yists's views for hobbyists

Turntable Adjustment, Set Up and

Phono Cartridge Alignment
© Rudolf A. Bruil - Page first published on the www in 1998.
 The playing of a record is a mechanical process to begin with:
a needle tip is forced to follow a complex pattern in a groove.
If the mechanical adjustments and alignments of turntable,
cartridge and arm have been made correctly, even the simplest
turntable and cartridge can bring joy.
All the adjustments are interrelated.
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TOP
This drawing of the stereo groove may look frightening. Yet...
...if you stick to the basic adjustments, you can enjoy the sound of
analog recordings engraved in the vinyl record.

It is not at all necessary to make things complicated. Start by

adjusting down force and bias, put on a record and listen. From there
you can refine the set up and adjustments if you want the highest
quality in sound.

If the adjustments are not correct, even the most expensive turntable
cannot fulfill its promise: the best possible sound reproduction.

PREAMBLE

Why not have a turntable next to your CD Player in your set up?

The sound of records can be enlightening, records are authentic, and

records can be fun.

Compared to the modern digital formats, the analogue LP record, with

its signal engraved in a vinyl disc, may look poor at first glance.
However, do never forget that it is still the only medium (apart from the
reel to reel tape recorder) that can contain the most complete and
most structured signal providing great dynamics, having the widest
frequency band attainable, and having the most refined detail over the
entire audio spectrum and far beyond, which no other format can
deliver.

The analog LP is not restricted to 16 bits and a limited frequency band,

but has 700 bits - so to speak - and the minute upper harmonics which
digital formats are missing. The simple reason is that the original LP is
analogous in nature.
Or, to be more precise: analogous to nature.

PERFORMANCE VERSUS CD

If your CD outperforms your analog setup, than you do not

have the right combination of components. In other words
you forgot about "system building". There are some
general and specific do's and don'ts. Here are a few:

- Look for voluptuous sound, yet well controlled, look for realism.

- Look for a good, spacious mid band.

- Do not connect low efficiency loudspeaker systems to a 10 or 25

Watt tube amplifier or to a high current amplifier, but use a power
amplifier delivering current stored in a large reservoir of Micro
Farads.

- Match cartridge and arm properly: mass (weight of the arm) in

relation to compliance.

- Choose the right preamplifier to match the impedance and/or

capacitance of your cartridge. Make the necessary adjustments.

- Carefully position your loudspeakers in the listening

environment.

- Follow your taste and ears. Go to live concerts of classical music

and jazz. There you will find that high-end does not exist in
reality, only realism.

- Do not take the PA set-up during a live concert of your favorite

rock band as a reference. Because that sound is no reference at
all. Many of those experts who move the faders have a hearing
problem. And soon you may have one too.

- Be well advised, but forget about the hype which surrounds so

many components and is repeated by so many and far too often.

- Do not be distracted and confused by a member of a forum who

says that this page gives - in his opinion - at some instances
incorrect advice. Only believe him if he points out what is
incorrect. You will notice that he never does.

Even if new and more complex and high resolution digital

formats are being developed and there are no appropriate players for
these formats, the recording can be engraved in a vinyl record and can
be fully enjoyed. Even hundred years from now.
 CHOOSE ANOTHER TOPIC

LEVELING THE TURNTABLE

e to adjust the turntable with arm and phono cartridge correctly. Place the turntable on a s
e listening room. These supports should be level.
perfectly level also. This is essential to minimize wow and flutter.
e proper functioning of the phono cartridge and the arm. Only if the turntable is level the do

sis (Acoustic Research, Oracle, Thorens TD-150, TD-160, TD 166, TD 145, TD 147, Ariston
assis does not touch the base plate or plinth. To check if you have done it right just push t
. That means that the platter should not rock or wobble. If it does you have to make new a

e springs have to be reached from underneath the plinth. Take off the base plate of the pli
t the springs from underneath while the table is level. The way the springs are adjusted ha
sence. If they are too short by turning the nuts too much, than the sub chassis will not be
s its refinement.
 CHOOSE ANOTHER TOPIC

VERTICAL TRACKING ANGLE

INITIAL ADJUSTMENT

he head shell are parallel to the record. Most manufacturers of cartridges take care to mou
s achieved when the arm is parallel to the record. The standard today is 20º. Vintage cartr

be done later after you have adjusted the azimuth and down force and bias have been pre

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AZIMUTH ADJUSTMENT

from the front. It should be perpendicular to the record. This is easily checked using a sm
h is by using a test record and a voltmeter. But this can only be done after the correct dow
 AZIMUTH REPLACEMENT STYLUS

ment needle, check if the tip is really well mounted. Check the cantilever from the front wit
d be in line with the cantilever. It is a good practice to take the small art director's magnify
ne can not read the stereo groove. If you buy on-line from a renown seller like Elex Atelier
an do no harm. Just to be sure.
 CHOOSE ANOTHER TOPIC

LATERAL TRACKING ERROR

sc (from which the matrix is made), the cutter head moves laterally from the outside of th
it has cut. This movement can be imitated by a tangential tonearm. Most tone arms howe
ius. The result is that during play the lateral angle varies. The diamond of the cartridge doe
he Rabco SL-8Etangential arm.)
 CHOOSE ANOTHER TOPIC

OVERHANG

When using a radial arm, there is

practically at every instance a tracking
error which results in a time difference
between the signals of the left and
right channel. Just a few milliseconds!
Therefore it is necessary to mount the
phono cartridge in the tonearm in such
a way that this time difference is kept
to an absolute minimum.
The longer the arm, the smaller the
error will be.

