Turntable System Setup
By Laura Dearborn - additional
notes by Galen Carol (in italics)
When you’re suffering the itch to improve your system
but can’t find the money, a possible solution is to spend
some time fiddling with your turntable. (If you’ve gone
CD-only, you’re out of luck here.) Like everything else,
the delicate mechanics of turntables are subject to the
laws of entropy and will gradually drift out of tune, causing
you too perhaps to gradually drift away from listening.
Returning every six months or so will restore your faith
(if it was flagging) in vinyl and perhaps your system.
If you need a demonstration of re-tuning’s musical impact
read this paragraph, stop, and do the following. Pick about
ten bars of a familiar record and play it a few times. (use
a record you don’t like if you’re concerned that quick successive
replays will hurt.) Become familiar with the sound (female
voice is best). Now change the tracking force. No, don’t
get out the gauges — just add or delete what might be a
tenth or two of a gram. Hear the difference? — whether for
better or worse. That’s one small change in a series of
small changes is available.
Being pernickety helps you get the most from your LPs
because you’re operating on such a minute scale. The grooves
of a record are a few thousandths of an inch wide. Depending
on the loudness at which the system is being played, you
can usually hear down about 60+ dB, which means you’re hearing
groove displacements of the order of a few millionths. (That’s
like splitting a hair into one thousand pieces.) Every bit
of motion or vibration allowed at this level can be heard
through your speakers — greatly amplified.
What follows is a basic primer for table setup. To be
more comprehensive here is impractical, if not impossible
— spelling out how to optimize one product alone would take
up pages. Instead, this gives the basic rationales for each
procedure, along with some guidance as to what to do in
each case. It offers a starting point for your own explorations
or at least introduces you to the essentials of setup and
fine-tuning, which may then encourage you to seek out someone
familiar with the particularities of your own table. If
you feel you’re a fumble fingers, don’t proceed. (You could
cause some expensive damage.) Find instead a local expert
to perform the magic. (Just be sure this person is an expert,
is familiar with your particular table, and has set them
up before.) This primer does not supersede the owner’s manual,
which should be your primary guide.
Another factor to consider: If your cartridge is getting
on in life, much of the following may not have the sonic
impact it should. There is even a small chance that a worn
stylus is damaging your records. Cartridges are one of the
most difficult (and most expensive) purchasing decisions
in hi-fi because it is impossible to get them on loan. As
an interim measure (before chancing big money on a major
“name” cartridge), you might investigate one of the highly-rated
inexpensive units. On the other hand, don’t get hooked into
the cartridge-of-the-month syndrome. Older, top rated cartridges
with thousands of hours use can sound nearly as good as
the best of today.
At various steps along the way in this retuning, your
system may not sound as sweetly musical as at other times.
Beware of thinking you have made the wrong adjustment. Many
times, you will make a technical improvement which will
reveal a previously underlying nasty sound. Try and fix
the nasty sound, don’t just go back to the previous setup.
If it sounds cleaner in the very bottom, and less "wooly,"
you have probably improved things. On the other hand, if
nothing has changed except that it now sounds "nasty,"
then you probably erred in the adjustment.
Turntable Adjustments and Maintenance
Support and Vibration
The first area to examine is the foundation of the entire
turntable system, whether shelf or stand. No matter how
good the table’s suspension, some vibration will get through
and muddy the sound from the bottom end to the midrange.
Setting up the foundation to convey as little vibration
as possible will help minimize the muddying. This is even
more important for a turntable with no suspension.
If you can feel any motion of the foundation by lightly
touching it with your finger tips while playing music, this
is degrading your sound dramatically. To get a hint of just
how great the effect is, listen to it through a stethoscope
placed on the table or on its support. Or place a glass
of water on the support and watch the water’s surface while
playing music or walking around — this is a simple and graphic
way to see how much acoustic and mechanical vibration is
reaching your system. Remember that your hi-fi is trying
to reproduce groove modulations as small as a few millionths
of an inch — about 1/1000th the thickness of the hair on
your head. Not an easy task within this vibrating environment.
There are several steps you can take to minimize motion
induced by the playing of the system as well as motion present
in the environment. The record player stand must be on a
stable surface — flexing floor boards do not make a secure
base. If you have the option, mount your table support on
a masonry wall or floor — remember the table can be either
inside or outside your listening room. If your floor is
wood, perhaps you can stiffen it from beneath, for example
by bracing a strut between basement floor and turntable
stand. If you cannot cure floor-flex, mount your table on
a rigid wall.
