How to Upgrade

Your Turntable
 Introduction
As the owner of a record collection of several thousand carefully
chosen and well loved LPs, I am delighted to find that in the year
2001 the vinyl LP survives, and that turntables, arms and
cartridges are still made, sold and enjoyed.
Ten years or so ago when we discontinued our range of RATA
cartridges, and Grace and Supex were no longer made, I was sure
that the LP was dead. The market for turntables, arms and
cartridges is certainly much smaller than it was, but reports of its
death were greatly exaggerated.
I am surprised but pleased to find myself under pressure from
enthusiast customers to write a booklet about how to get the best
out of the medium. Distilling 30 odd years of experience into a
few pages of useful help is no easy task! I’ve made it easier for
myself by confining the scope to the essential things you must
get right in order to be able to relax and enjoy your records. This
is not a history of the turntable, an engineering guide, a physics
textbook or a comprehensive ‘all you need to know’ book. It’s a
practical ‘do-it-yourself’ guide in the familiar Russ Andrews
style.

The Mains

The importance of upgrading the mains cable to your turntable

or its power supply cannot be emphasised strongly enough.

The performance of any turntable is greatly influenced by mains

noise, distortion, harmonics and RFI. The electrical perturbations
are converted into mechanical noise in the motor which is
transferred to the platter and then the record, is picked up by the
stylus and becomes confused with the music signal. The noise
masks low level information, detail, phase relationships etc to the
detriment of the music in areas such as soundstage, 3-
dimensionality, rhythm and timing. Clearly then, big
improvements can be gained from removing, or even just
reducing mains interference. Replacing your lead with one of our
PowerKords is an essential step in getting the best out
of your turntable.

Upgrading your distribution block and mains cables

to your other equipment will also improve your
whole system and our Silencer and Purifiers will
remove mains noise and harmonics.

Checking the polarity of your turntable main supply is also very

worthwhile; it ensures that the smallest electromagnetic field
(EMF) is generated. Strong EMF seriously degrades sound
quality. Use the Elfix to minimise EMF by ensuring that the
The Classic PowerKord™
mains ’polarity’ is correctly connected.

