Hi Colin,
Thankfully there are quite a few Cantus based arms around, not the least due to this thread. But the thread is called DIY linear tonearms, not "DIY Cantus tonearms", so any discussion as to the merits of this or that solution to a problem, be it small or large, should not be ridiculed. And a design principle, even if it is working fine, should not be taken as gospel, questioning it is a step towards (possibly) improving it, definitely to understanding it better.
What is and what isn't significant is solely determined by the individual once all theory has been applied to an actual physical object. If the builder likes the outcome : perfect! If not, report the findings. All of that can be found here.
Any "professional" looking down upon the DIY scene is likely not worth his salt. While most DIY turntables, amps and speakers are not representing the state of the art, some do and sometimes take it further. There is no substitute for enthusiasm, a trait that the professional world often suffocates.
Btw, Bo's comment on that certain german company "not getting it right" is just testament to their lack of imagination/ability to grasp the concept. One of their advertising slogans is "take the best and make it better", but it should be: take the best, screw it up and sell it for a lot more...(excuse the mini rant..)
Publishing measurements has not helped a great deal to achieve common agreement on what is/sounds better. More often than not, measurement methology will be attacked and the parameters measured tauted as insignificant or not sufficient to get the entire picture(which we never will, anyway
Not fun to get criticized for submitting info derived from hard work....
It's a strange phenomenon. Subjecting ones self-designed/built objects to the scrutiny of many, when the results can only be experienced by an individual and should ultimately be judged by the very individual who built it.
Have fun,
Frank
Thankfully there are quite a few Cantus based arms around, not the least due to this thread. But the thread is called DIY linear tonearms, not "DIY Cantus tonearms", so any discussion as to the merits of this or that solution to a problem, be it small or large, should not be ridiculed. And a design principle, even if it is working fine, should not be taken as gospel, questioning it is a step towards (possibly) improving it, definitely to understanding it better.
What is and what isn't significant is solely determined by the individual once all theory has been applied to an actual physical object. If the builder likes the outcome : perfect! If not, report the findings. All of that can be found here.
Any "professional" looking down upon the DIY scene is likely not worth his salt. While most DIY turntables, amps and speakers are not representing the state of the art, some do and sometimes take it further. There is no substitute for enthusiasm, a trait that the professional world often suffocates.
Btw, Bo's comment on that certain german company "not getting it right" is just testament to their lack of imagination/ability to grasp the concept. One of their advertising slogans is "take the best and make it better", but it should be: take the best, screw it up and sell it for a lot more...(excuse the mini rant..)
Publishing measurements has not helped a great deal to achieve common agreement on what is/sounds better. More often than not, measurement methology will be attacked and the parameters measured tauted as insignificant or not sufficient to get the entire picture(which we never will, anyway
Not fun to get criticized for submitting info derived from hard work....It's a strange phenomenon. Subjecting ones self-designed/built objects to the scrutiny of many, when the results can only be experienced by an individual and should ultimately be judged by the very individual who built it.
Have fun,
Frank
It appears there's a tone of "chip on the shoulder" mentality in this thread that's really not necessary. I have little doubt that your design or other's DIY result has the potential to compete with commercial products or even better them. People tend to forget many so called professionals started out in the garage or basement experimenting with a prototype before materializing into a finished product. In tonearm world, one example is Durand tonearms as the designer used the internet to bounce off ideas and accumulated the experience to create a critically acclaimed product. It's really the consummation of the DIY community. In my own thread on pivoting tangential tonearms, I welcome all opinions whether is DIY or commercial, theoretical or practical. The spirit of the DIY world is the flowering of ideas. (Just don't talk about airpumps!
) My area of building is in tube amps and I have many own experiences that a DIY amp can easily better many commercial products, new and vintage. And I have access to many top dollar vintage gears and I can tell you many don't live up to the hype. It's just that many DIY builders don't want to risk their day job!