Be aware that moving your table to a more stable location
may result in an apparent decrease in bass. Since the more
stable location has less vibration, the support vibrates
less and therefore feeds less back into the system. This
is not a mistake. You have indeed improved matters; you’ve
just altered the apparent subjective frequency response.
Don’t reverse the move; correct the balance. To rebalance
the system, you can try moving the speakers, or improve
cartridge alignment, or play with room changes or even component
Next, turn your attention to the stand or mount itself.
All universal stands have some flat plate or bars which
form the top and on which the turntable rests — this itself
will vibrate harmfully (the weak point of universal record
player stands). The thicker (read: stiffer) this is, and
the more inert, the better the sound — and standard units
are none too stiff. Don’t wimp-out on the replacement. Get
something very heavy (at least 25 pounds, preferably much
more) and thick (over three inches). The stand should be
spiked to the floor — nearly all come this way.
(Tip: Experiment with the sonic differences of placing
Sorbothane vs. spikes between table and stand. The Sorbothane
partly isolates, while the spikes tighten the connection.)
More About Vibration
Turntable screws may loosen over time, allowing more parasitic
resonances to occur. Be aware that over tightening can warp
the mating surfaces and make matters worse. Then use your
noodle, look at the size of the screw, and snug it up. This
goes for all screws used to hold anything together, be it
cartridge-to-arm, or wire-to-box. A few tables are designed
to need tuning of some elements by fastener tightness; in
these cases, follow the manufacturer’s recommendations.
(Tip: Consider adding damping material between two contacting
pieces to dampen vibration, especially over big flat areas.
The idea is not to have a squishy interface but to fill
in the very small gaps left through manufacturing tolerances.
Take apart the pieces, add a very
small amount of Blu-Tac
[now available here] or any other non-hardening putty, then
reassemble and tighten down until the parts are solidly
back in contact. Where there are accurately machined, ground,
or lapped surfaces in contact, use some sort of inert grease
such as an industrial vacuum grease.)
When a turntable goes out of level, generally the platter
bearing’s performance and the arm’s dynamics, specifically
anti-skate, are negatively affected. Because the platter
bearing is round in a round sleeve, unlevelness alters how
the bearing floats the bushing (except cases like the Well
Tempered and the Versa Dynamics); the better the bearing,
the less the effect. Sonic problems due to being out of
level are greatest with a pivoting arm; least with a linear
tracking arm under motor control.
So be sure your table’s platter and tonearm mounting board
are on the level. Don’t just eyeball it — use an accurate
level. If the platter is out of level, adjust the suspension
(in the case of a suspended subchassis design). If the arm
board is not level (which means the arm pivot is not vertical),
either return it to your dealer for repair or re-level it
yourself by shimming between the mounting board and its
About the only thing you can do here is to replace (or
top up) the bearing oil. Follow the manufacturer’s recommendation
as to how often and with what. Lift out the platter, sop
up the old oil with a lint-free cloth (or suck it out with
a clean eyedropper or syringe), then pour in the new, being
careful not to make a mess by overfilling the well. (The
shaft of the bearing takes up most of the room in the bearing
(Tip: Most oil bearings will be improved sonically by
a stiffer [higher viscosity] oil. However, if the motor
drive system is not very robust, this stiffer oil could
slow the system down. Most manufacturers sell their own
high viscosity oil; on the other hand, experimentation can
Some belts are meant to be talcum-powdered, some to be
slick; some are meant to be soft-faced (matte rather than
shiny), some to be clean. Check with the manufacturer about
the need and method for cleaning to maintain proper traction.
Some tables, because of their motors, require slippage to
start up and slow down smoothly so belts on these most likely
are talced. Years of slippage will wear the talc off and
then start to buff the belt shiny. In a case like that,
replace the belt with a manufacturer’s original.
Platter speed is sometimes controlled by what part of
the pulley the belt rides on, so be sure to get this right.
Belts can be finicky about just where they ride on platter
and pulley — be patient. Everything that is on the table
when playing a record — platter, mat, record, clamp — must
also be on the table when you install or adjust the belt
on a suspended subchassis table. On a two-part platter,
place the outer ring upside down on the inner and lay everything
else on top. This will accurately weight the suspension
while allowing you to view the belt on the pulleys.
