Reed arm

Mark Jones said:
Hi Mike, I love my Anna too, I wish I was an Ortofon dealer, they have a wonderful lineup.

0h and yeah, a good friend of mine bought one of your A90's, Adam.

I had a chat with Joel Durand (think that's his name) super nice guy. I have never heard one of his tonearms but they are beautiful looking masterpieces.
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hi Mark,

ah yes, Adam and I had some nice communications.....we spoke on the phone once. I trust he is still enjoying the A90. please say hello for me.

Joel is a friend and a brilliant designer......he was here in my room last weekend. I've learned much from him.

cheers,

Mike
 
Myles B. Astor said:
Mike could you expand on why Durand's chose wood for his arms?
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the best way to answer that question would be to reference an interview that Joel did for an on-line magazine where he speaks to that issue. but......since I don't yet have 10 posts on AS I'm not allowed to post a link.:(

my personal view about it on that is that Joel is not wedded to any material for a tonearm. he has a reference for the sound he desires. so far he has not found a type of metal for an arm wand that is not harmful to the sound. he has done much experimentation with wood and found an approach to using the wood for an armwand that is the least harmful to the sound so far. and I know in the last year or so he has been working with composites and has finally found that next step in performance that he was searching for. not to say he does not still believe in the wood approach too. his customers can now choose.

so really Joel is agnostic about materials, and fanatical about the performance. he neither defends nor attacks any approach. whatever works best.

and I agree.......you must listen and decide what performs best. whether metal, wood, or composite is beside the point I think.
 
Mike, you will have to post some pics of your room here on AS so everyone can see how wonderful it is. I think it is the nicest I have ever seen.

Sorry for being a little off topic.
 
Garth said:
As Myles has asked I to would like to know more about wood verse composite and metal arms some are kevlar . I know some are only going for light weight some to be the most ridged some the best sound and many others for a combination of the last 3 . What does each metal wood composite bring to the party in general terms. Wood I would thing would be tone. Metal ridged. and composite a bit of both. Am I even close to being right in this thinking.
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hi Garth,

as I said above, it's a mistake to get too hung up on the material......it's the implementation that counts. the question becomes; can the designer minimize the challenge of any material and optimize it's attributes...and then get closest to the ideal.

people see wood and they think 'color' 'warmth' or 'rounded'. they assume wood will be affected by humidity or changes in temperature.

no different than metal.....'cold' 'rings' or 'undamped'.

it's how you 'engineer' the actual implementation that counts. if the material has a 'sound' that gets in the way of ultimate transfer of information then how well can that be fixed?

which is why you need to hear whatever arm you buy first.

when I was first exposed to the Durand tonearms I had 5 different tonearms (and three tt's) in my system, including the linear tracking Rockport arm on the Rockport Sirius III. I had a Triplanner and a Schroeder Ref SQ. and 2 Reed 2P's. over time I found I preferred the Durand to the other very very fine tonearms. but that was me and my system.

my personal sonic perspective is for accuracy and naturalness. I'm not looking for tone at the expense of detail or reality. I want it all. maybe look at my system which if you click on my name, and then hit 'visit homepage' you can see. (I cannot post a link).
 
Mark Jones said:
Mike, you will have to post some pics of your room here on AS so everyone can see how wonderful it is. I think it is the nicest I have ever seen.

Sorry for being a little off topic.
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Mark,

thank you for the kind words.:blush:

I will post some pics when I am able to. as I mentioned to Garth, some system pics can be seen by clicking on my name and then 'visit homepage'.
 
You are so welcome, I love looking at your room, special stuff for sure.

Yeah I saw that after I posted, terrific and thanks.
 
Mark Jones said:
You are so welcome, I love looking at your room, special stuff for sure.

Yeah I saw that after I posted, terrific and thanks.
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btw, last week prior to joining AS I was looking around and noticed your posts and happened to click on your webpage and read thru some of the info and see some pics of your room and read about what you are doing. beautiful room.....a great place to listen and nice taste in gear. looks to me like you are doing things right. refreshing to see that and your commitment to analog.
 
