Geometry for pivot tonearms - calculation errors??

Dear Dertonarm, My comparition with Frege was not
'accidental'. In intellectual or academic sence you can't
get a greater compliment. But even this 'greatest mind' of
Europe was 'destroyed' by his obsession with 'fundation of
math.';he never recovered from 'paradoxes' of ,say,set-
theory.
From Frege I learned not to treat 'disjunction' as 'entweder-oder' (or-or)proposition. So I am very puzzled with your statement:'Anyone NOT interested in
getting the tonearm/stylus geometry as close to perfection
as possible has a very good option: CD'.
Sorry Dertonarm but this statment is senseless to me.
Are you some kind of legislator?
I can assure you that I and others enjoy our 'imperfect'
TT-tonearm-stylys combos even if we know that thy are not
perfect. To me the quality of LP's (I own more then 3000)
is a much greater problem.
So don't get obsessed with 'theoretical matter'.
Regards,
Nandric

Dear Nandric, over the last 5 years I have mounted and aligned about 35 High-end and high-priced cartridges including Lyra Olympus, Lyra Titan and Skala, Kondo IO, Dynavector XRV-1s, Koetsu RSP and Coral Stone, Miyabi Takeda - to name just the more prominent and current ones. Tonearms included all FR-60 family, Da Vinci, Kuzma Airline and P4, Graham Phantom, Micro MAX in all incarnations, SME (all...), even Linn Ekos.

So my practical analog life has its place too aside the theoretical matters.......
The owners asked me to align their high-priced items because I am getting outstanding results in tonearm/cartridge set-up. I do so because of extreme care and because I taking all mechanical and dynamical issues into account and know how to handle them. This is a result of digesting all theoretical background, the skill to use it for practical resuklts and a lot of routine over 30 years.
I am not obssesed with theoretical matters, but I have learned to get practical real world results from digesting the theoretical background and putting all analog handwork on a very solid basis.
To math and geometry it makes no difference whether you like them or not (I didn't liked them in school either...) - the question is rather why not use them for good ?
This is no high math - its all fairly simple 2-dimensional geometry. Drawing on a sheet of paper does very likely clarifies many points - and simplifies them too - which may "sound" theoretical and abstract.
However they aren't.
Putting the mechanical foundations straight and clear just helps getting better sound.
Its that simple.
There are enough areas in our music-systems where it is MUCH more difficult to get things straight and to find the path for sonic improvement (I have built many tube amplifiers and preamps - believe me, they sometimes are a pain far beyond any problems in analog front-end).

The anaolg front-end is all mechanic and dynamic interactions.
I find it fascinating, as this is the one area where we can actually "see" whats going on and can have much more direct influence for the better than in any other part of the chain.

Thank you johnbrown and Dertonarm. Good to have more geometry delineation.
Every little bit of knowledge helps out with the puzzle.

Happy (analogue) Listening!