In the last part, we covered the basics: we aligned the tonearm, set the pressure and anti-skating. Now it's time for more fine-tuning, which will transform your turntable from simply working to sounding really good.
For this job, we will need a few useful tools. Don't worry, there's nothing too complicated here. We're talking about things that make the tuning process precise and even fun.
In this part, we will talk about special test records that contain test tracks instead of music. They will help you fine-tune the speed of the disc and check other parameters. We will also look at simple but important accessories such as terminals for secure wire attachment and mats that dampen vibrations.
Our goal is to ensure that the needle reads all the nuances of the sound recorded in the grooves as accurately as possible. Let's take a step-by-step look at how these tools make music from vinyl clearer, more detailed, and more pleasant to the ear.
We press down on the plates and suppress resonances using a clamp.
A clamp is often a very necessary but also very controversial accessory for a vinyl player. If you look at history, such accessories appeared much later than the heyday of vinyl as a medium. Nowadays, there are many different approaches: some manufacturers do not recommend using any clamps with their devices, while others make their own clamps, often with a clever collet or screw design, and these clamps are included with the turntables as an essential part.
Evaluation criteria
We collected all or almost all of the accessories, tools, and even devices presented in the test in a rather unusual but quite understandable way—we simply went to a store where all of this is sold and “ransacked” the display cases. In other words, we studied everything that one might encounter in everyday life. From experience, I am familiar with all of these items, some better than others, and it is not difficult to evaluate the user properties of each item in practice.
There are several theoretical reasons for this, ranging from the need to straighten the record if it is slightly warped to completely securing the record to the main disc during playback. As usual, the truth lies somewhere in between. I discuss the use of clamps in almost every player review, based on the characteristics of specific devices. After all, it's not so simple in practice. Different designs (simple clamps, collet or screw clamps) work differently. The materials of the clamps also have an effect, and the weight affects not only the sound but also the load on the bearing and motor. In terms of aligning the record, almost no clamp is ideal. You need either a vacuum clamping system, as Japanese manufacturers such as Micro Seiki used to do, or two clamps — one in the center and one at the edge, as VPI now does on its higher-end turntables. In the case of conventional clamps that can be purchased in a store, there is no single correct solution. Some people will find a heavy clamp weighing a kilogram suitable, while in other cases, a light collet clamp will be more successful. There is no single rule here, except that you should not overload devices with light discs and not very massive bearings.
01. A heavy metal clamp, the Pro-Ject Record Puck, costs 3,500 rubles.
02. A clamp with a carbon insert, the Millennium Audio Silentor, costs 10,300 rubles.
03. Aluminum collet clamps are not very heavy for their size.
04. A light collet clamp weighs very little.
05-06. Thorens Stabilizer clamps, assembled with rubber rings—depending on color, 7500–8500 rubles.
Everything else — weight, design, material — works very individually. Although, based on my extensive observations, I have long concluded that if the condition of the record allows you to do without a mat, it is better to do without one. The only exception is to press down on the record while cleaning it with a brush so that it doesn't slip. There are very few ideal clamps that do not suppress the airiness and transparency of the sound, and most often these are standard designs made by engineers for their specific turntable models.
How and why mats affect the sound of a vinyl turntable
It would seem that something as simple as a mat could significantly affect the sound and performance of a turntable. In my experience, choosing the right mat is the easiest and most effective way to adjust the sound in an already assembled system when you don't plan to change any components but need to make some minor adjustments. Why do you need a mat at all? Sometimes it is really unnecessary — many modern turntables are supplied without mats, they are not included in the set, nor are they available as an option from the manufacturer. Other manufacturers, on the contrary, include something in the set and offer options. And there is a wide choice of options from third-party companies.
The mat was invented to isolate the stylus and record from motor noise.
Historically, mats were invented to isolate the needle and record from motor noise and other unwanted artifacts, but the technical level of turntables has long since gone beyond the point where this is really necessary. Today, the mat is a convenience feature that prevents the record from slipping on the turntable, or an element of fine sound adjustment. Turntable platters can be light or heavy and are made from a wide variety of materials, but the direct combination of the turntable platter and the record is not always the best option. For example, despite their apparent neutrality, it is still better to untie most acrylic discs, and for metal discs, with very rare exceptions, this is a mandatory rule.
01. Tonar Black Leather Mat thick leather mat — 2200 rubles.
02. Carbon Millennium Audio Carbon LP Mat — 10,300 rubles.
03. Tonar Rubber Mat — 2750 rubles.
04. Cork mat Tonar Pure Cork Mat — 1300 rubles.
05. Thick felt mat Millennium Audio M-LP felt mat red — 2600 rubles.
06. Pro-Ject Leather it black thin leather mat — 2700 rubles.
07. Tonar Pure White Perspex Mat plastic mat — 1850 rubles.
08. Millennium Audio M-Corkmat cork mat with removable center insert — 2300 rubles.
09. Tonar Cork'n Rubber Mat made of a mixture of cork and rubber crumbs — 2000 rubles.
So, it doesn't matter whether the turntable comes with a mat or not, or whether the design of the platter is such that the mat is non-removable, nothing limits us in our search for different options and combinations. The only thing to remember is that selecting a mat of a different thickness must be accompanied by adjusting the height of the tonearm and fine-tuning it. If the tonearm does not have such settings, everything becomes more complicated. Let's say we can adjust everything. What can we choose? There are all kinds of plastics, rubber, carbon, wool, cork and cork-based mixtures, leather, glass, even ceramics or copper — such mats also exist in nature. But before diving into all this diversity, you need to understand whether you need it and why.