For more information about the mains request T he

& T h Power
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2
 The Turntable
The basic elements of any turntable are: the motor, (separate
motor power supply if it has one), the main bearing, the platter
the suspension (motor or subchassis) if it has some and the
plinth.
Whatever the operating principle of your turntable, it must
achieve its minimum acoustic feedback, maximum dynamic
range, minimum ‘wow’ and ‘flutter’, maximum speed accuracy,
correct cartridge alignment and tracking pressure to give its best
musical performance. If any part of the turntable/arm/cartridge
combination is worn, damaged or faulty you are wasting your
time trying to set up the whole combination properly. So before
you do anything else, check that your turntable isn’t suffering
any of the following faults.
Motors
Motor problems are usually quite obvious; it will either be noisy or
it won’t go round or run at the right speed. Replacement is usually
the only option unless it is a Garrard motor where refurbishment
is available from Lonicraft or Martin Bastin. Technical and General
also stock spare parts for a number of different makes of turntable
(see page 6 for full names and addresses).
Power Supplies
External motor drives or power supplies are now common on
many turntables and are prone to failure. The original
manufacturer is usually the only source of repair or replacement.
Main Bearing
The main platter bearing is the weak link in any turntable of any
type. Its design is critical and wear is inevitable. Wear occurs at
the bearing point and the sides where it runs through nylon or
phosphor bronze sleeves. Have it checked for wear and make
sure it has the right lubricant in the right quantity. Garrard main
bearing refurbishment is available from Martin Bastin.
Cartridges and their Maintenance
In the past, a wide variety of types of cartridge have been
available, each requiring different matching or loading to the
preamp. Fortunately, there are now only two types available
commercially: the moving coil (MC) and the moving magnet
(MM). I include in the moving magnet category the Decca which
is, strictly speaking, a moving armature type, but its output level
is such that it is used into a moving magnet type input circuit in
a preamp.
Moving Coil (MC) Cartridges
These have become the favourite cartridge of choice for the
serious Audiophile and the prices charged reflect the marketing
position they hold. There are good reasons why the best moving
coil cartridge can sound better than the best moving magnets but
when they cost no more to make them the 10 times higher
pricing can only be explained by market positioning. That said,
Suspension
Turntables like the Linn LP12 with a suspended subchassis are
rarely prone to failure, but the springs get tired and need height
adjustment to restore correct levelling. Linn dealers can supply
upgrade sub-chassis, bearing and spring kits. We have an
information sheet on how to correctly set-up and service an LP12,
available on request.
Solid plinth turntables like the Rega Planar and Roksan Xerxes
have the motor suspended on rubber bands, the bands age and
need replacement every few years to maintain optimum
performance.
Plinth
Every turntable needs a strong, rigid plinth or the sound will be
soft, soggy and unfocussed. Check the corner joints to make sure
there is no movement due to dried-out glue. If it has a plastic
plinth, fill the cavities between the stiffening struts with ‘Plastic
Padding’ body filler. This will both stiffen it and dampen its
resonances.
It is also very worthwhile replacing your original equipment feet
with Oak Cone Feet. Most turntables are fitted with rubber feet
which increases the time smear and changes the balance of the
sound to a slow boomy bass heaviness (see also p7, Turntable
Accessories).
Use three Oak Cone Feet rather then four. Three feet are more
stable, they prevent micro rocking, couple your turntable to its
stand more effectively and improve timing, musicality, bass
performance and 3-dimensionality.
Platter
The correct choice of mat is very important (see page 7) in the
final performance.
the design effort that has gone into MC cartridge means that
there are very many good ones and a few of outstanding
performance.
Radio Pick-up
There is a big disadvantage to using MC cartridges, however,
apart from the price. They have extremely low output levels,
from as low as 75mv (microvolts) to 240mv, with 200mv being
the most common. This is about the same output that you can get
from a typical FM radio aerial, which is only a piece of bent
aluminium rod stuck up in the air! If you live near a transmitter
you could get a lot more, so it is not surprising that it is quite
common for a moving coil input circuit to pick up and
demodulate radio stations at levels that drown out the sound
from the LP.
Some input circuits are more susceptible to this problem than
others but any steps taken to kill the radio station by modifying
3
 the circuit (usually with ceramic capacitors) degrade the sound
quality. It is essential, therefore, to prevent radio pick-up getting
into the preamp in the first place. That is only one of the reasons
why correct earthing of the turntable, the arm and the tone arm
lead is essential, see page 5. Even the best techniques though