Thanks for the rant, Frank! Over the years of observing the audio scene that I have never seen a company that commercially successful can be so creatively vacuous that just about every single product they make is copied from someone else. Sorry, my disdain for them is unhinged... Their slogan should be "take the best and make a copy"..... and, yes, sell for more!
Thanks again for being so perceptive!
Direct driver,
The only "chip" on my shoulder is reading endless theory without seeing any tangible results. Frank And his beautiful arms seem to be built and tested as working prototypes and I love this hands on nature, its the only way to get anything worthy.
We have been getting sidetracked on bearing chatter, I say test the thing and report back. I'm still thankful to PDR for proving the two tube concept, definately an advancement on the original design .
Colin
The only "chip" on my shoulder is reading endless theory without seeing any tangible results
. Frank And his beautiful arms seem to be built and tested as working prototypes and I love this hands on nature, its the only way to get anything worthy. We have been getting sidetracked on bearing chatter, I say test the thing and report back. I'm still thankful to PDR for proving the two tube concept
, definately an advancement on the original design .Colin
The only "chip" on my shoulder is reading endless theory without seeing any tangible results
Since this is a forum for discussion, I for one don't really care about the result. As I said before, I'm a minority here that I am here for intellectual purpose only, that is, entertainment. I have several arms to use so it's not a concern for me. If providing tangible results is the only qualification to chime in then I'm sorry that I've been wasting everybody's time. Moving on...
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Hi Colin.
To date I have been posting mainly theory in this thread. You said you wanted to see tangible results. So here's my tangible results.
I was going to hold back sharing until I had modified the arm to a two rod design, but what the hell, here it is. I'll post a discription in another post as I can only upload pics on my desk top which is in a different room to the turntable. This way I can spin vinyl and post at the same time.
Niffy
P.s. Sorry it was me who originaly bought up chatter.
To date I have been posting mainly theory in this thread. You said you wanted to see tangible results. So here's my tangible results.
I was going to hold back sharing until I had modified the arm to a two rod design, but what the hell, here it is. I'll post a discription in another post as I can only upload pics on my desk top which is in a different room to the turntable. This way I can spin vinyl and post at the same time.
Niffy
P.s. Sorry it was me who originaly bought up chatter.
Hi all.
The pics in my previous post are of my build to date. Although it looks very different to the other arms in this thread it bears many similarities. It is of course a mechanical linear tracker. It has a short effective length, a bit shorter than Colin's at only 55mm. My track/rail is set much closer to the record surface in order to minimize wow. To facilitate record changes the track slides to the back of the deck as shown in the last pic. When the track is in the play position it is securely locked in place using the knob seen on the upright.
Adjustment for cartridge alignment are all dome using solid screw adjusters. The cartridge come back into perfect alignment every time the slide is locked.
As previously mentioned the bearings I am currently using are pin bearings, though as soon as I have finished the two rod track I will be comparing them to ball races.
The main difference in my arm is the carriage. My aim in designing the carriage was to keep the entire audio-bandwidth within the range where the cartridge is held steady by the effective mass of the arm. In order to achieve this the resonant frequency of the arm has to be above the audio-bandwidth, over 20khz. To achieve this the arm has to be extremely rigid, hence the very short length and solid construction. For instance the cartridge sits within a bucket at the front of the arm eliminating a flappy headshell. The carriage passes both under and over the track with only a 2.5mm clearance above the record. Everything has been honed to the bone. The arm was designed by creating a custom finite element analysis program in excel, over a quarter of a million fields. I didn't quite hit my target resonant frequency. But 19khz in the vertical plane and way over 20khz in the horizontal ain't bad.(my hearing only goes up to 16khz anyway, not as young as I used to be)
How does it sound.
Difficult to answer without breaking forum rules. It sounds (insert expletive of choice) awesome.
Seamless through the entire range. Detailed open fast precise. You get the picture. I love it.
