Do 45 RPM records need higher anti-skate setting?

Skating forces are a function of the rotation of the LP and the tracking error of the arm/cartridge. So if you increase the speed of the rotation, there will be more energy (skating force).

Omsed, you seem to know something about this so perhaps you can explain some things. Doesn't the skating force vary from plus to minus depending on where the stylus is on the LP, assuming an optimally setup radial-tracking arm?

Also, if the platter is at rest there will be no skating force at all. That was the basis for my response above; are you saying there is zero(0) change regardless of rotational speed?

I've had tone arm manufacturers tell me this already (mostly stating that usually too much antiskate force is applied in most setups), isn't it a fact that any skating force setting on the arm is as best an approximation?

TIA :)

Lewm, I think the part about centrifugal force to be a red herring. We don't need to discuss it further.

So far John's argument about variable friction does not seem to be addressed, or did I miss something?

I've had conversations with several tone arm manufacturers; they seem to agree that there is no standard for anti-skate forces to be applied to an arm. Put another way they all seem to have different ideas about it.

From a simply pragmatic point of view, the phenomena of the OP is that increasing the force fixed a problem that did not seem to exist at 33 rpm. Was that simply because he had not played anything with that complexity prior? Or was it because the forces on the arm were different?

So the idea that a 45 rpm disc cut with greater modulation to also require slightly greater anti-skate sounds like its not that far-fetched.

45s are NOT cut with greater modulation (if they were the sound would be louder through the speakers), the goal of the mastering guys is same volume, so the idea that different anti-skate is required is far fetched. Same anti-skate.

I have quite a few 45s that are obviously cut at higher levels. IOW, they play louder. Also, when we cut at 45 on our lathe (I run an LP mastering operation, FWIW) we find that we can cut certain frequencies at higher levels easier than 33. I think where you are having a problem is the assumption that the 'mastering guys' are going for the 'same volume'. We might and we might not. Usually we cut with two goals:

1) see if we can get it all on the side and
2) don't over cut such that the stylus gets knocked out of the groove or the cut goes over the previous adjacent groove.

Its pretty well impossible to overload the cutter system- the main limit is cutting a groove that a cartridge can track without distortion. A lot depends on the signal that is being recorded and they are not all the same else the planet would be a boring place :)

So if friction due to modulation is indeed a factor in skating forces, it would be a mistake to assume that it will be a constant- IOW it is indeed a variable.