Tonearm recommendation

Raul -
Further to my post above, the Dynavector Karat Nova 13D that you advertised on Audiogon in August last year (Listing ID: lis6d99b) is not only mounted upside down in the headshell, but appears to me that the cantilever is not original as claimed in your ad.

Listing ID: lis6d99b
My sample is an original one and how can I know it for sure?, because at least three unique characteristics: first its serial number, Dyna numbered from 1 to 99 ( exist other 13 D that are not really 13 D but 17 D that have higher serial number. ) mine is number 6

Here is a link to a comparison of my original Dynavector Karat Nova 13D cantilever to the one you advertised. You can see in the pictures that your Dynavector Karat Nova has a much longer cantilever, and the cantilever is too far forward in the body. The cantilever on your cartridge does not look original.
https://www.youtube.com/watch?v=-vveRGz-s4g
Given your vast experience and expertise, can you explain this discrepancy ?  

I guess my post had as much effect on the argumentative nature of the discussion as a loud burp.  So be it. I may even invest in a spectrum analyzer in order to perform the experiment I outlined.  I do own enough tonearms to make it interesting, no FR66S but do have FR64S. For pure tones, I've got 6-7 test LPs.  It would be easiest to compare tonearms with removeable headshells, because the ideal method would be to move one cartridge/headshell combo among several different tonearms.  (Obviously, the choice of headshell will very likely affect the outcome and is yet another experimental variable.)

Dear dover: In my country people say : " don't try to find out 3 foots to the cat knowing have 4 ".

I bought my two 13D as originals and maybe what you say is only a picture efect. Both cartridges comes with the dedicated  internal connection wires and both has serial numbers down to 15.

What do you try to prove with your posts? what?, please enlight me about because that is not a contribution from your part that helps on the subjects here.

Anyway you are free to post whatever you want it.

Regards and enjoy the music,
R.

Dear lewm: From my part there is no batlle with any one.

Now, as fleib you don’t got what I wanted to explain, this is my fault.

What I’m talking is what in a non-existen " perfect audio world " we have in those internal wires: ideally a pure non-contaminated signal information.

I posted that we can’t have it never ever because we have many distortions/noise/vibrations/resonances surrounded the ridding of the cartridge LP grooves modulations as: TT/arm board/Tonearm//air pollution/LP anomalies and that’s why we need to overdamp those audio chain links to be nearer to that " ideally non contaminated pure signal music information ".

In that analog rig we can’t overdamp as a fact we need to " overdamp " down there to impede or at least mantain at minimum any single degradation to that signal in those audio links.
Lewm, remember that all the necessary music information comes in those LP grooves modulations and everything that could disturb the ridding of the stylus on those grooves modulations only can degrade that precious recorded music information. If we don't damp those audio links the we will listen additional and bad information that were not in the original recorded signal.
No one needs to measure nothing here as you suggest. Please think in deep of what I’m saying here because as fleib you are too very dogmatic: open the box!

Where can we overdapm?, in the speakers/room links ( treatment ).


Regards and enjoy the music,
R.

Hey R, I like that cat saying ,what country is that ?