Kuzma 4Point Tri-Planar

Does anyone have direct experience with these two tonearms? I own Tri-Planar, I love it and would like to add either 4Point or Graham to use with Orpheus. Thanks!
Doug, Just now after responding to Mike I read your two posts above mine. So the issue is what is the coefficient of energy transfer between the piece of metal (which appears to be brass) and the wood arm tube? Since Durand undoubtedly used a "hard" wood, and like substances wrt density usually present the least impedance, energy transfer may be good, or it may not be so good. Having only one bolt there does not suggest that one could attain a really tight boundary between the two, which would also facilitate energy dissipation. I am only thinking out loud here, and no slur on the Talea was intended. If Durand and his team found that this construction sounded best, and it seems they did, then I really don't give a darn about energy transfer per se.
So what is Audiofeil's motive here?

Probably an example that taste can be different.

But here is a guide to do it right

Lewm, one bolt is plenty. The surface contact area between the brass mount plate and the "headshell" is about 1 x 1/2". If there were vibrations not allowed out of the cartridge, or not drained away through the arm and base, you would have heard that as a nervous presentation. I assume from your comments that there were no such objectionable issues.
I think this just about says it all, right here ...

Lew, I agree that an armtube's internal energy transmission properties can only affect energies which cross the headshell boundary into the arm, and the design and materials of the cartridge mount affect that transmission.

FWIW, the single-screw plate design seems to provide some effective coupling in Schroeder arms. For example, I've A/B'd the Model 2 with a carbon fiber tube vs. a pertinax one. (Pertinax is a composite of resin-bonded paper fibers, somewhat similar to a treated wood, though less dense and chaotic than the exotic hardwoods used in the Reference and Durand's arms).

Audible differences between those armtubes were readily apparent. Pertinax provided a lower sound floor and greater individuation of tones than carbon fiber, which is consistent with my blah-blah above. In this case at least, the one-screw cartridge/headshell plate passed sufficient energies so that the energy transmision properties of the armtube material itself made some audible differences. The cartridge/headshell connection of the Durand design is virtually identical, so one would expect similar behavior.

That said, there is a boundary so some energies will indeed be reflected back toward the cartridge, as occurs in every tonearm. My only point was that whatever energies *do* cross that boundary into the armtube will be more effectively dissipated by a material with a chaotic structure than an organized one.