Azimuth is the most important adjustment in a tonearm and best set with a test record and scope......Set it for the same crosstalk per side.....Azimuth must be correct or VTA can never be ascertained.....Recall Dave Shreve spending about three hours setting up azimuth on my new tonearm and then five minutes setting proper VTA.....That was fifteen years ago.....Andy Payor used a test record and gadget that Audioquest made years ago and got the azimuth right in half an hour......Wish someone would make that gadget again as they are hard to find used........
The importance of azimuth
Not a particularly sexy topic, I know, but I recently had a rather ear-opening experience with my VPI Aries 2/JMW-10/Denon 103D. I been enjoying playing records for hours--sometimes days--on end during the few weeks I've had the new 'table and arm (the cart I've had for years). But after endless tinkering with the VTA (adjustable during play--perfect for neurotics like me), even at the "ideal" setting for any given record, there was an unpleasant edge to the sound. It was almost as if everything was digitally remastered!
Needless to add, this was not exactly what I'd hoped for in a record-playing system, though it *still* sounded leagues better than my digital rig (Sony SCD-1), even with the latter playing SACD (no, it does *not* sound as good as vinyl--not yet, anyway). I added some damping fluid. No audible change.
Then it occurred to me (duh!). I'd only made a token adjustment of azimuth when I'd set up the 'table. It looked straight, the channels were well-separated and balanced, and basically I didn't want to screw around with it.
Big mistake. (I'm sure you were all mouthing those words already.) A loosening of the set screw and a bit of twisting, and...everything looked the same. Stylus descended to record...drum roll...oh...my...God! Voices and instruments beefed up and acquired shape, tape hiss magically appeared (where appropriate), and hard left and right images seemed to float about a foot outside the speakers.
I'm sure there are more scientific ways of setting azimuth, but I'm now in one of those situations where everything sounds so fulfilling of my expecations that I don't want to lose it.
Folks, never forget that in set-up *everything* matters. These are tiny increments of adjustment we're talking about here. Take care with everything and your hardware will reward you with the gorgeous sound we know is inside those records.
Needless to add, this was not exactly what I'd hoped for in a record-playing system, though it *still* sounded leagues better than my digital rig (Sony SCD-1), even with the latter playing SACD (no, it does *not* sound as good as vinyl--not yet, anyway). I added some damping fluid. No audible change.
Then it occurred to me (duh!). I'd only made a token adjustment of azimuth when I'd set up the 'table. It looked straight, the channels were well-separated and balanced, and basically I didn't want to screw around with it.
Big mistake. (I'm sure you were all mouthing those words already.) A loosening of the set screw and a bit of twisting, and...everything looked the same. Stylus descended to record...drum roll...oh...my...God! Voices and instruments beefed up and acquired shape, tape hiss magically appeared (where appropriate), and hard left and right images seemed to float about a foot outside the speakers.
I'm sure there are more scientific ways of setting azimuth, but I'm now in one of those situations where everything sounds so fulfilling of my expecations that I don't want to lose it.
Folks, never forget that in set-up *everything* matters. These are tiny increments of adjustment we're talking about here. Take care with everything and your hardware will reward you with the gorgeous sound we know is inside those records.