It still has a couple of tracking issues that are caused by eccentric wheels. Soon to be addressed. It very occasionaly skips due to this. This has highlighted the strength of the carriage. At the point when it skips the cantilever is a massive 3degrees or so off tangential. Even at this level of lateral tracking error the sound quality is still much better than my other deck (modded systemdek, rega arm same cartridge) is when running at its best.
Sorry probably blowing my own trumpet a bit there.
Niffy
The pics in my previous post are of my build to date. Although it looks very different to the other arms in this thread it bears many similarities. It is of course a mechanical linear tracker. It has a short effective length, a bit shorter than Colin's at only 55mm. My track/rail is set much closer to the record surface in order to minimize wow. To facilitate record changes the track slides to the back of the deck as shown in the last pic. When the track is in the play position it is securely locked in place using the knob seen on the upright.
Adjustment for cartridge alignment are all dome using solid screw adjusters. The cartridge come back into perfect alignment every time the slide is locked.
As previously mentioned the bearings I am currently using are pin bearings, though as soon as I have finished the two rod track I will be comparing them to ball races.
The main difference in my arm is the carriage. My aim in designing the carriage was to keep the entire audio-bandwidth within the range where the cartridge is held steady by the effective mass of the arm. In order to achieve this the resonant frequency of the arm has to be above the audio-bandwidth, over 20khz. To achieve this the arm has to be extremely rigid, hence the very short length and solid construction. For instance the cartridge sits within a bucket at the front of the arm eliminating a flappy headshell. The carriage passes both under and over the track with only a 2.5mm clearance above the record. Everything has been honed to the bone. The arm was designed by creating a custom finite element analysis program in excel, over a quarter of a million fields. I didn't quite hit my target resonant frequency. But 19khz in the vertical plane and way over 20khz in the horizontal ain't bad.(my hearing only goes up to 16khz anyway, not as young as I used to be)
How does it sound.
Difficult to answer without breaking forum rules. It sounds (insert expletive of choice) awesome.
Seamless through the entire range. Detailed open fast precise. You get the picture. I love it.
It still has a couple of tracking issues that are caused by eccentric wheels. Soon to be addressed. It very occasionaly skips due to this. This has highlighted the strength of the carriage. At the point when it skips the cantilever is a massive 3degrees or so off tangential. Even at this level of lateral tracking error the sound quality is still much better than my other deck (modded systemdek, rega arm same cartridge) is when running at its best.
Sorry probably blowing my own trumpet a bit there.
Niffy
Hi All ,
I realy like this diy thread , a lot ! especialy because the large amount of information available , participants
( both diy and commercial , thank God ) which is making it a wonderful platform to speak , exchanging ideas
and findings with each other !
I have no intension or even believe that I understand a whole lot of theory regarding tonearm design , let alone
the knowledge of what is right , and what is wrong . this alone is a good reason to read and study theory in
all the elements . at the moment I'm digging into the bearing theory , which is realy interesting , not in the last
place because this is a very critical component in our journey to a quality tonearm . and may also be the key
to satisfied arm behaviour imho . this beside many other aspects , nonetheless .
Niffy , gorgious work , mass and rigidity , ovbious choise . and indeed a helluva nice carriage as well !
thanks for sharing the foto's and again : keep up the good works !
Frank , I can understand when people are not open to deep study , the more when the sound of their product
satisfies them enough to just enjoy it as is . in fact , this was exactly what I was doing , till I recently woke up
and realized that I had to do the math and theory to come to a better tonearm . not to convince anyone but myself
;-)
Besides the question of vertical plane friction , more or less the difference between Cantus strategy and most
( if not all ) other LT arms that I'm aware of :
First thing I realy want to work out is creating a possible way to measure any usefull date regarding bearing rattle/
play , possible arm/joint torsion , and last but not least ... bearing friction .
I believe that as soon we can visualize these data , we're half way to manufacture a decent tonearm , and most
important , we can disscus this and try to get our noses into the same direction ;-)
THX to all ,
Paul
I realy like this diy thread , a lot ! especialy because the large amount of information available , participants
( both diy and commercial , thank God ) which is making it a wonderful platform to speak , exchanging ideas
and findings with each other !
