Dear Raul,
i respect your perspective on microscopic groove actions and groove modulation effects of drive systems....
When the stylus start to ride the groove modulations that act develops many other tiny modulations as: feedback from the LP surface due to the friction of the stylus tip forces, the surface of the LP and due to that very high friction forces makes that exist too a feedback from the LP surface that is in touch with the platter or platter mat .
These are the first tiny developed modulations that goes mixed through the stylus/cantilever along the groove modulations ( the cartridge can’t make any difference between the groove modulations and the fedback modulations, just took it as it was the same. Is a very sensitive movements sensor. ).
That kind of feedback is followed by the cartridge body self feedback developed by the cantilever/stylus tracking and comes a new feedback movement that’s very fast transmitted to the cantilever and that same cartridge body feedback and through the top plate of the cartridge is transmitted to the tonearm headshel and starts to resonates in between ( this is totally independent of the resonance frequency in between the tonearm/cartridge and its compliance. ) and transmitted through the tonearm and then to the arm board but does not disappears because part of those kind of resonances/vibrations return through that arm board to the cantilever/stylus and mixed again with the true groove modulations.
no mechanical device is perfect, which also goes for my three turntables.
however; each of turntables do address these issues in their own ways. and like any high performance piece of gear, i have tuned each of these appropriately to get them to be optimized.
as far as groove modulations; obviously the NVS has direct drive and a heavy 45 pound platter to eliminate that concern, the Saskia uses the idler wheel leverage to overcome this, and the CS Port an air bearing and air float inertia of a 60 pound platter to address this. i get zero congestion at musical peaks from any of these tt's......which is where this issue reveals itself typically.
as far as microscopic resonance we again have three different solutions; the NVS (closest to my massive bass towers) uses the Taiko Tana active isolation as well as the Durand record weight. the Saskia uses it's 180 pound decoupled plinth, and stillpoint like footers, and the CS Port it's air bearing and air float platter, as well as it's 6 pound record weight.
all three have apparently very calm stylus in groove tracking.
these things are always degrees of success, trade-offs and compromises. again, anything mechanical can only approach perfection. my ears tell me these approach it closely. :-)
all three challenge my big Studer's for musical rightness......the gold standard.
