Thanks for your input chaps. All noted.
I have compared this arm against an Ekos II. In my opinion it knocks it into a cocked hat. The difference is energy, scale, soundstage, control of excess during difficult peaks, for example in opera crescendos, separation of instruments, timing and the overall impression of real performers doing something worthwhile. I would like to try it against the arms which I suspect it is gunning for, namely Graham, Kuzma 4point, and SAT. I would be interested in meeting people who use high end arms to make careful comparisons.
Some of you may remember that I found a couple of Garrard 301s and built solid plinths for them. The problem of providing them with arms commensurate with their true potential festered for many years, but lockdown brought the opportunity to solve this problem from first principles. More will come of this but I'm weighing up how to proceed with this project.
I will say that I'm hearing a standard of vinyl reproduction which I have never experienced before. Right now I'm listening to an old AT95 on the mystery arm and Garrard 301 and it is... ...better than satisfactory.
I have reached the conclusion that arm designs are flawed, even the 4point, and that no arm design takes seriously the problem of oscillating stylus drag in the time axis.