Soundsmith - cartridge installation

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Tonearms

How Do I Set The Azimuth Adjustment On My Cartridge?

Peter — Mon, 09 Jun 2014 18:15:25 +0000

Azimuth adjustment is important

Azimuth (part 1, part 2)

There are many ways and methods for doing this critical adjustment. We also realize that some arms do not allow for such, so we have some suggestions how one can accomplish this with a non-adjustable arm – at the end of this section.

There are many methods for making this adjustment, some old and some new. New electronic methods for doing this adjustment - the Fozgometer and and The Adjust + systems are available. Soundsmith is developing a new system; the long awaited CartRight alignment device and software, a project that we hope to release soon. I am friends with both of the gentlemen who developed the Fozgometer and Adjust plus, and they work very well. Due to the manner in which they allow this adjustment, they do have limits however, and sometimes do not work well with Soundsmith cartridges. I will explain why, and how to adjust Soundsmith cartridge azimuth without these systems.

The above electronic systems rely on obtaining equal CHANNEL separation - which is a function of azimuth alignment. What is important to understand is that most good cartridges have separation in the range of 25-28 dB. The Ortofon A-90 for example, is spec'd at 28dB. Other designs are 28-32 dB. These types of cartridge designs that have moderate or good channel separation are very common, and because they have separation in these ranges, it is usually somewhat equal when the cartridge is aligned vertically.

Soundsmith cartridges are of a totally different design and technology. This technology often creates designs that have dramatically high levels of separation. The reasons for this tremendous increase in cantilever and stylus control and the resultant increase in definition and resolution are beyond the scope of this article on azimuth. The important thing to be aware of that that when the separation gets very high, or extremely high, it is usually not absolutely equal from channel to channel. For any technology, that would be difficult to impossible at those extremes. Does this indicate a defective cartridge? Absolutely not. Once you are over 30 dB, the cartridge is considered to be excellent in terms of separation. But suppose one channel is 36 dB, and the other is 44db? That happens quite often with a Soundsmith design. The Fozgometer and Adjust plus will advise you to severely tilt the cartridge till you get equal channel separation. We have many Emails to that effect. So what do you do till the Soundsmith CartRight is available?

Always start with the cartridge as physically neutral as possible as viewed from the front. It should be as flat as possible. Your “best setting” is here or not more than 3 degrees from this position, either clockwise or counterclockwise.

To verify the best position, use a test record (Acoustic Sounds test record is fine – Side 1, tracks 2&3) where one channel is modulated at a time, and LISTEN (or measure properly) the OTHER channel for crosstalk or bleed through. Do the same thing vice-versa with the other channel. When the crosstalk, or bleed through is roughly the same, you MAY be close to the azimuth. Many cartridges can be azimuth adjusted in this manner, because the bleed through for each channel will be roughly the same for cartridges that have "OK" levels of channel separation when the azimuth is "neutral". Fine tuning information can be found below.

Again, it is important to note that cartridge alignment devices that rely on equal channel balance and identical channel separation in order to adjust AZIMUTH will not always work to achieve best azimuth adjustment. In fact, some will actually provide a far worse azimuth recommendation than using a mirror, or an equal reflection in the surface of the record while playing as viewed from the front. As a result, there is a caveat with these devices that rely on identical cartridge characteristics. While it is true that if a cartridge with NORMAL separation levels has channel separation asymmetry IS defective (from the standpoint of one channel having far worse separation than the other), it is also quite common - as stated above, with Soundsmith cartridges to have one channel that has far better separation than the other, and that does NOT constitute a defective cartridge. For example, at the extremes of unusually high channel separation, one channel may be 3-8 dB “worse” for separation than the other at the BEST STYLUS MECHANICAL azimuth setting.

These differences do not indicate a defective Soundsmith cartridge, they simply point out how difficult it is to make a cartridge with identical separation performance when one gets to very high levels of separation, which is only found in Soundsmith designs due to the unique technology employed. So - how does one best adjust under this situation?? The technique is described below. As mentioned however, in the near future, a device called the CartRight, available in both hardware and software forms will be available through the Soundsmith. This device will permit accurate adjustments to be performed even by the most novice of audiophiles, and will allow (among other alignments) perfect azimuth adjustment for any and all cartridges - especially those with any asymmetrical performance. ../../html/CartRight/index.html

Regarding azimuth adjustment, the best method for Soundsmith designs (and others) is to set the cartridge NEUTRAL as viewed from the front. Then, adjust the azimuth a VERY SMALL AMOUNT to find IF that improves the separation (less crosstalk) for the WORST channel, where it JUST achieves best separation and to stop there. It may be that you will find that continued adjustment in that direction will NOT result in improvement of separation for that channel. Bear in mind what you are doing here. Crosstalk measurements and other means of electrical measurements DO NOT FIT THE STYLUS BEST INTO THE RECORD GROOVE!!! After all, that is what you SHOULD be going for, NOT the best or equal crosstalk!!!

