Uni-Protractor Set tonearm alignment

Interesting Feature

Overhang Adjustment

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Dear Daniel,
I have a great respect for your work and I've never questioned your hard earned knowledge.
I hope to understand my queries resulting by daze & excitement when I've heard that there are more parameters of concern about the tonearm's geometry in the search for a more sophisticated integration combining some physics to geometry.
I'm still quite perplexed for I can't find those "simple (?) & basic (!) engineering approaches" but I'm trying really hard to become an adherent of your findings and comprehend your meticulous sense of premium execution of every plan & any project.
I respect your wright to insulate your method as a matter of business ethics & I'm reluctand to pushing more this chapter that is full of mystify sequences (for me at least).
I suppose its time for faith or rejection.
I ... need my time for shure.

Kind Regards

Dear Geoch, no problem - it is just that I don't have the patience right now to go into this topic step-by-step.
In general my position is, that so far tonearm alignment is seen in a way too small perspective. There is more than just the two zero points and average or maximum distortion figures. It is very important where these zero points actually are located and where the maximum distortion figures occur on the arc over the record side. The actual curve of the groove gets ever smaller and as such it is IMHO very important to get very low distortion figures close to the innermost grooved area. But not in the narrow minded way that the Stevenson alignment concentrates each and everything on the DIN or IEC limit of grooved area.
The actual offset angle of a tonearm in comparison and sometimes in fight with the actual offset angle determined by the alignment curve is another topic which can significantly influence the skating force - and such the sonic performance.
Wherever I have re-aligned a tonearm/cartridge in set-up and systems of befriended audiophiles I always earned amazement due to the improvement in sonic performance.
No mystic - no "secret" here, just care, a view from many different point, precision and attention to detail.
Cheers,
D.

@Dertonarm

I have the Clearaudio jig. It has 4 different setups including the standard IEC one. They contend that the 72mm is better for most LPs because they have a long lead out groove.

By the way, does your jig work with cartridges with very low bodies? Like a Grado Statement1? It is very tough to see the cantilever because of the square body hiding the cantilever from the front.

Dear Jazzgene,
let me address your last question first:
the UNI-Protractor works even with an Ikeda or a FR-7f - compared to these two cartridges' ultra low bodies, the Grado Statement is walking on stilts .....

The Jig you mentioned and use allows alignment only for either Stevenson IEC or one of 3 recommendations by it's manufacturer.
These e are suitable only for very modern records cut for audiophile purposes (like 45 rpm short cuts) or reissues.
The Stevenson IEC isn't all that great to start with, but try any of the three manufacturer's recommendations with an old Mercury, Impulse, Columbia, RCA LSC - in fact most any record from the 1960ies or 1970ies - and you will run into high distortion towards the last 1/2" of your records groove, as the derivation from the tangential ideal rises steep with these alignments.
These alignments are mainly suitable for the 9" tonearms of the jig's manufacturer and for records cut following IEC standards only and offering a rather small actually grooved area ending way apart from the inner label.

A rather specialized tool - and specialized for a very certain kind of records mainly, but even among those, there are pressings which will not really suitable to be tracked with such an alignment.
Cheers,
D.