The Trplanar Tonearm allows control of all setup parameters, and its use, while straightforward, is deserving of some commentary.
This Guide
In this section, we'll compile usage notes and comments - both from our own experience as well as from other experienced users.
Some of these comments are specific to Triplanar, while most apply to all turntables. In all cases, a highly resolving
system employing a Triplanar tonearm can benefit greatly from paying attention to these setup hints.
Specific Cartridges
In addition to this Setup Guide, we are dedicating web pages to specific cartridge implementations as our information base grows.
Access these pages from the links on the menu at the left.
Mounting
Galibier specific mounting instructions for mounting your Triplanar are now in
our
Galibier Assembly Manual - in the section entitled "Armboard, Arm, and Cartridge
Installation and Setup".
View this manual by clicking the hyperlink above, the link in the menue at the left, or our support page menu selection at the
top of this web page.
For genearal mounting issues, the Triplanar Manual remains your best resource.
Triplanar is currently revising their manual. When it is complete, it will be downloadable in PDF format and
we will make it available on our website
For genearal mounting issues, the Triplanar Manual remains your best resource.
In addition to this Setup Guide, we are dedicating web pages to specific cartridge implementations as our knowledge base grows.
Access these pages from the links on the menu at the left.
Cartridge Loading
Strictly speaking, this is not specific to the Triplanar tonearm, but this section is becoming the most traversed section of this
website as far as tonearm and cartridge setup is concerned.
One rule of thumb I've found to serve me well is to use 5 times the DCR (DC resistance) of the cartridge's coils as a starting point.
Invariably, I settle on somewhere between half of this number and double this number.
All too frequently, you'll see loading recommendations that are as much a statement about the rest of the owner's system as they
are about the cartridge itself.
Real world examples of this starting point are:
- Dynavector XV-1s - 30 ohms (5 times 6 ohms) - I'm currently running at 35 ohms, but plan on returning to 70 ohms for
further evaluation.
- ZYX Airy / Universe - 20 ohms (5 times 4 ohms) - I'm currently running at 18 ohms.
- Denon DL103R - 200 ohms (5 times 40 ohms) - I've found my greatest success with 470 ohms.
Treat 5 times the DCR as a starting point. If you work in successive doublings or halvings of the load, you will quickly arrive
at the ideal number for your system.
Selecting the Counterweight Combination
We would emphasize this more than Doug Deacon does in his excellent Triplanar Setup FAQ, below.
In the course of experimenting with the Triplanar, the Dynavector DV-507, and the Moerch tonearm, we have found that selecting
the right counterweight combination to be as critical a setup parameter as arriving at the correct cartridge loading, VTA,
Azimuth or any other setup parameter.
All three of these tonearms provide several counterweights to better facilitate balancing the tonearm. With most cartridges,
you will quickly discover that you can achieve the desired tracking force range with several different weight combinations
(using one or more weights).
The principle to keep in mind is that for a given tracking force, a lighter weight located further
from the bearing pivot will result in a higher effective mass and lower resonant
frequency, than a heavier weight located closer to the pivot.
There is no single solution for any arm/cartridge combination. Your experimentation and your ears will tell you the right
combination.
Realize that we are working with a resonant system, and the additional variables consist of
your turntable (suspended, unsuspended), stand, the floor on which it sits, your speakers, and your listening room.
You are listening for the best defined and tuneful bass. If you were to measure the resonant frequency differences effected
by different weight combinations, you'd observe changes of only a fraction of a Hz. Still, these differences are audible, and
you will find yourself preferring one to another.
On our Stelvio turntable, we have found for example that using the single large counterweight positioned at the extreme end
of the counterweight stub to yield the best defined and tuneful bass with the Dynavector XV-1s cartridge.
Setting the Azimuth
Setting azimuth is the trickiest and least understood adjustment on all
tonearms. I think this is one of the reasons so many of the "flat earthers"
tend to minimize its importance - out of a combination of ignorance and fear.
Frankly, getting the Azimuth right is one of the keys to world-class sound. Even a
cartridge with a conical stylus like the ubiquitous Denon DL-103R can benefit greatly
from attention to this setup parameter.
You'll will notice that very small turns of the hex-key result in fairly
large rotational changes. Changing the tilt of the headshell by a fraction of a
degree requires that you barely "nudge" the hex adjustment screw.
It may well pay for you to use a standard Allen key instead of the one supplied
with the screwdriver handle. Using a conventional key with the small right-angle
end makes it easier to watch the rotation more easily. The small extension
serves as a pointer if you will.
As the manual says, begin by using either the supplied tracking force gauge
(on its edge) or some other piece of material that's parallel to the record platter.
Use this as a guide to starting off with a headshell that's parallel to the platter.
Until you become familiar with the sensitivity of this adjustment, it's a good
idea to check this gross headshell alignment a few times. You will likely
discover that with your first few tries, you have moved the headshell several
degrees rather than your intended changes of a fraction of a degree.
At some point, you will likely reach a point where you have over-shot the
sweet spot - needing to reverse directions.
So, when you've decided you need to changing azimuth rotation (for example from
turning the clockwise to counterclockwise) the following technique will help
you.
With the two locking screws in their normal tightened setting, gently
rotate the adjustment screw in the new direction - until you feel
resistance against the threads. This will take up the play in the thread.
At this point, you can loosen the locking screws and adjust in the azimuth
in the new direction.
The fine adjustments we're talking about is on the order of this little
rotation of the wrench - the amount of rotation it requires to take up the
thread play when changing directions of the screw - perhaps slightly more
than that.
Once you familiarize yourself with the feel for the screw sensitivity, you should
be able to proceed with confidence.
Cueing Drift
Much has been made of late about some Triplanars drifting inwards (toward the record spindle) as the cueing device lowers
the tonearm.
Realize that even at this level of performance, every tonearm we have ever experienced has its own personality. We have yet
to experience any machine that is perfect. The degree of drift (to the extent there is any) is easily adapted to after a couple
of days' use.
This needs to be put into better perspective. Realize that we have yet to encounter the perfect tonearm - or any other machine
for that matter.
On some samples you may experience drift as much as 1/5 the width of the lead-in groove. We are talking
about holding real-world machining tolerances of .0003" (three ten-thousandths of an inch).
This characteristic can be exacerbated if the user doesn't follow the instructions in the owner's manual - instructions which
would benefit from being made more clear. Reference Doug Deacon's FAQs in our Setup
Tips page (link at the left) for some brilliant insight into operating and optimizing this fine tonearm.
If the owner repeatedly parks the arm - locking the arm on the arm rest with the cueing lever in the "up" position, they will
eventually bend this linkage and produce or exacerbate this minor tendency.
If one is to consider the issue of cueing at a more global level, it is our experience that the Triplanar is the most
ergonomic arm we have ever used.
Key to this is that the Triplanar's finger lift is an ergonomic tour de force. This may seem trivial,
but you will find yourself manually cueing because of its design elegance. We have used all too many tonearms where we are
uncomfortable using the finger lift for fear of cantilever damage.
You can use this lift with confidence, precision, and convenience, and if the full cueing story is considered, the
Triplanar is a joy to operate. This is the finger lift I would have designed if tasked with the job. It is not a
trivial accomplishment, and if asked to trade this lift for perfectly vertical cueing, I would never do so.
Links
Quite a few experienced users have commented on the Triplanar Tonearm in various forums. In this section, you'll find
links to their commentary:
