Reed tonearm w/ Raven One table-how's the match ?

Vertigo...Knocking on the Dunlavy produces a high, kind of hollow sound, but I've long known that. I've still been able to work with related equipment in such a way that I've managed to "paint" as you say a pretty satisfying sound. I read some comments on the Reynaud Supreme just to get an inkling about it. Evidently, both the developers and others who had either purchased or auditioned it didn't like some of the things they were hearing. The result was Version 2, and that seemed to have mainly erased the complaints. Frankly, at this point in my life, I'm not too interested in fishing for another speaker. If I did make a change, I'd probably go for one of the current and better Quads, but for now.....

Without details again, I partially lost what I was pretty satisfied with, a slighly warmish/darkish sound resembling what I typically hear in the concert hall, easier on the ears and musical to my tastes. I have some options which I feel offer a good chance of restoring what I like, the less expensive one(s) preferred. So that's where I'm at. Again, thanks for your ideas and desire to offer some help. Oh, and regarding the kind of shim you alluded to, it sounds interesting and worth a shot.

Mike: if you'd like to discuss the Talea here, that's perfectly okay with me. I'd be interested in hearing your impressions too. I'll leave it up to you.

Vertigo: Forgot to mention, I have the long discontinued VPI HW-19 Mk.3 turntable.

I am surprised that no one else seems to have focused on this, but there seems to be a consensus (elsewhere) that you pick your tonearm to match your cartridge, not your turntable. If the turntable is doing its own job well, then it will collaborate with the tonearm/cartridge combination. I consider the tonearm and cartridge together to be a component per se. With the Reed, you can choose from 6 or 7 different kinds of hardwood, which gives you the opportunity to tune the arm and optimize effective mass to complement your cartridge. I think I calculated recently that there are well over 150 versions of the Reed when you take into account the choices of arm wand material, wiring, connectors, optional features, and main structure material, not to mention length.

Lewm, you are right but in a way, all the combinations from Reed make it rather confusing. Some of the wood have to same effective mass so it is really hard to figure out which wood to choose. I went by what Reed suggested for my particular cartridges since I could not afford to buy 2 or 3 arms with different material to try.

I am not sure if there is any particularly good reason that the wire has to be attached to the base of the tonearm. I would love to be able to swap out different arm using one base unit. I would not mind that the phono wire has to stay with the arm itself. It would still be cheaper than buying 2 or 3 Reed arms and it would make experimenting with various wood more economical.