It is similar to Schroder's design but longer with no offset. It has several serious problems. First is it is very long. Long arms have much more inertia. Records are not perfectly smooth. There are undulations the arm has to follow but with longer heavier arms the cantilever does the following leading to increased levels of distortion. A perfect tonearm will move in only two directions. Up and down, side to side. It should be firmly locked in all other motions. This tonearm is not locked, it is floating and free to move in all directions at least slightly which is enough.
Now it is trying to trade off the problem of skating for increased tracking error and longer length. IMHO and many others, it is a bad tradeoff
It is an interesting arm but I would never buy it. It violates to many sound principles that are tried and true. It also will not fit on many turntables.
Yes, I can see that. The mass of a tonearm has to decrease as the length increases. Most modern arms and certainly most carbon fiber arms are already low mass, so it becomes difficult for the mass of longer arms to compete.
It was the floating part that really made me wonder how it held geometry.
Thanks for the comments!
I have lived with this tonearm for a few months now and am enjoying it quite a bit. It is superior to the stock arm on my SL1200GAE. I am not an engineer so I can’t speak to what it should do or shouldn’t do on paper but it sounds great. My arm is 12” long and they do have a 10” version.
It also will not fit on many turntables.
Can you explain further?
I liked the fact that there was no modifications needed to install the Tru-Glider. My Technics is pictured on his page. Completely isolated from the plinth.https://www.integrityhifi.ca/tru-glider
@totem395 , Yes, I did not know they made a shorter version but the short one is going to have ridiculous levels of tracking error and be just as unstable. The long one won't fit on most tables because most do not accept arms that long. Some do and you could certainly build a large plinth. The only suspended, fully isolated turntables I know of that will take an arm that big are the SME 30/12 and 20/12 and the Dohmann Helix (my favorite). I personally do not consider unsuspended tables an option. A turntable must have a suspension that operates below 3 Hz.
A tonearm must be limited to 2 degrees of motion. It must be held rigidly in all others. I will never personally consider an arm that is designed otherwise. Want a great 12" arm get a Reed 2G or Schroder CB. Better yet get a Schroder Lt. IMHO this is the most brilliant tonearm design on the market. Unfortunately it requires a table that will take a 12" arm. My Sota Cosmos will not. So, I am stuck with the Schroder CB a fate worse than death:-)
Maybe someone else that has the Tru-Glider and can chime in but I’m having excellent results and flawless tracking.
Only one Tru-Glider user? C'mon!
I am trying to figure out how some of the claims are justified. "Weightless"? "No pivot"? The arm and headshell MUST have effective mass in order to work with cartridge compliance, and it is clear from visual inspection that they do. Therefore it is not weightless. There definitely IS a pivot with its center at the attachment of the string; it's just a sloppy one. That reminds me of at least the early WT tonearms, which also claimed no bearing, when in fact they had a pivot that was just not close tolerance. And that headshell... Does it really work without any friction? (If there is any friction in its lateral movement to maintain tangency, then there would be at least a small skating force.) Anyway, all of that said, I have heard other oddball tonearms that cannot meet the claims of their makers yet sound great. So I would never say without hearing this one that it cannot sound great. Lord knows, no orthodox pivoted tonearm is perfect.
Well that's the "problem" lancelock...you have actual experience with the tonearm! I mean, how can you possibly judge its performance unless you have some sort of engineering experience with no need to hear it?
Several times I have wrestled with Mijostyn's statement: "A tonearm must be limited to 2 degrees of motion. It must be held
rigidly in all others. I will never personally consider an arm that is
designed otherwise." I think by this statement, M is meaning to indict unipivot tonearms in favor of gimbal bearing tonearms. But the principle is poorly stated. I gimbal bearing will fix motion at the pivot in two dimensions, up and down and side to side, but at the other end of the lever, those two dimensions are always additive and permit motion of the headshell /cartridge in all directions in the vertical plane, with respect to the center of rest, just as with a unipivot. Indeed that has to be the case, else gimbal bearing tonearms could not track a flawed LP that has a slight warp and is also slightly offcenter.
@lewm , there are 4 degrees of freedom (movement); horizontal, vertical, axial and torsional. Theoretically a tonearm should only be able to move in two of them, horizontal and vertical. Movement in the other degrees will cause distortion of one type or another. Axial movement would cause something like wow and flutter. Torsional movement would certainly increase stylus and record wear and depending on it's resonance frequency, distortion at some level. Tonearms have to be as stiff as possible in the last two degrees to maintain proper geometry. It is bad enough that an arm operates in arcs, warp wow can be painfully obvious. Stick a dime under the edge of a test record and play a midrange tone. The change in pitch is obvious. An arm that has it's vertical bearing at record level will be a little less obvious. This is why Tri-Planar and Schroder designed their arms the way they are. The 4 Points are another example. Reed also does this with the 2G. I could own any of these arms. All of these arms are also neutral balance arms. Tracking force does not change with vertical motion. Most arms are static balance.