There’s not much you can do in the way of adjusting a
non-suspension table, except to regard its entire support
system as being a part of the table’s suspension. Refer
back to that section and consider even more strongly how
to improve the foundation’s vibration protection.
Suspension designs are all a little different so to adjust
your suspended table, follow the manufacturer’s instructions.
As suggested earlier, if you aren’t familiar with working
on your table, find someone who is an expert at it. Tweaks
peculiar to each record player which can significantly benefit
the sound are discovered by users and fine-tuners over time.
If, you adjust the springs, you need to gain access to
the underside of the table, raise it up on four soda cans.
Everything that is on the table when you play a record —
platter, platter mat, record clamp, and record (use one
you don’t care about) — must also be on it when you tune
the springs so the weight (and therefore position) is accurate.
Generally, you rotate the entire spring to adjust the
suspension’s up and down motion, or rotate the nut at one
end of the spring to adjust height and levelness.
Make small incremental alterations and check the results
each time. The platter should float exactly the same distance
about the plinth all around and the tonearm board must remain
horizontal with the plinth. Pushing at the center of gravity
of the suspended part of the table should, with most designs,
cause the suspended part to move straight up and down very
freely and not transition to sideways or rotational motion
before the motion subsides. Keep adjusting until you can
achieve this condition.
The arm is pretty much maintenance and adjustment-free.
Snug up the arm mounting screws. Check, on a typical pivoting
arm, that the bearings are sound: grasp the headshell and
very, very gently attempt to move the arm back and forth
along the length of the tube and rotationally. If you can
feel any free play at the headshell, you’ve got a serious
problem — get it fixed or replaced. Exceptions are the Well-Tempered
or unipivot arms where by doing this you are causing it
to ride up off the pivot.
Our note: Ideally, the cartridge
mounting screws should be evenly torqued. Rega recommends
0.4nM, which we find to be a good number for most
cartridges, but use caution with wood bodied cartridges. The
Rega Torque Wrench is an incredible, though expensive,
If you have a viscous damping trough, be sure it contains
the correct amount of damping fluid; it doesn’t evaporate
but it does migrate. If there is dust and lint in there,
clean it out and refill with the manufacturer’s damping
material. Also, in the case of a variable paddle system
like the SME's, reassess whether you are using the correct
paddle. Too much damping will make the sound tight, but
will lose lots of fine detail; too little and the sound
will be open and relaxed but also more hazy and smeary.
(Tip: To minimize arm tube resonances [which can add much
high frequency hardness to the sound], damp the arm tube
with a brushed-on coating of liquid latex [thin cosmetic
grade for theatrical use is good], or heat shrink tubing,
or a non-hardening putty like Blu-Tac.)
You’re trying to align the cartridge stylus with the record
groove in as close a replication as possible to how the
cutting stylus originally cut the record groove. You’re
trying to retrace with your playback stylus what was traced
with the cutting stylus — the closer the alignment of the
one mirrors the alignment of the original, the more accurately
it can read the grooves. Alignment needs to be optimized
in three different planes. However, it cannot be equally
perfect in each of the three, so it must be optimized for
an overall best balance or compromise. Final adjustment
must always be done by ear and over an extended period of
listening time. Just to add to the complexity, each record
is cut a little differently. Here again, optimize for an
overall balance of good sound over a wide range of records
(or adjust VTA for each record, which some people do if
they have an easy VTA adjustment on their arm).
The three alignment planes are as follows. (Please note
that it is the stylus, not the cartridge, that is being
aligned.) First, viewed from above, the cartridge’s arcing
movement across the record must maintain the stylus in the
same relation to the groove as that of the cutting stylus’s
straight-line tracking; this is Lateral Tracking Angle,
or Tangency. Viewed from head on, the stylus must be perpendicular
in the groove so as not to favor one groove wall, and therefore
one channel, over the other wall/channel; this is Azimuth.
Viewed from the side, the stylus must sit correctly in the
groove, at the same angle as the original cutter; this is
Vertical Tracking/Stylus Rake Angle. (VTA, however, varies
from record to record. Therefore, this alignment must be
set by ear, even more than is the case with the other adjustments.)
Also confirm that the distance from the center of the
arm pillar (the upright post) to the spindle (usually fixed
by the arm mounting board) is correct as this will affect
the ability to achieve the tangency adjustments. This "L
dimension varies with every pivoted arm — check your manual
or with the manufacturer.
