Goldmund Studio - still relevant today?


In today high-end world (very small, and shrinking every day), is Goldmund Studio still relevant? Is it's performance still on par with similarly priced tables, or is it a dinosaur? Is it's value still in performance, or is it mainly a collector's item? What do you guys think? I refer to late models with all-acrylic body, and JVC motor, and T3F arm, which actually work, not the early ones, which seemed to have a mind on their own :-)) They normally command at least $2500 on used market, up to $4000 for perfect examples.
markshvarts
Is the Studio/T3F still relevant for the used price they command? It depends on your point of view. Is a 301 or a 124 still relevant? Certainly wouldn't buy an original example of one of those expecting it to be plug-n-play.

The Studio has the beefiest springs I've seen. They came set-up for use with the T3F and some alternate springs were supplied. Still, a weak point of the design and problematic with most replacement arms. Sorbothane pucks were often used for spring replacements on both the Studio and Studietto which used the same springs.

The stock studio/T3F dramatically outperformed the Delphi (w/any arm) at that time. It was no contest really. The T3F might be outperformed by a more modern design, but I think if you heard a properly set-up Goldmund Reference from that same time, the arm would sound pretty good. The Studio is no Reference, but with a little TLC, can more than hold its own.
Regards,
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Harold,
I don't doubt your tale of two tables, but I don't share your experience. Maybe it was learn as you go, but if you put the effort into the Studio as the Delphi, you might be singing a different song. At least that's my experience and I'm not alone with that opinion. Virtually EVERYBODY back then recognized the jump in performance going to a Studio.

You could say it's an unfair comparison with the price difference, but the Oracle was at its best with a SME V and that is/was a pricey arm. I set-up or tuned Delphi with mostly the SME V, and arms like the Syrinx PU3. Yes, I got them to bounce straight and stop on a dime after three bounces. The Delphi MK II is a beautiful table and it sounds quite good if set-up properly.

Even though it's not your experience, IMO the Studio has greater potential. Admittedly, the suspension should be defeated and you need a later version of the arm or a replacement. I never cared for the Groove Isolator, but I guess that to, is a matter of opinion.

I think this sums up relative quality:
http://www.high-endaudio.com/RC-Tables.html

Regards,
The T3F is really bad. The moving Arm smears every detail and it ruins every cantilever pretty fast.
Even when I would get one for free I would avoid to use it.
I am still amazed after 20+ years to see how misunderstood the T3F was. It is an arm of stunning performance, utterly easy to set-up, fully reliable and certainly does nothing bad to the cantilevers only to extract all the music out of the LP's. It works silky smooth with the PL8.
I had the s/n 2020 from 1988 to 2013 on the Reference s/n 2069, never ever a problem, never a broken cantilever.
Of course, as any high performance audio item it had to be optimazed. Problem was Goldmund's greed for cosmetics over technical matter. The problem is so easy to see and yet no user or seller has ever talked about the issue.
Some idio... inside Goldmund decided to place the CW too close to the bearings to keep it hided inside the bridge.
Thus the arm/CW, as such, had no leverage at all. Consequently CW mass must be increased to a crazy 200gr for a 10gr cartridge. This is already a compromise for a pivoted arm but is catastrophic for a tangential. The aluminum/ceramic strip headshell did not help either. What I did, I first replaced the aluminum headshell for a CNC strip made of treated ebony, this reduced the mass at the very tip of the arm by 5gr. Then the most important, I CNC a hard-resin prolongation-insert that was attached to the back of the arm that allowed to set a lighter CW farther away of the bearings. The result is the use of a CW of only 45gr., the option to use the level of damping fluid you wish and a terrific, amazing improve in performance.
I do not know how to upload pictures but I can provide tech. drawings if someone is interested.
You can go to Hammertone Audio (turntable section) to see some pics/explanation. That is (was) my system. Additionally Mr. A. Salvatore understood the problem and posted my explanation in his web-site.
IMO none of the fellows that have always criticized this arm have a tonearm better than a poperly set-up T3F.
To be noted this arm as today has little tech. support and if something happens to the E-Prom or the Zilog CPU it will be difficult to fix.

Regards,