Of course it is possible to build a tone

arm which is much longer than 12 inch,
but the stiffness and the density of the
materials used, and the mass of the
arm, are the restricting parameters.
The manufacturer will probably (and
hopefully) mention in the list of
technical specs what the overhang for
a specific arm is. And this determines
the position of the cartridge. Adjusting
the arm in accordance with the
specified overhang (and of course the
distance between spindle and arm
base as supplied by the manufacturer,
can give the least tracking error.
TECHNICAL SPECIFICATIONS OF THE ARM
The alignment of cartridge and arm has to be done
in accordance with the technical specifications
given by the manufacturer of the pick up arm:

* total tonearm length,

* effective length,
* overhang and
* offset angle (angle of headshell in relation to the
arm tube; this angle changes in relation to the
length of the arm).

Overhang is the distance between needle tip and

center of the spindle. This can be seen when the
cartridge is placed above the spindle (if the arm
does allow this). The effective length is the
distance between pivot and diamond tip The offset
angle is the angle between head shell and arm
tube.

A tangential arm does not have overhang and no

offset angle. The stylus should follow a straight
ligne at a rectangular angle with the arm, going
from periphery to lable, ending at the center of the
spindle. See the Rabco page.

The data of the manufacturer make it possible to

determine the correct position of the arm in case
you add an arm to a motor unit. Many times one
encounters a tonearm which is not built according
to the findings and theories devised by various
technicians, researchers and mathematicians. One
famous name in this respect is that of American
engineer H. G. Baerwald. But even if the data of
the arm are not according to the findings, it is
possible to find the best position of the pivot in
relation to spindle and cartridge, and in relation to
the groove. No need to worry. And no need to
study mathematics and trigonometry.

Much research has been done and many articles

have been written about how to minimize the
lateral angle to the max. I do not want to bother
you with equations. After all we have to be
practical.
You may decide for yourself if you want the least
distortion in the inner grooves (close to the label)
were generally the most distortion is generated. Or
you may align the cartridge in such a way that zero
distortion is achieved at distances of 66 mm and
120.9 mm from the spindle.

You can draw a protractor yourself. Or just print

the following drawing in real size. Each square
should measure 5 millimeter. If necessary adjust
the size of the image so that two squares are 10
mm (=1 cm).

A member of a forum rightfully pointed out that,

for a long time, I had given different
measurements: 63 and 120 mm. He was right of
course. Nevertheless the deviation was not too far
from the measurements given by Baerwald. It all
depends on where you want the zero degree
tracking error.
Place the cartridge over the 120.9 mm line with
the needle tip precisely at the crossing. The
cartridge's body should be parallel to that line.

Now lift the cartridge, move it and place it over the

66 mm mark. Again the needle tip has to be placed
exactly at the point where the lines cross (you
need to turn the platter a little by hand). Then at
that point the cartridge's body should again be
parallel to the line when the diamond tip is placed
over the spot.

You have to adjust the arm and cartridge in such a

way that at both points the configuration is exact.

This template gives a general and useful indication.

However, there are arms that were designed with a
completely different geometry. I recently acquired
the SAEC WE 308 arm and the makers strived for
the least error at the end of the record where the
most distortion can occur because in a shorter
groove length the same info has to be engraved as
in the outer groove.

Add to this that most of the time very loud

passages are engraved, and you will understand
that optimal tracking has to be near the end of the
record. But only then if the angle is not too much
elevated on other spots.

The template below can tell you what the measure

of lateral tracking angle in degrees is. Does not
matter at what point you do measure. You can
choose the least error at whatever distance from
the spindle.

Shifting the cartridge makes it possible to
optimize the offset angle of the tone arm and to
a certain extend the overhang and the effective
length.
CHOOSE ANOTHER TOPIC
The template enables you to check
the error of the Lateral Tracking
Angle at every position of the arm.
You can start at the small circle.
But you also can choose a different
point of departure, closer to the
spindle. For instance at (c). See to
it that at your starting point the
front of the cartridge is parallel to
the line marked 0°. After that you
can check at various points and
see what the error is: + or - one
or more degrees. You can
download this drawing and print it
and enlarge it so that the distance
between A and B is 15 cm.
Not all arms were built with the
optimum geometry in mind,
especially those which have a fixed
mount. So in certain cases it can
be necessary to shift the cartridge
in the head shell a little. This
means that you are changing the
lateral tracking angle and possibly
optimizing the geometry of the
arm. This can only be done if the
headshell has slots. Always use the
template pictured above to
measure the error.
If the headshell does not have
slots you can make these
yourself or if you are not handy
have them made. That makes it
possible to align a cartridge in
a tonearm of which you do not
have specifications. Just follow
the directions given above
using the template and find the
lowest degree of error and
distortion.

