CHAD'S TT SETUP

An adaptation of Chad Stelly's (with Acoustic Sounds) setup notes -- used with permission.

CHAD STELLY’S TURNTABLE SETUP NOTES

1. Install drive belt & platter

2. Level turntable using bubble level

3. Install tonearm if not factory installed

4. Install phono cartridge

5. Install counterweight & static balance (float)

6. Apply recommend VTF

7. Confirm neutral VTA by parallel arm height while tracking record

8. Set cartridge alignment/overhang - prefer Baerwald (Lofgren A)

9. Confirm optimal VTF - at record level if tonearm dynamically
unstable

10. Apply anti-skating - more detail below

11. Zenith adjustments for elliptical or better styli - listen for L/R
detail (timing) differences between channels. Rotate stylus
towards right (inner groove) or vice versa if one channel is
subdued or “veiled” by comparison.

12. Adjust azimuth w/Fozgometer & test record (think airplane roll).
Azimuth turns sibilants into detail.

ADVANCED CARTRIDGE SET-UP:

OPTIMIZE VTA/SRA

Vertical Tracking Angle & Stylus Rake Angle are two different concepts
for achieving optimal Tonearm Height which is typically adjusted at
the rear base of the Tonearm.

One way to think (or model) the issue is to envision the phono
cartridge as an "airplane" - specifically, it’s the pitch (pointed up
or down); That we’re trying to achieve. Almost all "phono cartridge
manufacturers" recommend a neutral (level) pitch which relates to a
level tonearm when playing a record. Simple enough.

PITFALLS

1. “Levelness” can be altered by incorrect tracking force due to the
compliant nature of the needle (cantilever/stylus assembly).

2. The headshell (where the cartridge is mounted) is not always on the
same plane as its supporting Tonearm tube

3. Dynamically, most (not all) tonearms are not stable in terms of
applying vertical tracking force when moving (or moved through
adjustment) vertically.

This 3rd point makes for a more involving listening experience when
optimizing Tonearm Height by ear since any Tonearm Height changes will
also affect VTF or Vertical Tracking Force (see below for VTF effects)
requiring a combing through process between the two parameters when
this occurs.

WHAT TO LISTEN FOR

One key is to listen for the height perspective of the sound image.
Often, slight height adjustments starting from parallel will yield
nice changes for a natural presentation. Image raises when arm is
raised & vice versa. The record I use is Amos Lee - Amos Lee (last
track & 3rd to last track on side B). If the arm is too high in rear,
the centered Amos Lee vocal image will be artificially high that is
opaque & lacking in density. Conversely, arm height too low in the
rear creates an image of Amos Lee singing down low & overly dense or
congested. Adjust for the most realistic height perspective that
reveals a natural presentation which includes his breathing.

OPTIMIZE VTF

One strategy to optimize Vertical Tracking Force [VTF] is by using the
counterweight as a delicate tone control. Using the airplane analogy,
how heavy is your plane loaded? Tonality is what we are listening for.
Heavy = Bass / Light = Treble. The objective is to grab as much of
both as you can by letting the cartridge & music tell you. Always
begin with the manufacturer’s optimum recommendation before fine
tuning by ear. The record I use is Ten Years After - A Space in Time
(2nd track side 2). You want it heavy enough to play full extension &
control of low bass sweeps. Once achieved, try lightening slightly.
What I’ve observed is that this wonderful texture appears on top of
the bass notes right before the bass extension disappears when backing
off or making the VTF slightly lighter.

OPTIMIZE ANTI-SKATING

To optimize anti-skating look to “centering the image” between
channels/speakers. Knowing that all standard radial tonearms are
pulled inwards towards the spindle (left channel inner groove wall) of
a rotating record, due to (offset) angle of the cartridge mount and/or
overhang differential from tangent, we can use Anti-Skate to provide
an opposing force cartridge to the record’s edge (right channel outer
groove wall) in the hopes of neutralizing lateral dynamic stability of
the stylus in the groove. Record I use is the previously mentioned
Amos Lee tracks. This selection feature a very solid yet delicate
vocal performance that needs to be dead nuts centered. (SEE ADDITIONAL
ADDENDUM BELOW)

OPTIMIZE AZIMUTH

Azimuth, when viewing the cartridge from the front, is aligning the
cartridge’s “U” shaped stylus into the “V” shaped record groove. The
inner groove of the record is the left channel and vice-versa.
Sibilance or distortions of “esses” on hot vocals will be present if
this is off. Rotate the cartridge azimuth towards the channel that
distorts first as distortion is the stylus losing contact with the
groove wall of the record being played.

OPTIMIZE ZENITH (YAW)

Is there any zenith change required?

Note:  Not applicable with conical/spherical styli!

With all adjustments dialed in and sounding superb, if you find
yourself noticing more detail or just an increase of resolution in one
channel over another, it may require a small zenith change (think
airplane yaw) with slight rotation of the cartridge/stylus towards the
record wall (the one with the less impact). This adjustment should be
done carefully in order to preserve the overhang alignment! Inner
groove (clockwise rotation in the headshell) increases Left
channel/speaker timing/detail & Outer groove (counter clockwise)
increases Right channel/speaker timing/detail. This allows both
channels of an advanced profile elliptical stylus to “time” more in
unison giving the listener a much more involved experience.

SUGGESTED RECORDS (SIBILANCE & STAGE-WIDTH + HEIGHT)

1. Amos Lee, "All My Friends" & "Black River", Amos Lee, AMRC 50116
(2005), LP

2. Alvin Lee [Ten Years After], "I'd Love to Change the World", A
Space In Time, ACHR 1463 (1971 Original Mix), LP

3. Harry Belafonte, "Sylvie", Belafonte at Carnegie Hall, AAPF
6006/RCA Victor LSO-6006 (1959), LP

FINAL ICING ON THE CAKE

Recheck Azimuth and begin the combing through the entire process
(rinse, repeat) as your system allows. This combing-through process
can be very critical due to the nature of these adjustments being
interrelated to others. Unfortunately, as mentioned earlier, some
tonearms are simply more stable than others and require less combing-
through or repeated trials of setup.

ADDITIONAL ADDENDUM

An interesting tidbit of information that suggests to me that Anti-
Skating is a balancing act inside the cartridge motor laterally as
much as tracking force is vertically. This may be considered as
independent of record groove pressure from the stylus (needle). The
following is lifted from Christian Rintelen, which (IMHO) is
viable:

Adjust the skating force to zero and prepare yourself for a mean
experience. The right channel will not show dynamics at all; it
will sit in the corner totally bored and ignoring you. The left
channel will sit in its corner like an evil ghost, considering to
attack you in the next moment. It will sound very dynamic in a way
that numbs the left half of your body. However, the dynamics will
be nightmare-like artificial. Now you increase the skating force to
a quarter and then to a half of the expected value. You will sense
that the right channel comes more-and-more alive and the left
channel sounds less dynamic, intimidating and artificial. This
reduction is less than the increase of dynamics in the right
channel; the whole system becomes more dynamic. You increase the
skating compensation by *very* small steps until you reach a point
where the left and right channels sound equally dynamic. Then you
increase further very small steps; both channels will grow more
dynamic. One step too far and both channels lose their dynamics
completely and sound dead. So you go back to the position where
dynamics and micro-dynamics were maximum.