The main things that a mat can affect are transparency, airiness in the mid-high range, balance imbalances, excessive coldness, or, conversely, warmth of sound. Here, we can try to derive some formulas. If the sound is excessively warm, muddy, or there is congestion in the mid-high range, hard mats, such as glass or ceramic, are more suitable. If the sound is sharp and cold, or there is tightness or excess bass, you should probably consider materials such as cork or felt, and sometimes thin leather may be suitable.
If you have purchased your first turntable, it is not necessary to buy a mat right away.
Rubber mats are more suitable for older, budget devices with imperfect mechanics. Carbon or hard plastics are more complicated; there are cases and combinations where such mats work well, but more often than not, some characteristics improve while others deteriorate. And if you have purchased your first turntable, it is not necessary to buy a mat right away, even if it is not included in the package. First, you need to fully set up the device, let it run for the required 40-50 hours, and only then try to determine whether additional intervention in the design is necessary or not.
In terms of design, solid mats are still more convenient, without any tricks such as removable centers. However, mats made of hard materials should preferably have a recess for the apple plate. Another useful feature is that simple and inexpensive plastic mats can be used instead of a dust cover, but an unnecessary plate will also work for this purpose.
For a vinyl turntable to sound good, it is not enough to just put it on the table — it is important to set everything up correctly. In the previous part, we talked about the basics, and now we will discuss what helps to achieve accurate performance: clamps keep the tonearm from vibrating, mats under the record affect the clarity of the sound, a stroboscope helps to check the accuracy of the rotation speed, and test records allow you to hear if everything is working as it should. These little things are not critical for getting started, but with them, the turntable reveals its full potential — the sound becomes clearer, more stable, and more lively.
Adjusting the turntable using a template and a mandatory stroboscope
Tuning the player is a crucial component that determines the sound quality. Even a slight error in geometry will not only worsen the sound, but also cause the records to wear out faster if the needle is positioned incorrectly in the groove.
01. Pro-Ject Align it adjustment tool — 6300 rubles. A little inconvenient, but the principle of operation is correct.
02. Full-size Dynavox stroboscopic disc.
03. The small Scheu Analog stroboscopic disc also works, but with small discs it is still better to use a stroboscopic lamp.
04. Tonar Schablone universal template — 2300 rubles. A little overloaded, slightly sloppy execution.
It is best to approach the settings carefully and gradually. Different tonearms are adjusted differently; some are very simple, while others can be challenging even for an experienced vinyl enthusiast. In addition, different cartridges are more or less sensitive to adjustment errors. The situation is similar with adjustment tools. You can adjust the turntable using the standard template that is almost always included in the kit. Here, the result depends not only on skill, but also on the convenience and quality of the included template. Errors may vary in different cases. You can use a purchased template, fortunately there are many of them available: for different tastes and at different prices. The question is, you still need to know how to use the template. In addition, the degree of convenience and quality of the models varies.
You still need to know how to use the template
In practice, apart from the simplest option I already mentioned and the help of a professional tuner, there are two other ways to go. Either you can figure out in more or less detail how all this geometry is constructed, how the position of the head and angles are determined mathematically, and what affects what, or you can choose the template that is most suitable for your tasks, one that has already been tested and tried by other audiophiles, and learn how to use it. The first, more thoughtful option is, of course, preferable. At the very least, you will understand the interrelationships and, based on this, you will be able to configure different systems, determine what is wrong and why. The second option is simple and utilitarian, but with careful and accurate work with the settings and sound, everything will be in perfect order.
In practice, it is best to choose universal templates that are not too primitive, but also not overloaded. If the template allows you to set the needle approach, this is always a plus. If it is possible to adjust according to the Baerwald, Lofgren, or Stevenson methods, this is also a plus. You can delve into the essence of these settings, or you can estimate by ear which one sounds better. You can also use additional tools, such as a mirror or a grid applied to a transparent block, to adjust the azimuth and height, and more often than not, you should. These things facilitate the process and make the results more accurate. However, if you don't understand the details, there is one catch: how can you be sure that everything is done correctly and works as it should? Therefore, I will repeat myself: the time and effort spent on studying the theory is not wasted at all. However, some things can still be checked, and test discs can help us with this.