I have no intension or even believe that I understand a whole lot of theory regarding tonearm design , let alone
the knowledge of what is right , and what is wrong . this alone is a good reason to read and study theory in
all the elements . at the moment I'm digging into the bearing theory , which is realy interesting , not in the last
place because this is a very critical component in our journey to a quality tonearm . and may also be the key
to satisfied arm behaviour imho . this beside many other aspects , nonetheless .
Niffy , gorgious work , mass and rigidity , ovbious choise . and indeed a helluva nice carriage as well !
thanks for sharing the foto's and again : keep up the good works !
Frank , I can understand when people are not open to deep study , the more when the sound of their product
satisfies them enough to just enjoy it as is . in fact , this was exactly what I was doing , till I recently woke up
and realized that I had to do the math and theory to come to a better tonearm . not to convince anyone but myself
;-)
Besides the question of vertical plane friction , more or less the difference between Cantus strategy and most
( if not all ) other LT arms that I'm aware of :
First thing I realy want to work out is creating a possible way to measure any usefull date regarding bearing rattle/
play , possible arm/joint torsion , and last but not least ... bearing friction .
I believe that as soon we can visualize these data , we're half way to manufacture a decent tonearm , and most
important , we can disscus this and try to get our noses into the same direction ;-)
THX to all ,
Paul
Took me some time to read your comments and investigate the foto's , but
DANG ! what a superb construction you are showing us here Niffy
There are numberous details in this arm that caught my attention
and I'll definitely will be coming back to you to ask for specific details ..
If you don't mind
Admire you'r skills
Also , ýour findings with the dual rod rail + ball bearings will be highly
interesting .
THX for sharing ,
Paul
Hi all.
Thank you for all your encouraging words.
I designed the current rail before I discovered this thread and had the idea of vertical friction introduced to me. At this point I was with doing what everyone was doing and aiming for low vertical friction.
I didn't want to run the carriage on a tensioned wire. A tensioned wire will resonate horrendously, think guitar string. The rail as it stands is a 1mm stainless steel rod, this rod is supported by a carbon fibre section along its entire length, this section is in turn attached to two 8mm diameter stainless thick walled tubes. These tubes are filled with damping material and internally threaded at the ends for mounting purposes. The rails are supported from both ends. Performing the pencil tap test with the stylus on a stationary record results in a barely audible thud through the speakers, very rapid decay.
No point in solving the resonance of the carriage only to move it one rung down the ladder.
Niffy
Alternate Methods - Part 2, OTF VTA
Dear Colin,
I've been gone from this thread for months now, due to dismay over one of the thread's theorists opining that a 4-bearing carriage would only travel on 3 bearings. That contradicted what I actually saw with my 'alternate method' carriage. Then yesterday, as a result of my viewing another thread I recieved an email of the notice below. A theorist leaving the thread?
---Quote (Originally by vynuhl.addict)---
The only "chip" on my shoulder is reading endless theory without seeing any tangible results.
---End Quote---
Since this is a forum for discussion, I for one don't really care about the result. As I said before, I'm a minority here that I am here for intellectual purpose only. I have dozen arms to use so it's not a concern for me. If providing tangible results is the only qualification to chime in then I'm sorry that I've been wasting everybody's time. Moving on...
***************
So Colin, since I left the thread amidst academic touts of "operational definitions" and empirical testing results ... well, there's been blood on the tonearm. I began my tonarm journey on 10July last year, with a purchase from ACER Racing of four: C036 1/8 x 3/8 Ceramic Ball Bearing
Which I shortly thereafter learned were the 'wrong' types ... or something?
My custom kit "Teres" turntable gives me different problems and different options for a Linear Tonearm. My immeidate prior experience with Pete Riggles "VTAF" VTA on-the-fly adjustor, as modified for my venerable Black Widow tonearm told me that conveniently adjustable VTA is a positive thing indeed.
