Why Linear Tracking never took off?


Popular in the mid-80s...Linear tracking tables have vanished from the scene...what was the rational behind their creation?...Are there any good used tables to consider...or is this design long gone?....thanks...the simplicity of operation intrigues me...
128x128phasecorrect
Phasecorrect,

Its a shame this never caught on; might have prevented the CD disease. No, not trying to start THAT discussion . . .

Have not read the whole thread, but have heard (2nd, 3rd and/or 4th hand info?) many albums were produced, i.e. the wax masters were cut, on linear tracking arm equipment, such as Ortofon (Ortophon?) systems. Hence, the arguement to play 'em on equipment like they were made.

I had an HK / Rabco ST-7 linear tracker. Nice but not all LP's have the same number of grooves/inch, so tangential tracking goes awry with albums differing from the average.

Currently have a Phase Linear Model 8000 Series Two. IIRC the photo-diode interrupt maintains +/- 0.3° true tangential. You can see it work on an album with an off-center hole, though movement is usually imperceptible. I've heard it was based on or OEM'd from Pioneer, though the unit Sean listed makes me wonder all over again - perhaps it was the other way around?

If anyone has a manual for the Phase Linear, I would be more than happy to reimburse expenses. Bought second hand, and the dealer never came through on the promised owner's and tech/repair manuals.

Had hoped to get a Sota or ClearAudio down the road, though it may be after some monoblocks. Guess I'm an outtadated wanabe, I'll have to read up on the Maplenoll.

Sean, please, let me know if you're selling any "excess" linear inventory!

Steve
trimmer@nodomain.net...With regard to groove spacing...it not only varies between records, but varies within a record according to the program. Loud music requires wider groove spacing, and for soft music closer grooves are OK. Variable groove spacing makes it possible to get more minutes of music on an LP.
The servo controlled linear tracking system of the Sony PS-X800 varies the arm movement speed so as to keep the tangential error angle down to nearly zero. (The spec is 0.05 degree).

And with regard to "CD disease" linear tracking would not have prevented that, but DBX-encoded records might have slowed it down.
Eldartford . . Good point, linear tracking alone would not have made a mass market difference. Correction to yesterday's note: though not the Sony's equal, the Phase Linear spec is 0.2°

At one time used a parametric equalizer, SAE 5k impulse noise reduction (click and pop filter) and a dbx 3bx. The remote was nice, but later realized (TAS) how important speaker placement and the minimal approach can be. With two grand boxed up, the unveiled clarity outweighed other benefits (to my wooden ears). Placed using a spectrum analyzer, my pathetic mid-fi two ways placed a realistic upright bass in my room. Recently discovered they can surpass Infinity RS-IIb's on basic instrumental works.

A decent cartridge costs more than Joe Schmo's system, we're stuck with the source material.

Getting late and for now, off this tangent,

Steve
As I remember it, the first significant stab at a "linear tracking" tonearm was the one fitted to the 1973 Garrard Zero-100 turntable. This was basically a conventional pivoting tonearm, but with a cantilever meachanism which rotated the headshell as it tracked across the LP, theoretically correcting the tracking error in the process. The arm was made of plastic, and the 'table was idler driven. Needless to say, it sounded pretty awful. The B&O came out a couple of years later and was a commercial success, if not a compelling audiophile performer.

I believe that the biggest obstacle to a satisfactory affordable linear tracking design is the lack of a simple mechanism to drive the arm along its linear bearing. It seems to me that this is where the costs of producing the existing molto expensivo designs builds from.

FWIW, I would expect that above a certain performance level, a linear tracking arm would indeed offer the potential for further sonic improvements. I say this by employing an arm-waving argument that says the geometric magnitude of linear tracking errors is potentially larger than the geometric correction applied by VTA adjustments, etc.