My ears started ringing and I knew I was being called :-)! Hi Rccc, I'm not here to flame you, been there myself, so let's stick to facts and logic. I'm the fellow who has historically made an issue on this forum and some others on the issue of stylus force drag (via the Lenco turntable and the "Building high-end 'tables cheap at Home Despot" thread), and the issue of the superiority of idler-wheel drives over belt-drives, and I'd like to point something out. Because we track our cartridges at anywhere from 1 gram to 3 grams or so, we tend to think that the braking action of the stylus in the groove is minimal and that a belt-drive is then able to overcome this negative force with ease. This is the first false assumption.
Stylus force drag is very serious indeed. I took the following from the website "www.Micrographia.com", (here's a link to Pressure) on the issue of the pressures involved: "Neglecting factors such as the elastic deformation of vinyl, the distribution of forces in a V-shaped groove and the accelerations at the stylus tip during tracking, simple calculation based on these figures gives a stylus pressure of 240 grams per square mm, or 340 pounds per square inch. The transient pressures exerted by a stylus tracing a heavily modulated groove during playback will of course be much greater, but beyond my ability to calculate." As an addendum, pressures have been estimated up to the several tons per square inch during high modulation passages. So you can see we are not talking negligible force.
All theories stand or fall by the results of experiments designed to test them (in a perfect world anyway). In terms of stylus force drag, belt-drives and idler-wheel drives (and DDs), the easiest way to test them is to listen within a sound system, rather than design more tests which themselves are based on various theories and assumptions. Measurements divorced from actual listening only lead to more theories.
I'm not sure what you are listening for, but any switch of a tonearm/cartridge combo to a high-torque idler-wheel drive (I'm not sure the Verus is high-torque relative to Garrard and Lenco motors, don't use the Verus as a standard) from a belt-drive shows the idler to most obviously and immediately have deeper and more powerful bass, faster transients, and a greater dynamic pallette (i.e. it is plainly more dynamic), as well as various other auditory artefacts. Maybe you'll like this, maybe you prefer the gentler presentation of belt-drives. Whatever the case, this isn't listening for wavering notes and screwed-up sustains, but for other things. Of course, in my experience, the sustains as well are superior on large idler-wheel drives (and large DDs), though these come in different flavours and abilities (as do DDs, the Technics SP10 MKII for instance having monstrous torque relative to most other DDs).
Anyway, the effects of stylus force drag on a belt-drive vs a higher-torque system (high-torque DD or idler) is plainly audible in increased dynamics (or decreased dynamics if the idler is the standard), more powerful bass and much faster transients. It doesn't take a Mozart to hear this.
As an aside, I didn't read the figures for pressures of the stylus in the groove first and THEN seek out various systems (letting theory guide me); instead I had a history of high-end belt-drives under my, ahem, belt, (Maplenoll, Audiomeca, experience with a variety of others), and THEN I heard my first idler, a humble/cheap-o Garrard SP-25 record changer (which nevertheless had stunning bass SLAM and transient speed relative to my high-end belt-drives, which themselves were known for their dynamics), which record-changed my audio life. I let experience guide me, to question the theory/then-dogma I too had been steeped in (i.e. that the belt-drive system was the best of all vinyl systems, as was generally accepted at that time, only a few years ago).
In considering the Lenco, which easily outperformed hosts of highly-regarded belt-drives in comparisons (VPIs, Well Tempereds, Linns, Nottingham, the list goes on and is recorded), I found nothing of any stupendous quality: instead only a pressed metal frame on which was bolted a decent but not spectacular main bearing and a good but not incredible motor (but things being relative, the motor is superb in many ways). There was nothing to account for the facts (the Lenco's evident superiority - and this in every way: detail, imaging, rhythm/timing, etc. as well as dynamics, bass and transient speed to various high-end belt-drives) but torque, and this, in turn, meant that the Lenco's torque was better able to combat stylus force drag than an "equivalent" belt-drive. Deadening/controlling the Lenco in various ways only increased these qualities, which are shown to be inherent in the system/implementation. It is ESPECIALLY when groove modulations are extreme that the extra torque is heard and the losses of the belt-drive system is heard: precisely bass notes, fast "rise times" on dynamics and transients, where idler-wheel drives like the Garrards are generally accepted, even by diehard belt-drivers, to be superior to belt-drives.
As I wrote back in 2004 (currently under my "system") when I started the Home Despot/Lenco/Idler thread, "Idler wheel drives in general were originally designed to overcome stylus drag, as in their day cartridges tracked at 10 grams. As tracking forces diminished, idler-wheel drives became more refined, but retained their resistance to stylus drag. As time went on and VTF dropped to below 2 grams, it was thought stylus drag could be combatted by the simple use of mass, and not the brute force of rumbly idler-wheel drives, which were discredited, even though their rumble figures were in fact better than those of the then-rising Linn LP12. If you remember your history, you will remember that CD as well was touted by the majority of the press and the industry as superior to the previous technology, vinyl. The Lencos do not rumble, and they prove that in fact it does take a certain amount of (refined) brute force to counteract the all-too-audible problem of stylus drag, which belt-drives are ill-equipped to combat, their Achilles Heel being their belts and weak motors. This is clearly audible in the attack of a Lenco (or large Garrard), the tremendous bass reach (bottomless) and bass detail of a Lenco (which affects both air and imaging), and of course its perfect timing and speed stability under real-world conditions (actually playing a record)."
