Garrard zero 100 headshell wiring diagram

If you replace an arm with offset angle (with the 220~230mm of practical length), which supposed to have an overhang, to a straight arm of the same length, it'll have an unnecessary overhang and a shorter practical length when set according to the diagram 2, creating more tracking error.ДЄ pure straight arm also have an advantage on sound by not creating a dynamic distortion in principle. With RS-A1, the distance between the needle tip and the center of the arm is about 230mm and by setting it the way shown in the diagram 2, you get the minimum tracking error. Of course, the less tracking error it has, the better, so the practical length of the arm should be as long as possible. The problem (1) is caused simply by the offset angle, so making it a straight arm is the simplest solution. On designing RS-A1, I wanted to present a solution to the above problems, which may not be a perfect one, but at least one that is reasonablly effective. Less the amount of the needle talk and clear the sound of needle talk, better the combination.

The amount of the needle talk is dependant to the compliance of the cantilever, rigidity of the cartridge body, the structure of the head shell and the arm, etc. The reason we hear an unexpectedly large sound is that somewhere in the resonant chain of cantilever-cartridge body-head shell-arm-arm base is amplifying the initial vibration of the cantilever. With such a small needle of a cartridge (quite a bit smaller than the reed of the highest note of a small music box), there shouldn't be any audible sound. Needle talk is caused by the same reason. But once you let the mechanism touch something, not only hard wood, but a piece of cardboard or a cookie box, suddenly the volume increases and you can hear even lower resisters. Have you ever played a naked mechanism of a music box? You can hardly hear it's playing. This means that, according to the change of the groove formation, the arm itself goes up and down in relation to the surface of the record, adding modulations to the output of the vertical element which controls the stereo effect. As you can see on diagram 1, there's an extra force pulling the arm down. Offset angle doesn't only exist in horizontal plane. Overly concerned with the tracking error, the designers of the arms with offset angle fail to see the larger picture. I wonder if they already new about this issue. Western Electric arms, 1A, 3A, 5A, all comes with straight arms. You can check this easily by changing the angle of the cartridge. But the actual effect of the tracking error is not as serious to the sound as many of you imagine. Since the effect of the distortion caused by tracking error is easy to calculate geometrically, it is easily understandable. To solve this problem, either we forget about the tracking error and use a pure straight arm, or employ linear tracking system. If it's slightly off centered from the dead center of the magnetic circuit, it's not a serious problem as long as it stays within the linearity of the magnetic circuit and damper, but the inside force is always changing, shaking the cantilever left and right, adding unnecessary modulation to the signal. This phenomenon is the result of the transformed damper caused by the inside force. Older your cartridge is and higher the compliance of the cantilever is, more likely that you'd find the cantilever is bent. Please check your cartridge if the cantilever remains correctly on the center of the cartridge body. However, the amount of inside force dramatically changes according to the frequency and amplitude and a static cancellation system is not effective. This setting inevitably causes a strong inside force and to compensate that, they come with an inside force canceller. Most of today's tonearm comes with offset angle to compensate the tracking error and set with about 15mm of overhang. Minimizing unnecessary forces affecting tonearm The structure and the features of RS-A1 Tonearm

Garrard zero 100 headshell wiring diagram