If you do not use an
original diamond tip offered
by the manufacturer of the
cartridge, you cannot rely
on the specifications of the
cartridge any longer.
Specifically if it is an old
cartridge. The replacement
needles often do not have
the precisely cut and
polished tips, the tips may
have slightly more mass. In
case of a moving magnet
type both the rubber and
the magnet may not be
comparable with the original
quality. So it is possible that
a new manufactured tip will
alter the performance of the
cartridge: compliance and
tracking ability, band width,
frequency characteristic and
dynamics. In that case you
also have to find the best
down force and side thrust
which can differ from the
values of the original
cartridge. Yet most
replacement styli do
perform very well.
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BIAS OR SIDE THRUST
DOWNFORCE - VTF
Apply the amount of down force
(Vertical Tracking Force) as indicated
by the manufacturer of the cartridge.
Consult the reviews and charts and
tests of early editions of magazines
like Hi-Fi Choice, HiFi News & Record
Review, Hi-Fi World, or old High
Fidelity issues, if you do have the
specs. Never use a downforce that is
too light. Not enough downforce is
generally more detrimental to the
record groove than a downforce
which is slightly too heavy.
Each time after adjusting the down
force do listen to the result. It takes
some practice and listening
experience to find the optimum
downforce. If the sound of a
saxophone is too light and shows an
accentuation in the midband with a
slight resonance, than the downforce
(in relation to the bias setting) is too
light. If a clarinet gets too muddy the
downforce is too heavy. In that case
also the sound image will lack in
space.
In practice the downforce is hardly
ever the exact value as given by the
manufacturer.
 READING THE HORIZONTAL
AND VERTICAL SIGNAL

onograph Cylinder, he engraved the sound in a vertical movement: the needle went up and
esigned the gramophone record and he engraved the signal in a lateral or horizontal move
"systems" made the stereo record possible.
and right channels the same technical parameters, this combination of lateral and vertical
ld be the same, despite the fact that it changes while playing a record.

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 BIAS COMPENSATION

ou place a small object on it, the object will be swept off the disc by the centrifugal force (
the needle tip is held in a spiral groove at one end, and a straight tone arm is used, there
uth should be correct of course.
e arm is used (as the drawing shows) the cartridge's position is an angle. Because of this t

l be an increased pressure on the groove wall which contains the sound of the lef
ce, and to give both groove walls equal pressure, it is necessary to compensate this effect
e applied is called side thrust or bias compensation. It is done by means of a pending weig

king arm does not need this correction because the pivot continuously moves in a straight l

de thrust (BA) precisely, use a test record with a groove-less section. Anyway that was the
nsation (in relation to the downforce) will keep the cartridge from moving either towards th
of a test record containing heavily modulated signals for left and right, and listen carefully
ent.
may connect an oscilloscope alternately to the left and right outputs of your preamplifier (
d right channel signals, in various modulations, starting at 50 um.
p or Weight and/or The Universal Record Stabilizing Ring makes it possible to choose a
xtend. This will result in a better adjustment and a much better signal.
A correctly adjusted downforce combined with the right bias
will give a pure stereo image with the least distortion.

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FINAL ADJUSTMENT OF THE VERTICAL TRACKING ANGLE

At left a drawing of the
cutterhead of a lathe. The cutter
diamond moves in a complex
way so both left and right
signals (for the left and right
channels) are engraved in the
lacquer.

When engraving the lacquer, the

cutter diamond moves up and
down over a short distance.
Whether the movement is more
an arc or just a straight line
depends on the position of the
cutter head and the position of
the diamond. In theory this
movement is a perpendicular
movement (a), but it is likely
not to be a straight line (b). The
cutter head should be positioned
the correct way so that the
cutter diamond operates under
an angle of 20º. Yet it is
possible that the Cutter Rake
Angle (the way the cutter
diamond is mounted) is
incorrect and the 20º are not
met. If all is correct, the Cutter
Diamond Angle must be imitated
by the cartridge.
For monophonic records only the
adjustment of the lateral
tracking angle (=azimuth) is
of great importance. The stylus
should ride in the middle of the
groove at the correct down
force.

With the introduction of the

stereo record and its
complicated signal, it became
clear that a record can be cut in
more than just one way. The
vertical position of the diamond
stylus in the cutter head can
vary and the result is that the
pattern of the groove changes
also. Sometimes the wrong
angle is the result of neglect.
Sometimes the cutting under a
different angle is done
deliberately. The engineer wants
a different result when playing
back the record.

As said, the diamond tip of the

cartridge has to be in the same
position as the cutter diamond.
Only then will the signal be as
precise as possible.

The importance of this became

the more clear when
the elliptical stylus was
introduced. C.C. Davis and J.G.
Frayne mentioned this when
describing the Westrex Stereo
Disk System (Proceedings of
the I.R.E., October 1958). Many
articles by renown journalists
soon followed: John Crabbe(Hi-
Fi News), F.V. Hunt (Journal of
the Audio Engineering
Society), C.L.
Bastiaans(Journal of the Audio
Engineering Society), R.D.
Darrell (High Fidelity
Magazine), E.R. Madsen (Audio
Magazine). You may come
across one or more of these
articles.

The Vertical Tracking Angle was

not always standardized. When
the stereo disc was launched in
September 1958, the angle was
defined at 15º. In the nineteen
seventies it was changed to 20º.
That is why the Ortofon SL-15
became SL-20.
Generally the engineers explain
what the Vertical Tracking
Angle is. Only a few mention
other parameters that are of
significance.

VCU = the Vertical Cutting

Angle. It should be set exactly
as prescribed in the manual of
the cutting lathe.

