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Time to choose: Baerwald, Lofgren, Stevenson ?

I’ve managed Dr.Feickert Analog Protractor for a decent price (build quality is superb, such a great tool).

Time to play with Baerwald, Lofgren, Stevenson alignments on my Luxman PD444.
Need advice from experienced used of the following arms:
Lustre GST 801
Victor UA-7045
Luxman TA-1
Reed 3P "12
Schick "12

Baerwald, Lofgren, Stevenson ? What do you like the most for these arms?
Manufacturers recommend Baerwald mostly. 

Dedicated "7 inch vinyl playback deserve Stevenson alternative, maybe?
Since it's a smaller format than normal "12 or "10 inch vinyl, it's like playin the last track's according to position of grooves on '7 inch (45 rpm) singles. RCA invented this format, i wonder which alignment did they used for radio broadcast studios.   

Thanks

chakster
fleib
1,124 posts
 

Sampsa55 -
"I align the cartridges based on the alignment the tonearm was designed for. Since most of my tonearms use removable head shells and were designed for a 52mm distance from the head shell connection to the stylus..."

Raul - 
"that's true only if those tonearms has the same effective length"

"I think that you have a misunderstood on the input data for the whole calculations through diferent tonearm/cartridge alignments."


Sampsa55, You are obviously correct, but I suggest you let it go.

Raul, The 52mm distance has nothing to do with eff. length or alignment in the way you're looking at it. . The designer can put the headshell collet wherever he wants along the length. In other words, 52mm  from the correct overhang position for the length/alignment.

Regards,

rauliruegas
9,123 posts
 
Dear @sampsa55 :  I see what you mean but I'm talking of a diferent subject. I'm talking of distortions levels.

Normally the Löfgren/Baerwald alignments gives really good low distortionm levels over the whole LP surface.

Ikeda as SAEC and other Japanese tonearms use diferent kind of alignments where distortion levels ( that must be the main subject. ) are higher.

That distance from headshell collet to the stylus tip is the overhang position and yes the designer can choose whatever he wants as Fleib said it. The main subject is which kind of alignment is using to look about distortion levels.

In my Ikeda, SAEC, Dynavector and other Japanese designs I just follow Löfgren B or Baerwald with better results than what the manufacturer recomend because his targets were diferent from mine and maybe my ears are " wrong " too.

As I said we can make our very personal alignment changing almost everything for calculations set up parameters but I'm in this critical subject more orthodox about.

There are no rules here.

Regards and enjoy the music,
R.


cousinbillyl
161 posts
 
If I may, let's look at the diamond on the end of the cantilever.

This was installed by human hands. Let's assume some type of jig was used. They now glue the diamond to the cantilever, and the glue dries. Opps, glue doesn't dry in a uniform fashion. Is your diamond perfectly perpendicular to the cantilever?.

Alignment protractors are a starting point. After that you adjust by ear. Use the tonearm designers recommended alignment. Again, it's just a starting point.

A lot of tonearms come with Azimuth adjustment. For me, this is the most crucial parameter. Once Azimuth is good, there is a larger range for vertical tracking angle (side rake angle). If Azimuth is off, you'll drive yourself crazy with VTA/SRA.

If you search Audiogon, Doug Deacon posted a fabulous thread on adjusting your cartridge. I think it should be a 'must read'.

If you're not shaking your head yet,........., the cutting head of the master lathe was also installed by hand. 

Stop obsessing, you can't get it perfect, at least not for every album.
nandric's avatar
nandric
3,263 posts
 

Well solving a problem and adding to a problem are different ,say,

approaches of the problems. We , I think, solved the problem stated

by chakster. We even reduced the problem to two choices by

considering Lofgren/Bearwald as the same solution. For those

who own many 7'' records Stevenson for others Bearwald.

The problem with the glued styli in exotic cantilevers can be

solved with aluminum (alloy) cantilevers which, according to

Carr (his post in the MM thread) have as advantage that the

stylus can be pressure fitted. I own 3 FR-7 kinds, Miyabi standard,

Magic Diamond and Anchor (Dertonarm) all with aluminum cantilever.

 Those are among my best MC carts. So to regard aluminum as

some kind of inferiour material is problematic.

The manufacturers as well as repair services get the cantilever/

stylus combo's from their suppliers. Those are mostly used

by the so called ''retipps''. Gluing a new stylus in the original

cantilever seems to be much more difficult than gluing the

combo in the ''joint pipe'' on which also the coils and suspension

are fastened. BTW the joint pipe is usually an aluminum tube.

The manufacturers as well as the retippers are

assumed to check the styli as delivered by their providers.

We can't complain by styli/cantilever producers if something

is  wrong with either.


rauliruegas
9,123 posts
 
Dear @cousinbillyl :  """  Stop obsessing, you can't get it perfect, at least not for every album. """

Agree, we can't get it perfect. I was at the Doug place and I know that he really is " obssesed " with each LP and hee does " easy " but is him.

All of us have our each personal whole test/set-up process. I have mine that I try to " perfect " over the years. My take could sound easy: through my own process I have 9-10 tracks that are my references other than live music and I make the /tonearm/cartridge set up with " obssesion " to pass those 9-10 tracks and when passed then I'm " there "  but I'm not looking for a change with different LPs.
At the end what I love is to listen and enjoy MUSIC.

What's my main target is that the whole set up been made it with " absolute accuracy ", in this I'm extremely obssesed: ACCURACY.

Regards and enjoy the music,
R.
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