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Which arms are really SOTA, and can be properly setup?

Absolute “must have” mechanical adjustments for a SOTA arm IMO!

1) Micrometer arm height adjustment that has index marks for VTA/SRA. Index marks are needed to ‘fine tune”, and go back to a previous setting, when the last setting was better.
2) Fine azimuth adjustment with index marks. Azimuth is as important as VTA/SRA, for sound quality.
3) Internally damped arm tube, and adjustable external fluid arm damping.
4) Anti-skate adjustment, including no anti-skate option.
5) Fine tracking force adjustment with index marks. For ease of adjustment, azimuth setting should not need to be reset when tracking force is changed IMO.
6) Adjustable head shell cartridge position, and arm pivot-to-stylus distance, for desired horizontal alignment. Straight non-pivot arms also need proper cartridge alignment (if off, they will be off through out the entire record). They also may have equal left-right channel sidewall force issues as the arm moves across the record, depending on the type of arm movement mechanism, IMO.


Tuning the arm by ear is “subjective”! Set for the listener’s sonic taste, as to what playback sounds best!


Electronic amplification, and the cartridge, must be “settled in” (warmed up) before adjustments are made. Play a few Lps before “fine tuning” any adjustments. Keep the stylus clean.

Incremental, “very fine” adjustments, over long term listening, with many Lps is necessary.
The optimum setting is always within a very small “window”.

Certain settings affect, other settings, that may need to be re-adjusted.

Listen for sonic changes as you make incremental adjustments, back and forth, as “clues” for the best setting.

Optimal setting are not for one record, but for the “mean” of all your Lps IMO.

Adjustment for each Lp is “madness’, time consuming, and interrupts the enjoyment of repeated playing during long listening sessions IMO.

When all adjustments are complete 80% of your Lps will sound at their best, the remainder very good IMO. I throw away bad recordings, why waste time listening to crap?

Not every record is well recorded, or will sound great, even with the arm properly set up.

Cartridge suspension break-in and settling over time, and stylus wear, requires arm re-adjustment.

Resistor loading, arm cables, and step-up transformer, gain and impedance (if used), are also big factors in getting best playback sound.
don_c55

Showing 1 response by lewm

lewm
6,770 posts
 
Don, It's interesting that you're running this thread right next door to a thread on Class A cartridges.  We only now need a thread on "the best tonearm/cartridge combination".

I think that a world class pivoted tonearm MUST have:
(1) Decoupled counter-weight with center of gravity in the plane of the LP.
(2) Adjustable azimuth
(3) Easily adjustable and precisely repeatable VTA adjustment, but not necessarily "on the fly".
(4) Medium effective mass but adjustable effective mass would be even better.
(5) Relatively non-resonant arm tube. (I say "relatively" because no material is non-resonant.  The best one can do is to spread the resonant peak out over a broad range of frequencies thereby reducing its maximum magnitude in a narrow band.) I have no beef with using wood; it may in fact be the best solution when done right.
(6) Fixed headshell so as to permit one set of wires from the cartridge to the phono stage, but lately I have come to appreciate the advantages of a removable headshell.
(7) Anti-skate. What is the best method?  Magnetic?
(8) I prefer gimbal bearing vs unipivot but I am open-minded.
(9) I love the Schroeder LT, in principle. 

Reed, Durand, Triplanar, Schroeder.
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