Schroeder Reference Arm


Hi Folks:

The great Peter Lederman of Soundsmith uses this arm on his VPI HRX Turntable.

What was surprising about Peter's rig is that as much as I respect and like the HRX, I always find it's sound slightly clinical; however the addition of the Schroeder arm made the table sound slightly richer and less clinical while blowing my mind with it's dynamics and accuracy. Has anyone else noticed or tried this? I am experienced enough in this hobby to understand that the tonearm and cartridge provide voicing for the system but a tonearm swap on a turntable of this quality surprised me with the overall change it made. It goes without saying that I think the JMW tonearm series made by VPI are excellent.

Best:

D.H.
danhirsh
Rccc,

For clarity, I don't think its helpful to consider resonances in a tonearm in this context. Stray energies leaking from a cartridge can cause problems whether the arm resonates or not. Intra-arm resonances would indeed be a problem, but lets manage one disaster at a time.

The primary deleterious sonic effects of energies leaking from a cartridge occur when those energies are reflected back into the cartridge, causing it to generate spurious, time-delayed or phase-shifted echoes. It's the sonic equivalent of glare reflected off a windshield, with a similar cause.

I wish I could offer a broadly useful method to determine, measure or quantify, but all I can say is that we hear and identify those time-shifted echoes. We've heard enough arm/cartridge combinations to recognize them when they occur, and also to recognize when something else occurs that sounds like them but isn't. My partner's remarkable ears, science expertise and ever-questioning mind often play a role. Consider two cases:

#1
Before a recent cartridge trial Paul specifically predicted it would have these issues. He said so based certain design elements, which he expected would make such behaviors inevitable.

He was right, though the sub-cycle echoes were much worse than even he expected. Paul left the room after a few minutes in pain. (Our audio buddies would recognize the behavior. He has a vanishingly low pain threshhold for time-domain distortions. Problems that take me hours to identify give him a splitting headache in mere minutes.) I struggled with the cartridge for 2-3 sides but the longer I listened the more obviously annoying it got.

This $8K cartridge actually sounded excellent in every other respect, yet those reflected energies were clearly audible and - thanks to a uniquely misguided design - untameable by any tonearm. Prediction sadly confirmed.

#2
In a more recent trial a much humbler cartridge started off okay, but I began noticing anomalies after half a side or so. There was a trail of diminishing echoes off the back end of every note (not soundspace echoes, artificial ones). I commented to Paul that it sounded *somewhat* like the echoes from that $8K disaster, though not nearly so bad. That was the limit of my diagnosis.

Paul listened for a few seconds and said, "I hear what you're hearing but they aren't mechanical echoes. It's probably electrical. This doesn't sound quite like a moving coil nor a moving magnet. How does this cartridge generate a signal?"

I was impressed, not for the first time. Anyone else would have been stunned speechless... Quite unprompted, Paul had correctly deduced that this was neither an MM nor an MC. It was a MI!

He knew nothing about this cartridge. He'd never looked at it. He didn't know what brand it was. Yet after hearing it for a few moments from the dinner table, a room away from the system, he identified its electro-magnetic functioning as something unusual. Measure that! ;-)

I read from the pamphlet about how this cartridge worked. Paul nodded and confirmed his suspicion that we were hearing hysteresis effects. Then he explained hysteresis. ;-)

Now if I could just bottle the ability to hear and identify hysteresis coming from a magnets the size of a pinhead ...

***

Regarding measurement and quantification, my sense is that arms, cartridges and setups present too many variables. Energy leakages from a cartridge vary with the tonearm its mounted on, the screws, nuts and washers, the tightening of the screws, etc. Once the energy gets into the tonearm, each arm varies in its ability to dissipate that energy rather than reflect it back into the cartridge. Further, each of these behaviors is a frequency dependent function. It seems to me that the applicability of any measurable "leakage factor" to a different setup would be questionable.

All fairly useless, but it's what I've got,
Doug

John Ellison over on VA invented a neat way to determine the actual resonant frequency of the tonearm+cartridge, by simply dropping the needle onto a disc whilst recording the sine wave that is thus generated using a computer program.
Lewm, the Feickert software does this as well. You should ask Mike for a copy of the graph I sent him, a PDF.

Brian
Thanks, Doug. It's clear from your treatise that one should not be bothered with vinyl. Like the bumble-bee, it cannot possibly "fly". (Kidding, of course.)

I thought you were going to tell us that Paul had picked out the sound of a strain gauge. To distinguish between MM and MI, now that is remarkable. I sometimes tell myself that MIs do sound "different", now that I have been playing with several of them.
Lew,

Please continue to bother. Many bumblebees do fly, just not those particular bumblebees!

The SG was not one of those two examples, obviously, though FWIW Paul actually did predict its specific sonic character before we heard it at RMAF 2008. It met those predictions fully. Even I could could hear it. ;-)

You'll be further thrilled to learn that our new "worst ever $8K cartridge" does not have a name beginning with a "K". ;-)

I may try to cobble together some list of cartridges with our sense of how much energy they leak. Fairly bogus and certainly IME only, but maybe useful to identify the most difficult to tame.
If you heard the Schroeder in the Soundsmith room, it was not with a low compliance, heavy cart that would typically be associated with putting a lot of energy back into the tonearm, or "leaking" to use an unfortunate term of Doug's. As for his partner Paul possessing extrasensory perception, being able to smell whether a record is Decca, RCA or L"Oiseau Lyre, having sonar like a bat so that he can navigate the aisles of audio shows blindfolded, and other super human attributes, I can say that (here is the disclaimer- I represent Schroeder arms) what you heard is simply the superior quality of Frank Schroeder's work. Which comes from 30 years of making arms, and his background in watchmaking. I've not yet heard the Talea, but how someone who never made an arm until last year, and has no technical background (I've heard the Talea is the result of the engineering department at Joel Durand's University getting involved) can suddenly make the best arm in the world is beyond me. Not saying it's impossible that a unipivot with no special innovations (and I do not consider on the fly azimuth adjustment an innovation, as it is certainly not something I would ever use) can hit a home run out of the park, but I remain skeptical. Durand's cheerleading friends and early adopters seem attracted to Schroeder threads (VA, OMA Forum) like flies to you know what, but the upcoming RMAF 2010 shootout between the Talea and a Schroeder Reference should settle the question.

Jonathan Weiss
Oswaldsmill Audio