Most will tell you to adjust anti-skating by ear or with a test record. The SME M2 is mounted to the top of the arm board and has a separate locking collar to adjust the angle of the tonearm in relation to the platter. Since the collar used to secure and adjust the arm angle of the OL Encounter to the armboard is mounted under the arm board (and the manufacturer suggests only finger tightening for best sound), it makes it almost impossible to keep the arm locked in place when returning it to the arm rest unless your willing to take tools to it. For those thinking of acquiring an Origin Live arm, you might want to consider what I feel are their weak points compared to the SME design: But it wasn't until I recently purchased a SME M2 9' arm that I realized several of the short-comings of the Origin Live design. The look and the sound of this arm are certainly not bad - just the opposite in fact. If a cartridge has some deviation in azimuth, adjustment can be done by rotating the headshell in the desired direction to set the stylus of your cartridge vertical to the record surface.This is being written from someone who has spent a couple of years now with an Origin Live Encounter arm on my Michell Gyrodec SE. This plastic part has the same height like our EMT-ti cartridge and allows additionally for alignment of the arm height. A precision-made plastic part mounted instead of the cartridge allows for aligning the headshell parallel to the platter or record surface. The headshell can be rotated by about ± 5° after untightening this screw. A small clamping screw from under the arm tube holds the headshell in position. The 10.5 features an infinitely variable Azimuth adjustment. Because simply put, the better a tone arm works, the more you’ll hear what has been cut into the vinyl: music!) (Too bad you actually will hardly ever notice any of these efforts. Skating is compensated for without any contact by magnetic force. The vertical downforce and the dynamic mass can be adjusted over a wide range thanks to the split collar counterweight. For the same reasons, the headshell is nondetachable and the surface of the arm tube has also been treated with special anodizing.Ī double gimballed suspension, with precision ball bearings free of play, ensures precise and frictionless tracking. For optimum resonance control and high torsional stability, the 10.5 is made from aluminum and stainless steel a high tech synthetic material is also used. With a dynamic mass of 12 grams, it works well with any modern cartridge and with 10.5” length, it is still short enough for most turntables designed for 9-inch arms, yet also long enough for 12-inch arm bases. The 10.5 is considered one of the best tonearms in the world and is used as a reference (and highly recommended) by magazines and reviewers alike throughout the world.

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