Unipivot vs Linear Tracking

Linear trackers are based on the theory that tangency is the most important feature of the arm and that the linear tracking arm perfectly mimics the geometry of the cutting head of the master, whereas pivoted arms inherently display tracking distortion. However, the cutting head of the master is applying great force with a blade while a linear tracking tonearm is "dragging" the whole arm assembly across the record with a few grams of down force, quite a different situation. You could say that linear trackers are triumph of execution over practicality if they are done correctly.
I spent some time playing with one of John Elison's spreadsheets from vinyl asylum, plugging in values for tracking error for pivoted arms. I find it difficult to believe that a properly set up pivoted arm, even a 9 inch arm, has enough error to significantly "hear" the tracking error unless the arm is not set up correctly. I tend to think the audiophile imagination "knows" there is some tracking error and runs rampant to fill in the blanks to believe that 12 inch arm and linear trackers are audibly superior "because" of the geometry advantages. If somebody states they can "hear" the superior qualities of a linear tracker vs. a properly set up pivoted arm, I would be very skeptical.
I tend to believe that if linear trackers and 12 inchers sound better, it would be for reasons other than the geometry, either superior overall execution of the arm or better cartridge matching or higher effective mass etc. It is hard for me to believe that the "fumble factor" involved in a linear tracker would make it a better choice in every instance. The linear tracker seems to have many design disadvantages and pitfalls compared to a good pivoted arm. I hate to invoke the dreaded DBT, but that is one that I would like to see the results of.

Well, I have never come across an article or study which has compared an actual pivot arm with a linear tracker with a given cartridge and how they would measure on a test record compared to each other in a lab setting. This might not be the perfect guide as far as audible performance is concerned, but it would be interesting. If somebody knows of such a study, it would be nice to post it. I wouldn't necessarily regard it is a determinant of final listening quality, but it would be interesting to read. I would imagine that there is an averaging effect based on torsional flexibility in the cartridge stylus/suspension that applies to both tangency and variable azimuth that might make differences between geometries somewhat moot. It seems that theories assume that the cartridge itself is perfectly rigid and the stylus/suspension/generator assembly is always perfect and that you can tell what it is by examining the cartridge housing. This seems to be a very flawed assumption.
The usual caveats about testimonials tend to apply
1. It's better because it's mine
2. It's better, because my buddy has an extreme system and it always sounds good to me, therefore this one thing in his system means it is better than anything else.
3. I have audiophile hearing, so I can actually filter out the effects of systems, cartridges, setups, speakers, preamps, etc. etc. to make reliable judgments about specific elements in the chain, and I can also make judgments based on audiophile memory, even if all of these chain elements are different.
Everybody seems to do this, including me, but it again makes me very skeptical that you can hear arm geometries in the very specific way that a lot of audiophiles and audio critics claim.

Well, my system is quite resolving, and in no way, shape or form can I hear the sound staging on my best record wander into a noticeable superior presentation around the tangency points and out again. I would imagine that there is a threshold effect that requires substantial distortion to begin hearing the difference to begin with, which would be significantly away from the tangent points, and to believe that you can hear the gradual transition as a continuum with the actual point creating a "snap" is really handing it to yourself and your friends.
Sorry, but no "snap" here. I guess I just have retarded hearing.

I am not being condescending at all. I have heard the Rockport turntable in a wonderful system locally, but there is no quality I could ascribe to it that had anything to do with the linear tracking tonearm, other than the overall superiority of the system itself.
I have heard other great systems with pivoted arms, and likewise, there is nothing I have heard positive or negative that I could ascribe to the tonearm.
A "white paper" analog system might state as a goal "perfect tangential tracking without compromise". There is no such thing.
A lot of seasoned audiophiles seem to drop out of the linear tracking game as drop into it, so it is hard to believe that they would do so if they really thought sonics were the issue.
Testimonials are great things from experienced listeners, but it doesn't mean that I or anybody else should suspend judgment based on common sense, especially when the context issue is completely ignored.