Following the SP-10R, it looks like there might possibly be another high end Japanese turntable in the offing...
https://www.analogplanet.com/content...how-2017-day-2
Following the SP-10R, it looks like there might possibly be another high end Japanese turntable in the offing...
https://www.analogplanet.com/content...how-2017-day-2
Engineers: fixing problems you didn't know you had in ways you don't understand.
Not quite an SP-10R competitor, but it's nice to see the Japanese big names lending weight to the turntable market. I like the idea of the straight arm without offset, even if it appals Michael Fremer!
Wish it was dd though
My System:
Amplification - Sansui AU-alpha 707 DR
Turntable - Technics SP10 MK2-Technics EPA-250 Tonearm-Yannis Tome 423.5Plus tonearm cable-Eichmann KLEI Absolute Harmony plugs.
Ortofon Cadenza Black moving coil cartridge-Fritz Gyger S re-tip. Panzerholz plinth.
CDP - Pioneer PD-91
Speakers - Spendor D7 on Soundcare SuperSpikes
QED Silver Spiral speaker cable-airloc banana plugs
Mains - Ultra Pure silver plated un-switched socket-Missing link EPS 500 silver plated plugs-Hi-Fi Tuning gold plated silver ceramic 13 amp fuses
Weird without offset, doesn't it need to be much longer or almost pivoting from the edge of the platter?
Kuzma Stabi/S 12", (LP12-bastard) DC motor and optical tacho psu, Benz LP, Paradise (phonostage). MB-Pro, Brooklyn dac and psu, Bruno Putzeys balanced pre, mod86p dual mono amps, Yamaha NS1000m
In doing away with angular offset, there is only one degree of freedom to play with, and there will only one radius of the record groove where there is perfect tangential tracking. The single degree of freedom is the difference between the effective arm length (L) and the turntable centre (spigot) to arm pivot distance (D).
For arms with two degrees of freedom they are the arm overhang (L>D) and the offset angle.
For arms with a single degree of freedom, it is the arm underhang (L<D).
H. G. Baerwald, ‘Analytic treatment of tracking effort and notes on optimal pick-up design’. Journal of the Society of Motion Picture Engineers. pp. 591 – 622, 1941.
Barry
Of course, yet arms that deliberately fly in the face of that can apparently sound great, without any need for bias compensation. I'm not saying that ignoring accepted wisdom is better, just that lateral thinking sometimes brings surprising benefits. I like to see designers daring to be different.
The lack of bias compensation is an interesting advantage, as can be seen on the arm in question.
Yes, such as the Reed 3P arm which allows azimuth adjustment 'on the fly', but in doing so causes arm motion in the vertical plane to deviate slightly from true verticality.Originally Posted by Amonnite Acoustics
Barry
Uhh belt drive
Bakoon 13r Denon DP80 Stax UA-70 Shure Ultra 500 in a Martin Bastin body with jico stylus, project ds2 digital Rullit aero 8 field coils in tqwt speakers
Office system, DIY CSS fullrange speakers with aurum cantus G2 ribbons yulong dac Sony STR6055 receiver Jvc QL-A51 direct drive turntable, Leema sub. JVC Z4S cart is in the house
Garage system another Sony receiver, cassette deck
System components are subject to change without warning and at the discretion of the owner.
Also, don’t forget back in their heyday, Yamaha offered a non offset arm as an optional upgrade for the GT-2000 - the YSA-2.
Engineers: fixing problems you didn't know you had in ways you don't understand.