Cost no object tonearm for DL-103

For the DL103 and R you want an arm of at least 16grams effective mass. If you look through the spec chart on every arm you might consider, you'll find how the manufacturer rates its arm for mass. But keep in mind that an arm of lower mass can usually be increased simply by adding a head weight between the cartridge and headshell. Additionally, many arms are offered with add-on weights for the counterweight end. This allows you to accommodate cartridges like the DL103 which have stiff suspensions that require more weight over them to keep the stylus in the groove.

16G to 20G for the DL103R.

There is more to know but this is the short version for matching up arms and cartridges. Additionally, you can calculate at what frequency a given arm and cart match-up will resonate by a short formula. The idea being to have the arm/cart system resonate between 8hz and 12hz.

Here's a link to a page with more info on this subject:
http://www.theanalogdept.com/cartridge___arm_matching.htm

-Steve

You may want to check out the Ikeda labs arm. I just heard one, but with an Ikeda cartridge. Very impressive.

Dear Pani: +++++ " the formidable Fidelity Research FR-64S... " +++++

formidable for whom, the FR tonearms are the ones with higher self generated distortions out there. That some people are unaware of those tonearm generated distortions or that they like that kind of distortions does not means the arm is " formidable ", certainly it is not: I own it and only stay with to compare how a tonearm has not to performs.

Regards and enjoy the music,
R.

I heard a Van den Hul retipped 103 on a FR66S tonearm. The combination was wonderful.

Dear Mosin: Good that you like it as likes to other persons.

I owned a FR66 and own a FR64.

Problem with the FR tonearms is that are all metal NON-DAMPED balanced designs.

Trough my experiences the worst self resonance/vibrations tonearm/headshell build material is metal or a blend of it.

A tonearm must " fight " against stylus/cantilever and cartridge body generated vibrations/resonances ( at microscopic level between the TT mat/platter and LP/stylus-cantilever. ) that one way or the other needs to be damped and at the same time that the tonearm/headshell can stop/disappears the feedback of those cartridge/LP generated resonances/vibrations: this can't do it by the all metal NON-DAMPED FR design and not only that but due to those microscopic cartridge/LP resonances the tonearm wand and bearing is exited with creating additional resonances/vibrations/distortions that degrade the cartridge signal as in no other tonearms. Again, problem is that the FR are a NON-DAMPED design.

Additional the FR balanced design kind of operation has its own " ringing "/noise " to operate in balanced way with out no single kind of dampening that could stop those " vibrations "/distortions.

That's what the FR owners are hearing and what you heard.

That, as some of you, like it what are hearing does not means in any way that those very high distortions disappeared just because you like it: NO you are hearing those distortions and this is what you like it, period.

Now, not one but two times a gentleman that knows a lot more that any one of us, because he is a cartridge designer, he ( I assume. ) tested his cartridges with almost any kind of vintage/today tonearms and he knows exactly how each tonearm affect the cartridge signal, well he posted ( when some one asked. ) that the FR is not a tonearm he prefered and even posted that the Ikeda tonearm are a little better than the FR ( even that comes from same designer. ). I agree with him about.

The FR subject ( as any other in audio ) is not what we like but what is wrong or right. Yes, that " wonderful " you used in your post or what ever adjective you can give to those tonearms are weighted with " tons " of distortions that you are unaware of..

As with TT a tonearm needs dampening even at higher level that in a TT. This is not science is only common sense.

Yes, I know that you like it: so what?, is wrong what you like it or you like it higher distortions and nothing wrong with that because is what fullfil your cup of tea.

IMHO and trying to help to other audiophiles we all have the responsability to understand what is happening " down there " ( in any audio subject ) before we can " spread " " marvelous information " that could contaminate the learning proccess of any audiophile precluding the " right " to grow up each audiophile has. Misinformation only stop each one growing up proccess and life is to short to stay " stopped ".

The spreaded information of this specific tonearm was made for sellers to take money from us that were unaware of the facts because our ignorance level on that specific subject was really high.

Some already learned by first hand experiences.

Btw, you can ask your self : why a tonearm needs " damp " by design?, I'm sure you can find out the answer in a few minutes.

Mosin, vibrations/resonances/feedback/generated noise are the Music/sound ENEMY in all audio alternatives but especially on analog. We need: TT, cartridges, tonearms and the like with the right " dosis " of dampening to be nearest to the recording.

Am I against the FR tonearms?, certainly not what I'm is in favor of MUSIC and against anything that can degrade it in the way those tonearm does. Tha's all.

Regards and enjoy the music,
R.