Tri-Planar Setup Guide
The Tri-Planar 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 Tri-Planar, while most apply to all turntables. In all cases, a
highly resolving system employing a Tri-Planar 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 some cartridge implementations, to
help you optimize their perfomrance. In particular, we've found experimentation with various counterweight
combinations to be beneficial - where the mass of the cartridge makes this possible. Reference our comments
below, and access these pages from the links on thumbnail photos at the right.
Mounting
Galibier specific mounting instructions for mounting your Tri-Planar are now in
our Galibier Assembly Manual - in the section entitled "Armboard, Arm, and Cartridge
Installation and Setup". Click the "Mounting" thumbnail link at the right.
For general mounting issues, the Tri-Planar 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.
Selecting the Counterweight Combination
We would emphasize this more than Doug Deacon does in his excellent Tri-Planar Setup FAQ, below.
In the course of experimenting with the Tri-Planar, 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.
Reference the individual cartridge pages in this Tri-Planar section (thumbnails at the right) for guidelines
on counterweight selection.
Setting the Azimuth
Setting azimuth is the trickiest and least understood adjustment on all tonearms. This may well be 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, like the hands on a clock
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 Tri-Planars 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. If this
troubles you, we suggest you listen to CDs.
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 below 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 Tri-Planar
is the most ergonomic arm we have ever used.
Key to this is that the Tri-Planar'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 Tri-Planar 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 Tri-Planar Tonearm in various forums. In this section,
you'll find links to their commentary:
-
Doug Deacon's Tri-Planar Setup FAQs (opens in new window)
-
Victor Khomenko on setting Azimuth (opens in new window).
Note while we still believe in trusting your ears, Victor's explanation is the only technical explanation
we've heard that demonstrates a solid grasp of the subject.
The short story is, that setting azimugh correctly is not about equal output in both channels. It is
about minimizing cross talk.
There are several good tools which have come on the market recently which apply Victor's principle, and
we find their main benefit to be like "training wheels". They teach you what to listen for. After using
these tools for a while, you will find them no longer necessary. They will have served their purpose.