Essential tools are an alignment gauge, a tracking force
gauge, a record you don’t care about as accidents can happen,
a strong light you can focus where needed, and screwdriver.
Small needle-nose pliers and a magnifying glass or plastic
magnifying card can be handy. It’s very difficult to make
an accurate alignment gauge (do not relay on the accuracy
of the gauge that comes with every arm), so get a good one.
If it doesn’t snugly fit over the spindle, throw it out
and get another.
Make sure that the arm’s wires, wire clips, and solder
joints are in very good condition. At minimum, clean the
contact between cartridge pins and wire clips by removing
and replacing each clip. Holding the clips with needle-nose
pliers can make this easier, but be careful that you don’t
strain the wires where they join the clip. Check your cartridge
mounting screws. Because these must be snugged tight, plastic
screws are no good. Aluminum, brass, or stainless steel
crews, provided they are new and the threads aren’t distorted,
are fine. Allen head screws are great because the Allen
wrenches used on them provide excellent leverage. To exert
sufficient tightening force on a slotted head screw, you
need a screwdriver with at least a 3/4" diameter handle
— jeweler’s screwdrivers just don’t do it.
To Get Started
Our Note: Level the turntable before
Tape the platter securely to the plinth. If it can rotate
during setup, your alignment measurements won’t be accurate.
Just be sure taping does not alter its height or levelness.
If this is not already done, mount the cartridge in the
headshell and the headshell on the tonearm. The headshell
screws should be finger-tightened just enough that the cartridge
cannot fall off but is still loose enough that the cartridge
is easily moved around. Work whenever possible with the
stylus’s safety cap in place.
Set tracking force at nominal, then do the tangency alignment
procedures, then the azimuth. Do not deviate from this sequence
as each step affects the subsequent one — change the order
and the setup will be wrong.
This adjustment on the tonearm counterbalances the weight
of arm and cartridge. At this point, use your tracking force
gauge and setting tracking force according to your cartridge
instructions — final adjustment will be done later by ear.
If you do not have a tracking force gauge, but the arm does
have a calibrated counterweight, defeat the arm’s anti-skate
mechanism or set it to zero. Set the counterweight so the
arm is level and balanced. Be very careful of the unprotected
stylus — you cannot do this with its safety cap in place.
Once the arm is balanced, lock it in its cradle and, using
the calibrated counterweight, set the tracking force according
to your cartridge’s recommended weight.
Our notes on
tracking force -
Tracking force affects a number of cartridge parameters and
must be set precisely to optimize
tracking ability, VTA and alignment of the internal
generator assembly. Very small changes can make significant
differences. Some listeners feel they can detect variances
of as little as little as .05g!
There are a number of options when it comes to tracking
force calibration, which one is best will be
determined by the quality of the system involved. A quick
adjustment using graduations on the arm or an
inexpensive balance beam scale is adequate for modest
systems, but is not accurate enough for a high end turntable
set up. At that level we strongly recommend the use of a
digital stylus force gauge.
Our Note: We've had great
success with the Measure-It from Pro-Ject. $99 not necessarily what
the groove sees. Barring mistracking, which can result in
permanent groove damage, the key to record wear is pressure
per unit of surface area. Thus, stylus contact area is the
key issue. Even if the tracking force is light, if the
stylus contact area is small, the tracking force will be
on a smaller area of LP groove, resulting in higher localized
pressures and accelerated groove wear. Conversely, a higher
tracking for with larger contact area is less damaging.
The larger contact patch distributes tracking forces
over a larger portion of that groove wall, reducing localized
tracking pressures and minimizing groove wear.
It is a common misconception
that a lower tracking results in less record wear. While
that statement is not totally incorrect, it does not tell
the whole story. Although what we see (and the tonearm sees)
is tracking force, this is
Follow the instructions in your owner’s manual and those
provided with your alignment gauge — different gauges use
slightly different methods. As you square up the cartridge
body with the gauge’s markings, be sure that the cartridge
sides are square or your alignment will be wrong. When all
adjustments are correct, carefully snug down the cartridge
mounting screws. Keeping a firm grip on cartridge and headshell
together so nothing shifts, delicately tighten each screw
down a turn or so, then repeat until tight. Snugging down
one screw all the way before tightening the others is almost
certain to twist the cartridge out of alignment. However
careful you’ve been, always check the alignment again after
Our note: To set overhang, you'll need an alignment gauge. There
are a number of overhang gauges available through the years
(DB Systems, Denessen Soundtractor, Mobile Fidelity Geodisc,
to name a few).