In other words, if one channel is always much better in terms of less crosstalk than the other, tune the azimuth by using the other channel. Again, the best way to tune the “worst” channel is to find the point where the crosstalk “just” becomes minimized and go no farther. Verify that the other channel is still better in that it has less crosstalk. If you NOW FIND that you have NOT gone more than a tiny bit off the neutral position to do this, you have probably hit the best azimuth compromise.

If you find you are way off neutral, that is wrong, and something else is wrong with your setup.

For arms that do not allow azimuth:

With Azimuth Adjust!

click for details

One may cut two fine strips of business card, about a quarter the width of the cartridge, and place them on top of one another, and then on top of the cartridge, running FRONT TO BACK to create a pivot or fulcrum. Then, by alternately slightly tightening and loosening each of the mounting screws a tiny bit each, one may “tilt” or rock the cartridge as viewed from the front to achieve a slight azimuth adjustment, which should be all that is required, to achieve top performance. When the proper point is found, tighten both screws by the same amount to “lock” the setting in place.

Refers to

Hyperion

Paua mk II

The Voice

Zephyr MK III

Boheme

Carmen mk II

Irox Blue

Mezzo

Zephyr MIMC ☆

Topic Tags

cartridge azimuth

Product or Service Category

How Do I Adjust Anti-skating On My Cartridge?

Peter — Mon, 09 Jun 2014 18:06:30 +0000

Yes You Do Need Antiskating

Anti-Skating (part 1, part 2)

It is just plain simple physics. BUT……the industry has gotten it WRONG. (see my notes at the end of this anti-skating message for more details)

Make sure that the anti-skating is well set; there are many ways to tell, but this is a method suggested by Frank Schroder, with which we heartily agree. PLEASE NOTE – this will not agree or work with test records designed for higher amounts of anti-skating. The reasoning from Frank Schroder for this method and level of A-S skating is as follows: the level of antiskating used should create EQUAL forces on each groove wall for *most* of the record. Since this force is dependent on the level of recorded modulation (how loud the recorded music is on the disk) setting it for a “worst case” “loud music passage” level is totally inappropriate. Setting it where it provides equal force per groove wall for where music spend 80-90% of its time (30-40% modulation) makes FAR more sense, both from the standpoint of listening, and wear.

(specific VPI information is below)

Procedure:

When you have it adjusted right, the arm will track on the SURFACE of the record (not in the groove) at the end of the record on the un-pressed flat space where the run-out groove is – it should track SLOWLY INWARDS toward the center at a MUCH SLOWER RATE than IF IT WERE ACTUALLY in the end groove. If you do that, then the best average Anti-Skating is set correctly.

The following is useful, but not all-telling. With medium or high compliance cartridges (NOT with most moving coil design) - LOOK at the position of the cantilever when it is up in the air, and when it is on the record, both at the beginning, and at the end. Look for a change in position both initially upon set-down, as well as after 1-2 minutes. If you DO THIS BEFORE adjusting as above, you will have a gross method to verify that you have problems with skating forces, as it should not change position - if it does, the A-S is VERY wrong. The best way to tell if it is very wrong is to look how the cartridge behaves on the flat surface, as described above.

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Almost always, most tables are set so they have too much Antiskating, or an adjustment that cannot be turned down enough, OR the range and fine control is terrible, or you have none.

Usually, most folks use far too much antiskating, as evidenced by the thousands of cartridges I have rebuilt over the last 40+ years – as evidenced by observation of the outer edge (right channel) of the diamond to be worn far more than the inner, or left channel.

A properly designed anti-skating is non-linear, as it should of course increase A-S automatically as the cartridge approaches the inner grooves.

Frank Schroder and I are of the same opinion about antiskating – and that renders MOST records that provide an anti-skating track totally in error – they are recorded at about 80-90% modulation – or HIGHER - and expect you to set the A-S force so that there is no distortion (or equal amounts on both channels if the cartridge tracks poorly).

