This is where those unidin null points came from, nothing new or special:
http://www.vinylengine.com/tonearm_alignment_calculator_pro.php?arm1=Arm+1&l1=el&a1lv=270&a1=la&oh1v=&oa1v=&arm2=Lofgren+A&l2=el&a2lv=270&a2=la&oh2v=&oa2v=&arm3=Lofgren+B&l3=el&a3lv=270&a3=lb&oh3v=&oa3v=&arm4=Stevenson&l4=el&a4lv=270&a4=st&oh4v=&oa4v=&og=iec1&ogv=&ig=cus&igv=54&cal=y&submit=calculate
""" Now on to the special geometry of the Acoustical-Systems arms and how it has originated: For UNI-DIN....... """
seems to me that exist a misunderstood on that " special geometry " because in reality is not special, it's just a kind of tonearm/cartridge alignment. For we can understand it's not special we have to go to the very old true/real source of tonearm/cartridge alignment, here I go:
- Baerwald, Stevenson, Bauer, Pisha and many more kind of alignments were based has its foundation in the work made it in 1938 by LÖFGREN and his solutions through his calculations/equations where the object was and is to calculate the overhang and offset angle in any tonearm/cartridge combination. These are the main outputs in those equations that between other things gives both null points in any kind of alignment choosed and distortion levels.
The input variables need it to make the calculations are:
1- most outer groove record distance 2- most inner groove record distance and 3- tonearm effective length.
Does not exist null points for Löfgren B ( example. ) as a one and only solution: NO.
Null points depends not only in the kind of alignment choosed ( Baerwald, Löfgren or whatever. ) but which outer/inner most groove distances were choosed as inputs in the equations/calculations. If we change these inputs then null points will change it does not matters which kind of alignment we are using. That's why exist real industry standards for those inputs: IEC, DIN, JIS, etc, etc..
For years those two inputs were specified by the IEC and latter exist other standards as DIN and JIS too ( any one of us can have our self " standard " too. ).
The IEC values are: 146.05/60.325 mm where DIN: 146.3/57.5 mm
Through the calculations we achieve too the distortion levels that depends on where " are " the calculated null points. The calculations tell us the distortion levels in between the null points and outer both null points.
Overall that " special " alignment is higher in distortion level than ( example. ) Löfgren B .
As I said everyone can have its " own solution " changing the inputs. If we use DIN against IEC real standard the overall distortion level will be higher as is in that " special " one.
So Löfgren or Baerwald has not an exclusive null points it only depends on the input choosed in the calculations ( there are several calculators over the net. ).
If we change the most inner groove distance input using IEC, this is that instead of 60.325 mm we take as input 54 mm then we have the same null points as that " special " one. Nothing special at all. As a fact ( many years ago. ) , in one of his solutions, Stevenson did it but he was " extreme " because he made coincident the most inner groove distance with the inside null point. This extreme solution gives extreme/high distortions all over the recorded LP surface but the last 10mm !
Normally when those two inputs are out of IEC standard overall distortion goes higher.
Can we heard at the inner grooves LPs a difference in better quality sound in that " special " alignment than in Baerwald or Löfgren B?
If all those kind of alignments set ups were made accurately is almost imposible to hear. Why?, because the distortion level all over the recorded LP surface and at the inner grooves too is changing at each single groove with very low distortion values that can be really small as: 0.01% maybe lower, IMHO no one can hear that distortion level changes, we can't discern about.
Of course that if we use a poor cartridge/tonearm tracker we can hear that in all kind of alignments or if we choose for an " extreme " alignment as Stevenson one.
I'm with the IEC standard ( I can change my mind in the future, who knows. ) and Baerwald or Löfgren B is ok if the alignment cartridge/tonearm is made it with absolute ACCURACY. This is the key word in " this alignment game " and not the kind of alignment.
There is no perfect kind of alignment, in all exist trade-offs. Changing null points only define where we will have the diferent distortion levels through the recorded LP surface.
