2. analog
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Maybe your turntable setup is actually okay . . .

One of the most oft-repeated bits of advice I read on these forums is to "check your turntable setup" . . . to the point of being a blanket cure-all for any manner of dissatisfaction with one's turntable. Add to this that there seems to be no limit to the required obsessive details about various protractors, geometries, mirrors, jigs, etc. that need to be discussed, and their associated belief-systems that need to be adhered to . . .

Well, it actually IS possible that a turntable has a PERFECT setup, but still has performance and tracking problems. So if you're still frustrated after dorking around with your turntable ad infinitum, you might consider the following:

1. Many cartridges (especially MCs) have distortion mechanisms that are completely independent of the tracking performance - that is, distortion can still occur even with absolutely zero mistracking. I find it plainly audible with trackability test records - as modulation is increased, there are sometimes one or two different-sounding distortions that are heard before the unmistakable onset of mistracking. These are frequently caused by dried-out cartridge suspension, or are peculiar to the cartridge design itself. When listening to music, it's REALLY tough to differentiate between cartridge distortion and mistracking.

2. The concept of whether to align to the cartridge body or the cantilever is ridiculous. They SHOULD be one and the same. I verify this under a microscope BEFORE beginning mounting the cartridge . . . I can't imagine doing it any other way. If it isn't, repair or replace the cartridge.

3. The diamond stylus itself should be mounted squarely to the cantilever, and the cantilever should not be twisted. Again, a microscope is necessary to make sure. Again, if it's not right . . . repair or replace the cartridge.

4. The mass/compliance relationship between the tonearm and the cartridge must be correct - around 10-15Hz resonant frequency on both the vertical and the horizontal planes. If this isn't correct, then the stylus simply won't track correctly. Usually the mistake is so the resonant frequency is too low, which causes the stylus-to-record contact force to vary wildly with tiny warps, footfalls, and record eccentricities.

5. Damping troughs, gooey goo, and headshell weights, while helpful for some situations . . . cannot compensate for poor tonearm/cartridge matching. The fundamental mechanism is still the cartridge compliance and the tonearm mass.

6. If the tracking problems increase as the tonearm approaches the inside of the record, this does NOT necessarily mean that the change in tonearm/record geometry has anything at all to do with the tracking problem. The inner grooves simply exert greater forces against the stylus to acheive the same amount of velocity, hence modulation, as the outer grooves. So even if the tracking ability of the cartridge is perfectly constant across the record, it can frequently be sufficient at the outer grooves, but not the inner ones.

7. Many cartridges are simply not very good when it comes to tracking ability. Maybe they have other virtues, and are worth owning in spite of this. I know, I know . . . "my spherical-stylus Ortofon SPU can track the Telarc 1812 Overture disc with zero distortion!! Your setup must be off!!!" That is, quite simply, a load of crap. You don't buy an SET amp for the efficiency, you don't buy a Jaguar E-type for the heater, and some audiophile cartridges should NOT be counted on for their tracking ability. Decide what's important to you before you spend your money.

If it seems like I always blame the cartridge for inexplicable tracking problems . . . well, this isn't too far from the truth. In my experience, quality control for phono cartridges is much worse than for most other parts of the audio chain, regardless of cost or manufacturer reputation (with maybe one exception, but they don't make cartridges anymore). This is simply because so much of the poor workmanship or damage requires a microscope to see, or can't be seen at all, and even if it's perfectly made . . . these things go through many people before they reach your tonearm. When I buy a cartridge (formerly as a dealer, now as a consumer) I make sure that if I'm not happy with it after a visual microscope inspection, setup, and testing, I can send it back for another one, until I'm happy. I've sent back LOTS of cartridges and ticked off lots of distributors to this end. The tradeoff is that I simply can't consider brands where I don't have a good relationship to the dealer, and I probably pay more than many people on Audiogon.

