieve with 'the 2 screws and 4 clips' is a compromise. The tolerance of your compromise depends on the stylusshape. It always is about which compromise to take and how to most closely approach it. It is relative. So don't be afraid to make your own compromise. Just like you chose your stylusshape according to your own ability to make correct alignment decisions and the skill to carry them out. Or have it done for you.
Then there is azimuth, this is an absolute. But many arms have no adjustment for it just because it is an absolute. Straight is straight. So if your cartridge is out of whack youre straight out of luck.
Now where does the TLC come in? Well, if you can adjust azimuth you will need a small mirror to set the arm straight. And if you cantilever/tip is not properly aligned to the body you will need to listen. And relisten, and adjust, and listen again. But the reward is: when it's right, it's right. Unless you are using a unipivot arm.
And then there is the VTA.Again: no absolutes. It can be, with a perfectly plane lp, but they hardly ever are. And if you change a thick 200gr for a thin 120gr, again: you will need to adjust. And with a Rega arm, you can't. Or you need a washer under the 120gr lp. And for many other arms you will have to fiddle with a tiny screwdriver to adjust the height of the arm, never knowing where you had it correct. There are very few arms with on the fly VTA adjustments.
Many if's, but's and unlesses. There's analog for you. Never a boolean when you want it.
Correction. Arm is not Kuzma Stogi, but Kuzma STOGI S . It is one of the few unipivot arms that have precise and repeatable azimuth adjustment.
This is the late version of the original Stogi. Original did not allow for azimuth adjustment, all current production arms do. As far removed from unipivot as it gets. http://www.kuzma.si/stogi.html
Surprised you didn't know that actually.
Brings up a funny thought. Imagine 1000 grooves on a record side, and with a regular tonearm, you can only set up the cartridge to play perfectly in two of them.
I don't mean to be negative on everything said above, but cartridgealignment is not that hard... You can't really go wrong with 2 screws and four clips. Just like a broken clock tells the correct time twice a day, the horizontal alignment on a normal radial arm is never really right but for two places. If you are not a complete klutz. There is no absolute right or wrong in horizontal angle because it changes all the time.I dare say that if you play mostly singles a different alignment optimized closer to the spindle is preferable to the standard alignment. And if you play mostly older shorter records where the groove is cut more towards the rim you need the opposite.
The best you can achieve with 'the 2 screws and 4 clips' is a compromise. The tolerance of your compromise depends on the stylusshape. It always is about which compromise to take and how to most closely approach it. It is relative. So don't be afraid to make your own compromise. Just like you chose your stylusshape according to your own ability to make correct alignment decisions and the skill to carry them out. Or have it done for you.
Then there is azimuth, this is an absolute. But many arms have no adjustment for it just because it is an absolute. Straight is straight. So if your cartridge is out of whack youre straight out of luck.
Now where does the TLC come in? Well, if you can adjust azimuth you will need a small mirror to set the arm straight. And if you cantilever/tip is not properly aligned to the body you will need to listen. And relisten, and adjust, and listen again. But the reward is: when it's right, it's right. Unless you are using a unipivot arm.
And then there is the VTA.Again: no absolutes. It can be, with a perfectly plane lp, but they hardly ever are. And if you change a thick 200gr for a thin 120gr, again: you will need to adjust. And with a Rega arm, you can't. Or you need a washer under the 120gr lp. And for many other arms you will have to fiddle with a tiny screwdriver to adjust the height of the arm, never knowing where you had it correct. There are very few arms with on the fly VTA adjustments.
Many if's, but's and unlesses. There's analog for you. Never a boolean when you want it.
I agree with most of the above.
BUT - straight linear tracking, sharpest stylus that does not threat re-cutting the groove, correctly aligned for azimuth using measuring equipment, on a platter that holds the lumpy wavy LP dead flat against its surface with vacuum, with VTA on the fly with digital micrometer allowing for precise repeatable adjustments, on a turntable that is smart enough to compensate for the off-center pressed records - is better.
Good enough is the worst enemy of the best. All of the above is unfortunately costly - but trickle down process usually employed by the manufacturers gives hope that in noooot tooooooooo dissssssstaaaaaaaaaaaaaaaa.........nt future ....
And I agree with you completely. But then you are getting close to shooting gnats with naval guns.You can get very good with just a bit of attention. And every bit more takes a lot more effort. I know I don't want to spend more than 5 seconds putting on a record (dropping it on, clamp on, turn, sweep dust and cue). I even get irritated when the inner sleeve won't do what I want it to do.
And I agree with you completely. But then you are getting close to shooting gnats with naval guns.You can get very good with just a bit of attention. And every bit more takes a lot more effort. I know I don't want to spend more than 5 seconds putting on a record (dropping it on, clamp on, turn, sweep dust and cue). I even get irritated when the inner sleeve won't do what I want it to do.
I actually will scan the editorial from the Speaker Builder magazine from early 80s - which essentially tarred & feathered Nakamichi record centering turntable, labeling it as band-aid. I agree - in theory, records SHOULD come pressed on center.
In real life - no way. The same for record flatness, VTA, azimuth - these things were not even standardized, not once for all - or not at all.
I am afraid 5 seconds is not enough to change the record and have decent sound from it. I do not like/enjoy that more than 5 seconds time required either...
I always thought the Nak TT was a great idea. I saw it in operation back in the day at the hi-fi emporium where I was employed. Out of the things you enumerated, flatness, VTA, azimuth, I thought centering was the most important. I've heard plenty of solo piano records runined by this defect and the Nak fixed that and no amount of fiddling with the other stuff could eliminate that problem.
I always thought the Nak TT was a great idea. I saw it in operation back in the day at the hi-fi emporium where I was employed. Out of the things you enumerated, flatness, VTA, azimuth, I thought centering was the most important. I've heard plenty of solo piano records runined by this defect and the Nak fixed that and no amount of fiddling with the other stuff could eliminate that problem.
+1.
After you get flatness, VTA, azimuth, VTF, antiskating, etc, right - that off cener pressed record ( do on center records actually exist ? ) is like sore thumb.
On piano it is most noticeable, but it affects all music.
It is the reason a decent cassete setup will have upper hand over ANY TT if off-centering is not adressed in one way or another. Naka's solution is the only practical way for "business as usual" (albeit at yet additional time it is required to find the true center of any given record ) playing of vinyl.
"if off-centering is not addressed in one way or another"
Are you implying there is another way to address this problem other than with a Nakamichi centering TT?