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Setting Antiskate - visually

I just installed a Kleos onto my Nott 294 with stock arm. For setting antiskate, the Lyra instructions say to observe the cartridge and cantilever as it settles into the record grove - if the cartridge settles to the right or left, adjust the antiskate so it remains vertical.

Well, this is a really tough thing to observe. But, after raising and lowering the tonearm several times with the lever (not by hand), I could watch the cantilever literally walk to the right or the left across the record - one or two or three grooves at a time, and easily observe the skate effect. Just to the left or right of the space between songs provides a good fixed reference spot on the record. Adjusting the antiskate weight to its max and min setting had a clear observable effect on its behavior.

It seems to me that this "method" is consistent with Lyra�s instructions, but does avoid the skating effects, if any, imposed by the rotation of the record. So, has any one used this �method� and/or have any comments?
poonbean
nandric's avatar
nandric
3,263 posts
 
I used the HFN test LP and was realy proud to get 90 Mu
without any buzz from the right channel. But then I come
across the worning by Van den Hul not to use this method.
I alrady was advised not to use the 'blanco' LP's on wich
you was able to see the actual skating. Since then I have
no idea how how to adjust the antiskating. By ear? Come
on. Do you hear what I hear? I do this by intuition and with intuition you can claim what you like.

Regards,
glai's avatar
glai
442 posts
 
I am also learning to do it by ear. Trying different settings and listen to the same music. During playback of chamber music or orchestral music , the violin or the entire violin section lose focus. Too little antiskate, the cello or the heavy strings lose focus. The bass drums may also float towards the center and the far right corner of the soundstage collapses during very dynamic passages.

Listening for vocal in the center helps too but that is also impacted by azimuth.

You know you have it right when you feel there is too much antiskate in the beginning and too little at the end.
poonbean OP
39 posts
 
Actually, I believe we do agree here. There are several rather precise measurements and settings that must first be made visually, which if done correctly should set the analog deck up correctly - which is to say, it complies with the mfgs design and intent for the arm, table, cartridge. Fine tuning to compensate for less than accurately made settings, incorrect parameters provided by the mfg, wear and tear on the TT, etc., and to satisfy your own desires for sound should come after that.

I fail to understand how one could possibly set up the TT and cartridge using ears alone - there are simply too many variables. Seems to me that the vta, vtf, overhang, mounting distance, etc. are all set up using your eyes (at least initially). Which brings me back to the start of the thread - how to visually set the antiskate close, if not spot on. After these adjustments are set close enough, then fine tuning by ear could begin.
moonglum
605 posts
 
Regarding bias test tones on the HFN/RR : It may be useful to note that each tone isn't just continuous but fades out at the end? I found with one particular cart that with a "centred" tone I could hear the tone "pulling" to left or right after fadeout if the bias wasn't right. This cart was sensitive to the extent that merely breathing on the control was enough to create a difference. Thankfully this is not the norm and others (MCs & MIs) respond differently but it may be worth a try?
My approach is simple and I look to minimise perceived edginess in either channel until an acceptable sweet spot is acquired on typical musical programme.
By sheer coincidence, when settled, the cantilever of my current cart (Delos) shows no sign of deflection when entering the groove.
Hope this is helpful...............M.
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