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worrying about providing things are not a long way out. If you do decide to experiment, then wafer thin shims of silver
foil under one side of the cartridge are a possible solution but be careful about cracking or distorting the cartridge body.
Vertical Tracking Angle (VTA)
Unless your tonearm has a special VTA adjuster, adjusting arm height is usually carried out with the use of spacing
washers (as with Rega arms). In arms with a pillar / collar type vta adjuster it helps to put pencil or pen marks on the
pillar to keep track of various heights. 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 (pivoting 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 set it into a groove. Does it move to the right or left relative to the
cartridge body? This indicates too much or too little antiskating.
Fine Tuning
You now have three adjustments approximated. 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. It's helpfull to listen to female vocals as you proceed. Firstly try deviating
from the cartridge’s recommended tracking force by small increments - about 0.2 of a gram deviation above and below
the manufacturer’s basic recommendations. Don’t worry about record damage from heavy tracking as most record
damage is actually caused by mistracking in the middle-to-high frequencies with too little tracking force rather than with
too heavy. 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 heavy passages), 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.
