About the Tone-Arm from KORVET Klingon Style Turntable, translation from russian prospectus:
"This is a draft of the tone arm designers Anatoly M. Likhnitsky (the designer of the AML + tube amplifier and the RX Correctors [
http://www.aml.nm.ru/RX_corrector_eng.htm], and author of" Sound Quality: New approach to testing of the home audio equipment ") and A. Grebioskny back.
"Fundamental studies of the tonearm mass, the weight and the compliance of the cartridge resulting vibration system showed that through special training of the tonearm balance weight, a significant enlargement of the tracking ability (tracking ability) can be achieved when the tonearm balance weight as an anti- resonator is formed eye and in the tone arm and platinum resonance vibrational energy absorbed.
This is the inner part of the weight balance weight matched to the tonearm resonance and acts by anti-phase oscillation as an anti-resonator. Upon excitation of the tone arm in the resonance range, eg by record high shock or the like, are eliminated by this arrangement between Energiependelungen tone arm and anti-resonator. The anti-resonator tuned higher than outer part of the balance weight to prevent the transmission of partial resonances occurring boards on the tone arm. The interpretation of the tonearm balance weight than double anti-resonator causes a magnification of the interference ratio and thus the lumber-distance. "(Manual Dual 721, page 34,
http://dual.pytalhost.eu/721/721-18.jpg )
Anatoly Likhnitsky attacks in his article "Dynamic viscous damping for tonearms" the example of the dual 721 for the principle of "dynamic resonance damping", which he believes it would be too inflexible, because it could be handled in his opinion, hardly practical: his view for of such there must be a more subdued tone arm with sophisticated measuring equipment, are individually decorated, the damping system should not be counter-productive, otherwise usually produce unwanted resonances, thus distortion.
This problem was solved with the tone arm with "Dynamic viscous damping". She seemed the vibration of the tone arm in any direction and without an individual institution, virtually self-calibrating, opposed.
Already connected in the original draft of his tonearm whose bullet base even rigid, in addition to the arm tube, even with an exterior gelegenem counterweight was floating in a viscous liquid (glycerin) is a ball of high-density material (for example, copper or brass), the by a coating with a low friction coefficient was surrounded (eg polyethylene) with a surface structure with flexible spines. It is this ball, which receives the resonance energy and in its viscous bath quasi executes. The "spikes" serve as a spacer, which should be avoided, that inner and outer sphere are in direct contact, which could also prevent the transmission of vibration of the ball inside to their case and is rigidly connected to arm tube.
In the range of 9 Hz to allow this system compared to conventional methods is improved by 10dB attenuation (Source: Good Sound Club). The manual is called the EP-038 values of 8-10 dB without specifying a reference frequency. "
P.S. The Soviet-Russians even had electrostatic speakers called "BOT static",
Fidel Castro still has a set of them connected to the Korvet Monster Amp and a soviet
Super Turntable called CNOPM (SPORT) with 16 inch Tone Arm- shown in the German Klingon hifi thread.
Here the super CNOPM Turntable with 16 Inch Tone Arm made by Charkov Plant
http://old-fidelity.de/thread-2383-page-14.html
Castro received these miracles of Klingon Sound-Technology by Breshnew in the late 70s and early 80s.
Klingon full frequency "BOT statics" DELUXE VERSION made in USSR of the late 70s and 80s.
This here is the smaller soviet 1978 BOT static 35AC Version.
This 35AC type here is well known as "People´s electrostatics = VOLKS-ELEKTROSTAT" in Russia.
Best regards
Willy