10 Inch Tonearms

@rauliruegas , GREAT LINK. Everyone should read this link. It is a much better explanation than I can give. It explains why shorter arms are better and if you read into it why the needle pivot is not a good design for a tonearm. There are certain rules a tonearm has to follow to have even a chance of producing the best possible performance. Appearance is not one of them. Just because an arm looks cool does not mean it is going to perform well. Being beautifully made does not assure decent performance either. I would not call the Kuzma 4 Point 9 a really nice looking arm but it out performs arms costing four times as much and is in some ways a better design than the SAT arm. My Schroder CB is not a particularly good looking arm either. It is rather plain and simple looking, deceptively so because it is more adjustable than the majority of arms out there. David Fletcher of Sota and AJ Conti of Basis never considered making turntables for 12 inch arms because they felt that it would compromise the performance of their tables. They were good friends.  

Raul's link at the beginning f this thread explains everything nicely. Tonearms are very simple mechanical devices and not hard to understand. At the bottom of it all is the cartridges amazing sensitivity to vibration. This is where a leap of understanding is required. Just a few angstroms movement (miles as far as an electron is concerned) will create an audible signal. It does not matter what is vibrating, the stylus, the record, the cartridge or the tonearm. A signal will be produced that may or may not represent the music. This is way more significant than a degree or two of tracking error. Spurious vibrations are also not easy to deal with. Frequently you can not stop them. You have to be happy just moving them out of the audio band where they do no harm. 

IMHO it is more important initially to analyze the construction of a tonearm before listening to it. It has to meet certain requirements to be a good arm. I am just as susceptible to visual cues as anyone and I might initially think a cool looking arm sounds fine only to discover after a time it does not. In my experience the arms that failed did not meet all of those requirements. 
I think Marc Gomez's article points to those requirements. I would also add that people without vacuum clamping need to look at neutral balance arms and arms with their vertical bearings at record height. This makes warps less audible and allows the arm to track them better. If a record is perfectly flat it does not matter. Judging by the design of Mr Gomez's arms, he expects records to be perfectly flat or everyone to be using vacuum clamping.