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I am no expert on stylus shapes, but so far as I know, micro-ridge types are quite different from line contact types. Also, could you be leaping to conclusions based on only a few samples? Those of us afflicted with audiophilia nervosa tend to do that. I suggest you play a random large sample of LPs before worrying about surface noise, and I also think that maybe adjusting VTA might help, if the phenomenon is real. I cannot tell you whether to raise or lower the pivot point, but do both to see what happens to surface noise. Playing with the resistive load may also have an effect. Another low probability explanation might be that the new cartridge needs break-in.
Tony, Once the azimuth is set, tracking force and anti skate dialed in. start with the tone arm bearing end low, just below were the tone arm is parallel to the record. Raise the rear a degree at a time listening to the noise in between. Give the noise a rating at each level write it down. At some point the noise will drop off then start going up again. Back off to where the noise is quietest. Set the Azimuth with mirror and the anti skate with a test record. These have to be right on. The last thing you do is the VTA. This will be the quietest you can get this cartridge. Differences in frequency response can make one cartridge sound noisier than others.
@mijostyn, yes that's a good approach. AnalogMagik's paradigm is that these interrelated adjustments are all optimized through the minimization of distortion as measured during each adjustment, cycling through the adjustments as needed (in a particular order) until the lowest distortion values are reached. I'm only just learning the ins and outs of this program, so maybe it's a good idea to fall back to a known method for this.
@tonyptony I would concur. My experience with AnalogMagik is that it’s great for really fine tuning a setup that’s already good, but the sheer pita nature of going back and forth make it a tricky approach to getting to an initial setup.
Sounds like you have the tools and experience to get to a good place “by ear” so try this and then go back to AM once that’s done.
Also most cartridges need 20-40 hours to bed in and edginess and the behaviors you describe are typical of a new cart still needing to settle in
I had a similar issue. I set up my arm/cartridge using the AnalogMagik software and got it all dialed in from a numbers standpoint, but I didn't like the sound. I fine tuned the set up by ear and was able to get the performance I was looking for. Since the only person that I need to please is myself (from a system perspective), I did not feel the need to remeasure and validate my set up using the software.
Since the only person that I need to please is myself (from a system perspective), I did not feel the need to remeasure and validate my set up using the software.
Yes. While I can appreciate the logic behind what AM is doing, I think the final judge winds up being your ears.
Point taken @viridian. What threw me is that in past cart setups I hadn't been surprised like this. My Zephyr MkII was/is relatively quieter. I'll give it time after I feel I've gotten it tweaked properly in setup.
IMHO, all setup is pretty meaningless until the suspension has settled down. I usually just do a rough setup with tracking force at, or near, the top of the range and wait until things settle down.
Shure had an interesting idea, and I can’t vouch for it, one way or the other, and that was, while not playing records, to have one on the turntable and leave the tonearm down with the stylus contacting the non-moving record. Their take was that it shortened break in time, YMMV.
@tonyptony I can’t remember the final number re VTA but I was clearly getting results that trended better (that’s until I ran out of room to lower my tonearm further, purely a function of some challenges I have in setup on my table, another 1mm would be ideal)
The AM setup seemed to optimize especially well for clarity and channel separation. Probably not as “organic” and “analog like” as the prior setup, but that’s a trend I see the more I optimize my vinyl rig, it sounds more and more like digital ie flat tonal response, very clear and open, no compression etc
Peter's OCL is without question, and by far, the most difficult stylus profile to dial in with respect to overall setup that I've ever had to deal with. Extremely sensitive to VTA in particular with respect to how noisy it will be in the groove but also VTF and azimuth of course.
There will be a very narrow window with respect to VTA/SRA in terms of how it will perform with respect to not exaggerating groove/surface noise once it has broken in. It will be interesting to see if that setting conforms to what the AM software is telling you.
I'd agree with other posters about putting 50-60 hours on the cartridge before really getting serious on the setup. IMO, once you have azimuth set up properly you will then need to experiment with very small incremental changes in VTA/SRA along with similarly small changes in VTF at the same time (I'd be inclined to going higher into the recommended range of VTF than lower) to try and nail the setting.
You will know it when you hear it and it will be much easier for you if your arm has VTA on the fly adjustment (mine does not).
But virtually any other line contact stylus (including Peter's on his mid level retip) is much easier and more forgiving to set up. Any of the microridge styli are even more forgiving IMO.