don’t always eliminate the biggest culprit, Radio Moscow, when
the atmospheric conditions favour good radio reception.
The Cartridge Body
The MC cartridge body hides a large magnet yoke that sits
behind the coils at the back end of the cantilever. It is covered by
a thin neoprene dust sheet, but fluff and slivers of metal and
other ferrous debris collect on it and can cause problems. I’ve
seen quite large slivers of metal bridge the gap across the yoke
hole to the cantilever, causing severe mistracking. It is a good
idea, therefore, to conduct an annual inspection of the yoke area
and cantilever and remove any debris that has built up. Use a
piece of BluTack® squeezed out into a point to pick off individual
bits of metal.
The slivers of metal come out of the LP groove walls, having got
into the vinyl when scrap LPs were ground up to be reused in
new records. Yes, LPs made since the oil crisis in 1973 contain
both new and recycled vinyl, complete with the old record labels
and metal from the blades of the grinder! Now you know why
some Audiophile record companies specify ‘Virgin Vinyl’ and
charge a higher price for it.
Moving Magnet (MM) Cartridges
There is no doubt that these are generally inferior to MC types
(with the exception of the Grace F-9E), but many are capable of
excellent performance used in a good arm. The main advantage
(other than price) of an MM cartridge is the replaceable stylus
assembly, extending the life indefinitely. Therein, however, lies
one of the weaknesses of the MM. Many provide no solid, tight
location or fitting for the stylus assembly, allowing micro-
movement and loss of signal definition, clarity and information.
This problem can be overcome in many cartridges by glueing the
stylus in with a small drop of superglue. You lose the advantage
of a replaceable stylus (unless you are successful with a
superglue softener!) but the benefits often outweigh the loss of
replaceability.
Stylus Replacement
A manufacturer’s direct replacement may not be the best
investment. Diamonds and cantilevers on MM cartridges are
usually markedly inferior to those on MC cartridges. A company
called the Expert Stylus Company (see page 6) specialises in
fitting their own extremely high quality line contact styluses on
boron cantilevers.
Through Expert we are again able to supply replacement stylus
assemblies for our old Russ Andrews RP Series of cartridges.
They are supplied on an exchange basis - send us your old stylus
assembly plus £65 (ex VAT £56) and we will send you a
replacement ‘Expert’ stylus assembly. It doesn’t matter whether
your cartridge is an RP20, RP40 or RP70, the replacement is the
same - a line contact, equivalent in performance to the RP70.
Stylus Cleaning
Keep the stylus clean. Fluff is easily blown or brushed off, but
mould release agent in the record groove builds up on the stylus
into a hard black lump that causes mistracking. The black gunge
is not easily removed because very few cleaners dissolve it.
Alcohol and those snazzy little vibrating cleaners (careful!) have
4
no effect on it. Supex once had a stylus cleaner that worked
superbly but is no longer available. At the time of writing we
have a stylus cleaner fluid that works effectively but we haven’t
sorted the packaging out yet so be patient!
Demagnetising
Yes, the cartridge becomes magnetised, increasing distortion,
reducing dynamic range, soundstage and bass. The Benz MC
Demagnetiser ABCD-1 works superbly, reversing the degrading
effects of coil magnetisation. [The Benz MC Demagnetiser costs
£199 (ex VAT £169), and works equally well on MM cartridges.]
How copper coils become magnetised I don’t know, but perhaps
it’s the magnetised iron filing dust from the vinyl that causes the
problem. Anyway, if you want the best performance from your
expensive MC cartridge, demagnetise it regularly - even weekly
if you use your turntable every day.
Cartridge Alignment*
There are many different designs of alignment guage available.
The aim of most of them is to position the cartridge in the
headshell so that the cantilever is perfectly aligned when the
stylus tip is 63.6mm and 119.5mm from the spindle; at these
points distortion figures should be at 0%.
If correctly aligned at these points distortion levels will not
exceed 1% (+/-) at any point along the guage. Although it is
traditional to align the sides of the cartidge with the parallel
crossline on the alignment guage, it is, in fact, the stylus tip and
therefore the cantilever, that need to be aligned. If the cantilever
is in a straight line from the centre of the cartridge, this makes
the alignment task much easier. However, the stylus tip end of
the cantilevers of some cartridges may incline towards the inside
edge of the cartridge after a while, perhaps because too much
‘bias’ has been applied in the past to counteract the natural
tendency of a pivot arm to be pulled inward to the centre of the
record. If this happens to be the case, then try and align the
cantilever (rather than the cartridge) with the crosslines on the
alignment guage.
We recommend the Polaris
Cartridge Protractor
designed by Martin Bastin. It
is accurate, effective and very
easy to use.
Polaris Cartridge Protractor
Cartridge/Headshell Tightness
Don’t be tempted to overtightened the bolts. Beyond ‘nip up’
tightness all you do is damage the cartridge body. I’ve seen some