Why do you think the MINTLP protractor was and is so succesfuly? not only for its very low price but mainly for its ACCURACY due that the protractor is dedicated in specific not only to your tonearm but your TT too. ACCURATE.
So, any one of us can " invent " a new " black thread "/" special geometry alignment" for any tonearm/cartridge combination just changing one or those two inpu. So does not exist a tonearm with exclusive alignment geometry, all kind of alignments are universal and we can use it everywhere with any tonearm/cartridge combinations.
Btw, the real black thread was defined by Löfgren and my humble " hat off " to him.
Is it necessary to have 2-5 diferent kind of tonearm/cartridge alignments?, I don't think so.
What we must have is one kind of alignment: Löfgren A or B, and a " perfect " protractor as ( example ) the MINTLP ( I have not any relation with this protractor manufacturer or any other similar manufacturers. ) with extreme ACCURACY. This is the main subject and not the kind of normal alignment.
We have to remember that every time we want to change the kind of alignment we must to reset the overall tonearm/cartridge set up again: overhang, offset angle, VTA/SRA, VTF, Azymuth, AS, pivot to spindle distance, etc, etc. ) a pain in the ass and all of that for what? if we can't hear it when the set up was made with ACCURACY.
We can change too the effective length input in the calculations/calculator if the tonearm headshell has space to make the cartridge overhang and offset angle changes. Even we can make it in the same tonearm changing the tonearm manufacturer effective length say by 2mm-3mm.
I think that the tonearm design you reviewed is solid and very good regardness the kind of geometry alignment.
Now, I know very well the Lyra cartridge performance level including the lovely Etna and in the right tonearm and aligned with ACCURACY you can listen any recording with out any tiny sign of tracking distortions.
Btw, you touted too that tonearm headshell that as that " special geometry " is nothing special because that VTA/SRA headshell adjustement.
The VTA/SRA adjustment directly in the cartridge/headshell is a very old " black thread ":
the vintage AKG P100 cartridge comes ( out of production. ) with VTA/SRA adjustment directly through the cartridge body " mechanism. An as for VTA/SRA direct headshell mechanism this comes from the vintage DUAL CS 5000 :
http://www.green-vinyl.com/en/dual-cs-5000-linn-k-9.html
http://www.plattennadel.de/shop/d/
http://www.ebay.com/itm/Vintage-Dual-Cs-5000-Cabezal-/111737797183?_ul=BO
Again, thank's for your excellent cartridge/tonearm review.
Greetings.
]]>""" Now on to the special geometry of the Acoustical-Systems arms and how it has originated: For UNI-DIN....... """
seems to me that exist a misunderstood on that " special geometry " because in reality is not special, it's just a kind of tonearm/cartridge alignment. For we can understand it's not special we have to go to the very old true/real source of tonearm/cartridge alignment, here I go:
- Baerwald, Stevenson, Bauer, Pisha and many more kind of alignments were based has its foundation in the work made it in 1938 by LÖFGREN and his solutions through his calculations/equations where the object was and is to calculate the overhang and offset angle in any tonearm/cartridge combination. These are the main outputs in those equations that between other things gives both null points in any kind of alignment choosed and distortion levels.
The input variables need it to make the calculations are:
1- most outer groove record distance 2- most inner groove record distance and 3- tonearm effective length.
Does not exist null points for Löfgren B ( example. ) as a one and only solution: NO.
Null points depends not only in the kind of alignment choosed ( Baerwald, Löfgren or whatever. ) but which outer/inner most groove distances were choosed as inputs in the equations/calculations. If we change these inputs then null points will change it does not matters which kind of alignment we are using. That's why exist real industry standards for those inputs: IEC, DIN, JIS, etc, etc..
For years those two inputs were specified by the IEC and latter exist other standards as DIN and JIS too ( any one of us can have our self " standard " too. ).
