5) The “finetuning”
Everyone who has to mount cartridges frequently understands the importance of
precisely adjusting an arm/cartridge combination to release it’s full potential.
Overhang, azimuth, VTA, tracking force and, if featured, variable damping of the arm
movement are all important parameters.
The overhang adjustment was described already, nevertheless let me add that a
single “perfect” overhang setting does not exist. Should you own a lot of records that
are cut close to the inner groove you might consider using 63mm instead of 66mm as
your inner “zero point” – many crescendo finales of symphonic works could be
tracked with reduced distortion this way.
On the other hand exist a lot of “pop”-records with no modulation but leadout groove
already where the “inner” zero point is located. One doesn’t even benefit from this
second distorsion minimum..
Correct overhang adjustment results in tracing-error-related tracking distorsion of
barely more than 0.1% .
Next, the azimuth should be adjusted so that crosstalk is the same for both channels.
This can be done by using a mono record played back via an X-adaptor or through
your preamp switched to mono.
Reverse the headshell clips on one channel only(switch red an green i.e.) and adjust
for the weakest signal coming from your speakers.
Once you’ve “hit it on the nail” a centrally recorded female voice should be precisely
located in space with no difference in the decay caracteristics between channels.
The suspension thread allows for “twisting” the armwand-bearing assembly within
reasonable limits. The proper way to adjust azimuth is by turning the armwand
setscrew(e) loose enough to move the armwand and then turning the armwand
without altering overhang.
Starting with the armwand parallel to the record surface, VTA adjustment can be
carried out in small steps(0.25mm, a quarter turn of the Allen key) until the best
separation between individual instrument in space, the least amount of “grain”
audible and the best integration of fundamentals and upper harmonics is achieved.
There is no “perfect” position, varying record thicknesses and a different cutting angle
used for most records made before 1965 neccesitate a new setting for every other
record. Stylus shapes are also more or less susceptible to changes in the VTA – the
“sharper” the stylus, the more sensitive to changes..) The more time you spend on
adjusting the VTA the less you’ll get to actually enjoy your records.
The tracking force determines the tracking ability and also the position of the coils in
the magnetic generator. Follow the manufacturer’s recommendation and try
increasing or lowering the tracking force by increments of 0.1gr. Low frequency
tracking ability shouldn’t be lower than 70my. Soundwise more relevant is the high
