Tttt, the Wheaton/Triplanar does feature a cardanic bearing too - just like the Breuer, Ekos, TW and about 60% - 75% of todays tonearms.
You miss the point - the bearing concept has some influence on the sonic performance, but any bearing - knife edge, magnetic, gimbal, uni-pivot, air-bearing or mechanic - can yield excellent results.
It is about taking all the different issues into consideration and addressing them in a good designed tonearm.
The bearing is but just one of many different topics.
A good - even great - bearing can be bought from many tool-boxes OEM easily.
"Anyway, nobody will know better before listening himself" - well, thats the problem...... this is not the point at all.
Trying to judge a new tonearm now by its "sound" (whatever that is...) would imply in the very beginning, that the system set-up will be perfect (impossible...), the listening room likewise (not likely either ..) - simply all other factors beyond question and critic.
All you or any other testing the 10.5 can possibly find out whether its suits your particular taste at that point of experience in audio-listening and system set-up and under the given surrounding conditions of hardware, state of health, cartridge etc.
Thats why I am so amused about "sonic performance" as the ultimate point in the design of a purely (!) mechanical device.
Or let me put it in even shorter words:
... a perfect designed (in the mechanical/technical sense of the word) tonearm, addressing all issues in its concept will, as a direct consequence, produce the best possible "sound" with any cartridge suitable to work under the given conditions.
Why so ?
Because all the tonearm does, is to give the best possible working and guiding conditions to a cartridge.
The tonearm is nothing but the direct mechanical periphery to the cartridge at work.
The tonearm can only lessen the sound of the cartridge - it will never enhance it. All the tonearm can do - and none does - is to make no mistake.
And these are all matters of geometry, mass - dynamic and static, energy transmission and handling.
All plain simple physics - no Voodoo, no myth, no secret knowledge.
My "superior knowledge" in this case is just a matter of looking closely, using my brain and following mechanical rules.
There is no secret knowledge needed to build a truly great tonearm - there is care to detail, an intensive and complete blue-book addressing all details, a clear concept free from marketing calls, an open-minded engineer who looked at everything which was made before and detected all the pros and cons of the various attempts of others.
The Breuer Dynamic is a design which goes back to the days of (here we go again...) a Fidelity Research FR-66s.
It was quite expensive in the very early 1980ies and has more or less only hold its price tag ever since.
Its a delicate, in its early days sometimes fragile, design of today very nice craftsmanship, care and good attention to its details. It is very cartridge-sensitive too. That is to the mechanic energy emitted by the cartridge at work.
You miss the point - the bearing concept has some influence on the sonic performance, but any bearing - knife edge, magnetic, gimbal, uni-pivot, air-bearing or mechanic - can yield excellent results.
It is about taking all the different issues into consideration and addressing them in a good designed tonearm.
The bearing is but just one of many different topics.
A good - even great - bearing can be bought from many tool-boxes OEM easily.
"Anyway, nobody will know better before listening himself" - well, thats the problem...... this is not the point at all.
Trying to judge a new tonearm now by its "sound" (whatever that is...) would imply in the very beginning, that the system set-up will be perfect (impossible...), the listening room likewise (not likely either ..) - simply all other factors beyond question and critic.
All you or any other testing the 10.5 can possibly find out whether its suits your particular taste at that point of experience in audio-listening and system set-up and under the given surrounding conditions of hardware, state of health, cartridge etc.
Thats why I am so amused about "sonic performance" as the ultimate point in the design of a purely (!) mechanical device.
Or let me put it in even shorter words:
... a perfect designed (in the mechanical/technical sense of the word) tonearm, addressing all issues in its concept will, as a direct consequence, produce the best possible "sound" with any cartridge suitable to work under the given conditions.
Why so ?
Because all the tonearm does, is to give the best possible working and guiding conditions to a cartridge.
The tonearm is nothing but the direct mechanical periphery to the cartridge at work.
The tonearm can only lessen the sound of the cartridge - it will never enhance it. All the tonearm can do - and none does - is to make no mistake.
And these are all matters of geometry, mass - dynamic and static, energy transmission and handling.
All plain simple physics - no Voodoo, no myth, no secret knowledge.
My "superior knowledge" in this case is just a matter of looking closely, using my brain and following mechanical rules.
There is no secret knowledge needed to build a truly great tonearm - there is care to detail, an intensive and complete blue-book addressing all details, a clear concept free from marketing calls, an open-minded engineer who looked at everything which was made before and detected all the pros and cons of the various attempts of others.
The Breuer Dynamic is a design which goes back to the days of (here we go again...) a Fidelity Research FR-66s.
It was quite expensive in the very early 1980ies and has more or less only hold its price tag ever since.
Its a delicate, in its early days sometimes fragile, design of today very nice craftsmanship, care and good attention to its details. It is very cartridge-sensitive too. That is to the mechanic energy emitted by the cartridge at work.