Any feedback on the Graham Phantom

Before I get to work on some things, I wanted to say that, with typos and all (that's what you get for rushing and not proof-reading carefully!), I hope the explanations helped a bit. As for Splaskin's problem, I already wrote him directly about this, and I think the upcoming damped headshell spacer will be useful in situations like his. As I also mentioned to him, the IC-70 cable can be rotated sideways as well as straight down, so there are options. But I do so wish there were more universal standards among all analog manufacturers regarding mounting spaces, etc, so that issues of height, mass, cartridge spacing, etc would not be a problem. I think this is possible to achieve, even with the various design concepts involved....
One detail I neglected to touch on yesterday is the business of pivot damping. Although a unipivot doesn't HAVE to have damping to work, it will make it behave better. This was particularly true with the 2.2 and similar "stable-balance" systems, where any motion of the finger lift could cause the arm to wobble for some time until friction finally slowed everything down. The Phantom, with the magnetic stablizer at work, has much less of this, but still benefits from fluid damping. But please note, this is NOT FOR PIVOT RESONANCES, which are practically non-exisent anyway; rather, this is to control the arm's own intertia as it moves over warps, etc. Just like the shock absorbers on your car...
For Sirspeedy and the New York show in April, I agree it's good to be there, and with a little luck, we will be and glad to talk to you individually. Musical Surroundings is handling the room arrangments, and of course will have a Phantom there as well...
Now, back to work for me!
- Bob

Dear Sirspeedy,
You wrote:
"don't be like some other designers who,though understandably limited in time, expect potential sales to occur by word of mouth as opposed to "in the flesh" exposure."
Though you didn´t refer to me personally, this is clearly in reference to our earlier exchange and I have to tell you that you seem to belong to those forum members who spend alot more time writing posts than reading responses. I DID appear "in the flesh" at shows countless times, CES 2005 being the last example. I told you that the Munich show, Europes largest high end show, is too close to allow for a trip to New York. And quite obviously, the list of hifi mag- and internet-reviews I posted escaped your attention. It should be obvious that I do not expect potential customers to rely on word of mouth recommendations. Fact is, no manufacturer can tell the potential customer on what to base his/her purchase decision. I´ll repeat myself and recommend to get in touch with Mr. Huschens(based in NJ) or come to Denver(RMAF 2005) for an in depth demo.

Until then,
all the best,

Frank Schröder

Dear Mr. Graham,
You wrote:
"(why else would Rolex and other fine watches use ruby if it weren't for better performance? The cost difference is insignificant).. "
The main advantage of the use of rubies, sapphires or even diamonds(endstones only) as watch bearings is that they are chemically inert and will not be affected by the oil turning acidic over time. While other bearing materials can be polished/burnished to a high surface quality, this smooth/flat surface will develop tiny "craters" as more and more material is "washed out" by the acid.
This happens with ruby equipped watches too. But it is the burnished steel pivot which suffers first, then, as more and more foreign particles find their way into the gap between pivot and bushing, the pivot acts as a file and destroys the finish of the ruby.
And when you are selling hundreds of thousands of watches, the price difference becomes significant.
For an interesting read on Unipivot arm design and as proof that the basis for your new design is well founded but not exactly revolutionary, I recommend:
"Une approche rationelle du bras de lecture
1. Considerations théoretiques"
by Gérard Chrétien
in a summary of articles from the french magazine "L'Audiophile", called "Selection de L'Audiophile", tome2: Les Transducteurs
published by editions frequences 1985(the article first appeared a few years earlier...)
As mentioned in an earlier post, the bearing in my arms can be(and has been) executed so that there is no variation
in tracking force when VTA is changed. The tracking force will ALWAYS vary when any arm/cart combo tracks a warped record. Inertia can´t be overcome...
A question: Am I correct in my assumption that the Phantom has higher friction in the horizontal plane than the 2.2 as it has to move the Magneglide assembly with it as it travels across the record?
Hoping to meet you in person at one of the upcoming shows, I remain with admiration,

Frank Schröder(Schröder tonearms)

Dear Frank,please don't get so touchy regarding any of my posts.As you know I respect you,and your seemingly fine arms.I was the one to start a post asking about your arm,some time ago.I admit to being on a fence regarding my 2 choices.Yours and the Phantom.However I'm just one yutz,who happens to LOVE analog,owning thousands of fine LP's.I'm ONLY frustrated over the fact that so many products that interest me are SO difficult to audition.I'm not about to get on a plane to see and hear one.I come from a time when almost everything was an hour ride away,at most.The problem is MINE,not yours.

PS In the future I will keep my BIG MOUTH closed as regarding any product that could affect potential sales,which are SO deserved by all of YOU fine designers!!I mean it!!

Hello Bob Graham: I hope you will be making your cartridge spacer available independently of your tonearms to vinylphiles everywhere! I know myself and several others are always seeking a source for these, especially Rega/variant users. Why not?

Hi Frank, maybe we'll get together for currywurst (or Thai curry) and beer next time I'm in Berlin (and maybe I can see one of those fabulous tonearms in the flesh). Lovely city, love the national library, but could you please arrange to remove the Starbucks from within sight of the Brandenburg Gate?! Saw the Berlin philharmonic, terrific experience.