This is the exact type of misconception I have been trying to remedy. In conclusion: If it was mine, I would spend sometime to reset as the manufacturer recommended. It works, but it might cause more distortion (the ear might not detect it) and affect the life of the tonearm (might cause more friction on the pivot bearing). When you changed the P2S distance, it will lead to the change of the offset angle of the cartridge mounted on the tonearm. I have not heard an obviously bad uni-pivot arm I've heard some bad gimbal arms (albeit really cheap arms) that either had excess friction or could not control/damp vibrations imparted by the cartridge.IMO, when the manufacture designed a tonearm, they calculated and set the P2S distance and all the geometry of the tonearm to get the best out of the cartridge with the least of distortion possible. There are plenty of theoretical reasons why any particular design is compromised (they are all compromises) to the point of serious problems, but, the bottom line remains the sound. I think it would be helpful if the two sides on this issue discuss the arms they owned or have heard in familiar setups. The same thing with Swedish Audio Technologies which started out insisting that longer arms gave up too much in terms of rigidity, yet they now offer them. I don't know if there was a change of minds on the subject of trade-offs, or whether the decision was based mainly on market demand. Yet, Basis eventually came around to offering longer arms. said that he built 9" arms because longer arms compromised rigidity. There is always a compromise involved in designing arms. saw some benefit to the extra contact points required to stabilize the arm, but, that necessarily involves a tradeoff-additional friction from the bearing used on the stabilizer, and more things that can chatter (not as clean a path grounding vibration transferred from the arm to the arm post). Stablized or not, the Vector arms are still basically uni-pivots. Two different sounds from a uni-pivot design. At the opposite end of the spectrum is another uni-pivot: Naim ARO which has a more lively sound. This is a well-damped sounding set up that some might call "dark" and "not so lively" sounding (I call it "poised"). I currently run a Basis Vector arm (stabilized uni-pivot) on a Basis Debut turntable (with vacuum clamp). I have never had an "accident" with any arm because when it is not playing the record, it is always in the cued-up position.
I don't think they are hard to handle either, particularly because I do all needle placement and lifting by using the cue control with all types of arm. Uni-pivots don't jiggle in the groove when playing, and I don't see how they are any harder to set up and adjust. As far as bass response is concerned, the most solid and deep bass I've heard was with some air bearing linear arms and the Morch anisotropic uni-pivot arm (both type of arm have the common characteristic of high inertial mass in the horizontal plane as compared to their mass in the vertical direction). When set up correctly, all types can sound really good with a complimentary cartridge. I don't know if there were obvious particular sonic characteristics for each type.
I have owned a linear tracking air bearing arm, a gimbal arm, a uni-pivot, a stabilized uni-pivot and a fishing line suspension arm.
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