The problem with these tracks is that since the required level of A-S force is a dependent of the amount of modulation, it has you adjust antiskating at far too high a level. This would be OK, if you are listening to music that is (by nature of the music) at constant maximum crescendo, without normal musical dynamics - going from loud to soft. Very few pieces of music are like this. When you adjust for this level on a “test record”, that means that you are very much overcompensated with far too much antiskating as you have adjusted it for where music does NOT spend most of its time. It spends it at about 30-40% modulation levels, and adjusting the A-S with these “test” records results in far too much A-S force; too much stylus force on the right channel, and far too little on the left.

Since there is no properly recorded track that allows proper setting of A-S (there will be such on our new Soundsmith adjustment record), the method that Frank Schroder discovered through careful reverse engineering works without tools, and without a special record.

If one sets the stylus on a smooth surface of a record (at the end, in-between the run out grooves) – the tip of the stylus has a drag on the surface that somewhat similar to what it would have if it were in a groove. This is due to a calculation of “force per unit area” with consideration of the rheology of the material – vinyl.

Suffice it to say that it is “similar” enough for this method to work well, especially since the method was reverse engineered/calibrated properly by Frank Schroder to be correct for 30-40% record modulation. It then becomes an easy matter to set the A-S and observe the movement of the arm. For a given VTF (any amount of VTF) – set the A-S so that the arm VERY SLOWLY drifts inwards when placed on the SURFACE (NOT IN A GROOVE) at the end of a record. You will have a moment to do this until the stylus “pops” into the run-out groove.

This works for ANY amount of VTF required, for ANY cartridge. It will set the A-S for EQUAL force per groove wall for 30-40% groove modulation levels, at ANY VTF, for ANY cartridge.

ANTI-SKATING for VPI ARMS - IMPORTANT ISSUES:

Some of us who own VPI tables (Yes, we do) are aware that VPI’s suggestion was not worry about anti-skating, or they gave instructions to twist the signal cable one way or the other to affect a proper anti-skating force. I have found that this is a VERY gross method, which does not allow for proper much less accurate anti-skating adjustment. VPI is now providing an anti-skating device, which we strongly insist you use. If you do not own the VPI supplied string type anti-skating device, please get one !! One must appreciate that its use does take some time to get right, as one is working against not only the skating force for the cartridge itself, but sometimes the side force from the stiffness of the signal cable as well. I have occasionally had to add small brass washers (if needed), sometimes between 3 and 5 of them, to the far small arm that does not have the nylon string attached. I positioned them between the rubber o-rings that they supply to hold them in place and at the proper height – and it allowed me to adjust the force to exactly what was needed. Patience is often required.

The VPI arm wire can sometime cause a large sideways force to be placed on the arm. We suggest BEFORE you start, unplug the connector, remove the arm and hold it upside down horizontally, with the wire now hanging down. Lightly squeeze the wire between your thumb and forefinger – starting at the tone arm, and slide your fingers all the way to the connector. This will slightly RELAX the wire. Turn the arm over, rest it on the point bearing, and gently loop or drape the wire up and down with no extra twist or tension and without rotating the wire - rotate the connector minimally to orient the red dot, and then plug the connector in. Then perform the test as below.

Make certain your have disconnected the VPI anti-skating, and perform the below test CAREFULLY, placing the stylus on the smooth section of the run-out area – NOT in the groove. The arm should skate INWARDS rapidly. Then hook up the VPI anti-skate mechanism, and begin to adjust it to get the below result. You MAY have to add some small metal washers to the far arm of the anti-skate mechanism to get the arm to slow down – to have it not run inwards quickly. It will take some patience.

When you have it adjusted right, the arm will track slowly inwards on the SURFACE of a record (not in a groove) at the end of the record on the un-pressed flat space where the run-out groove is. Again, when adjusted correctly, it should track SLOWLY INWARDS toward the center at a MUCH SLOWER RATE than IF IT WERE ACTUALLY in the end groove. If you do that, then the best average Anti-Skating is set correctly.

Again – HOOK UP THE ANTI-SKATING NYLON WIRE AND add JUST enough Anti-skating to slow it down to the desired rate as described above. Using one or more washers (if needed) on the far arm of the device will ADD anti-skating (and slow down the arms inward speed) as will hooking the nylon wire higher up on the other arm. MAKE SURE that you position the angle (CW or CCW looking DOWN at the device) so that it will NOT flip over to the right when you are at the end of the record……. PATIENCE…….PATIENCE…..