Anyway, as Dougdeacon suggests, the best way to gain a better understanding is to let go theory and embrace experience: hear it for yourself. A stiffer belt certainly helps, but that's only half the story, the other being weak motors and grip (a rubber wheel grips without deformation). There's more too, but that's enough for now ;-). Good luck in your audio ventures and experiences!
Stylus force drag is very serious indeed. I took the following from the website "www.Micrographia.com", (here's a link to Pressure) on the issue of the pressures involved: "Neglecting factors such as the elastic deformation of vinyl, the distribution of forces in a V-shaped groove and the accelerations at the stylus tip during tracking, simple calculation based on these figures gives a stylus pressure of 240 grams per square mm, or 340 pounds per square inch. The transient pressures exerted by a stylus tracing a heavily modulated groove during playback will of course be much greater, but beyond my ability to calculate." As an addendum, pressures have been estimated up to the several tons per square inch during high modulation passages. So you can see we are not talking negligible force.
All theories stand or fall by the results of experiments designed to test them (in a perfect world anyway). In terms of stylus force drag, belt-drives and idler-wheel drives (and DDs), the easiest way to test them is to listen within a sound system, rather than design more tests which themselves are based on various theories and assumptions. Measurements divorced from actual listening only lead to more theories.
I'm not sure what you are listening for, but any switch of a tonearm/cartridge combo to a high-torque idler-wheel drive (I'm not sure the Verus is high-torque relative to Garrard and Lenco motors, don't use the Verus as a standard) from a belt-drive shows the idler to most obviously and immediately have deeper and more powerful bass, faster transients, and a greater dynamic pallette (i.e. it is plainly more dynamic), as well as various other auditory artefacts. Maybe you'll like this, maybe you prefer the gentler presentation of belt-drives. Whatever the case, this isn't listening for wavering notes and screwed-up sustains, but for other things. Of course, in my experience, the sustains as well are superior on large idler-wheel drives (and large DDs), though these come in different flavours and abilities (as do DDs, the Technics SP10 MKII for instance having monstrous torque relative to most other DDs).
Anyway, the effects of stylus force drag on a belt-drive vs a higher-torque system (high-torque DD or idler) is plainly audible in increased dynamics (or decreased dynamics if the idler is the standard), more powerful bass and much faster transients. It doesn't take a Mozart to hear this.
As an aside, I didn't read the figures for pressures of the stylus in the groove first and THEN seek out various systems (letting theory guide me); instead I had a history of high-end belt-drives under my, ahem, belt, (Maplenoll, Audiomeca, experience with a variety of others), and THEN I heard my first idler, a humble/cheap-o Garrard SP-25 record changer (which nevertheless had stunning bass SLAM and transient speed relative to my high-end belt-drives, which themselves were known for their dynamics), which record-changed my audio life. I let experience guide me, to question the theory/then-dogma I too had been steeped in (i.e. that the belt-drive system was the best of all vinyl systems, as was generally accepted at that time, only a few years ago).
In considering the Lenco, which easily outperformed hosts of highly-regarded belt-drives in comparisons (VPIs, Well Tempereds, Linns, Nottingham, the list goes on and is recorded), I found nothing of any stupendous quality: instead only a pressed metal frame on which was bolted a decent but not spectacular main bearing and a good but not incredible motor (but things being relative, the motor is superb in many ways). There was nothing to account for the facts (the Lenco's evident superiority - and this in every way: detail, imaging, rhythm/timing, etc. as well as dynamics, bass and transient speed to various high-end belt-drives) but torque, and this, in turn, meant that the Lenco's torque was better able to combat stylus force drag than an "equivalent" belt-drive. Deadening/controlling the Lenco in various ways only increased these qualities, which are shown to be inherent in the system/implementation. It is ESPECIALLY when groove modulations are extreme that the extra torque is heard and the losses of the belt-drive system is heard: precisely bass notes, fast "rise times" on dynamics and transients, where idler-wheel drives like the Garrards are generally accepted, even by diehard belt-drivers, to be superior to belt-drives.
As I wrote back in 2004 (currently under my "system") when I started the Home Despot/Lenco/Idler thread, "Idler wheel drives in general were originally designed to overcome stylus drag, as in their day cartridges tracked at 10 grams. As tracking forces diminished, idler-wheel drives became more refined, but retained their resistance to stylus drag. As time went on and VTF dropped to below 2 grams, it was thought stylus drag could be combatted by the simple use of mass, and not the brute force of rumbly idler-wheel drives, which were discredited, even though their rumble figures were in fact better than those of the then-rising Linn LP12. If you remember your history, you will remember that CD as well was touted by the majority of the press and the industry as superior to the previous technology, vinyl. The Lencos do not rumble, and they prove that in fact it does take a certain amount of (refined) brute force to counteract the all-too-audible problem of stylus drag, which belt-drives are ill-equipped to combat, their Achilles Heel being their belts and weak motors. This is clearly audible in the attack of a Lenco (or large Garrard), the tremendous bass reach (bottomless) and bass detail of a Lenco (which affects both air and imaging), and of course its perfect timing and speed stability under real-world conditions (actually playing a record)."
Anyway, as Dougdeacon suggests, the best way to gain a better understanding is to let go theory and embrace experience: hear it for yourself. A stiffer belt certainly helps, but that's only half the story, the other being weak motors and grip (a rubber wheel grips without deformation). There's more too, but that's enough for now ;-). Good luck in your audio ventures and experiences!