"Polishing my rod", the stainless steel rod, has given grief. In fact my physician sent me to physical therapy earlier this week to to a shoulder injury directly attributable to 'polishing.' An yes, in truth, there has been blood on the tonearm. I've been working studily for months now, with even many 'engineering drawings' made to assist with troublesome details.
Colin, it was your gruding revelation months and months ago that '2 3/8" to 2 1/2" pivot to stylus distance was what you considered (then?) optimal that was my 'Go Code' to begin the project. I've attached three photos which show something of my OTF-VTA variation of your idea using the SS rod, and very low weight carriage construction.
There's been nothing but grief with phono cartridges. The "1st Play" was on 11Feb - the 40AWG silver wire is/was a PITA. The "1877 Phono" brand cartridge spring clips had pulled out two of the OM 30 Super's pins, destroying the right channel. That first play was 'left channel only.' But, it did track the entire album's width with nary a seeming 'flinch' from the test stylus, an "LPGear" OM10 substitute I'd purchased in anticipation of testing before the cartridge was destroyed by the spring clips.
My tonearm is completely disassembled again for a final (soldering mod) and stripping re-painting the copper base (the photos don't show the 6" main pillar extending below the swingboard). I await the arrival of two cartridges now for further testing. The Teres battery power system for the motor is failing ... the grief never ends when you're having fun.
What have I missed in denying myself months of theorizing in this thread? I felt that I needed 'peace and quiet' to achieve my variation of your design. How well is it actually going to work? Does everyone 'know' just how difficult getting an album under the tonearm is? Questions, questions. Hope you get a kick out of the photos of my "tangible results"?
For sure I'll be back with a 'final report'; and, I may even come back for more of the theorizing, since I feel that now I've 'put up' (after shutting up).
Best regards,
John
p.s. It only took me 13 years (1987 to 2000) to get my pair of 1cm x 182cm (6ft) true ribbon drivers operational. I've had lots of experience with long projects.
Dear Colin,
I've been gone from this thread for months now, due to dismay over one of the thread's theorists opining that a 4-bearing carriage would only travel on 3 bearings. That contradicted what I actually saw with my 'alternate method' carriage. Then yesterday, as a result of my viewing another thread I recieved an email of the notice below. A theorist leaving the thread?
---Quote (Originally by vynuhl.addict)---
The only "chip" on my shoulder is reading endless theory without seeing any tangible results
.---End Quote---
Since this is a forum for discussion, I for one don't really care about the result. As I said before, I'm a minority here that I am here for intellectual purpose only. I have dozen arms to use so it's not a concern for me. If providing tangible results is the only qualification to chime in then I'm sorry that I've been wasting everybody's time. Moving on...
***************
So Colin, since I left the thread amidst academic touts of "operational definitions" and empirical testing results ... well, there's been blood on the tonearm. I began my tonarm journey on 10July last year, with a purchase from ACER Racing of four: C036 1/8 x 3/8 Ceramic Ball Bearing
Which I shortly thereafter learned were the 'wrong' types ... or something?
My custom kit "Teres" turntable gives me different problems and different options for a Linear Tonearm. My immeidate prior experience with Pete Riggles "VTAF" VTA on-the-fly adjustor, as modified for my venerable Black Widow tonearm told me that conveniently adjustable VTA is a positive thing indeed.
"Polishing my rod", the stainless steel rod, has given grief. In fact my physician sent me to physical therapy earlier this week to to a shoulder injury directly attributable to 'polishing.' An yes, in truth, there has been blood on the tonearm. I've been working studily for months now, with even many 'engineering drawings' made to assist with troublesome details.
Colin, it was your gruding revelation months and months ago that '2 3/8" to 2 1/2" pivot to stylus distance was what you considered (then?) optimal that was my 'Go Code' to begin the project. I've attached three photos which show something of my OTF-VTA variation of your idea using the SS rod, and very low weight carriage construction.
