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In Reply to: Rega counter weights (again?!) posted by Aleksunder on September 11, 2006 at 06:07:53:
Joking aside, some 'theoretical' explanations are THE joke.Try to calculate change in VTF due to CW c.g. offset for a change in stylus elevation.
Compare that to change in VTF due to acceleration of the arm cartridge assembly while tracking warp.
Than think about whole arm cartidge assembly (less CW) and where the c.g. is.
Than think where the bearing is and how stylus moves as elevation is changed.
Than think about change in relative recod groove speed at the warp and it's effect.
Than think about bearing friction
Than think about wiring friction.
Than think about all of the above.
Than (hopefully) you will see why I consider explanation a joke.
Follow Ups:
Try to calculate change in VTF due to CW c.g. offset for a change in stylus elevation.Increases VTF.
Compare that to change in VTF due to acceleration of the arm cartridge assembly while tracking warp.
also increases VTF at the beginning of the warp, decreases on 'descent'.
Considered together, this is a good thing?
The rest of your list is irrelevent, because we're concerned with dynamic aspects of the system, not constants (hopfully) like "arm wiring".
A "record warp" can be at any frequency from 33/3 Hz, up through the 'resonant frequecy' of the cartridge/arm combo and beyond.
Calculate how much each of the items change VTF and you will see that change in VTF due to offset of underhung CW c.g. is the same magnitude, or actual quite less, than other effects and so small that anyone who considers it is kidding himself (on top of everything, effect is sometimes beneficial sometimes not).
I believe it is related to mass distribution and its effect to the overall system vibration paths and resonances (note plural).Note that I did not say that CW does not effect the sound, but I do believe that it has nothing to do with change in VTF.
My point was that argument about VTF due to offset is joke as it is way behind other effects.
With a standard Rega RB250 arm and stock counterweight, you could say that many other aspects like warping and dishing effect sound more than the physics of the counterweight.But you would be terribly wrong.
Both the Mitchell Technoweight and the Kerry F2 Titanium counterweights were revelations to me about how centering the counterweight mass to the stylus might transform the sound of the music.
Some here like the Technoweight and some like the Kerry F2 Titanium counterweight.
The thing is you can hear more from the grooves when the counterweight is properly engineered to do its true function. Which is to keep the stylus planted into the groove.
Warps and dishes are more complex issues and we can all throw out, replace or repair a warped disk. In my line of thinking, digging out the details is what this hobby is all about.
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