Anyway I chose the Schroder CB I guess because it is a favorite of many whose talents and opinions I respect and I like Frank's design mentality. His arms do everything an arm should do but they look so simple, elegant.
As for unipivots, they are a simple cheap way to build a tonearm. The two best unipivots, the Graham and Basis arms have been redesigned and have mechanisms to control torsional movement. Graham uses opposing magnets and Basis added a weird second bearing that stops torsion in one direction. The offset counter weight is then adjusted so bearing contact is maintained. It is really not a unipivot anymore. It is a bipivot. Adding lateral weights just lowers the resonance frequency. Good preloaded bearings are expensive and machining becomes critical as the bearings have to be aligned perfectly. It takes a very skilled person or a very fancy machine. Rega and Pro-Ject arms are a great value because those much bigger companies can afford the very fancy machine. I would take a Rega arm over a unipivot VPI arm any day.
Can you imagine the arrogance of SME limiting their tonearm sales to their turntables! In order to get one of their arms you have to spend a fortune on one of their tables. They are great tables but let's face it, a great value they are not.
@lewm There are many excellent arms that do not have gimbal bearings but are excellent none the less. Example are the 4 Points, the Reed 2G
Origin Live, Rega and the Schroder CB and only g-d and Frank Schroder know what is in there.
I have one on my vpi hw40 and love it. I did have some difficulty on initial set up but that was me not the arm. Once set up it works flawless. It takes some getting used to as far as cueing the lead in groove. The first track I played was Johnny Cash Spiritual off the Unchained record. The hair on my arm literally stood up. It tracks both sides of the groove perfectly. I never use the BOO arm that came on the table. Wish I could take it off.
As far as not fitting any table that is totally false. Watch their videos. They show all kinds of different rigs.
Give them a call if you have questions. Tina and Carlo are the nicest people.
@Lewm, It is hard to do a true gimbal pivot and keep the vertical bearing at record level. You have to resort to something like what Tri-Planar did.
The SAT arm is a very fat gimbal pivoted arm with a very high vertical bearing. The price is also ridiculous. I wouldn't get it even if I had the money. The Tri-Planar is a better design.
Oh, but you have to listen to it. Right, it is virtually impossible to listen to any arm in your own system without buying it. What other people say it sounds like is close to worthless. The Transcriptors Vestigial Arm taught me that lesson. You have to buy an arm based on it's design and quality of manufacture. So, you have to set parameters for what a good design is. An arm should be very stiff but as light as possible. It should have one wire from from each cartridge pin to the phono stage RCA's or XLR's. The vertical bearing should be at record level and the geometry such that the arm is of neutral balance. It's bearing should lock motion in the axial and torsional directions, and it must have a low friction anti skate mechanism. An opposing magnet system like Reed and Schroder use is ideal. I have learned to stay away from longer arms. They have higher moments of inertia and can not be made as stiff as a shorter arm without adding even more mass. The improvement in tracking error is not even close to being worth the added mass. I am all for tangential tracking. IMHO the biggest benefits are, no skating and a lower moment of inertia. The two that are ideal are the Reed 5T and the Schroder LT. Unfortunately, neither will fit on my turntable. The Reed is also very pricey. There is a German carriage driven arm (can't remember the name) that on paper looks great.
You know how I feel about air bearing arms.
@loki1957 , what is a BOO? I'm glade you are happy with your turntable.
Enjoy it in good health.
Sorry for not proofreading. The boo doesn't belong.
@loki1957 , You must have a ghost problem.
I have been a dealer for this arm since the beginning . I have replaces Shchroders,VPI,SME's etc. There is no tracking error. The anti-skating numbers in my Analog Magik data is close to perfect,
The length of the arm is irrelevant to the tracking or anything else. The important part is the sound, it sound different to what your use to. It reveals all the blackness nuance and detail I have never experience before on any arm at any price.
IIUC, as it is a pivoting arm It does have tracking error. It may just be that tracking error means a lot less in terms of SQ than we like to think it does. Also some of these arms are very long, lessening the tracking error.
As for its anti-skating measurements, of course, as it has no offset anti-skating is not an issue.
With respect to the tracking error and zero offset issues compare to the VIv Lab Rigid Tonearms, though they are generally shorter. These also violate all the accepted rules but are said to sound great.
The VIv Lab Rigid Tonearms is a very interesting design. The concept of using a liquid for bearings goes way back in time. Light houses used mercury to float the huge and heavy light assemblies for almost no friction. Does anyone on this board have one?
Dear @lewm : the headshell is manufactured by Nasotec and yes it works with friction.
For what I read and know there is no measurements that can confirm zero tracking error with that headshell and that tonearm.
Sounds different?, of course sounds different, perhaps not so different as the dealer/distributor posted here.
Btw, according internet information with cartridges that needs low VTF it does not works so well. I know that nothing in audio is perfect but innovation always is welcomed.
Regards and enjoy the MUSIC NOT DISTORTIONS,