very expensive cartridges wrecked this way.
Cartridge Pins/Headshell Leads
ProGold™ is ideal for cleaning and enhancing cartridge pins and
headshell leads. DO NOT, however, spray it anywhere near a
cartridge. It could possibly damage the plastic body or the coil
dust cover. My advice is to spray the ProGold™ onto a cotton
bud and use that to clean the pins.
Don’t forget the headshell pins at the other end of the
red/white/blue/green leads, or the arm cable plug
and phono plugs. The effect of ProGold™ on all these
gold plated contacts is nothing short of amazing.
Remember to use only a little and to clean it off
effectively too.
ProGold™ Contact Enhancer
Vertical Alignment (Azimuth) of the Cartridge *
It is essential that, when in play, the stylus sits in the record
groove at 90º to the surface of the surface of the record when
viewed from the front of the cartridge ie. with the walls of the
record groove cut at 45º, the stylus should work centrally within
the groove and not slope to one side or the other.
To check the alignment of your cartridge, cut a piece of card
about 3” (75mm) square. Out of the middle of the top edge cut
out a section, at right angles, the width of the cartridge. With the
base edge of the card resting on a record on the platter, check that
the sides of the cartridge align with the sides of the section that
has been cut in the card. It is, of course, essential that the cut-out
is strictly at right angles to the base. Alternatively, you could use
a small protractor in a similar way.
If the cartridge is not sitting in perfect vertical alignment, use any
azimuth adjustment that might be provided with the headshell
(not so common with more recent tone arms). If there is no
azimuth adjustment, place shims under the appropriate side of
the arm base where it is fixed to the tone arm board. If this is not
practicable, it may be necessary to resort to placing paper or
plastic shims on the appropriate side between the top mounting
face of the cartridge and the underside of the headshell.
If the cantilever and stylus are noticeably out of line
perpendicuarly with the cartridge, the options are either to adjust
the azimuth as suggested above or have the stylus or cartridge
replaced.
Cartridge Tracking Weight (stylus pressure)*
When setting the tracking weight, err on the side of keeping the
tracking weight as low as can be justified. Although most tone
arms provide some sort of scale for setting stylus pressure, many
of them are fairly rudimentary and it may be found easier to use
a separate stylus pressure guage (preferably of good quality). You
are seeking sufficient stylus pressure to tension the cantilever, so
that inside the cartridge, the magnets, coils, etc, are correctly
aligned in the appropriate fields.
To fine tune the tracking weight, choose a record thought to be a
good guide for fine tuning - one which has usually sounded good
in your system, but not one of your favourites, as you will be
giving it some wear in the fine tuning process. Avoid recordings
which have been heavily processed and employ electronically
Tone Arms
The correct choice of tone arm for a particular cartridge has, in
the past, been fraught with technical difficulties: high compliance
cartridges, low mass arms, high mass arms, unipivot arms,
parallel tracking arms etc. For me, the arrival of the Rega RB300
(and now also the 600 and 900) and the SME IV and V has swept
away all the difficulties. The Rega arms are affordable, versatile
and beaten on performance only by the stunning SME arms.
After correct geometric alignment of the cartridge in the head
shell has been achieved, the most common causes of distortion
and mistracking are excessive stylus pressure and incorrect
vertical tracking angle. The two are obviously linked because
changing the pressure changes the stylus rake angle (SRA). The
created sounds. Instead, choose one which has a straightforward
voice and a small range of acoustic instruments.
If there is room around the spindle, ensure that the record is
revolving centrally on the platter. Play the record a few times,
each time slightly increasing the stylus pressure, until a point is
reached where the timing of the music seems right, the sound is
well balanced and has not ‘closed in’, and the bass is full but not
over-dynamic and ‘one-note’. Until the ear had become attuned,
this process may need to be repeated or even started afresh from
a lower tracking weight.
Having found a seemingly reasonable setting, listen to what
happens when the stylus pressure is both increased and reduced,
to check that you have found the correct point. If the stylus
pressure is noticeably outside the recommended range for the
cartridge, reassess the sound and the set up the turntable.
From season to season, it may be necessary to adjust stylus
pressure, following changes in temperature and humidity. Higher
pressure will be needed in cold connditions.
Anti-skating or ‘Bias’ Adjustment*
As a result of friction between the record surface and the playing
stylus, a force is exerted which pulls the stylus inwards towards
the record centre. This unbalances the tracking of the inner and
outer walls of the record groove and can, in extreme cases, cause
the stylus to skate across the record. Anti-skating or ‘bias’
adjustments are used to apply a counter-balancing force away
