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Azimuth observations and importance

After adjusting azimuth with a Fozgometer loaned to me, the following is what I observed. Individually, these changes were subtle although noticeable. The combined effect however, was significant to the overall presentation.

Imaging improved.

Vocals became more focused, not as big and wide as before.

Instruments more detailed with greater air. Location is more precise.

Tighter bass versus the slightly lingering bass notes previously.

Better top to bottom detail and clarity.

I never realized how important correct azimuth adjustment is and this exercise was quite a learning experience for me. Thinking I was correctly adjusting azimuth by visually setting the headshell as level as possible was a reasonable but flawed attempt.

I have found at least two stylus issues that if present will affect azimuth and sound.

1) A straight cantilever that is twisted left or right changes the attitude of the diamond and its relationship to the groove. By twisted I mean the cantilever has rotated on its own axis. This one is very difficult to see without appropriate magnification.

2) A cantilever that is canted to the left or right a degree or more but is still straight, not bent. It points left or right probably because it was not centered correctly when the cantilever was installed. It also changes the attitude of the diamond.

What is probably basic and common knowledge to everyone here is something I have just been enlightened about after giving it very little thought. I am now convinced that accurate azimuth is a required step in the turntable set up process and I will be giving full attention to this part of the equation.

No more guesswork and eyeballing which I am embarrassed to say was the norm. Doug
128x128dougolsen
hiho
451 posts
 

I think a close study of the Graham Phantom will explain this geometric issue better. Sorry for being so clumsy at explaining in writing.

Notice the bearing angle to the azimuth adjuster on the "magnaglide". This angle matches the angle at the headshell so when you change the azimuth of the pivot, the azimuth of the cartridge changes with it. (I know the Phantom is a quasi-unipivot so it requires outside support to avoid azimuth rocking)

Top view:
http://ic2.pbase.com/o4/06/530506/1/53878804.GraBal3.jpg

Side vide:
http://www.graham-engineering.com/db3/00271/graham-engineering.com/_uimages/Phantom20II20Magnet.jpg

_____
bpwalsh
1,198 posts
 
Guinness wrote:
Michael Fremer reviewed just such a product - Dr. Feickert's Adjust+ in Stereophile's Oct. 2008 issue. Mikey liked it, conditionally. The manual was poorly translated from the original German. When/if the manual was re-written in plain English, he'd highly recommend it. Unfortunately, it doesn't seem to be in their web archives.

The article mentioned the cost was $250 with a Pro version available at $399. It measures phase angle, crosstalk, speed, wow, flutter, S/N, harmonic distortion, tonearm resonance and frequency response using a test LP (included) and high quality sound card (not included).
The better translated manual was available by the time Fremer's article was published.

The prices are in Euros, not dollars, so the cost is quite a bit more. The pro version which I use on clients' systems measures all those parameters, while the standard version does not but includes the azimuth measurements.

With regard to azimuth, the Feickert software measures phase response and crosstalk. The former correlates better to what we hear and the transfer function is used to determine it.

Because I get phone calls and emails asking if I sell the software, I should clarify that it is only sold direct.
thom_at_galibier_design's avatar
thom_at_galibier_design
729 posts
 
While I too am a proponent of using your ears to get azimuth right, I think that people need to be shown what a locked in azimuth adjustment sounds like.

So, either a tool or a mentor can help you find a baseline, after which your ears tell the rest of the story.

One thing that Joel learned in the development of the Talea tonearm, is that azimuth that measures well at 200 Hz (minimum cross talk), measures slightly differently at 1kHz.

Analog is a wiggly world, and resonances manifest in the strangest of ways.

So, what frequency to use for this? The frequency of your music collection ... of course ;-)

Cheers,
Thom @ Galibier
lewm
12,842 posts
 
The Shure and Audioquest test LPs, both of which contain bands for setting azimuth in conjunction with the Signet Cartridge Analyzer, generate a pure test tone of 1kHz, first in one channel only and then in the other channel only. I think anywhere from 500Hz to 2kHz is a good average frequency representative of "music". Otherwise, one would indeed go nuts with this azimuth thing. Indeed, it may be too late for all of us.
dougdeacon
3,338 posts
 
So, do we listen in a wiggly world or do we use an objective test? Well, both... which may lead us to the enlightened state Lew mentioned.

Thom makes a valid point: having an objective standard to navigate through the wiggliness can indeed help train our ears.

My Wally Analog Shop (which measures crosstalk at 1kHz) did that. After 2 hours I got crosstalk optimized and played some music. The improvements were clear, quite as the OP described. This objective test trained my ears to listen through the wiggles.

After that, when changing cartridges I'd adjust by listening first, then confirm with the Wally. Having learned what to listen for, my by-ear settings became acceptably reliable and the Wally a waste of time; but it wasn't entirely so in the beginning.

Today, my reference cartridge produces so little crosstalk that the Wally can barely measure it. Using it would largely be a waste of time.

As Lew said, it's too late for most of us - but perhaps we can protect the newbies, if only by providing an object lesson.
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