Even with the 7” and an SPU -A I could get the arm pod close enough to the plinth to align it. General guidelines here: http://vivaudiolab.com/Rigid_Float_files/置き位置目安.pdf
Hello RaceDoc, hello all,In the meantime I bought a second ViV Rigid Float (second version) in 9" for my turntable.
So far no one conventional tonearm betters the sound experience of the Rigid Float.
Using Ortofon SPUs is a no brainer. I had different SPUs on my ViV tonearms from the
SPU#1E, Synergy GM, Royal A to the Shindo A.
The only thing is to put the basis a little nearer to the platter in the case of the SPU As.
All of them sounded in the best way they can... and this is really good. ;-)
Actually very often one of my DS Audio cartridges are occupying at least one place
in the Rigid Floats. They show a perfect harmony with the "stock" Nelson Hold headshells.
From the geometry, there is a clear relationship between the offset angle and the skating force. If the offset angle is zero, the skating force is also zero.all pivoted tonearms needs antiskating whether they have overhang or underhang. Rigid Float is a pivoted tonearm and it needs anti-skating. Designing a pivoted tonearm without offset angle and anti-skating is a compromise. Considering rules of geometry and mathematics they’re not expandable.
No, skating force is the result of overhang in pivoted arm designs. Offset angle has nothing to do with it. That's why any pivoted arm including the tangential ones require an anti-skating mechanism. Offset angle is primarily used for reducing tracking error/distortion not for anti-skating.From the geometry, there is a clear relationship between the offset angle and the skating force. If the offset angle is zero, the skating force is also zero.
There is no need to be sorry cause I didn’t misunderstand. I’m behind my words. VIV tonearm is a pivoted one and most definitely it needs anti-skating. besides that, omission of the offset angle is also increasing tracking error by reducing null points from two to one. these are the facts you can rest assure that. you said you’ve done your research, so did countless tonearm designers over the last 70 years. many pivoted tonearms are designed and almost all of them have overhang and offset angle. do you think all ended up using overhang and offset by coincidence or all of those designers couldn’t think of designing without overhang and offset if it would have been better?I am sorry to tell you that you have misunderstood something here. Overhang, offset angle, P2S, effective length and the position of the two points where the tracking error angle is zero are the parameters of the tonearm geometry. These are all directly related. I spent many hours studying these relationships when designing my tonearms. I always work on such topics by drawing. Through this approach, you get a deep understanding of the relationships, because you directly notice what consequences the change of a parameter has.
underhung tonearms only have one zero point, not two like overhang tonearms. due to the transverse position to the groove you have a faster response more dynamic. That sounds fantastic, but you have don't forget that depending on the length of the tone arm, you get up to 10% distortion towards the middle of the record.
The skating force of a ViV is present but VERY small.
I made some experiments using a flat LP without grooves.
The ViV is moving VERY slowly compared to a “normal”
tonearm at the end radius points of the usual music signal.
At the 0 point of the adjustment there is no movement.
At this point the direction of the movement changes.
Pivot to spindle distance 215mm 7"ridgid float the tracking error variates from positive to negative over the lp side.If the zero point in the middle of the record the highest distortion must be at the beginning and end of the record.
Where does the 10% number come from?
Exactly! I have this 7” arm. It’s stunning. Best arm I’ve heard. You can fuss about the numbers or listen. Wish I could use it with my current table.in another forum has someone who is well versed in mathematics. created a formula for calculation. I think the tone arm is very good in terms of sound. those who only like numbers will be put off.
|Lofgren A||Lofgren B||Stevenson|
|maximum distortion %||0.81||1.3||0.97|
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