from the centre of the record so that the stylus tracks with equal
playing force on both sides of the record groove.
The use of these mechanisms is difficult because the correct
setting varies according to tone arm, cartridge and tracking
weight. Moreover, some tonearms have no scale on the ‘bias’
mechanism to guage how far one has adjusted it. Initially, use a
setting equivalent to around 0.5gm less than the initial tracking
weight. If no scale is provided, a setting a little above zero should
initially be used.
When the right amount of ‘bias’ has been set, it should be
possible to lower the stylus into and out of the groove of a
revolving record without there being any noticeable pull on the
cantilever to one side or the other.
*Our thanks to John Rogers for allowing us to quote from his booklet
“How to Set Up & Fine Tune a Turntable” in these sections.
stylus rake angle must mirror the original cutting angle for
optimum tracking and minimum distortion.
Tone Arm Alignment
The principle that armtubes should be parallel to the record for a
correct vertical tracking angle (VTA) relies on the assumption
that the cutting angle of recording and stylus rake angle (SRA) of
the cartridge are the same. In practice this is obviously hardly
ever the case.
SRA is often set too high and this means reducing it by lowering
the VTA of the arm. With the arm tube parallel to the record, the
back of the arm must be lowered so the arm slopes down
5
 towards the pivot, a drop of 3-5mm usually achieves the best
VTA. The only way to get it right, of course, is to conduct
listening tests using a record typical of the manufacturing age of
the bulk of your records. Ensure the room is at 20/24ºC (70/75ºF)
and therefore the turntable at room temperature.
The Rega arms suffer from lack of height adjustment, but if you
are using it with a Garrard 301 or 401 we stock the Armony Arm
Base that solves the problem and allows you to set the correct
VTA. With other turntables you can use the RingMat Support
System that provides a RingMat and a set of spacers to fit
beneath the record to achieve the correct SRA.
Set the tracking pressure to the cartridge manufacturers
suggested minimum (commonly 1.5g). Set the arm height much
too low and do a series of listening tests, gradually increasing the
height until a ‘sweet spot’ is reached. At this point: bass will be at
its cleanest, tightest and deepest; treble at its most extended and
sweetest; and female voices will have least distortion and
sibilance. As you increase height past this ‘sweet spot’, voice
sibilance and treble becomes hard, and bass becomes over
dynamic, over punchy and lacking deep, clear extension. The
sound becomes very ‘Hi-Fi’. At the ‘sweet spot’ everything drops
into focus, you know it’s right. You can now experiment with
tracking pressure, maybe increasing it slightly to secure tracking.
Then fine tune the VTA again, lock up the arm tube and enjoy!
Bearing Wear
Bearing wear is the most common problem encountered with
tone arms. Damage can be caused by excess pressure inflicted
when fitting a cartridge. Unless you take care not to use the arm
pivot point as a lever whilst tightening the cartridge screws, you
should remove the arm from the armboard after cartridge
alignment before doing the final tightening of the cartridge
screws.
I always use an Allen key and small headshell screws spanner,
and lever one against the other to achieve good tightness and
ensure that the force doesn’t go down the arm. Even if you don’t
damage the bearings whilst fitting your cartridge, the vibrational
energy from the cartridge whilst playing a record travels down
the arm and causes wear at the bearings. High output, stiff
cantilever cartridges like the Decca put the most energy into the
armtube and bearings and so do most damage. Bearing ‘rattle’
sounds like cartridge mistracking, so bear that in mind if your
arm is more than 3 years old. Rega and SME have an exchange
policy rather than a bearing repair service, giving you a new arm
at lower cost.
The Headshell
Make sure the headshell is very tight on the armtube, especially
if it is a detachable headshell. Any looseness here is worse than
loose cartridge screws in its ability to degrade the sound.
Remember too that you can alter the cartridge azimuth at this
interface.
Tone Arm Cable
Original equipment arm cables leave a lot to be desired! Even the
very best are just bits of screened cable that are quite unsuitable
for this application. They generally sound hard, splashy, noisy
and have a one-note thump bass. Being screened cable, they are
really good at injecting RFI into the disc stage, the last thing you
want there. The disc stage is a sensitive amplifier designed to
accept the incredibly low output from a cartridge. In the case of
most MC cartridges that’s about 200 microvolts, similar to the
output voltage from an aerial! No wonder it is common to hear
radio stations in the background when you listen to LPs.
If you are lucky and the arm cable is detachable with the
standard five pin socket, a massive upgrade is available to you in
the KIMBER TAK or RA-TAK arm cables. I believe that Kimber’s
cables are unrivalled in their ability to deal with the problem of
RFI. Their unique woven cable design is very effective at
cancelling RFI and rejecting further RFI pick-up.

