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Time to choose: Baerwald, Lofgren, Stevenson ?

I’ve managed Dr.Feickert Analog Protractor for a decent price (build quality is superb, such a great tool).

Time to play with Baerwald, Lofgren, Stevenson alignments on my Luxman PD444.
Need advice from experienced used of the following arms:
Lustre GST 801
Victor UA-7045
Luxman TA-1
Reed 3P "12
Schick "12

Baerwald, Lofgren, Stevenson ? What do you like the most for these arms?
Manufacturers recommend Baerwald mostly. 

Dedicated "7 inch vinyl playback deserve Stevenson alternative, maybe?
Since it's a smaller format than normal "12 or "10 inch vinyl, it's like playin the last track's according to position of grooves on '7 inch (45 rpm) singles. RCA invented this format, i wonder which alignment did they used for radio broadcast studios.   

Thanks

128x128chakster
thom_at_galibier_design's avatar
thom_at_galibier_design
723 posts
 
If the cartridge is aligned as designed by manufacturer, then the cartridge is straight in the headshell. Now move it another tonearm and align it according to that tonearm’s design: it will again be straight in the headshell. To the extent that the tonearms are designed to have different offset angles, those are manifest in the arm tube. So the only thing that could change then is how far in the headshell the cartridge is. But if both tonearms are designed to have the stylus 52mm from the tonearm connection, that doesn’t change either.

If you have difficulty visualizing this, then visualize moving an SPU from one tonearm to another. This is just replicating that with a normal cartridge & headshell.

This makes perfect sense, now that I'm awake, Sampsa55, with (of course) the key element being the offset angle being built into the "bent" portion of the arm wand.

I haven't thought too much about vintage tonearms in the last year, and frankly, I lost track of the 52mm standard, forward offset which is the other key element which allows this to work.

Cheers,
Thom @ Galibier Design
sampsa55
73 posts
 
To illustrate, here are snippets from the manuals for the original tonearm of Yamaha GT2000, Ikeda IT407 tonearm, and Denon 308/309 tonearms on how to align a cartridge. They all say that the cartridge has to be straight in the headshell with the stylus 50mm from the tonearm connection. Once a cartridge is aligned in one of these tonearms according to the alignment that the tonearm was designed for, the headshell can be moved to any of these other tonearms and the cartridge will automatically be aligned as the designer of that tonearm intended.
https://imgur.com/a/Xtdg3

Not all tonearms use this 50mm distance. Some other examples:
- Sony PUA1600L: 52.5mm
- Sony PUA9: 49mm
- Technics (all of them): 52mm


fleib
1,124 posts
 

Sampsa55 -
"I align the cartridges based on the alignment the tonearm was designed for. Since most of my tonearms use removable head shells and were designed for a 52mm distance from the head shell connection to the stylus..."

Raul - 
"that's true only if those tonearms has the same effective length"

"I think that you have a misunderstood on the input data for the whole calculations through diferent tonearm/cartridge alignments."


Sampsa55, You are obviously correct, but I suggest you let it go.

Raul, The 52mm distance has nothing to do with eff. length or alignment in the way you're looking at it. . The designer can put the headshell collet wherever he wants along the length. In other words, 52mm  from the correct overhang position for the length/alignment.

Regards,

Ag insider logo xs@2x
rauliruegas
12,814 posts
 
Dear @sampsa55 :  I see what you mean but I'm talking of a diferent subject. I'm talking of distortions levels.

Normally the Löfgren/Baerwald alignments gives really good low distortionm levels over the whole LP surface.

Ikeda as SAEC and other Japanese tonearms use diferent kind of alignments where distortion levels ( that must be the main subject. ) are higher.

That distance from headshell collet to the stylus tip is the overhang position and yes the designer can choose whatever he wants as Fleib said it. The main subject is which kind of alignment is using to look about distortion levels.

In my Ikeda, SAEC, Dynavector and other Japanese designs I just follow Löfgren B or Baerwald with better results than what the manufacturer recomend because his targets were diferent from mine and maybe my ears are " wrong " too.

As I said we can make our very personal alignment changing almost everything for calculations set up parameters but I'm in this critical subject more orthodox about.

There are no rules here.

Regards and enjoy the music,
R.


cousinbillyl
190 posts
 
If I may, let's look at the diamond on the end of the cantilever.

This was installed by human hands. Let's assume some type of jig was used. They now glue the diamond to the cantilever, and the glue dries. Opps, glue doesn't dry in a uniform fashion. Is your diamond perfectly perpendicular to the cantilever?.

Alignment protractors are a starting point. After that you adjust by ear. Use the tonearm designers recommended alignment. Again, it's just a starting point.

A lot of tonearms come with Azimuth adjustment. For me, this is the most crucial parameter. Once Azimuth is good, there is a larger range for vertical tracking angle (side rake angle). If Azimuth is off, you'll drive yourself crazy with VTA/SRA.

If you search Audiogon, Doug Deacon posted a fabulous thread on adjusting your cartridge. I think it should be a 'must read'.

If you're not shaking your head yet,........., the cutting head of the master lathe was also installed by hand. 

Stop obsessing, you can't get it perfect, at least not for every album.
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