I then use the Cardas vinyl setup disk to set the antiskate by using the cool blank test track in the middle of the LP. I've set the antiskate so the cartridge stays in the middle without swinging out or in. Seems spot on to me.
As Stringreen stated, this is not a useful way to adjust A/S.
Skating forces are a function of friction between the record surface and the stylus. When playing music, the stylus's two contact surfaces ride against the groovewalls while its point is in mid-air, touching nothing. "Playing" a blank surface does exactly the opposite. The friction of the stylus point is almost certainly different from the friction of the two contact surfaces. Therefore, the skating force will be different. Optimizing A/S to play a blank disk is nonsensical (unless that's the kind of music you like!)
So, the question is - upon cueing the arm up or down, the arm will swing towards the outside of the record - should this happen?
Because the antiskate weight counteracts the centripetal force towards the spindle, then the cartridge should swing outwards when not loaded by centripetal forces- so this behavior makes sense to me.
But, I've yet to read anywhere that this actually what should happen - that the arm should swing out when cued. In fact, I mostly read that that the arm should drop straight down when set to play a track - if so, then it seems to me that the antiskate can't be doing much.
So, I'm hoping someone can confirm. Thanks !
This is normal behavior on most tonearms, for just the reason you stated. The only exception is arms whose A/S device is designed not to engage until the stylus is in the groove. The TriPlanar is built this way. Properly adjusted, A/S is "off" until the stylus locks into the lead-in groove. This makes cueing motion vertical.
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P.S. As for the optimal way to adjust A/S, Oldears' method works but I prefer to adjust by listening. I'll preface a description of my method by noting that, since skating forces vary from record to record and even from one groove to the next, there is no "perfect" setting. Don't drive yourself crazy trying to find perfection where none exists.
Before you can adjust A/S by ear, you must learn to optimize VTF by ear. Begin with A/S at "zero" and train your ears to adjust VTF until the sound is optimal. Too much downforce squashes HFs and microdynamic snap. Too little downforce makes LFs weak, HFs "tizzy" or even allows audible mistracking. Find the happy space between these two. That's your optimal VTF (it can change with the weather, as a new cartridge breaks in and even from one LP to another).
Once VTF is dialed in, play a passage that's a challenge for your cartridge to track cleanly. A pure, hard blown horn or a strong soprano vocal on inner grooves is an good test. Listen for R channel fuzziness or mistracking. Engage the A/S device at the lowest possible setting, then increase in small increments until the R channel sounds as clear as the L.
That's your optimal A/S setting... for today. Again, it can change with the weather, the VTF, as a cartridge breaks in and from one LP to another. To repeat, there is no "perfect" setting. There's only the setting that works for a particular set of circumstances.
You may find, as Stringreen and I have, that your rig needs very little A/S or perhaps even none. To my ears and his, ANY amount of A/S diminishes micro-dynamic snap and HF clarity. We accept the risk of uneven stylus or groove wear to mazimize sonic performance. That's our choice on our rigs. On yours, whatever amount optimizes tracking and sonics is the correct amount.
