This setup procedure is what I normally deploy in the field. The procedure and parameters outlined here have been qualified jointly by Durand Tonearms and Found Music.

Attention to fine details with a proper alignment tool is paramount to maximizing fidelity results. This is universally true for all turntables, whether $200 or $200,000. A mirrored protractor made especially for the tonearm geometry in question is recommended. Specifically, the steps below suit Yip’s excellent MintLP protractor and this is the tool pictured below.

Best results are obtained with tools that allow the user to align both offset angle and azimuth at a minimum of two points along a proscribed arc. Many procedures use two null points that are not connected by an arc. These can work extremely well but these tools cannot offer the same level of precision due to the lack of an arc. We will expand on the importance of the arc later.

In broad terms, deviation of the cartridge stylus from “alignment” in any axis results in audible distortion due to extraneous mechanical forces or loads being exerted on cartridge and arm mechanisms. Proper alignment results in the cartridge system being more mechanically free to trace the groove properly. It is my professional opinion that minimizing this mechanical loading component is as important as the “fit” of the stylus profile in the groove (see the SRA and VTA discussions in magazines and on forums). Differences in the sound of different tonearm designs is due in large part to varying effectiveness at handling these parasitic loads in their mechanical systems. Our task in achieving high quality results is maximizing our tonearm’s ability to hold the cartridge and stylus in mechanical harmony with arm,table, and itself while tracing the record groove as precisely as possible.

There are seven parameters that we have access to in tonearm/cartridge setup. They are all directly responsible for sound quality, interactive and interdependent. In chronological order:

-pivot to spindle distance (provided by tonearm manufacturer)
-vertical tracking force (VTF) (provided by cartridge manufacturer)
-effective length (overhang) (provided by tonearm manufacturer)
-offset angle (zenith) (provided by tonearm manufacturer)
-azimuth (vertical orientation of stylus when viewed from front),
-vertical tracking angle (VTA) or stylus rake angle (SRA)
-anti-skate

These parameters are set in the listed order for the reason that they rely on one another sequentially. If one parameter is “out”, the remaining items on the list inherently cannot be set properly. It is usually necessary to go through a setup procedure more than once in order to get it right. As we approach proper alignment, large adjustments to any one parameter will disturb others. Tread lightly, my friends.

The phonograph cartridge is designed to function:

- with stylus (and cantilever) pulled through the record groove normal to the groove center line (when viewed from the front of the cartridge)

– with stylus tip raked slightly toward the incoming vinyl, tangent to the groove

– within the manufacturer’s recommended tracking force range (always confirm with the manual – different generations
 of the same model can vary by production run)

The objective is to provide the cartridge an environment where the above criteria are met on the play surface of the record. Note that even in an ideal condition, #1 is not possible on pivoted arm designs except at two carefully chosen null points; the locations of which are specified by alignment type (Lofgren A, B, etc.).

The protractor tool surface MUST be coplanar to the LP play surface plane. Most tools approximate the record thickness fairly well, be sure you are not resting on an obstruction that will cause the tool to sit high or crooked in any way relative to the play surface of the record.

The procedure:

1) Set pivot to spindle distance
All pivoted tonearm geometry rests on a precise pivot to spindle distance. This must be set accurately first and foremost. P-S refers to the distance between the rotational center of the tonearm bearing (the pivot) and the rotational center of the turntable’s platter (the spindle). If the P-S distance is not set correctly for your tonearm, the tonearm will not describe an arc on the play surface of the record that permits zenith (offset angle) to agree at null points.
If a ruler is used to measure P-S, it is helpful to place a mirror on the platter as a visual aid to ensure the ruler is viewed normal to the platter surface.

2) Set VTF, VTA starting points
– Attach cartridge to the headshell, snug screws, connect tonearm leads to cartridge pins. Always use the stylus guard for this step!
– Confirm that antiskate is disconnected or set to minimum.
– Confirm that turntable platter is level.
– Set tracking force to the middle of manufacturer’s recommendation using a scale made specifically for this measurement. Avoid setting the stylus down when the weight of the system is unknown! To be safe, you can start at zero balance and progressively increase tracking force to the desired value.
– Set VTA to a reasonable setting. The arm wand parallel to the platter surface with the stylus cued down on the play surface (protractor) is a reasonable starting point.

3) Set effective length (overhang)

using the ends of the arc on your protractor. Make sure you have plenty of light to see your work.
Use magnification. 4x and 10x afford a good view of the stylus as it rests on the protractor. Place the magnifier to the side of the cartridge such that viewing of the stylus contact point is in line with the arc or crosshair on the alignment tool. If your protractor has no arc to trace, there should be crosshairs at the the null points that will facilitate this measurement. Effective length is set by slightly loosening the mounting screws and moving the cartridge fore or aft in the headshell until the stylus tip rests on the curved line at every point when cued down. It is helpful to leave the headshell screws just snug enough so that movement of the cartridge is permitted without having to loosen and tighten the headshell fasteners repeatedly. A small flashlight is useful for backlighting the tiny stylus contact point on the protractor.

