With the discontinuation of Feickert's Adjust+ software, we set out to explore the relative strengths and weaknesses of the Adjust+ and the AnalogMagik setup tools.
Considering the number of years we've used Adjust+, and how we've refined our workflow, it's difficult to compare the two fairly.
Take this into consideration as you read the following.
The two products are intuitive, but in different ways. For example, Adjust+'s generated crosstalk and phase graphs (azimuth) are quite helpful for identifying trends, whereas AnalogMagik's azimuth function displays crosstalk and distortion in real time.
The Short Story (April, 2024 update)
If you're short on time, we recommend linking to part-2 of this series, where we cover version-2. We say this for two reasons:
- Version-1 is no longer available at the time of this post revision
- Version-2 is much improved, and if you own version-1, the upgrade is worthwhile
In summary, we find version-1 to be the rough equivalent of the Feickert Adjust+ with the nod for usability going to the Feickert.
With the release of AnalogMagik version-2 and its dedicated zenith analysis, we've become fans of the tool, although its user interface will take some getting used to for the Feickert user.
The Evaluation Process
Some key considerations when evaluating/recommending any setup tool include:
- What are the tool's limits and characteristics, and what (if any) techniques do we need to adopt to use them to our best advantage?
- Does the tool make the right assumptions - what to measure and how? In other words, how much of this is theory vs. real-world application? One example is anti-skate. If you set it to track the most challenging passage on a test record, it will be wrong for the majority of the music you play. Peter Lederman of Soundsmith has an excellent narrative about this.
- Given the vagaries of the record production process (see below), what can we reasonably expect from any setup tool?
- Who is best suited for a particular tool? We all have different work styles and inclination for detailed work. What makes “sense” to me, might not work for you.
You might want to brew a cup, because this is going to be a long one.
My Current Protocol
Briefly stated, I begin by setting tracking force and geometry. I follow up by setting VTA/SRA with a USB microscope. I then set a “baseline” anti-skate, and proceed to set azimuth with the Feickert Adjust +.
I'm currently using the same workflow with AnalogMagik, shifting over to it after performing the above preliminary setup.
All remaining setup is fine-tuned during listening sessions. In particular, I find that tracking force is as much subjective as it is something you can set by the numbers - much in the same way that anti-skate and cartridge bolt torque can affect your perception of dynamics. This is still an open area for experimentation.
You can read more about my method in the generalized setup procedure section of the sample setup report that subscribers to our mailing list can download (subscribe using the link in the footer of any page on our site).
Note that subscribers qualify for discounts on products in the Accessories section of our Products Page (including AnalogMagik, Audiodesk record cleaners, the Feickert protractor, and more).
Unlike the Adjust +, the AnalogMagik software has test tracks for measuring VTA/SRA as well as tracking force. In version-2 (to be released in October, 2022), the VTA/SRA function is integrated with their azimuth function – this, in recognition of the tight interaction between these two parameters. Version-2 also has a zenith function.
Record Pressing Standards – SRA
The following is an argument for "set and forget".
I want to start with this, because it’s the hand we’ve been dealt, and it’s out of our control. If you follow the analog forums, you’ve no doubt read of fastidious audiophiles who categorize their records by thickness and adjust their VTA/SRA accordingly.
Sorry to be so blunt, but this is a fool’s errand.
Surf over to Jonathan Carr’s comments in response to a review of the Lyra Etna cartridge, and take note of his following comment:
Even on the LP-cutting side of things, documentation regarding SRA is sparse and not particularly clear. Some documents suggest that the SRA cutting range for present LPs may be from 91° to 95°, but there doesn't seem to be any single document published by the LP-manufacturing industry that spells this out clearly.
Note that with a nominal 9” tonearm, a one degree SRA increase equates to raising the bearing tower by 4mm!
Let’s say you’re inclined to change your VTA/SRA on a record by record basis, based on record thickness.
- You record your tonearm height after setting for the “correct” SRA for a 140 gram record (about 1.4mm thick).