There's been nothing but grief with phono cartridges. The "1st Play" was on 11Feb - the 40AWG silver wire is/was a PITA. The "1877 Phono" brand cartridge spring clips had pulled out two of the OM 30 Super's pins, destroying the right channel. That first play was 'left channel only.' But, it did track the entire album's width with nary a seeming 'flinch' from the test stylus, an "LPGear" OM10 substitute I'd purchased in anticipation of testing before the cartridge was destroyed by the spring clips.
My tonearm is completely disassembled again for a final (soldering mod) and stripping re-painting the copper base (the photos don't show the 6" main pillar extending below the swingboard). I await the arrival of two cartridges now for further testing. The Teres battery power system for the motor is failing ... the grief never ends when you're having fun.
What have I missed in denying myself months of theorizing in this thread? I felt that I needed 'peace and quiet' to achieve my variation of your design. How well is it actually going to work? Does everyone 'know' just how difficult getting an album under the tonearm is? Questions, questions. Hope you get a kick out of the photos of my "tangible results"?
For sure I'll be back with a 'final report'; and, I may even come back for more of the theorizing, since I feel that now I've 'put up' (after shutting up).
Best regards,
John
p.s. It only took me 13 years (1987 to 2000) to get my pair of 1cm x 182cm (6ft) true ribbon drivers operational. I've had lots of experience with long projects.
Attachments
Since you quoted my post so I assume you are referring to me as the "theorist" but then the you wrote "the thread's theorists opining that a 4-bearing carriage would only travel on 3 bearings." I have to assume I am NOT one of the "theorists" because I did not make such comment so I am confused by the point of it all. I am neither a theorists nor practitioner, just someone here to educate myself but made the unfortunate choice of commenting without BUILDING anything (Not that I don't want to but I am limited by my lack of tools, skills, and, most importantly, time as most of it is consumed by repairing tube amps!) and my admittedly poor choice of words about "not really care about the result" is misguided. Of course I care about the result as no one is as hateful of tracking distortion as I am, to the point that I now listen to CD more!
I'm one of the earliest champions of Colin's brilliant design and contributed pictures of commercial and experimenter's similar designs to generate further interest. I merely pointed out there's a sense of impatience in this thread as if there's a deadline to catch or something. Can't forum members chime in on a topic as broad as the title of this thread "DIY linear tonearm"? This is a hobbyist forum, isn't it? I will refrain from comments from now on but will continue to read with interest as some of the completed results are truly impressive, including yours too, John.
Niffy, awesome creation!
.
A good understanding of theory is more important than a fully equipped workshop. (unless you're just copying a set of plans to the letter). If you know how something works you can theorize how to make it better. Theory can only take you so far. Sooner or later you have to make the thing, test it, and see how your theory stands up. Make a change, see how the change effects the result, good or bad. Find the theory that explains the change. This will help guide you to your next step. Always be open to new ideas and don't be afraid to get radical.
A fully equipped workshop would be lovely but you can still do wonderful things without one. I think all of the builds shown in this thread have been made in " the garden shed". And they all look great. I don't even have a garden shed, my entire deck was built on a workmate in the corner of the kitchen.
Theory and practice are the best of buddies.
Niffy
A fully equipped workshop would be lovely but you can still do wonderful things without one. I think all of the builds shown in this thread have been made in " the garden shed". And they all look great. I don't even have a garden shed, my entire deck was built on a workmate in the corner of the kitchen.
Theory and practice are the best of buddies.
Niffy
Alternate Methods 2 - construction
With regards to "Lexx21" for his private message here are six photos from the pentulimate stage of construction of my variation on Colin's ideas.
As to having 'a fully equiped shop' ... OK, now I've stopped laughing. Does having a drill press qualify as a 'fully equiped shop'? My 'lathe' is a hand drill. My soldering torch was $7.95 at "Harbor Freight."
Having an advanced degree in a research discipline, I am now retired after a career in a research support role, both hardware and computer. Of special note were the two graduate-level courses I took, "Philosophy of Science" and "Psychology of Science". Of course, I still find spelling and grammer vexing.
