TriPlanar Tips

The manual that comes with the TriPlanar Mk VII tonearm is fairly complete, but there are a few things I’ve learned only by living with the arm. Note: I do not know which if any of these would apply to previous versions of the arm. My only experience is with the Mk VII.

1. NEVER raise the cueing lever while the arm is locked in the arm rest. This pressures the damping cylinder and could cause a silicone leak. For this reason and also for safety, whenever the arm is in the arm rest the cueing lever should be DOWN. This is backwards from most arms and takes some getting used to.

2. If your Tri-Planar doesn't cue straight down there's a quick fix, which may be included on some new arms. The problem is insufficient friction between the arm tube and the hard rubber cueing support bar. Just glue a bit of thin sandpaper to the underside of the arm tube. Make it big enough and position it so it hits the cueing support bar at all points across the arm’s arc. (Note: after doing this you will need to adjust the cueing height, see Tip #3.)

3. When adjusting cueing height (instructions are in the manual) always do so with the arm in the UP position. This adjustment is VERY touchy, since the cueing support bar is so close to the pivot. Be patient and be careful of your cartridge. (Note: after doing this you may need to adjust the anti-skate initiation point, see Tip #4.)

Chris Brady of Teres told me of a way to improve cueing even more by re-shaping the cueing support. Moving the cueing support point farther from the pivot improves its mechanical advantage and makes the cueing height and speed adjustments less touchy. This mod is easier than it sounds and requires only a length of coat hanger (!), but I don’t have pix and haven’t yet done it myself.

4. Changing the cueing height affects the point where anti-skate kicks in. (Yes, it's weird.) Once cueing height is satisfactory, adjust the short pin that sticks out of the front of the cueing frame. That pin controls where the anti-skate dogleg first engages the knot on the string.

5. The Tri-Planar comes with three counterweight donuts of differing masses. Many cartridges can be balanced using either of two. The arm usually tracks best with the heaviest donut that will work, mounted closer to the pivot. Of course this also reduces effective mass, which may or may not be sonically desirable depending on the cartridge. It also leaves more room for Tip #6.

6. For fine VTF adjustments don’t futz with the counterweight, there’s an easier way. Set the counterweight for the highest VTF you think you’ll need (ie, close to the pivot). Pick up some 1/4" I.D. O-rings from Home Depot. To reduce VTF a bit just slip an O-ring or two on the end stub. Thin O-rings reduce VTF by .01-.02g, thick ones by .04-.05g. Quick, cheap, effective. (For safety, always lock the arm down while adding or removing O-rings.)

7. When adjusting VTA, always bring the pointer to the setting you want by turning it counter-clockwise at least ¼ of a turn. This brings the arm UP to the spot you've selected, which takes up the slop in the threads. You can easily feel this happening.

Hope someone finds these useful. If you know any more, please bring ‘em on!
I don't get the Talea thing at all. Every time I have heard one, they sounded light in the bass. The Triplanar easily beats it in this department. But OTOH, I say that coming from the perspective of having the master tape of the LP and was there when it was recorded. Last time I brought this up I got castigated for it, as if having that sort of recording was a bad thing.

So I don't get it- fad? Do I have bass bandwidth others don't? (I doubt it). This is one I would like to figure out.
Atmasphere, you are in the minority, you are looking for high fidelity. I think most audiophiles, 80-90%, are trying to create a sound that fits their notion of what a system should sound like, which has little or nothing to do with fidelity.
As a high end dealer many years ago, I was shocked to find most audiophiles cant hear much, most of the time their wives or significant others could hear more acutely and articulate clearly what they were hearing. I would put money on it that given your profession, you do have better hearing than most, it has been trained by years of experience. By the way, I use to argue that my Proac Tablettes produced better bottom end than many speakers, simply because they produced overtones and high frequency extension much more clearly than many fullrange speakers and you could tell more about how the base was being played.
That's ok, Ralph. I don't get the whole, Atmasphere thing either. Same rave over your amps. I don't hear anything special.