The IEC values are: 146.05/60.325 mm where DIN: 146.3/57.5 mm
Through the calculations we achieve too the distortion levels that depends on where " are " the calculated null points. The calculations tell us the distortion levels in between the null points and outer both null points.
Overall that " special " alignment is higher in distortion level than ( example. ) Löfgren B .
As I said everyone can have its " own solution " changing the inputs. If we use DIN against IEC real standard the overall distortion level will be higher as is in that " special " one.
So Löfgren or Baerwald has not an exclusive null points it only depends on the input choosed in the calculations ( there are several calculators over the net. ).
If we change the most inner groove distance input using IEC, this is that instead of 60.325 mm we take as input 54 mm then we have the same null points as that " special " one. Nothing special at all. As a fact ( many years ago. ) , in one of his solutions, Stevenson did it but he was " extreme " because he made coincident the most inner groove distance with the inside null point. This extreme solution gives extreme/high distortions all over the recorded LP surface but the last 10mm !
Normally when those two inputs are out of IEC standard overall distortion goes higher.
Can we heard at the inner grooves LPs a difference in better quality sound in that " special " alignment than in Baerwald or Löfgren B?
If all those kind of alignments set ups were made accurately is almost imposible to hear. Why?, because the distortion level all over the recorded LP surface and at the inner grooves too is changing at each single groove with very low distortion values that can be really small as: 0.01% maybe lower, IMHO no one can hear that distortion level changes, we can't discern about.
Of course that if we use a poor cartridge/tonearm tracker we can hear that in all kind of alignments or if we choose for an " extreme " alignment as Stevenson one.
I'm with the IEC standard ( I can change my mind in the future, who knows. ) and Baerwald or Löfgren B is ok if the alignment cartridge/tonearm is made it with absolute ACCURACY. This is the key word in " this alignment game " and not the kind of alignment.
There is no perfect kind of alignment, in all exist trade-offs. Changing null points only define where we will have the diferent distortion levels through the recorded LP surface.
Why do you think the MINTLP protractor was and is so succesfuly? not only for its very low price but mainly for its ACCURACY due that the protractor is dedicated in specific not only to your tonearm but your TT too. ACCURATE.
So, any one of us can " invent " a new " black thread "/" special geometry alignment" for any tonearm/cartridge combination just changing one or those two inpu. So does not exist a tonearm with exclusive alignment geometry, all kind of alignments are universal and we can use it everywhere with any tonearm/cartridge combinations.
Btw, the real black thread was defined by Löfgren and my humble " hat off " to him.
Is it necessary to have 2-5 diferent kind of tonearm/cartridge alignments?, I don't think so.
What we must have is one kind of alignment: Löfgren A or B, and a " perfect " protractor as ( example ) the MINTLP ( I have not any relation with this protractor manufacturer or any other similar manufacturers. ) with extreme ACCURACY. This is the main subject and not the kind of normal alignment.
We have to remember that every time we want to change the kind of alignment we must to reset the overall tonearm/cartridge set up again: overhang, offset angle, VTA/SRA, VTF, Azymuth, AS, pivot to spindle distance, etc, etc. ) a pain in the ass and all of that for what? if we can't hear it when the set up was made with ACCURACY.
We can change too the effective length input in the calculations/calculator if the tonearm headshell has space to make the cartridge overhang and offset angle changes. Even we can make it in the same tonearm changing the tonearm manufacturer effective length say by 2mm-3mm.
I think that the tonearm design you reviewed is solid and very good regardness the kind of geometry alignment.
Now, I know very well the Lyra cartridge performance level including the lovely Etna and in the right tonearm and aligned with ACCURACY you can listen any recording with out any tiny sign of tracking distortions.
Btw, you touted too that tonearm headshell that as that " special geometry " is nothing special because that VTA/SRA headshell adjustement.