CRA = the Cutter Rake

Angle. This is the angle of the
cutter diamond in relation to the
cutter head. This angle should
actually be the same as the
VCA, the Vertical Cutting Angle.
If it is not, than an engraving
giving an awkward signal is the
result.

VTA = the Vertical Tracking

Angle of the diamond tip
(stylus) in the cartridge. It
should be exactly the same as
the Vertical Cutting Angle.

SRA = the Stylus Rake

Angle.This is the angle the
stylus makes in relation to the
cantilever and the body of the
cartridge. The SRA should be
identical to the Vertical Tracking
Angle (VTA) when the top of the
cartridge is mounted parallel to
the record's surface. If the
Stylus Rake Angle (SRA) is not
identical to the VTA, the SRA
has to be adjusted until it
reaches the correct VTA and
mimics the cutter diamond. One
method to achieve this is by
adjusting the height of the arm
at the pivot. The headshell will
no longer be parallel to record's
surface. Another method is to
put a wedge in between
cartridge and headshell. Since
the engraved signal in the
record measures micrometers, it
is obvious that if the SRA is
incorrect, a higher level of
distortion will be heard.

I have witnessed that a

knowledgeable technician just
bent the cantilever a little to
correct the SRA. I would not
advise you to do this as you will
likely damage the cartridge or
break the cantilever, and it is
likely that you never reach the
correct Stylus Rake Angle.
Let us view the other drawings.

A represents the theoretical

ideal: CRA, VCA, SRA and VTA
are all the same, they coincide.

In B the stylus is perpendicular

to the record's surface, but the
Vertical Tracking Angle is
incorrect. Because the stylus is
incorrectly mounted at the end
of the cantilever, the diamond
tip is not in a position to read
the indentations in the groove
correctly. The best thing to do is
to make a height adjustment at
the pivot.

C shows the case when the

groove is cut under a wider
angle than the prescribed 20º.
The correct position of the stylus
of the cartridge can only be
found by making a substantial
height adjustment at the pivot,
or by putting a wedge in
between the cartridge and
headshell.

The best advice is to adjust

the arm at its basis (pivot) in
such a way that the best
sound reproduction for most
records is obtained.

The VTA will generally vary

when playing a record which is
not completely flat or is warped.
If there is continuous variation
in arm movement (up and down
and/or swinging excessively)
when playing a perfectly pressed
LP, than it could well be that the
arm is too heavy for your
cartridge. Your cartridge has
probably a high compliance and
needs a lighter arm. Check the
parameters of arm and
cartridge. See: Phono
Cartridge Optimizing

It is very important to set the

correct VTA if you want to
obtain a detailed sound with
beautiful high frequencies, with
warmth and attack at the same
time. Lowering the arm at the
pivot so that the cartridge will
lean slightly back will give a
round and less detailed
midband. Adjusting the arm at
the pivot so that the cartridge
leans more forward gives a
more detailed sound. If the
cartridge leans too far forward
the sound becomes hollow and
unnatural, the harmonics will
suffer. Especially with fine line
diamond tips and the Van den
Hul tip the precise VTA is of the
utmost importance. You have to
find the best adjustment for
harmonious sound which has a
lot of fine detail at the same
time. So listen carefully! In the
end the determination of the
best VTA can only be done by
ear.
 CHOOSE THE VTA WITH WHICH ALL RECORDS SOUND GOOD

As not all records have been cut at the same angle, there is a slight
problem. At the end of the nineteen seventies The Audio Critic
suggested the idea of optimizing the VTA for each and every record
you would play. The idea was simple: use cardboard of varying
thickness (millimeters) and cut these to the size of the turntable mat
(or I would suggest: about 28 cm in diameter). If you have set the
VTA in a way that the cartridge is leaning slightly forward, than you
can vary the VTA by adding a cardboard "mat". The idea is to mark on
record cover or inner sleeve of each LP which cardboard-mat has to
be added. Adding cardboard discs in between record and turntable
mat may give an optimum VTA but will also change the contact of LP
and mat, and it will change the "color" of the sound reproduction. So
cardboard discs are out of the question, at least for me personally.

Fortunately there are many arms of which the VTA can be changed.
And there are many which allow the height adjustment at the pivot on
the fly. If you do not have such luxury, you will choose the set up
which will give the best sound. When using high end amplifiers and
speakers, the fine tuning of the angle is even more important.
 If the platter is very high it can be necessary to add an extra base plate In case
the arm does not allow varying the height at the pivot, you can put a wedge
between cartridge and head shell.

IMPORTANT: Some audiophiles add a small wedge when they think it

necessary to adjust the VTA in specific cases. Placing a wedge can help in rare
cases. But placing a plate, piece of rubber, felt, or whatever material you choose
(as is sometimes advised by so called knowledgeable audiophiles) in between
cartridge and headshell should not be done. It provides a "loose" contact
between cartridge and headshell.

Placing a material between cartridge and headshell may give (on first hearing)
the signal more speed, especially the high frequency region becomes faster, but
at the same time a correct transient which is built up from the lowest to the
highest frequencies will show a less harmonious build up.

The reason? The insertion results in a more or less prominent phase shift
(difference in time). A wedge or plate will certainly translate into a so called
bending mode, the frequency of which is followed by its second and third
harmonics (and even higher). This bending mode will color the sound.
At first hearing there may be some refinement and more spaciousness, but after
a while it shows all too clearly that the correct build up of harmonics is impaired.

