Some thoughts about tonearm wire

I currently have/used Audio Note silver tonearm wire.

Typically, when rewiring a AT Tonearm from this range of models the best way forward for the Signal Path, is to have a continuous wire in use from Cart' Lead Out Pins through to RCA Phono Connectors at the Phonostage connection.

This methodology means the internal wiring connection at the Headshell > Wand - Wand > Bearing Assembly and Bearing Assembly > RCA Phono Cable Connection are bypassed.

This method also means a easy Headshell and Wand Exchange is no longer an option. The Headshell exchange is with added procedures and it is a permanent fixed wand as the end design. 

If internal modifications are to be avoided a wire of certain diameter or less must be used. 

I have experienced to Headshell design from this TA range redesigned.

The Bayonet Screw Connection is done away with and a purpose produced design is added that is offering a much improved rigidity at the connection. The redesign is a real game changer. The End Sound becomes substantially tidier and smearing caused by the Old Design is audibly noticeable when Old and New Designs are A/B compared.

Improvements to the Wand > Bearing Assembly Connection made no noticeable difference, but will give added peace of mind knowing the improvement is in place.     

My Well Tempered ’Black’ arm is wired with Van Den Hul litz wire from the headshell/cartridge pins all the way back to the term box. The litz is very finicky and thin, but it really does help open up the SQ. I think folks tend to discount the arm cabling and how it can impact SQ. That, plus the number of breaks in the cabling between the head shell/cartridge pins and the phono preamp. 

It’s not the gauge, but the quality of the wire to transmit the tiny signal.

Normally I try to purchase used to save, but purchased a 4point new to get silver wire so that I won’t get that nagging “what if” later.

Being an Individual who has supplied to an individual a variety of Wire Types to be used as the Wire used, as a Continuous Wire in a particular Tonearm. I can say all wite types I have supplied, are a wire capable of delivering a signal that is described as an improvement over the OEM wire being replaced.

More importantly trials showed, prior to my period of purchasing. A Wire must be a particular diameter or less, with a suppleness which I will refer to as extremely soft. Any wire used outside of these parameters used a Continuous Wire, are proven to interfere negatively with the mechanical function of the Tonearm, able to create am impeding friction to both Bearings, negatively effecting the freedom of function. Only internal modifications to the Tonearm are going to substantially reduce the unwanted impeding friction.

An alternative for the Wiring Design for producing a Continuous Wire for a  TA. Quite easily can become one, where the individual chooses any wire they are attracted to.

If the Wire choice is off a certain diameter, it is certain to be causing substantial resistance to freedom of bearing movement, who knows until trialled, even a seizure is a possibility as the outcome.

Considering countering measures as the requirement to aid movement will be quite important. Maybe even to the extreme where the TT user stands local to the Tonearm and places a finger on the Headshell. Applying side force with the finger, to assist with completing the groove travel for the stylus from Outer Dead Wax to the Inner Dead Wax.

To fully get the most valuable outcome from trials more than one TA must be used, to A/B changes being made. Well this is what I have experienced as the methodology and supplied ears to assess as well.