Eminent Technology ET-2 Tonearm Owners

Re compliance of the I beam springs: my ET2 came with two I beams of different compliances. The lower compliance is achieved by using two (instead of one) leaf springs glued together. It is possible to lower the compliance further (which is what I did with my third I beam) by super-gluing a thin piece of metal to the existing double spring thus further stiffening it. Ct, when you refer to the stock I beam, I don't know wether what you have is the version with the single or double leaf spring. BTW, I believe Bruce Thigpen makes reference to the different I beams in the manual.

Re the ideal PSI issue: the arm can indeed sound fabulous at 19 or higher psi. But, the result may not be ideal in every system. In mine, the slightly warmer and rounder sound a15-17 psi was preferable.

Re what cartridges to use, I have had success with both Mm and MC types. The best (my favorite) combination was the Monster AG2000. In general, and contrary to the opinion of some, lowish compliance carts seem to work best with this arm; although I have gotten good results with MM's, particularly the Empire D4000.

In brief summary - don't want to get too much involved here - my experiences with the ET 2 and 2.5:

- air pressure (and by chance pulse frequency on the air stream) can have a huge effect on the sound quality. Above a certain pressure the arm can display problems. Up to this "break-point" the sound gets ever more precise and bass gains in "attack" and air.
While the air bearing and tangential principle allow the ET2/2.5 to shine in soundstage and separation, it too sets the limits of it's ability to present authority and attack in the lower bass. This is not a problem of the ET however, but a problem - IMHO - of air bearings in tonearm.

- I always had best results with cartridges with low compliance, rigid internal construction and low body weight. Early ZYX (Monster's AG2000 was an OEM ZYX) and FR-1 MK3F in particular.

- In summary and IMHO, the ET2/2.5 can still give any other tangential tonearm a very hard time and real competition - no matter the price tag.
I modified mine quite a lot and tweaked it to what I think are the limits of it's design.
I loved that tonearm and always will.
To me the best price performance ratio in tangential tonearms and for opera-lovers maybe THE tonearm to go for.

Cheers,
D.

Dertonarm's observations are spot on, and mirror mine. His comment about the ET being THE tonearm for opera lovers may raise some eyebrows, but is particularly insightful. For me, the two greatest attributes of this tonearm are it's correct and midrange-complete tonal balance (what some would describe, incorrectly, as too soft), and it's ability to realistically separate individual instruments and groups of instruments. With opera, and how it is typically recorded, it's reproduction of voices (with correct tonal fullness and dimensionality), and the spatial relationship between those voices and the orchestra in the pit is wonderful.

I wanted to back up here a bit in regards to my system and my viewpoints. I realize that my system is not as revealing as most of yours are, but my comments are from my system's perspective. (I've owned my arm for over 20 years, just in the past year have gone with a high pressure compressor). I use 3 moisture separators and as a last line of defense, use a descicant dryer on the outlet side of the final regulator/moisture separator, that is about 3' from the tonearm. My compressor is in the same environment as is the rest of the system, although in a different room.
Whew!
A note, these arms are awesome! From a tweaker's perspective, guys or gals with a mechanical apptitude, and from anyone with a drive to seek excellence from their stereo system, this arm will always surprise and deliver but only with the love and care you put into it.
I thought from the beginning of this post that wire type would be a major source of discussion and it turns out the couterweight bolt mod is up for grabs. I personally am satisfied with my tonearm wire set-up and won't be seeking further improvements in that area anytime soon. The counterweight issue: I can only speak as to what I hear in my system and it's limitations. From a logical perspective, having the weights extending further out on the scale, to me, isn't a smart way to go because the further out you go, the more of the teeter-totter effect or see-saw effect (as Chris stated) there will be. (This is of coarse with the stock scale, not with a custom made Balsa wood item). (Frogman, I would love to see your set-up). I too, feel that arm/cartridge compatibility would be an issue here as well as is the TT type of suspension, if any, and getting really technical, the room construction and isolation systems that each one of us has deemed right for their own system. I personnally didn't know that the 2 counterweight beams provided with an arm were different in any way. Dover, we're waiting for your pictures.
This discussion is great! Maybe we should form a once a year ET owner's annual get-together? Of coarse it needs to be hosted by Bruce himself.

..... I posted my "virtual system" only for the sole purpose of sharing my tonearm wire/routing set-up. I thought it could be useful for others....... Admittedly, I could have done a better job.

This (ET) thread was that important to me.