The strobe should be
Everything is obvious with stroboscopes — you must have a stroboscope. Even if it's the simplest one, you must have it. Even if the device has a speed stabilization system, it is worth checking it sometimes. If there is an adjustment, even more so. A small stroboscopic disc is the minimum requirement. A full-size one is more convenient. If the set includes a special lamp, that's even better. If there is no lamp, it is worth remembering that all stroboscopic discs work with 50 Hz lighting (or increased, a special 300 Hz lamp will give a clearer picture), and it will not be possible to measure anything in daylight, for example.
Not all sleeves are created equal
This topic is a little out of context, but I decided to include it for the following reasons: first, how a record is stored will determine the amount of dust and static on it, and whether it will be more or less damaged. Second, sleeves are usually purchased at the same store where you buy everything else.
01. Goldring Extatic Record Sleeves — 2,600 rubles for 25 pieces.
02. Paper sleeves with a film insert. The price can vary greatly, and convenience depends on the materials and workmanship.
03. Nagaoka Anti-static record sleeves No102 — 1650 rubles for 50 pieces. In my opinion, they are too thin and crease easily.
04. Mobile Fidelity Original Master Record Sleeves — 1800 rubles for 50 pieces. In my experience, these are the most convenient sleeves.
I will not discuss outer envelopes, as they simply need to be of good quality and fit well. Whether they have a flap and seal or not is a matter of personal preference and the situation. Inner envelopes are a more complex issue. It would seem that there is nothing to it, but that is not the case. The envelope must be reliable, convenient, easy to store and remove, and have antistatic properties. There is usually a choice — simple paper envelopes, which are completely useless in all respects but are sold for some reason, and all kinds of film, as well as combinations thereof. Film is only convenient when it is not too thin and does not crumple with any manipulation. The most convenient envelopes are a combination of film and paper to reinforce it. It would seem a trifle, but everything consists of trifles, and important trifles at that.
The benefits of test vinyl records
Nowadays, test plates are quite common and easy to purchase, but in practice, two questions often arise. First: which plate should you choose? Second: which of its features should you use and how?
What exactly is a test record? It is a vinyl disc with test signals recorded on it, with specialized tracks for determining or adjusting settings. There are also discs with empty sections (just smooth surfaces). Usually, each manufacturer provides detailed instructions with their release, although these instructions are not always in Russian, and for some people this can be a critical issue — machine translators are not very good at handling such technical texts. But if you set your mind to it, you can find something online for almost every edition. It is also worth remembering that once you have explored all the potential capabilities of the test discs and selected the desired parameters, it is not a given that you will be able to find everything you need in a single edition, as the set of tracks and capabilities varies from disc to disc.
01. Cardas Frequency Sweep and Burn-in Record — 1,600 rubles. Not a bad disc, but not universal.
02. Image hifi Vinyl Essentials — 2,200 rubles.
03. Hi-Fi News Analogue Test LP — 2,650 rubles. One of the most convenient test records, and the set is good too — in addition to the record, there are also some simple templates included.
04. Analogue Productions The Ultimate Analogue Test LP — 2400 rubles.
I will try to summarize what might be needed in practice. The most basic capabilities, almost always the first tracks on the first side, are determining the correctness of the channel connection and the correctness of the phase. Yes, it is worth checking both, as errors are not so rare in practice. The next very useful feature is measuring the resonance frequencies of a specific path, namely your cartridge on your tonearm. It is no secret that not all tonearm manufacturers specify the effective mass, and not all cartridges are equipped with data on the compliance of the stylus holder. It is these values, combined with the mass of the cartridge, that will give you the resonance frequencies, and you can check whether you are within the acceptable range or not, whether something needs to be adjusted, or whether you need to choose a different cartridge if the one you have is not suitable. All this can be done with just a couple of test tracks on a record. An extremely useful feature.
What else might be useful? Anti-skating adjustment tracks, or more precisely, tracks for measuring the correctness of its adjustment, and zero “lacquer” tracks. They can also be used to adjust the position of the head and anti-skating, only this time by eye rather than by ear. And while the geometry can be adjusted using a template, when it comes to anti-skating, depending on the characteristics of the tonearm, cartridge, and stylus, one method or the other may prove to be more informative. These are the main options, but there are usually more than a dozen tracks on the record, and if you want, you can learn how to use them all, if necessary and if you are confident that you can interpret all the data correctly.
As you can see, the process of adjusting a vinyl turntable is not magic, but a completely understandable sequence of actions. Special tools, such as a clone turntable, measuring cartridge, set of probes, and stroboscope, are designed specifically to make this work accurate, not guesswork.
The main goal of all these manipulations is not just to “set it up according to the textbook,” but to ensure that your specific turntable and cartridge reveal their full potential. Proper adjustment directly affects the sound: you get clear high frequencies, rich and tight bass, and most importantly, you stop worrying about the safety of your favorite records.
Therefore, this procedure should not be perceived as a tedious chore. Rather, it is the final and very important step on the way to achieving a true, detailed, and careful sound from your vinyl collection. When everything is set up correctly, all that remains is to relax and enjoy the music.