- You then adjust your SRA setting accordingly for playing your 200 gram record (about 2mm thick), raising your bearing tower by the 0.6mm difference.
The 0.6mm change equates to an SRA change of about 0.15 degrees on a 9” tonearm. While the height change may well be audible, it pales in comparison to the unknown angle the record was cut at.
The thicker record may actually require you to lower the bearing post by 3mm instead of raising it by 0.6mm.
See the problem? We have no clear idea of the target.
SRA – Set and Forget
OK, so you want to “set and forget” your VTA/SRA, but this still leaves you with uncertainty about what setting to use, and how to establish it.
Statistically, it appears that the mean SRA cutting angle is 92 degrees (the median would be the 93 degrees from Jonathan’s research). This is the basis for the common practice of setting up your cartridge with a USB microscope to this 92 degree angle.
Let's leave the conversation of static (platter "still") vs. dynamic (while playing) measurements for another day.
In our downloadable setup reports, we coined the term "false null". Briefly stated, a false null is an adjustment point that while not correct, is “better” than its adjacent points.
A false null tends to be unstable in comparison with the true null, which is why audiophiles all too frequently feel the need to tweak VTA/SRA for various records (even ones of the same thickness).
We won’t go into more detail here, but suffice to say, that when you “split the difference" by establishing an SRA of 92 degrees, you have an excellent chance of playing your entire record collection.
SRA – What Tool?
In short, we've found near-perfect correlation between our microscope method and the VTA/SRA function in AnalogMagik, but the inexperienced microscope user would do well to use the AnalogMagik track for verification. We still do!
Why start with the microscope? It simplifies our workflow (edit: we cover this in part-2 of this series).
One thing that isn't clear is the cutting angle on the AnalogMagik test record - whether the record is cut to target a 92 degree SRA. What we can say is that the near-perfect correlation we find between the microscope and AnalogMagik methods renders this question irrelevant (although still a matter of interest).
The ‘scope we use, magnifies at 240x, and it’s difficult to see the very tip of the stylus at this magnification level. With enough experience, we can get very close.
SRA referenced to 92 deg. angle
You can get an idea of the challenge involved in analyzing the stylus profile if you click to expand this image.
At the very bottom of the stylus, you'll see a "sub" facet. This is the mid-point we're trying to measure - not the larger section of the stylus.
In practice, these angles in these sections are generally very close.
Unfortunately, any higher magnification reduces the working distance to the point where the cartridge body prevents the ‘scope from getting close enough to achieve focus. The experienced user can get very close with 240x magnification however, and in practice, we find that the ‘scope gets us within 0.5mm (about .125 degrees) of our “final” setting.
If you’re interested in USB microscopes and associated hardware, note that we have a parts list for ‘scopes and appropriate positioning stands in the Appendix section of our downloadable setup report.
Know that a proper ‘scope, combined with a stable, stand that's Vernier adjustable in all three axes (X, Y, and Z) costs nearly as much as the AnalogMagik's version-2.
As we work through these evaluations, cost will certainly factor into our analysis. We’ll dig into this in much greater detail in the near future.
Interaction Between Parameters
This is where it gets a bit sticky. We know that SRA and azimuth interact, since changes to SRA (with line contact styli) affect the phase. AnalogMagik recognizes this.
Using any high resolution tool can be frustrating at first, because a change to one parameter (say, SRA) requires that you re-visit others (i.e. azimuth).
The key point is to not blame the tool (whether it be Adjust+ or AnalogMagik) for the information it provides.
The Best Tool – Maintaining your Sanity
On our Audiodesk record cleaner page , we discuss how a tool that’s too labor intensive or otherwise difficult to work with, never gets used.
So, a product that confuses or frustrates the user, or in other ways presents barriers to using it is all but useless.
We confess to having been spoiled by the Feickert Adjust+'s ease of use relative to version-1 of AnalogMagik. Some of this has to do with our familiarity with Adjust+.
Version-2 (while still slightly cumbersome) has addressed many of version-1's shortcomings, and with its dedicated zenith function, we give it our highest recommendation.
You can read about it in part-2 of this series.