Useful Addresses
Lonicraft Audio Expert Stylus & Cartridge Co. Ringmat Developments
4 Big Lane PO Box 3 PO Box 200
Goose Green Ashstead Brentwood
Lambourne Surrey KT21 2QD Essex CM15 9FB
Berks RG16 7XQ Tel: 01372 276604 Tel: 01277 200210
Tel: 01488 72267 Fax: 01372 276147 Fax: 01277 201225

Martin Bastin Technical & General

225 Tettenhall Road PO Box 53
Wolverhampton Crowborough
W Midlands WV6 0DE East Sussex TN6 2BY
Tel: 01892 654534

Further Reading
“How to Set Up and Fine Tune a Turntable” by John Rogers
(Contact Ringmat Development)

6
 Turntable Accessories

Turntable Mats Record Cleaning

Over the years, a wide variety of turntable mats have been My favourite cleaning machine is
marketed, each claiming vast superiority over the original ribbed the expensive Keith Monks, but Moth
rubber mats manufacturers supplied as original equipment. I Marketing and Nitty Gritty make good
found them rather unconvincing with the exception of the Linn low cost machines too. Needless to say
LP12 felt mat (Linn started with a rubber mat). I wasn’t surprised we have a record cleaning system in
at the improvement because using a felt mat was the first development (I know I’ve been
upgrade I made to my first record player (a Philips Disc Jockey promising it for years) and we’ll let you
Major) in 1959 at the age of 13. Felt is great but do stick it down know in ‘Directions’ when it is available. Torlyte®Turntable Stand
to the platter, or it and the record will ‘creep’ as it plays. Use
double sided tape, not glue as it will soak through the felt and Turntable Stands
wreck the performance. If you are sceptical about the ‘creep’, just
The influence of the turntable support you use on the
stick a small tag (a cut off piece of self adhesive label) on the
performance of your turntable is absolutely immense. As you
record, the mat and the platter, line them up before starting the
know, we recommend our Torlyte™ Turntable Stands or
turntable and watch them move apart as the record plays. If the
Torlyte™ Platforms for turntables.
record is moving with respect to the platter, at what speed is the
record actually being played?

