Are linear tracking arms better than pivoted arms?

Hiho, well said. The pursuit of the absolute sound does not have to be an end unto itself. Exposure to the only absolute sound (live music), educates us, and helps us put together more satisfying sound systems. That's the point. Simply because it can not ever be achieved, does that mean that we should abandon that which might help us get 50%, or 80% of the way there? Or should we just say the hell with it, why bother? To me the answer is obvious.

Dear Samujohn: +++++ " So what would you like to see us/them do? " +++++

well, one answer is clear in these last 10-15 posts: that audiophiles/Agoner's at leat AGREE. Everyone of us have different opinions, some of those opinions are way different where some of those opinions are more similar than differents.

Obviously that in a forum like this there are at least one reason from at the end we don't get an unanimous opinion: almost every one want to win, normaly these forums are to find out the winner and the loosers, IMHO we need some kind of mature about where the important subject be not who has the reason or whom is wrong but how we can get a more or les unanimous conclusions and I see it very complicated because every body wants to win!

Regards and enjoy the music,
Raul.

Over the years I have been involved with a fair number of recordings, some of which have made it to LP, others CD only and still others that only exist as R2R.

What I have found is that having a master tape to help me with evaluation is extremely valuable. Further, working with the musicians and developing the recording techniques for a particular project helps a lot too.

The primary thing is that you know what it sounded like live. If you go to LP from there, you know what the LP should sound like and it gives you a really valuable leg up on assessing other parts of the playback chain, for example the tonearm.

On the last recording I did, I installed Western Electric tube mic preamps that I had rebuilt into the studio, and we ran them directly into the recorder, bypassing everything else. This is what I mean by developing the recording technique. Of course the technologies always falls short of the live musicians, but its all worthwhile as long as we keep two things in mind: strive for the best, and enjoy the music.

Ralph,

Well-stated! I hope to record live, unamplified performances in differing venues with a Studer A810 at 15 ips, 1/4", 1/2 track, IEC EQ, and straight into the recorder...uncertain whether to use ATR Studio Master or RMGI SM900. Then, I could utilize these recordings to evaluate my system/room and optimize, accordingly :-)

Vbr,
Sam

I'm sorry that i didn't comment on this thread at an earlier date but I just now found it.

One thing that was not mentioned in any of the comments about the ET 2 arm is that the counterweight is decoupled via a leaf spring so its effective mass is lessened in the horizontal plane. This would lessen any of the destructive forces placed upon the stylus cantilever. I do not know of any other linear tracking arm that has this feature.

How this works is nicely explained in the ET 2 instruction manual. I hope those of you who have owned this arm took the time to thoroughly read this well written and informative book.