Refers to

Strain Gauge Cartridge Systems

Hyperion

Paua mk II

The Voice

Zephyr MK III

Boheme

Carmen mk II

Otello

Irox Blue

Aida

Topic Tags

cartridge anti-skating

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CLICK THIS TO DOWNLOAD A PDF COPY

How Do I Set My Cartridge's Overhang Adjustment?

Peter — Mon, 09 Jun 2014 17:38:17 +0000

This adjustment provides a best compromise for your “pivoting” arm – it will minimize distortion if done correctly. Please either open the attachment and print it out, OR go to the following website and print out this free overhang gauge – instructions are fairly easy and on the print out itself – PLEASE note if you download the one with the metric grid at the bottom of the gauge, and make sure you have printed it out sized correctly. If not, you may have to enlarge or reduce a bit. I use photo quality paper for my final print out, which make a durable gauge!

CLICK THIS TO GET A FREE CARTRIDGE PROTRACTOR

Bear in mind that one should always align the CANTILEVER with the grid; the body angle is irrelevant, as is the stylus guard slot, which can be off a bit.

Notice that when down on the record, stiction may “pull” the cantilever slightly to one side or the other, so after the antiskating is set correctly, always good to double check the cantilever agreement with the grid lines. This is true for ANY cantilevered cartridge design.

Refers to

Hyperion

Sussurro mk II

Paua mk II

The Voice

Topic Tags

Product or Service Category

How Do I Set VTF – Vertical Tracking Force?

Peter — Mon, 09 Jun 2014 17:35:06 +0000

SRA & VTF

As far as vertical tracking force (VTF), always start with the recommended vertical tracking force from the manufacturer for a particular make and model of cartridge. It may be possible to lower it after we have repaired or rebuilt your cartridge, but there are so many factors, including variations in tone arm design and condition, that we urge our customers to invest in a test record that will aid them in finding the correct VTF. Too low a VTF will damage both record and stylus, and too high will cause too much wear.

The proper amount of VTF will vary from cartridge to cartridge, EVEN within a single model, due to manufacturing tolerances. One who plays loudly recorded music will need a bit more, and visa-versa.

When you are adjusting your VTF, if you use a test record, adjust the antiskating beforehand as described below, and then fine tune the VTF to allow no audible distortion with a test record with a tone recorded at 12dB over 0 dB modulation.

Refers to

Hyperion

Paua mk II

The Voice

Zephyr MK III

Boheme

Carmen mk II

Otello

Irox Blue

Mezzo

Zephyr MIMC ☆

Topic Tags

cartridge tracking force

Product or Service Category

Do the Strain Gauge systems require more care in setup than a standard cartridge?

Peter — Thu, 29 May 2014 17:27:30 +0000

The answer is Yes, and No.

Strain Gauge cartridges are "displacement" cartridges, and as a result, are more sensitive to ANTI-SKATING adjustments than magnetic designs. Why??

The explanation is that if there is improper antiskating force on a magnetic design, it will still perform well in terms of the generator inside of the cartridge. This is not true of a cartridge that does not respond to how fast the stylus moves (velocity sensitive magnetic designs) but to displacement, and how "neutral" the average lateral position of the cantilever is. If such a cartridge has its cantilever displaced off to one side due to skating forces, the channel balance will be shifted, and potentially, loud passages (transients) may also be distorted.

Frank Schroeder, one of audio's most valued designers, tone arm builders and engineers, explained years ago that many records with antiskating tracks were designed incorrectly. Many have tracks that are recorded at 80% modulation, or even higher, and ask that you adjust antiskating to get zero audible distortion, or to even out the distortion on both channels.

Since the ever changing amount of antiskating required is dependent on the loudness of a given passage, this type of recorded track for adjustment assumes that the music you will be listening to is always at a loud level. Not too much music does this, given the exceptions of heavy metal and some others. Most music is at 30-40% modulation or volume on average with occasional peaks and quiet passages.

Frank suggests a method for adjusting antiskating that requires no special record, and one that works for any stylus of stylus shape or force. He asks that if you set the stylus down at the end of the record, not IN the run-out groove but between them, and adjust the antiskating so that the arm moves very slowly inwards. This is a good average adjustment that works very well.

Other than that, the Strain Gauge is no different for set up accuracy than other cartridges. In one sense it is actually easier, as the azimuth can be set up using a flashlight method described in the owners manual .

Refers to

Strain Gauge Cartridge Systems

Detailed Question:

Do the Strain Gauge systems require more care in setup than a standard cartridge?

Topic Tags

cartridge tracking force

setup time

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