Ringmat Developments has introduced a turntable mat that is a

remarkable improvement over rubber or felt on most turntables
For full details you should read our booklet ‘Firm
(yes, including the LP12). It brings better bass, cleaner treble, F i r m d at i o n s
Fo uSupnport Your Hi-Fi System Foundations - How to Support Your Hi-Fi
How to uld you

better soundstaging and lower surface noise. I highly recommend ● Wh

at sho

System’ which discusses the issues surrounding

use? ial
mater
y the
● Wh
rs
matte

it. The Ringmat is available separately or

equipment support and the reasoning behind the
as part of the Ringmat Support Russ ews
Andr development of Torlyte™ .
System that also contains
record spacers to allow
you to optimise VTA for
any record you play, or to Oak Cone Feet
set a good general setting
The degrading effects of rubber feet are very obvious on
that suits most of your records.
Ringmat turntables. The reasons are set out in ‘Firm Foundations - How to
Support Your Hi-Fi System’ and the rule of 3 feet versus 4 feet
explained there works on turntables too. Use
Static Electricity: ReleeS® either two oak cones at the front and one in
The degrading effect of static electricity on the centre at the back, or vice versa
the performance of a record is depending on your own preference,
enormous. The biggest culprit is the or the dictates of your turntable
acrylic lid. The static charge can lift stand. Our small Oak Cone Feet are
the arm slightly and reduce a direct replacement for the small
tracking pressure. If you dust the rubber feet on the Linn LP12 and
ReleeS® Spray
lid with the pickup on a record you other similar turntables, but with
can lift it right off the record! all other equipment the larger the
Oak Cones used, the more effectively
Treat both the inside and the outside of the lid with ReleeS® for
they couple your turntable to its Oak Cone Feet
best results. Treat also the plinth, armboard, tone arm, rubber mat
support and the bigger the
etc. (Don’t spray any near the cartridge!). Remember also to treat
improvement in the sound.
the tonearm cable with ReleeS® - it really works.

An extra bonus of treating with ReleeS® is that less dust is

attracted to the turntable and so less gets onto the record.

7
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Mains Cables - see p2
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Jimmy Hughes, Hi-Fi Choice, Oct 2000.
The PowerBlock - see p2
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range.” Jimmy Hughes, Hi-Fi Choice, Oct 2000. Jimmy Hughes, Hi-Fi Choice, Oct 2000

Tone Arm Cable - see p5

RA-TAK (3.3ft) (ex VAT £85) £99
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Russ Andrews has got accessories sussed. That’s icing on the cake’ as far as my system goes.”
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ProGold™ - see p4 Small Feet (ex VAT £12.80) £14.95
(ex VAT £11.90) £13.95 Large Feet (ex VAT £17.00) £19.95
Jumbo Feet (ex VAT £21.30) £24.95
“I bought the cones and suddenly the sound
quality improved dramatically. In ten years of
CD development the biggest increase in sound
quality has been made by changing the feet…
I have to say they are the second most cost-
Torlyte® - see p7
effective upgrade I have ever carried out. The
Torlyte® Platform (ex VAT £103) £120 first was finding the right position for the
Torlyte® Turntable Stand (ex VAT £409) £480 speakers.” Mr M Steele, Middlesex.
Torlyte® Speaker Stands (ex VAT £852) £1000
Torlyte® Shelves from (ex VAT £196) £230
Torlyte® Base Units (ex VAT £350) £400 Armony Arm Base - see p6
(ex VAT £42.50) £49.95

The Power F i rm
& The Glory Fo u n d at i o n s
How to Upgrade Your Mains

• Why mains quality matters

‘The Power & The Glory ‘Firm Foundations How to Support Your Hi-Fi System
● What should you
use?

- How to Support Your Hi-Fi’

• What you can do
• Where to start
• Upgrades rated for difficulty,
cost & degree of improvement
- How to Upgrade Your Mains’ ● Why the material
matters

Russ
FREE! FREE! Russ
Andrews Andrews
3rd
Edition

Russ Andrews Accessories Ltd., Windermere Road, Staveley, Kendal, Cumbria, LA8 9PL.
www.russandrews.com E-mail info@russandrews.com
UK Freephone 0800 373467 UK Freefax 0800 5424528 Int. Tel 00 44 1539 825500 Int. Fax 00 44 1539 825540