The VTA/SRA adjustment directly in the cartridge/headshell is a very old " black thread ":
the vintage AKG P100 cartridge comes ( out of production. ) with VTA/SRA adjustment directly through the cartridge body " mechanism. An as for VTA/SRA direct headshell mechanism this comes from the vintage DUAL CS 5000 :
http://www.green-vinyl.com/en/dual-cs-5000-linn-k-9.html
http://www.plattennadel.de/shop/d/
http://www.ebay.com/itm/Vintage-Dual-Cs-5000-Cabezal-/111737797183?_ul=BO
Again, thank's for your excellent cartridge/tonearm review.
Greetings.
]]>""" Now on to the special geometry of the Acoustical-Systems arms and how it has originated: For UNI-DIN....... """
seems to me that exist a misunderstood on that " special geometry " because in reality is not special, it's just a kind of tonearm/cartridge alignment. For we can understand it's not special we have to go to the very old true/real source of tonearm/cartridge alignment, here I go:
- Baerwald, Stevenson, Bauer, Pisha and many more kind of alignments were based has its foundation in the work made it in 1938 by LÖFGREN and his solutions through his calculations/equations where the object was and is to calculate the overhang and offset angle in any tonearm/cartridge combination. These are the main outputs in those equations that between other things gives both null points in any kind of alignment choosed and distortion levels.
The input variables need it to make the calculations are:
1- most outer groove record distance 2- most inner groove record distance and 3- tonearm effective length.
Does not exist null points for Löfgren B ( example. ) as a one and only solution: NO.
Null points depends not only in the kind of alignment choosed ( Baerwald, Löfgren or whatever. ) but which outer/inner most groove distances were choosed as inputs in the equations/calculations. If we change these inputs then null points will change it does not matters which kind of alignment we are using. That's why exist real industry standards for those inputs: IEC, DIN, JIS, etc, etc..
For years those two inputs were specified by the IEC and latter exist other standards as DIN and JIS too ( any one of us can have our self " standard " too. ).
The IEC values are: 146.05/60.325 mm where DIN: 146.3/57.5 mm
Through the calculations we achieve too the distortion levels that depends on where " are " the calculated null points. The calculations tell us the distortion levels in between the null points and outer both null points.
Overall that " special " alignment is higher in distortion level than ( example. ) Löfgren B .
As I said everyone can have its " own solution " changing the inputs. If we use DIN against IEC real standard the overall distortion level will be higher as is in that " special " one.
So Löfgren or Baerwald has not an exclusive null points it only depends on the input choosed in the calculations ( there are several calculators over the net. ).
If we change the most inner groove distance input using IEC, this is that instead of 60.325 mm we take as input 54 mm then we have the same null points as that " special " one. Nothing special at all. As a fact ( many years ago. ) , in one of his solutions, Stevenson did it but he was " extreme " because he made coincident the most inner groove distance with the inside null point. This extreme solution gives extreme/high distortions all over the recorded LP surface but the last 10mm !
Normally when those two inputs are out of IEC standard overall distortion goes higher.
Can we heard at the inner grooves LPs a difference in better quality sound in that " special " alignment than in Baerwald or Löfgren B?
If all those kind of alignments set ups were made accurately is almost imposible to hear. Why?, because the distortion level all over the recorded LP surface and at the inner grooves too is changing at each single groove with very low distortion values that can be really small as: 0.01% maybe lower, IMHO no one can hear that distortion level changes, we can't discern about.
Of course that if we use a poor cartridge/tonearm tracker we can hear that in all kind of alignments or if we choose for an " extreme " alignment as Stevenson one.
I'm with the IEC standard ( I can change my mind in the future, who knows. ) and Baerwald or Löfgren B is ok if the alignment cartridge/tonearm is made it with absolute ACCURACY. This is the key word in " this alignment game " and not the kind of alignment.
There is no perfect kind of alignment, in all exist trade-offs. Changing null points only define where we will have the diferent distortion levels through the recorded LP surface.
Why do you think the MINTLP protractor was and is so succesfuly? not only for its very low price but mainly for its ACCURACY due that the protractor is dedicated in specific not only to your tonearm but your TT too. ACCURATE.
