I see that he abandoned the provision of alignment by the headshell (the only right way) and adopted the Triplanar's method of align the azimuth by twisting the arm tube (very convenient but wrong). By doing this, he has also fixed firmly the headshell on the armtube. I'm asuming that he probably discovered some diminishing returns and so he put the sliding metals at the end. Sometimes I'm puzzled by the genius and somehow I feel the alchemist soul of the designer. I'm convinced he has a creative and inventive mind but if I could ever have a chance to advise, I would point him the nessesity for robustness wherever it is possible to achieved and incorporated in every parameter of the construction. Even if this means a major change in materials, fixing methods or design approaches. The forces dictate this, as they can discard the use of a faint point of contact no matter how precisely has been builded. His choise of wood armtubes related with the desparate need for damping the resonanses to provide an easy field to work his wonders on alignment. Problem is that this dark and slow recovering field characterises the result. The remaining question about (the impossible?) to align the azimuth by rotation of the wrong axis, must investigated. Please do not misread my post. Ι'm watching with great interest his creations and I really admire his efforts. He is very active in pushing the art of this fetish (tonearm) thing and his move to loan his preproduction beauties to customers for evaluation, is a honest habit that is highly regarded by me (I've done this for a 2 twisted conductor interconnect prototype of VDH 3T series). I'm only wishing for his mature period to come ASAP.