A good transient is dependent on each part and every material used in

arm, platter, motor, chassis, plinth and feet. The application determines
whether the sound is lively, well balanced, whether it is lacking in detail
and whether it is lacking an open midband which adds to the tangibility of
the instruments.
The sound should simply be harmonious and should convey the magic of
instruments and the performance.
If you need a small intermediate plate between cartridge and arm, the
choice of material is important. Always strive for bandwidth.

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 DIAMOND CHECK

If the mechanical adjustments are not correctly made a distorted signal will be
the result. If you have done your best and distortion persists, and it is not caused
by the maltreated record groove, you should check the diamond tip of the
cartridge or have it checked by a professional.

A used diamond has at its very tip very small facets that cannot be
seen with the naked eye. They are at the end of the tip and not on the
sides above the groove as many do expect when checking a tip. These
facets let the tip act as a chisel that will "cut" the grooves, especially
the grooves which contain high dynamics.
If you play with a good tip and if down force and side thrust
are well adjusted, than you can listen to your records many
and many times without the quality diminishing.

A FINAL WORD ABOUT THE CONDITION OF THE LP AND

THE ENJOYMENT OF THE MUSIC
CHOOSE THE BEST HEADSHELL

If you use a tone arm with e detachable headshell, you can optimize the sound
reproduction by choosing the headshell which will give the best harmonics, the
best attack and transient and the most even frequency curve. The main feature
of aluminum is that it does not send the energy back to the cartridge. The
transmission and dying out is also relatively fast. Generally aluminum provides a
wide frequency band. Magnesium or a mix of aluminum and magnesium can
provide a more controlled signal reading. The high frequencies are more precise.
.

Another most important point is that the headshell has to be screwed as tightly
as possible. If this is not done the sound will loose precision and the transient
will be impaired. You can check this by playing a high quality guitar recording.
Also The Turntable Mat does influence greatly the precise reproduction.

AUDIOPHILE REPRODUCTION

Music lovers with excellent sound reproducing systems often use expensive
phono cartridges. A price tag of $ 1000 or even $ 4000 for a cartridge is no
exception. Naturally these music lovers demand that the gramophone record is
of the highest quality: no scratches and the groove must be clean and
undamaged.

HISTORIC PERFORMANCES

There is a second category of collectors who go for specific artists and

performances. They are primarily concerned with the authenticity of the
performance and the originality of the recording. Minor imperfections are often
unavoidable and are accepted. Yet even collectors demand good reproduction
without irritating distortion.
Maybe you fall into both categories and can enjoy the perfect and overwhelming
rendering of a beautifully recorded symphony, opera and concert, but also can
listen with great involvement to an old imperfect record.

CHOOSING THE RIGHT SYSTEM

For the older records a monaural cartridge with a spherical tip in combination
with the appropriate mass of the arm and the appropriate down force is needed.
Sometimes one encounters a very old mono record from the early nineteen
fifties which will sound very well when played with a crystal pick up and a
downforce of even 8 gr. Some old Deutsche Grammophon or Philips discs can
benefit from this approach. I also have discovered that old Remington discs
sound rather well on an old Garrard portable gramophone with a small tube
amplifier. I once encountered an old 4 record set of Tchaikovsky's Yevgeniy
Onegin on an early Soviet label which did not sound at all with a Denon DL-103
in a rather heavy arm, but revealed all its intensity and beauty with that same
Garrard portable.

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RIGHT CONNECTIONS OF HEADSHELL LEADS

The position of the connecting pins at the back of the cartridge varies from
manufacturer to manufacturer. The connections for the cartridge wires on the
inside of the head shell however always have the same configuration if a
standard SME type shell is used. Make the correct connections for the leads.
Otherwise the reproduction will not be in true stereo. This tone arm/headshell
wiring diagram shows how to.

Also the headphone and the loudspeakers should be connected correctly.

If not, the rendering of the musicians in the middle of the orchestra or the jazz
formation will not occur because the middle part of the image is on the outside of
each channel / speaker and will not 'connect' acoustically.

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CARTRIDGE LOADING

Is the sound shrill and are the high frequencies accentuated? Or is the sound too
dull and lacks transparency?
In any case you should check the loading of the cartridge. The phono input of
your (pre-) amplifier should have the right capacitance to meet a specific moving
magnet cartridge. The higher the capacitance the duller the sound. So check the
specifications of amplifier and cartridge given by the manufacturers.
A moving coil cartridge should be connected to a phono pre-preamplifier which
has an input impedance of at least 2 1/2 times the value of the impedance of the
cartridge's coils.
The impedance of the input of a step-up transformer should be the same or
slightly higher than the value of the coils of the cartridge.
Check the specifications of the cartridge and the specs of your (pre-) amplifier or
step-up transformer, and see if they match.

PLAYBACK CHARACTERISTICS

Before the RIAA playback characteristic was generally adopted, record

companies cut their records as they thought would make the music sound best
on their own equipment.
Today there are phono stages on the market which enable you to adjust
(equalize) the right characteristic for the playback of a variety of vintage records.
There are cheap ones of about a few hundred dollars which only do the job in
mono and are sonically rather average. The really good ones enable you to
equalize all sorts of mono and stereo records meticulously. But these are very
expensive.