In another thread in the "Analogue Source" forum, yesterday I noted that 'Science' is a belief system, with two primary assumptions:
1. There is order in the Universe.
2. Humans can determine that order.
Neither assumption is proven, as of yet. The application of theory to practice has a long history. From Tables of Ballistics of yore, to the question of why the "Little Boy" atomic bomb had to be tested, and the "Fat Man" bomb did not. Fat Man just 'had' to go off - didn't it?
It seems I must 'go back' and read some more of the latest theory I missed in this thread after leaving months back. For now ... well, my new test phono cartridge from Amazon is supposed to arrive tomorrow. 'Theory' will have to wait ... though you might prepare yourselves for some more 'empirical results via numerical reporting.' The issue of the lack of reliability of the VTF, with a wiring harness attached to the carriage, brings this problem back to the fore - despite my previous 'numerical' reports on the issue.
Please remember, my tonearm is all handmade (with the exception of a drill press and a handdrill) ... and when I stabbed myself with a needle file cleaning up the solder joints there really was blood on the tonearm ... and tears, and sweat. By all means, comfort yourself by opining that my tonearm is the result of 'a fully equiped shop.' Not so! Finished photos to come in the fullness of time - there was one more bit of soldering after the photos below were taken.
Note that my 3-tonearm position creation of the kit "Teres" turntable in 2001 allowed me to 'go up and down' with the tonearm. Horizontal dimensions are very tight, and I couldn't come up with a design that would fitin the horizontal dimensions available. Credit to Pete Riggle's "VTAF (tm)" On-the-fly VTA adjustor for inspiring my work.
The Balinese have a saying "We have no art, we do everything as well as we can".
Ad Astra.
John
With regards to "Lexx21" for his private message here are six photos from the pentulimate stage of construction of my variation on Colin's ideas.
As to having 'a fully equiped shop' ... OK, now I've stopped laughing. Does having a drill press qualify as a 'fully equiped shop'? My 'lathe' is a hand drill. My soldering torch was $7.95 at "Harbor Freight."
Having an advanced degree in a research discipline, I am now retired after a career in a research support role, both hardware and computer. Of special note were the two graduate-level courses I took, "Philosophy of Science" and "Psychology of Science". Of course, I still find spelling and grammer vexing.
In another thread in the "Analogue Source" forum, yesterday I noted that 'Science' is a belief system, with two primary assumptions:
1. There is order in the Universe.
2. Humans can determine that order.
Neither assumption is proven, as of yet. The application of theory to practice has a long history. From Tables of Ballistics of yore, to the question of why the "Little Boy" atomic bomb had to be tested, and the "Fat Man" bomb did not. Fat Man just 'had' to go off - didn't it?
It seems I must 'go back' and read some more of the latest theory I missed in this thread after leaving months back. For now ... well, my new test phono cartridge from Amazon is supposed to arrive tomorrow. 'Theory' will have to wait ... though you might prepare yourselves for some more 'empirical results via numerical reporting.' The issue of the lack of reliability of the VTF, with a wiring harness attached to the carriage, brings this problem back to the fore - despite my previous 'numerical' reports on the issue.
Please remember, my tonearm is all handmade (with the exception of a drill press and a handdrill) ... and when I stabbed myself with a needle file cleaning up the solder joints there really was blood on the tonearm ... and tears, and sweat. By all means, comfort yourself by opining that my tonearm is the result of 'a fully equiped shop.' Not so! Finished photos to come in the fullness of time - there was one more bit of soldering after the photos below were taken.
Note that my 3-tonearm position creation of the kit "Teres" turntable in 2001 allowed me to 'go up and down' with the tonearm. Horizontal dimensions are very tight, and I couldn't come up with a design that would fitin the horizontal dimensions available. Credit to Pete Riggle's "VTAF (tm)" On-the-fly VTA adjustor for inspiring my work.
The Balinese have a saying "We have no art, we do everything as well as we can".
Ad Astra.
John
