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Using Test LP - curious observations

I've been tremendously enjoying my Lyra Delos with the Classic for about 1.5 yrs now, and just recently remembered I had the Hi-Fi News Analogue Test LP and got the urge to test my setup.
Here are some of my observations that came as a surprise to me:
1) Anti-skate (Bands 6,7,8,9 on side one) - the cartridge "passed" the test on Band 6 without any anti-skate, but there was audible buzzing coming from the right channel at higher amplitudes. Applying anti-skate made NO difference whatsoever to the results, whether on setting 1, 2 or 3 (most anti-skate). I prefer the sound without anti-skate so this only seemed to confirm that applying anti-skate arguably does nothing to improve the sound and likely makes it worse. It also seems to shed some light on why Harry doesn't like anti-skate.
2) Azimuth (Band 5 on side two) - My preamp has a mono switch so this seemed pretty straightforward. According to the instructions, there should be minimal (if any) mono output if the cartridge was aligned perfectly. Well, there was certainly some output, which immediately worried me, but what really left me scratching my head was the fact that no adjustment appeared to correct it, or make a significant difference. I use the Soundsmith's Counter Intuitive to fine-adjust VTF and azimuth, and after about 2 hours of a wide range of adjustments in azimuth through the CI, it was virtually impossible to determine the optimal azimuth setting, i.e., the output seemed consistently the same regardless of adjustments.

Please free to comment, share your experiences or explain my curious results. Or are they not curious?
actusreus
dougdeacon
3,338 posts
 
With regard to (1), Audiofeil nailed it. Using an over-amplified test track makes no more sense than using its opposite, an ungrooved surface. Neither corresponds to real-world conditions. Adjust VTF and A/S by listening to real music.

With regard to (2), the amount of azimuth adjustment needed to equalize crosstalk is EXTREMELY small, 1 or 2 degrees at most. You want the stylus vertical in the groove to minimize vinyl wear/damage so always start from that point: make the stylus look vertical whilst playing a (real) record. Then make TINY, TINY, TINY azimuth adjustments whilst listening for the tightest imaging. When you think you've got it nailed, recheck that your stylus still looks vertical. Again, no test record required (and no mono switch either, my preamp doesn't even have one).

Train and trust your ears, leave the poorly designed tools on the shelf.
jazdoc
365 posts
 
As always, wise advice from Doug!
ella4ever
20 posts
 
LAst year , I had similar urges to check my set up with a test record.I got my panties well and truely in a bunch.Ended up ringing my dealer in desperation. His words "Bloody test discs , hate the things" . He came over , re-set things the way they had been when he originally set things up and we were both happy campers ( mind you , the bottle of vintage port helped there too).Sold the damn disc the next day.Now I use the 2 sticky out test discs I was born with like the others have said.
tonywinsc
583 posts
 
Personally, I do both. I check my set-up with a test record but my final adjustments are done by listening. I set up my new cartridge and align it with a gage. Then I set a nominal VTF and VTA. After that, I use the stereo test record to check the set up- its really of limited use, and finally, I trim things in by ear. I set Azimuth with a mirror and use a record to check. I finalize my VTF and anti-skate using a couple of lively records and adjust my VTA for minimum noise. I hear just a little bit of mis-tracking in the right channel on my rig if I leave the anti-skating adjustment at zero when playing some records. I have to add some anti-skating. Let me also note that my TT is perfectly level. ie. the Platter/Tonearm are level since I have a suspended TT.
moonglum
619 posts
 
A degree of anti-skate is essential.
Recordings such as soprano with piano accompaniment can be useful. The soprano is usually well centred and will produce sustained notes not dissimilar to a test tone. In this way you adjust against any "edginess" on the most intense signals.
The idea is that it should barely handle these real world signals and no more.

You may find after doing this that Band 1 just happens to sound ok also - if it doesn't sound 100% clean don't worry about it. I've had several copies of the HFN/RR and yet to find one where the spindle hole is centred with 2-3mm.
Although there are those who scorn anti-skate altogether I don't think tonearm designers add A/S mechanisms for fun.
Just my tuppence worth...
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