RECORD CLAMP / WEIGHT / STABILIZING RING

A record clamp or record weight will improve the contact of record and turntable
mat. Vibrations and all sorts of resonances will have lesser chance to be
generated. False high frequencies will not occur. The overall signal will be more
precise and the sound will have less distortion. View: The Universal Record
Center Stabilizer Weight.Eliminating distortion means improving the signal.
A Record Stabilizing Ring (RSR) which rests on the periphery of the record,
eliminates distortion a step further and improves the purity of the signal. View:
The Universal Record Stabilizing Ring.

AVOID ACOUSTICAL AND MECHANICAL FEEDBACK

If you live in a house/apartment with concrete floors, you can use an audio rack
with spikes to support your turntable. If you want a good coupling make small
holes in the carpet and place the spikes directly on the concrete. Always choose
a 4-legged rack. A 3-legged one will not give firm support to amplifiers, players
and turntables because on the side where there is only one leg, the corners of
the shelves will not be supported and will have a resonance (bending mode).

Avoid glass shelves. Have shelves made of plywood or just use chipboard which
has a make believe plastic veneer or similar pattern. That is in my view a good
material. I myself do not use MDF because of its uneven frequency
characteristic. Furthermore it stops the sound energy instead of dissipating it.
(Do not use MDF for loudspeaker cabinets either, unless you glue three or four
layers together for the baffle of the cabinet and brace the inside walls of the
cabinet.)

If you do not have a concrete floor, you can have a special shelf mounted on the
wall (with strong bolts). Do not use more than one decoupling device. Do not
stack cones, rubber feet, etc. If you have a turntable with a suspended sub
chassis (Thorens, Linn, etc.) do not put the base on another spring or rubber
insulator. Couple the table directly to the shelf.

TAKE CARE OF YOUR RECORDS

To get the best quality of reproduction it is imperative to take care of the records.
That is why records need cleaning from time to time. If you do not have access
to a professional Keith Monks Record Cleaning Machine, which provides the
most efficient way to safely clean records, you can buy a DISCO ANTISTAT,
with which you bathe and brush the two sides of the record and then let the
record dry. If you use the cleaning liquid for which you will read the recipe at the
bottom of this page, the results will be very effective. After cleaning and drying
put each and every record in a clean inner sleeve If you are handy you also can
repair the covers to a certain extend and also clean them. See: Record
Cleaning.

LONG LIVE VINYL

Install the record player in such a way that you can easily access and use it, that
is: low enough not to scratch a disc when putting it on the platter. Always look at
the record when putting the record on the platter, lowering and lifting the arm
and taking the record off after play. Never look away, but concentrate on what
you are doing. This will diminish the risk of damaging the record. Also keep the
records as clean and dust free as possible. Fingerprints, dust and grease are the
enemies of your records... and of your ears.

All these measures do not only give maximal enjoyment but will also result
in a longer life of the diamond tip of the cartridge. By using good
equipment the record will keep its current quality, even after many
hundreds of playings and for another hundred years!

----------------------------------------------------------------
The Universal Record Stabilizer
Turntable Weight/Clamp

Original page first published in December, 2001

CHECK:

Universal Record Weight 33/45 Record Weight

 DIY

A Not Too Heavy Turntable Weight

(or Record Clamp) For Better Signal
Retrieving,
designed in 1980.
And the 33/45 RPM 2006 design.
Weighing approx. 375 gr.
If you want to make it lighter, than simply change the
height of the larger part. But do not forget to keep
the hole for the spindle long enough.

Suitable for all Direct Drive Turntables, for

Suspended Turntables like Linn Lp12,
Thorens 150, 160, 125, 126, Ariston, Oracle,
Technics SL 1200 and other direct drive
turntables.
Also suitable for Thorens TD 124,
Garrard 301 and 401. Can be used on the fly.
  Less Distortion
 Professionally Machined from Aluminum
(NOT from Brass or Stainless Steel) to
keep the bloom of the mid-band in tact
 Improved Dynamics
 Tighter Bass
 Precise High Frequency Retrieval
 Better Transient and Attaque
 Stable Sound Image
 Deeper Sound Stage
 Natural Harmonics
 For all EP and LP Records

How do you procure this weight?

You can copy the drawing, print it and
go to a machine shop and have your
weight turned and - if you wish - have it
anodized as well.
The Universal Record Weight and Basic Turntable, designed in 1980.
Picture taken by Alexander Smit.
There are various weights and record clamps on the market. But most of them are
either too heavy or they can not be used because of the clamp mechanism.

For light sub chassis models (Thorens TD166, TD160, Linn LP12, Ariston, etc.) a very
heavy weight is not recommended because it may effect the proper functioning of the
springs and thus will alter the resonance of the design. If your suspended turntable is
well adjusted than the addition of this appr. 360 weight does not alter the suspension.
(See the Turntable Adjustement Page.)

In a forum some expert wrote that there are manufacturers

who advise against the use of a weight. The writer cautions his
fellow members but does not mention brands or names. He also
states that the VTA can be changed by putting a weight (even this
light weight stabilizer) over the spindle of the platter. Well, that is
not true.

The man certainly does not know how turntables should be

constructed.One important
aspect of any turntable is
that bearing-spindle-platter-
tonearm are firmly
connected in the horizontal
plane and are an entity.
There should be no play, no independent movement possible,
horizontally nor vertically. This construction is crucial.

