Kuzma 4Points and Lyra carts

On the issue of Fremer and 9" arms, my view is that Fremer accepts anything that Marc Gomez of SAT says as gospel. Gomez believes that all things being equal it is more important for a tonearm to have a low moment of inertia and that 9" is best among the common lengths. That is not my view mind you. I love my Reed 10.5 and 12. I don't give a rat's patoot what Fremer thinks. Particularly when he is just repeating someone else's belief system. 

Ok. Next question.  What choices did you all make regarding cabling choices.? Cardas Clear? Kondo Silver? Kuzma silver plated copper?

I went with single wire Silver/Gold conductor and deluxe Kuzma mounting collar and terminated with Furutech CR-126R, RCA because that's what Albert Porter recommended as best for the buck. From Albert... 

"Some of these are insane cost, for instance the Kondo “upgrade” on a 4 Point 14” is nearly $3000.00.   I made the decision to go SE,  knowing that the Kondo can be lean sounding and I don’t like any of the Cardas clear cables.  SE is a great balance and I liked it so much, I ordered a second Kuzma 14” with the same options."

A great example of why I decided long ago to go only with arms with integral phono leads. Granted you probably can find some really good phono interconnects. But the first thing that IC has to do is overcome the distortion and losses of all the extra connections. You could buy a pretty fine arm for the cost of the phono interconnect alone. Say you are planning on a $5k arm and $3k phono interconnect. How good an arm could you get for $8k? With integral lead? A helluva lot better, that’s for sure!

Dear @herman  : No one can't argue almost nothing against an audiophile subjectivity and I respect a lot your opinion as the opinion of other gentlemans.

I have " thousands " of first hand experiences ( I could think similar to you. ) and longer tonearms always looks so fine against the shorter ones and along that many listening sessions could tell us the longer tonearms makes a better quality performances with any cartridge but through the years I learned that that " dream " is not totally true and for very good reasons ( not subjective ones. ).

Even that some people as fsmith does not like but SAT designer is rigth on this regards, please read carefully here:

https://swedishat.com/SAT%209%22%20vs%2012%22%20paper.pdf

Additional to all those in a longer tonearm its effective mass/inertia moment is higher too than in a shorter one and that mass goes from static to Dynamic mass during playback and the whole cartridge is " seen " that more heavy mass ( from counterweigth to headshell) in dettriment not only of the quality of sound but against the cartridge it self.

Now, the in theory advantage of lower tracking error  could be not a truly advantage against all those but by numbers not you not @karl_desch or any one else including me can't really be aware of it due to its very low differences after calculations.

Here using LÖfgren A alignment numbers says:

Average %distortion:  9" = 0.43%     11" = 0.34%

Max Error°               :  9" = 1.9          11" = 1.5

Max distortion% between null point:  9" = 0.64     11" = 0.51   


Groove after groove the distortion level is changing and from one groove to the next the differences are only 0.03%: no one but a bat can heard it so we can't be aware of it groove after groove no matters what. Nera the null points that differences of distortion goes down to 0.00...%

So from where comes that " subjectivity " advantages of the longer tonearms? from the higher developed distortions ( any kind. ) generated by the longer tonearms.

Yes, this is a different point of view but we have to stay conscious of what really is happening down there.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.