So, any one of us can " invent " a new " black thread "/" special geometry alignment" for any tonearm/cartridge combination just changing one or those two inpu. So does not exist a tonearm with exclusive alignment geometry, all kind of alignments are universal and we can use it everywhere with any tonearm/cartridge combinations.
Btw, the real black thread was defined by Löfgren and my humble " hat off " to him.
Is it necessary to have 2-5 diferent kind of tonearm/cartridge alignments?, I don't think so.
What we must have is one kind of alignment: Löfgren A or B, and a " perfect " protractor as ( example ) the MINTLP ( I have not any relation with this protractor manufacturer or any other similar manufacturers. ) with extreme ACCURACY. This is the main subject and not the kind of normal alignment.
We have to remember that every time we want to change the kind of alignment we must to reset the overall tonearm/cartridge set up again: overhang, offset angle, VTA/SRA, VTF, Azymuth, AS, pivot to spindle distance, etc, etc. ) a pain in the ass and all of that for what? if we can't hear it when the set up was made with ACCURACY.
We can change too the effective length input in the calculations/calculator if the tonearm headshell has space to make the cartridge overhang and offset angle changes. Even we can make it in the same tonearm changing the tonearm manufacturer effective length say by 2mm-3mm.
I think that the tonearm design you reviewed is solid and very good regardness the kind of geometry alignment.
Now, I know very well the Lyra cartridge performance level including the lovely Etna and in the right tonearm and aligned with ACCURACY you can listen any recording with out any tiny sign of tracking distortions.
Btw, you touted too that tonearm headshell that as that " special geometry " is nothing special because that VTA/SRA headshell adjustement.
The VTA/SRA adjustment directly in the cartridge/headshell is a very old " black thread ":
the vintage AKG P100 cartridge comes ( out of production. ) with VTA/SRA adjustment directly through the cartridge body " mechanism. An as for VTA/SRA direct headshell mechanism this comes from the vintage DUAL CS 5000 :
http://www.green-vinyl.com/en/dual-cs-5000-linn-k-9.html
http://www.plattennadel.de/shop/d/
http://www.ebay.com/itm/Vintage-Dual-Cs-5000-Cabezal-/111737797183?_ul=BO
Again, thank's for your excellent cartridge/tonearm review.
Greetings.
]]>""" Now on to the special geometry of the Acoustical-Systems arms and how it has originated: For UNI-DIN....... """
seems to me that exist a misunderstood on that " special geometry " ( or maybe the misunderstood comes from my part, I can be wrong and I would like to know your opinion/advise. ) , it's just a kind of tonearm/cartridge algnment. What I understand on it I had to go to the very old true/real source of tonearm/cartridge alignment, here I go:
- Baerwald, Stevenson, Bauer, Pisha and many more kind of alignments were based/foundation in the work made it in 1938 by LÖFGREN and his solutions through his calculations/equations where the object was and is to calculate the overhang and offset angle in any tonearm/cartridge combination. These are the main outputs in those equations that between other things gives both null points in any kind of alignment choosed and distortion levels.
The input variables need it to make the calculations are:
1- most outer groove record distance 2- most inner groove record distance and 3- tonearm effective length.
Does not exist null points for Löfgren B ( example. ) as a one and only solution: NO.
Null points depends not only in the kind of alignment choosed ( Baerwald, Löfgren or whatever. ) but which outer/inner most groove distances were choosed as inputs in the equations/calculations. If we change these inputs then null points will change it does not matters which kind of alignment we are using. That's why exist industry standards for those inputs: IEC, DIN, JIS, etc, etc..
For years those two inputs were specified by the IEC and latter exist other standard DIN and exist JIS too ( any one of us can have our self standard too. ).
The IEC values are: 146.05/60.325 mm where the DIN: 146.3/57.5 mm
Through the calculations we achieve too the distortion levels that depends on where " are " the calculated null points. The calculations tell us the distortion levels in between the null points and outer both null points.