If it was not a firm construction, than the sound would change with every
vertical or horizontal independant move of platter in relation to tonearm,
and the result would be blurred transients or in fact no transients at all.
The frequency characteristic would change constantly.

The Vertical Tracking Angle (VTA) can only be altered by (1)

adjusting the arm base, (2) by using a thinner or thicker turntable
mat, or (3) by putting sheets of thin cardboard or kraft on top of the
mat, or (4) by inserting a thin piece of aluminum or acrylic between
the cartridge and headshell. No Direct Drive motor or tiny
synchronous motor in belt drive turntables will suffer from this
light Turntable Weight. See Turntable & Cartridge Adjustment

A screwable clamp (Michel, Goldmund, etc.) can not be used on a machine like a
Thorens TD124 for instance, or on a Roksan Xerxes 10 or 20 turntable (if you
leave the spindle in).

When a good turntable weight is used it will give a significant improvement of

definition, tangebility of sound and transient response. Furthermore it will
deminish distortion.
Some audiophiles consider a record clamp-system like the Oracle or Goldmund as the
best solution. Others think that these clamps give tension to the vinyl.
The Oracle turntable has a threaded spindle on which the clamp can be screwed down
and the record automatically is clamped down in a slightly convex manner.
The Goldmund solution is a clamp which is to be used with their slightly concave
turntable mat. The Goldmund consists of different materials and that is important for its
working and for the effectiveness. A clamp should not have a negative effect on the
frequency characteristic.
Screwable clamps have the disadvantage that additional pressure has to be applied in
order to obtain the maximum 'bonding' of record and turntable mat (or nude platter)
before it is screwed to the spindle. And because of the pressure the bearing of some
designs could suffer in the long run.

I propose a pressure weight that can be used on practically every type of turntable.
It is heavy enough to be effective, and it is light enough to not interfere with the design
of the turntable. On top of it this weight can be handled easily because of its
ergonomical design.

The material, the volume and shape of a record weight is also important for the sound
and its function should always be related to the turntable.
The record weight I devised was first of all judged when listened to on many different
turntables. Beware of imitations.

"I was not prepared for its

HIGH PERFORMANCE / REVIEW ability to greatly increase my
enjoyment of music. (...) The
This quality turntable weight is
music is now much more
not too expensive if compared
balanced and unified (this is
to the prices some "audiophile"
the only way I can say it).
weights may cost. This weight
Every note from lowest bass
works well with any stabilizing
to highest treble and from
ring (including the Universal
pppp to ffff is in obviously
Record Stabilizing Ring which
correct proportion. Notes
is not in production for the time
previously masked or almost
being).
unheard are audible without
any straining to hear them.
The quality of the reproduction
Strong, center-stage
depends naturally on the
vocalists have often
quality and nature of the rest of
obscured individual
the system.
instruments unless one
At right you can read what strained to hear those
John Z., a serious audiophile instruments by taking one's
from Great Britain, wrote. attention away from the
vocalist. Now all is heard, all
 the time, without
concentrating on hearing this
or that sound. The music is
whole, organic, balanced and
REAL".

Do never trust manufacturers who start selling you a piece by telling you that the
object is beautiful. It should deliver the best sound in the first place. Beauty is
secondary.

The measurements are well chosen so that the headshell stays clear from it when it
reaches the inner grooves. The height however will not allow most dustcovers to be
closed when playing. (But who wants to deteriorate the sound through playing with a
dustcover on!)
The base of this design is 70 mm, but can be 80 mm, depending on the aluminum staff
which is available in the fatory or work shop. With 7 cm you are on the safe side.
The percentage of lead in the aluminum has an influence on the dampening effect of
the clamp on the vinyl. This influence is however relatively small and will only be more
significant in high end systems.
 The design - Copyright 1980-2013 by Rudolf A. Bruil -
may be used by individuals for personal use.

The height of 20 mm for the opening for the spindle leaves ample room for practically all
spindles that you encounter. If you want to, you can make the spindle hole longer.

I designed this weight in 1980 along with my first Basic Turntable and have used it ever
since on various turntables with all sorts of mats: rubber, felt, sorbothane. And it works
extremely well.
Even if you use a turntable with a glass mat (I do not advise the use of glass). When
using an acrylic mat you have to pay attention to it that the record does not slip on the
acrylic. The same goes when you do not use a mat at all. Always place the weight on
the record when it is not turning! (Note: Why don't I approve of a glas mat, read The
Turntable Mat).
 This is the Special
Stabilizer Centre
Weight including a
45 RPM adaptor for
playing 7" 45 RPM
discs with large
hole, but also for
playing 10" and 12"
LPs. This is the best
and most handy
way to play 7" 45
RPM records using
a stabilizer weight.

This is how to
use it:

1. put the
adaptor over
the spindle.
 2. put the
record on.

3. place the
weight over the
adapter.

Now you can

play the record.
The result: the
weight will keep
the 7" record
firm on the
platter and
improve the
signal
as never before.
Naturally this
weight gives
also excellent
results when
playing LPs
The design - Copyright 2005-2007 by Rudolf A. Bruil
It may be used by individuals for personal use. as it hardly
differs from the
regular design.
Then the
adapter is left
out.
 SPINDLE HOLE

There was a discussion on the internet about the right

size of the spindlehole and some people suggested that
the stabilizer should have a snug fit on the spindle of a
particular turntable in use. Spindle diameters vary. In my
collection of turntables there is only one which has a
spindle with a diameter of 7.25 mm. All other tables have
spindles which measure slightly less. So the stabilizer's
spindlehole should be at least 7.25 mm. A stabilizr that
fits too tight is not easy to handle.