4) Set offset angle (zenith)
by rotating the cartridge in the headshell with set screw(s) slightly snug from step #3. Slightly less magnification, ~4X, is useful for its wider field of view in this step. View the stylus and cantilever normal to the front of the cartridge. Offset angle is set by aligning the cantilever as perfectly as possible with the parallel lines on the protractor. The pics below show wrong, wrong, and correct as you scroll down. Note that rotating the cartridge for this step can be difficult to do without disturbing the effective length from step #3.

Wrong – cantilever angles toward the left.     

Wrong – cantilever angles toward the right.    

    Correct – cantilever is centered and aligned with protractor marks.

Note the visual aid rendered by the reflection of the marks on the mirrored surface and the reflection of the cantilever with respect to them.
Once you have checked and are satisfied that effective length from step #3 and offset angle from step #4 are both set correctly, tighten the cartridge in the headshell. The torque required is “finger tight” – on the order of inch-pounds. This torque can change the sound slightly.

Previously I mentioned the importance of an arc on our protractor. This feature is valuable as we can indirectly check if our pivot to spindle distance is correct with the two null points on one arc. If the cartridge’s cantilever will not align equally well on both null points, and/or will not trace the arc everywhere regardless of overhang, then this is a red flag that P-S is not set correctly. Small errors in P-S distance that are difficult to measure directly will be detectable in this way. The arc provides a means to confirm the foundational pivot to spindle distance.

5) Set azimuth
This adjustment is important, but varies on high end tonearms from none at all to adjustment on the fly. Most arms fall somewhere in between with a mechanical adjustment that must be made with the arm out of the play position.
Azimuth adjustment involves rotation of the arm wand or headshell about the roll axis. The purpose is to align the stylus contour symmetrically to the “V” of the record groove. When approaching the correct setting, this can be heard in high resolution systems as a slight increase in volume, clarity, and harmonic content. Detrimental effects on imaging, bandwidth, snap, and channel balance come into play as azimuth approaches gross misalignment.
Ideally, there are no errors in offset angle or in the cartridge’s construction geometry, and we can leave our azimuth adjustment to its theoretical duty of placing the stylus perpendicular to the groove. Sadly, life isn’t always so simple and there can be small errors that we want to account for.
Subjectively, azimuth adjustment can help compensate for small errors in offset angle. The two parameters are in two separate planes, and are thought of separately, but in practice the two adjustments can and do affect each other.
If azimuth adjustment has profound effects on imaging and the sense of space heard in playback, this indicates that the offset angle is off and should be checked again.
Azimuth is dependent on stylus profile. Some constructions require extreme precision, while others are more forgiving. Don’t be afraid to experiment.

6) Recheck tracking force

Movement of the cartridge in setting of effective length in step #3 will affect VTF. It is now a good time to set it as precisely as you can. This is a parameter that is worth experimenting with within the manufacturer’s suggested range. In rare cases, acceptable results can be obtained slightly outside of this range, but this is not the norm and generally NOT where highest performance is realized. Heavy VTF tends to make the sound more damped and kills nuance, lighter VTF makes the sound thinner and “quicker” to the limit of mistracking. In order, listen for tonal color, weight, dynamic control, and tracking during loud passages to set VTF.

7) Set VTA
This parameter involves raising or lowering the pivot of the tonearm to affect a change in the stylus rake angle (SRA). The stylus rake angle is the included angle between the vertical center line of the stylus (when viewed 90 degrees from the side) and the horizontal plane of the record play surface. It pays to experiment with this parameter for reasons of tonality and focus. To adjust this by ear, listen to the bass registers for greatest attack and weight combined. You may want to spend time listening to too far up and too far down in the adjustment to get a feel for where “best” is for your cartridge. Note that adjustment of more than a few millimeters of VTA from initial setting will alter effective length. Theoretically, VTA should be adjustable over a wide range without measurable geometry changes, but this is not always the case in practice due to machining tolerances, tonearm design, turntable orthogonality, and other factors. Raising VTA above horizontal shortens effective length, lowering VTA generally increases effective length.
Changes to tracking force can slightly change VTA. More tracking force has the effect of lowering VTA due to increased suspension sag, less tracking force will effectively raise it.
VTA and VTF are mechanical adjustments that bring the stylus, cantilever, motor, and suspension into ideal operating conditions as a system. Think of VTA/VTF not as tone controls, but as parameters adjusted to honor proper contact of the stylus contour with the groove AND motor alignment.

8) Set Anti-Skate, confirm platter is still level
Anti skate force adjustment is available on most tonearms to counter the tendency of stylus drag to pull the arm toward the spindle during play. Anti skate force is a “best compromise” adjustment that is set to achieve best tonal and channel balance once other parameters are set. Again, don’t be afraid to experiment.

9) Enjoy the process. It can be frustrating and may take several iterative attempts to get right, but the joy unleashed from the grooves when played on a finely tuned tonearm and turntable is a rare experience indeed.