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In Reply to: Re: I guess so? posted by Aleksunder on September 11, 2006 at 13:39:03:
Tires wider apart make for more stable secure traction. The outrigged weights may compensate somewhat in this regard, sort of like the bar a tightrope walker uses.
Follow Ups:
The outrigger weights act in two ways. My guess is that they absorb the vibrations and resonances of the vertical bearings. Second they add unsprung mass to the arm itself so it increases mass without increasing effective mass of the tonearm.
They are not attached to the arm, just the bearing/yoke assembly, so they add zero mass to the arm.i can't speak to them absorbing resonance from the bearings but their purpose, mass qua mass, is to add that mass outward on a horizontal plane to create, litteraly mass/inertia to slow down the arms movement along that plane, or to stablilize the arms back and forth movement.
Why? When the cartridge is 'excited' by the groove it will over-react [think Grado here in the extreme] and cause the arm to react as well. Some think this is good in that the arm is nible and allowing the cart to 'do it's thing.' But, stopping that arm from reacting is the point. Keeping that arm stable but fluid keeps that cartridge/stylus riding smoother/deeper into the groove. The cartrdige should move and send that energy up then cantilever into the coils, etc. Hold that cart still and stopping the arms reactive movement stops feedback to the cart. NO WIGGLING. Keep that arms steady to keep the cart steady so that the sylus/cantilever can react to the grooves ONLY means ... a higher level of fidelity[truth in movement], dynamics[deeper in the groove], detail, able to calmly reproduce subtle changes in the groove.
Can you see that picture?
I would describe this modification as akin to the balance beam a tightrope walker uses. Well sort of.But locating the two largest masses, namely the cartridge and the C/W at the very extremes of the "stick" contributes to the same type of stabilization. The idea of the C/W close to the pivot is counterintuitive.
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