TOTAL WEIGHT

There was also a discussion on what material to

take for this weight. Some wanted a heavy
weight. They are the people who think that
everything that is tight, strong and heavy brings
about the best signal. So they think a very heavy
clamp is the solution as they also think that
damping a turntable with many bithumous sheets
makes the music flow. That is not true at all. They
forget or do not know that the material and the
total weight added do have a specific influence on
the quality of the signal.
It is about speed of sound in various materials.
The speed of sound in stainless steel is different
from that in aluminum.

HARMONICS

The harmonious build up differs also. Specifically

the reproduction of the midband shows a positive
difference. Why would you like to clamp down a
vinyl disc of 125 gr (or 180 at the most) with 2,5
lbs. But not only that. Why would you add such a
weight to a realtively light platter with bearing?
Others were afraid that the weight of around 350
gr. (or slightly more) would be too heavy for a
Linn LP12 as it would need adjustments of the
spring suspension. The Linn Sondek (whatever
model) will support the weight of 350 gr. with
ease. And what is important as well: the LP12 will
benefit from the use of this weight.
 How do you procure either weight?
There are various possibilities:

You can save the drawing of the weight you want to have and
print it. Then take the drawing to a metal workshop and ask the
machinist to turn the weight you want to have.

If you want the 33/45 RPM weight: the adaptor measures 39 mm

in diameter and is 8 mm high.

You also can take the 45 RPM adaptor you are currently using
and have it measured by the machinist.

The room for the adaptor should be slightly larger in diameter so

the stabilizer slides easily over spindle and adaptor.

Do ask for aluminum. If you take bronze or stainless steel, the

proportions (especially the height) of the weight should be
recalculated in relation to the density of the metal, in order to not
exceed 350 to 390 gr. By using a different metal, you will also
have a slightly different sound!

The drawings on this page will give a weight of about 370 grs.
You can have it brushed and anodized or you just can polish it
yourself which is cheaper. Ask the turner about the cost
beforehand.
 The Technics SL1100 turntable with Rabco Tangential Arm,
Universal Record Stabilizing Ring and Universal Record Weight.
Alterations
Ever since it was designed in 1980, the proposed record
weight is in fact just a plain piece of aluminum machined
according to the drawings on this page. The most important
aspects of the design were the relative low weight and the
ergonomic shape, plus - of course - what this simple weight
does to the reproduction of every long playing record, old
and new, mono and stereo, and whatever music the groove
holds. The significance of the weight and form can be heard:
more precision, better transient response and less
distortion. There is the improved reproduction of all
frequencies without emphesizing one section of the
response curve. And there is always the improved rendition
of the mid band.

We have heard the same effects on high-end turntables in

great audio sets as well as on the less costly turntables in
affordable sound systems. I know of and heard the effect on
a Linn turntable with a Goldmund mat, on two different
Nottingham Analog turntables, on several Technics
turntables and on the SP-10Mk2, on a Lenco 78, on a
Transrotor Fat Bob, on the Thorens TD 124, etc.

The contact between the surface of the weight and the label of the
records varies and is generally only partly, and most of the time
the weight just presses on the label around and near the spindle.
The 33/45 weight (described below) does the job in a different
way. The weight has a chamber for the use of a 45 RPM adaptor.
Therefor the contact with the label is over a larger area, away from
the spindle, more towards the periphery of the label.

It was Philip Fregeau from the US, who - after procuring the "solid"
weight - contacted me about the way the original weight touched
the record label. He wanted a better contact and asked a machinist
to make two modifications. He wrote:
 "This is to let you know that I have had a local machine
shop make 2 small modifications that have proven very
beneficial. The first is a 1/16 inch X 45 degree bevel to the
bottom outside edge which allows the weight to sit firmly
within the depressed center portion of records that were
pressed in that configuration. In my collection there are
many. The second is a 3/32 inch by 60 degree flair to the
spindle hole opening which eliminates contact between the
weight and any excess vinyl left by the record hole
punching operation. In my collection this vinyl debris is
common enough for concern." - Philip Fregeau

In the past I have contemplated many times to alter the weight

just by having a flair at he spindle hole as was done by several
audio firms already decades ago, and in whatever form. It would
have been logical to alter the design. However it never came to this
because the results without a flair were very good. Originally the
size of the weight was 8 cm (3/14 inch) but I reduced this to 7 cm
(2 3/4 inch) as there were occasions when a wide headshell would
touch the weight in the end. That was the only main alteration. I
originally had a length of 25 mm (about 1 inch) for the spindle but
this was reduced because even 20 mm spindles were not
encountered, not even on the Technics SP-10Mk2. Though the
length of the spindle hole seemed Ok, the weight is obstructed by
the length of the spindle on Fregeau's VPI turntable.

Conclusion: If you are a DIYer or ask a machinist to turn the

1980 design, you can decide for yourself if you want to alter the
weight by changing the flair or even go further and have the
bottom beveled according to Philip Fregeau's idea. But be aware of
what it does to the sound.