Mark Jones said:
Mike, you will have to post some pics of your room here on AS so everyone can see how wonderful it is. I think it is the nicest I have ever seen.

Sorry for being a little off topic.
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+1

Love seeing what new goodies Mike has laying around! :)
 
Mike Lavigne said:
btw, last week prior to joining AS I was looking around and noticed your posts and happened to click on your webpage and read thru some of the info and see some pics of your room and read about what you are doing. beautiful room.....a great place to listen and nice taste in gear. looks to me like you are doing things right. refreshing to see that and your commitment to analog.
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Wow, thank you too for the kind words Mike.

So back to Garth's next arm???

Vertere, Andre Therialt, Durand.... Lots of nice choices if money is no object.
 
Mike Lavigne said:
hi Garth,

as I said above, it's a mistake to get too hung up on the material......it's the implementation that counts. the question becomes; can the designer minimize the challenge of any material and optimize it's attributes...and then get closest to the ideal.

people see wood and they think 'color' 'warmth' or 'rounded'. they assume wood will be affected by humidity or changes in temperature.

no different than metal.....'cold' 'rings' or 'undamped'.

it's how you 'engineer' the actual implementation that counts. if the material has a 'sound' that gets in the way of ultimate transfer of information then how well can that be fixed?

which is why you need to hear whatever arm you buy first.

when I was first exposed to the Durand tonearms I had 5 different tonearms (and three tt's) in my system, including the linear tracking Rockport arm on the Rockport Sirius III. I had a Triplanner and a Schroeder Ref SQ. and 2 Reed 2P's. over time I found I preferred the Durand to the other very very fine tonearms. but that was me and my system.

my personal sonic perspective is for accuracy and naturalness. I'm not looking for tone at the expense of detail or reality. I want it all. maybe look at my system which if you click on my name, and then hit 'visit homepage' you can see. (I cannot post a link).
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Now that looks like room to spend nice winters day in. Very nice and I agree with what you are saying. The thing is getting a cartridge or a arm on loan is not that easy. If you take arm on trial setting up the cartridge is a big job unless you are very skilled at it.

Dealer will loan a amp or preamp just take it home plug it in but analog is a lot harder. The person who first said the best analog front end is the best set up front end knew what he was saying.

I understand most if not all the arms we are talking about are better than most people already have. When I have a second arm I want it to be a big not small step up from the Tri Planner which is a good arm not putting it down in anyway.

Just like everybody else if it can be better why not make it better.

Thanks for yours and everybody else input it does help more options are good but it does not speed up getting it done. The main thing about the Vertere is the price my problem not theirs I saw it on one thread at 35 k that was a USA price in Canada the list is 48 K that is pause and half .

To narrow it down a bit I am looking for a arm with no sound of its own and that stays set up as get it set up right and it does not need tweaking all the time. I had a Sme V for 20 years or more that arm was as tough as a tank never gave me a problem. In the time it came out it was as good as I could find but time is never friend to good designs their is always room to improve that is what I am hoping to do. It is very hard to hear many of these arms as you well know but I am narrowing it down a bit. Sound is the big one reliability is second matching the gear I have is another. Cool and looks great not so much.

thanks for the help and it has been a help.
 
Guys-Can we quit calling it the "Tri Planner" tonearm? It's bugging me. :P It's called the Tri-Planar
 
Graham Elite if you can get one. Nothing like repeatable VTA in seconds for every record. The 3Q does it by laser. Probably not as convenient as the bubble level on the Graham. You can also get additional arm wands for carts mounted and ready to go save for the VTF, VTA, skating adjustments for the different cart in question. The alignment jig is much simpler and faster than traditional setup methods with the fiekert, ect.
 
rockitman said:
Graham Elite if you can get one. Nothing like repeatable VTA in seconds for every record. The 3Q does it by laser. Probably not as convenient as the bubble level on the Graham. You can also get additional arm wands for carts mounted and ready to go save for the VTF, VTA, skating adjustments for the different cart in question. The alignment jig is much simpler and faster than traditional setup methods with the fiekert, ect.
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I have seen and heard a few Graham arms not sure which models I had heard they are easy to adjust I did not know about the set up.
 
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