People usually like the one they've used before, but even the simple template provided with your
turntable or tonearm are useable -if you are careful.
Probably the best alignment protractor that's ever been
devised is the
Feickert Alignment System. Precise alignment is critical
and the Feickert is the best.
The old mirror alignment technique for azimuth may work
fine for some cartridges, but a hand-made moving coil cartridge
cannot control this alignment well enough. The stylus may
be several degrees away from perpendicular to the top of
There are two accurate ways to adjust azimuth. One is
using your ears for the best sound. Rotate the cartridge
in tiny, tiny increments, in different directions, getting
a feel for the area where you get greatest stage width,
depth, and so forth. The drawback to this approach is that,
until you develop a good deal of experience with it, you
can be confused by the changes in sound, so be patient and
work carefully — it will give you the best results. The
only remaining foolproof method requires using a voltmeter
and a test record. Set the azimuth so that crosstalk at
1,000 Hz is the same for both channels.
Our Note: We recommend using
Fozgometer to set correctly set azimuth. Finally, an
easy way to accurately check and adjust azimuth!
Vertical Tracking Angle
Unless your tonearm has a special VTA adjuster, adjusting
arm height can be a major nuisance, and particularly so
if the arm pillar is held at a selected height only by a
set screw. In these designs, altering height means releasing
the setscrew, which usually results in the arm pillar dropping
precipitously, leaving you in the dark about the original
point from which you are now trying to add or decrease height.
(I speak from bitter experience.) Jam the gap between pillar
neck and collar with business cards so the pillar cannot
fall when released or find/make a block that fits between
the arm mount and the underside of the arm structure. See
your tonearm manual for its recommendations on adjusting
arm pillar height.
The best approach is to tune-in VTA gradually by listening
to music. You know the arm needs to be lowered at the arm
pillar when the overall sound is hard and bright, with thin
bass or no deep bass, edgy highs, and harsh midrange (of
course, this could also be tracking force which is too light).
Distortion obscures low level details between the musical;
notes so dynamic range is reduced. Transient attacks may
be too sharp. Raise the arm when the sound is dull and damped,
the highs rolled off, the lows muddy and lacking definition,
and transient attacks are dull. Mind you, this sounds an
awful lot like the effects of changes in tracking force
(too light is edgy, too heavy is heavy and dull). They are
different sounding but hard to explain.
Start with the arm a little low and very gradually raise
it, first to where it is parallel to the record, and then
so the back of the cartridge is tilting up. Keep track of
your settings so you can return to the one you like best
where everything snaps into focus. The range of adjustments
can be quite broad, as much as 3/4" or even more (at
the arm pivot). Play with the full range so you know what
it sounds like and don’t be diffident.
Antiskate Force (radial arms only)
This applies an opposing, balancing force
to the natural inward drag of a pivoting arm while playing.
Left uncontrolled, the stylus would push up against the
inner groove wall, causing distortion both from mistracking
and a cantilever skewed in relation to the cartridge generator.
To set, lower the stylus down near the label of a record
with a wide run-out to it. Increase antiskate until the
arm starts to slowly drift outward, away from the label.
Again, this should be finalized by ear as you listen to
music. If image placement is a little off-center, or if
things don’t seem to be locked in solidly, experiment with
antiskate. Also, watch the stylus when you drop it into
a groove. Does it move to the right or left relative to
the cartridge body? This indicates too much or too little
You’ve got three adjustments roughed in at this point:
tracking force, VTA, and azimuth. It’s a matter of reiteration
to optimize the sound. The change in sound with each of
these individual adjustments can be similar. It’s therefore
necessary, in optimizing all three, to experimentally move
from one type of adjustments to the next, then to the next,
in order to balance the optimization for all three. Listen
to female voice as you work; got for the maximum vocal character
and a tactile sense of a person.
You want to start to deviate from the cartridge’s recommended
tracking force by small increments. You are trying to put
the electromagnetic system in its most linear position.
Too much tracking force and you’re moving the coils (or
moving magnet) out of the center position of their range.