As I said everyone can have its " own solution " changing the inputs. If we use DIN against IEC standard the overall distortion level will be higher as is the uni-din.
So Löfgren or Baerwald has not an exclusive null points it only depends on the input choosed in the calculations ( there are several calculators over the net. ).
If in a 265mm effective length tonearm ( just an example. ) we change the most inner groove distance input using IEC ( true standard. ), this is that instead of 60.325 mm we take as input 54 mm then we have the same null points as uni-din.
Normally when those two inputs are out of IEC standard overall distortion goes higher.
Can we heard at the inner grooves LPs a difference in better quality sound in that alignment than in Baerwald or Löfgren B?
If all those kind of alignments set ups were made accurately is almost imposible to hear. Why?, because the distortion level all over the recorded LP surface and at the inner grooves too is changing at each single groove with very low distortion values that can be really small as: 0.01% maybe lower, IMHO no one can hear that distortion level changes even when that 0.01% goes to 0.2-0.3% we can't discern about.
Of course that if we use a poor cartridge/tonearm tracker we can hear that in all kind of alignments.
I'm with the IEC standard ( I can change my mind in the future, who knows. ) and Baerwald or Löfgren B is ok if the alignment cartridge/tonearm is made it with absolute ACCURACY. This is the key word in " this alignment game " and not the kind of alignment.
There is no perfect kind of alignment, in all exist trade-offs. Changing null points only define where we will have the diferent distortion levels through the recorded LP surface.
Why do you think the MINTLP protractor was and is so succesfuly? not only for its very low price but mainly for its ACCURACY doue that the protractor is dedicated in specific not only to your tonearm but your TT too. ACCURATE.
So, any one of us can " invent " a new " black thread " for any tonearm/cartridge combination just changing one or those two inputs ( that's what Stevenson did it in one of his alignment solutions!!. ). So does not exist a tonearm with exclusive alignment geometry, all kind of alignments are universal and we can use it everywhere.
Btw, the real black thread was defined by Löfgren and my humble " hat off " to him.
Is it necessary to have 2-5 diferent kind of tonearm/cartridge alignments?, I don't think so.
What we must have is one kind of alignment: Löfgren A or B, and a " perfect " protractor as ( example ) the MINTLP ( I have not any relation with this protractor manufacturer or any other similar manufacturers. ) with extreme ACCURACY. This is the main subject and not the kind alignment.
We have to remember that every time we want to change the kind of alignment we must to reset the overall tonearm/cartridge again: overhang, offset angle, VTA/SRA, VTF, Azymuth, AS, pivot to spindkle distance, etc, etc. ) a pain in the ass and all of that for what? if we can't hear it when the set up was made with ACCURACY.
We can change too the effective length input in the calculations/calculator if the tonearm headshell has space to make the cartridge overhang changes.
I think that the tonearm design you reviewed is solid and very good one regardness the kind of geometry alignment. I think this is not what does that very good tonearm design.
Now, I know very well the Lyra cartridges performance level including the lovely Etna and in the right tonearm and aligned with ACCURACY you can listen any recording with out any tiny sign of tracking distortions.
Btw, you touted too that tonearm headshell that because the VTA/SRA headshell adjustement.
The VTA/SRA adjustment directly in the cartridge/headshell is a very old " black thread ":
the vintage AKG P100 cartridge comes ( out of production. ) with VTA/SRA adjustment directly through the cartridge body " mechanism. An as for VTA/SRA direct headshell mechanism this comes from the vintage DUAL CS 5000 :
http://www.green-vinyl.com/en/dual-cs-5000-linn-k-9.html
http://www.plattennadel.de/shop/d/
http://www.ebay.com/itm/Vintage-Dual-Cs-5000-Cabezal-/111737797183?_ul=BO
Again, thank's for your excellent cartridge/tonearm review.
Greetings.
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