I sent back two Linn Klydes to get the one I have now -- one had the diamond mounted a degree or two off, and the other had an intermittently open channel. I'm not bashing Linn . . . I've set up a good handfull of their cartridges, and overall, I'd consider them above average. But I can't count how many cartridges I've sent back over the years, and what pains me is that some of my Audiogon brethren probably have my rejects on their tonearms - after all, I'm pretty sure that they weren't all simply thrown away.
kirkus
kirkus OP
502 posts
 
Elevick, your W-30 story does make me smile . . . I too had a hotrod Olds when I was younger. But let's say you built your engine around an expensive billet crankshaft, and it turned out that this particular crank was mis-balanced, and was machined with the wrong fillet radius on the rod journals. Your engine then of course has a vibration problem and some inexplicable, strange wear on the rod bearings . . . so you go to internet forums to help you figure out the problem -- and the overwhelming number of responses you receive (from other Oldsmobile engine fans) basically blame the problem on your poor engine-building skills. Had this been your experience . . . then I'm betting you might not have such fond memories of your W-30.

The fact that this is a hobby does not mean that when we purchase high-end products manufactured in the 21st-century, we shouldn't expect high-end 21st-century quality control. When I read some of the other threads on i.e. the poor quality of modern vinyl records . . . it's obvious to me that the audiophile community represented here expects to get their money's worth. The reason I started this thread was to bring up the general discussion that maybe we should expect the same from our phono cartridges.

And for all the "turntable setup" threads . . . setting up a high-performance turntable perfectly isn't NEARLY as difficult as building a high-performance automotive engine. I'd say it's about the same difficulty as setting tile -- your first attempt won't be perfect, but with patience, practice, and an eye for detail, something that most mechanically competent people can do.
Post removed 
elevick
2,636 posts
 
Kirkus, finally we agree.
Happy Listening
goatwuss
877 posts
 
Kirkus,

Can you recommend an affordable and capable microscope that is good for inspecting cartridges?

Based on the knowledge in this thread, I would like to get a clear look at mine.
Ag insider logo xs@2x
rauliruegas
12,775 posts
 
Dear Kirkus: +++++ " and that they deserve to get their money's worth out of their audio purchases. " +++++

IMHO your approach to say TT set-up like a whole analog rig seems to me that makes things a little complex because the today TT can comes with or with out tonearm and cartridge is almost a separate item.

I already posted somewhere that IMHO ( till today ) I don't know any single TT ( vintage or today one ) that is a " finish " product: almost all of them needs a special platform, a different mat, a different clamp, peripheric ring, different belt build material, rim drive, new PS, different arm board, etc, etc, etc,, and this is not only because it is not a true/universal " finish " products but many times because we like to tweak everywhere and sometimes it does nt matters why.

Do you already take in count how many additional " business " exist/create around to tweak a TT?, even from the same TT builder.
So if we don't receive a " finish " product ( it does not matters how high was the price we pay for it ) then we have to finish it.
The sole TT subject is really complex and not easy to fix for everyone because any single up-date to the stock TT ( mat, clamp, arm board, platform, etc, etc ) change the performance.

I can go on talking about the tonearm, the cartridge, the tonearm/cartridge, the tonearm/cartridge/TT, tube electronics, speakers cables and almost every single link in the audio chain.

IMHO there is no simple and absolute answers about and that's why exist the forums like this one.

The TT/tonearm/cartridge relationship is so complex and so many " things " happen at levels that we can't hear ( the cartridge is a so sensitive micro ) and not only that but at relationship levels that we can't even imagine or understand about that is almost imposible to have the right answer for everyone.

So, exist the perfect/universal set-up?, obviously no what exist is or at least we are looking for is a TT/tonearm/cartridge set-up that can be nearest to our each person music/sound priorities.

I don't know but if there were no posibilities to tweak the analog rig maybe part of the " magic " can/could disappear for many people.

I wish I could/can have a plug and play analog rig, sometimes I'm tired and loosing my time on the set-up/tweaks instead to simple enjoy the music that is the subject I say :the most important subject of why we are here.

Regards and enjoy the music.
Raul.
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