A tiny increment may be 100ths of a gram or less; but try
as much as 0.2 of a gram deviation above and below the manufacturer’s
basic recommendation in your experiments. Don’t worry about
record damage from heavy tracking; most record damage is
actually caused by mistracking in the middle-to-high frequencies
with too little tracking force rather than with too heavy
tracking. (Besides, 0.2 gram over is not heavy tracking
at all.) That’s providing that the stylus is reasonably
clean and in good condition. If you’re getting mistracking
at the low (lightest) end of the range and yet the low range
is generally sounding the best (and on moderate signals,
not The 1812 Overture), then chances are you have either
a dirty stylus, a bad record, an accumulation of crud in
your cartridge, or a cartridge that’s getting old.
Changes in tracking force can change how you want VTA
and azimuth adjusted. If azimuth was initially adjusted
by ear, experiment with it. However, if it was set with
instrumentation, leave it be and instead play around with
VTA and tracking force. I sometimes think of this process
as being a little like tightening down a series of screws
— you do each a turn or two at a time and keep going round
and round until you’ve got them all evenly snugged down
and the surfaces mated without warping. Keep on patiently
adjusting until you recognize that the sound is right and
just locks into place.
(Tip: Some people find that degaussing [Fluxbuster] of
a moving coil cartridge is recommended as often as every
day, even if the cartridge hasn’t been used.)
Regarding this subject, A.J. van den Hul would like to stress
Never use a cable enhancer on a cartridge, because
you will really burn the cartridge’s coils. I’ve had in
many cartridges in which people had used a cable enhancer
to break-in the tonearm wires — forgetting that the cartridge
was still attached at the other end of the arm. The coils
were completely burned out — the enhancer even heated them
up so much that the rubber and everything was melted together
into a sticky paste. I’m not referring to cartridge demagnetizers
— I’m referring just to the regular cable burners, to warn
everyone. . .
Furthermore, contrary to the conventional wisdom, A.J.
van den Hul sternly advises against fluxbusting your moving
coil cartridges. Van den Hul avers that degaussing a cartridge
reduces the number of magnetic complexes in the magnet for
all moving coil designs. On one hand, fluxbusting helps
realign the magnetic complexes which become more disorganized
over time. On the other hand, the cure may be worse than
the disease because fluxbusting reduces the number of Weisz
complexes and realigns the atoms into larger, less refined
aggregates. The end result according to van den Hul is that
you need to fluxbust your cartridge more and more often
— with a gradual decrease in overall resolving power. So,
while a cartridge may sound better after each degaussing,
its resolving power will gradually decrease due to incrementally
coarser reorganizations of its magnetic complexes. Or as
A.J. would say “you will end up having to degauss your cartridge
after each Beethoven symphony.” —A.J. van den Hul B.V.
OK, you’re now basically done. Final-most tuning will
take days or weeks and is a matter of listening to the system
in a relaxed way. Eventually little aspects of sound from
one record to another will begin to annoy out of the overall
good sound. This may range from too light tracking force
to VTA. (Most good cartridges are temperature sensitive.
When too warm, they get muddy, when too cold, they can get
strident. Keep up with this as the seasons change.) Excluding
people who adjust VTA with every record, most people will
be very happy with a VTA position which is a good overall
compromise for the records that are their favorites. So
turn on the system, let it warm up, sit back and relax,
and enjoy listening to the music even as you keep one ear
peeled for further refinements.
One last, and important, word on stylus cleaning. There
are multiple recommended stylus cleaning procedures, ranging
from ultrasonics, manually brushing, even using sandpaper,
and with various solutions-anything from the proprietary
Freon-based solutions to just alcohol or alcohol and water,
as in record cleaning solutions. These can have an effect
on the shape and condition of contaminants left on the stylus.
With some modern cartridges with very fine-line styli, it
might be necessary to clean the stylus once per LP side. Different methods of cleaning may result in different
sound a more or less frequent need for cleaning. Experiment
with different methods — some sort of cleaning is essential.
Our note - cartridge cleaning has come
a long way since this article was written, with preparations
designed specifically for the task. The popular stylus
cleaning system among our clients is the
SPT by Lyra. It is very benign, yet effective, cleaner that will
not migrate up the cantilever, affecting sensitive damping
materials inside the cartridge.
Inquiries: Phone U.S. 888-732-1625 / Outside U.S. 973-627-5162
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