Before You Upgrade Anything, Set Up Your Turntable Properly

You might already own a better system than the one you’re hearing.

There’s something peculiar about buying a turntable. Before you’ve finished taking it out of the box, someone is telling you what you should replace.

The cartridge could be better. The mat could be better. The cables could be better. Apparently, you’ve purchased a collection of shortcomings held together by a dust cover.

I sometimes wonder whether anyone is allowed to enjoy something in its original packaging anymore.

There are worthwhile upgrades. But before you start replacing parts, it’s worth asking a less exciting question:

Is the equipment you already own set up correctly?

That question doesn’t come with a tracking number or give you something new to show your friends. It can, however, save you money—and help you hear what your turntable can actually do.

Start with the instructions. Yes, those.

Most of us have a system for instruction manuals. We remove them from the box, put them somewhere safe, and never see them again.

Unfortunately, turntables are one of those products where the instructions deserve a little attention.

Some arrive largely preset. Others require you to install a belt, balance a tonearm, set tracking force, and adjust anti-skate. A few settings may be fixed by design.

Find the manual for your exact model and identify what you’re supposed to adjust.

If the cartridge has been replaced, you’ll also need the specifications for the cartridge currently installed. The turntable’s original instructions cannot know what someone attached to it fifteen years later.

There is no single collection of settings that works for every turntable and cartridge.

Your friend’s settings might be perfect for your friend’s equipment. This is one of those rare occasions when you can both be right without having to discuss it for an entire evening.

Give it a stable place to sit

A turntable reads tiny movements in a record groove. Unfortunately, it isn’t always selective about which other movements it notices.

An unstable cabinet, a springy floor, or speaker vibration can interfere with playback. In more troublesome cases, you may hear feedback or experience skipping when someone walks across the room.

Start with a sturdy support. If practical, put the speakers on separate stands or furniture rather than sharing the turntable’s surface.

That attractive arrangement with a speaker on either side of the turntable may photograph beautifully. Whether it behaves beautifully depends on the equipment, support, room, and listening volume.

You don’t necessarily need an expensive isolation platform. First, see whether moving the speakers or choosing a more stable location addresses the problem.

If your record skips whenever someone approaches the sofa, asking the family to walk more delicately is not a long-term solution.

Check that the platter is level

“Looks level” is a useful standard for a picture of your cousin. For a turntable, you can do a little better.

With the platter stopped, use a small spirit level to check the platter’s playing surface from side to side and front to back. Avoid a raised center or other feature that would give a misleading reading.

Adjust the turntable’s feet if they are designed for that purpose. Otherwise, level the supporting surface safely and securely. Suspended designs may have their own leveling procedure, so follow the manual.

The objective is a level playing surface, not simply a cabinet that appears straight.

Do this before setting up the tonearm. It gives the remaining adjustments a sensible starting point.

Set tracking force according to the cartridge

Tracking force is the downward force the stylus applies to the record, usually specified in grams.

It’s easy to assume that lighter must be better. Less force sounds gentler.

But a stylus needs the correct force to follow the groove reliably. Too little can cause mistracking. Too much can also cause problems. The goal is the manufacturer’s recommended setting—not the lowest number you can persuade the dial to display.

For a conventional adjustable counterweight arm, the manual may have you balance the arm, zero the numbered ring, and then rotate the counterweight to apply the specified force.

Simply turning the numbered ring to “2” does not necessarily mean you’ve set two grams. On many arms, that ring moves independently of the weight. It is a reference scale, not a measuring instrument. Audio-Technica’s setup instructions, for example, distinguish between zeroing the scale and turning the counterweight and scale together to apply force. Here is a great link: (docs.audio-technica.com)

A suitable stylus-force gauge can help verify the actual force. Follow its instructions, measure near normal record-playing height, and lower the stylus carefully onto the measuring area with the platter stationary. This is not the same gauge for other things you may measure in grams.

If your turntable has factory-set tracking force, leave it as designed unless the manufacturer provides an adjustment procedure.

And please don’t tape a coin to the headshell to stop skipping. Currency is not a cartridge specification.

Set anti-skate without turning it into a second hobby

As a record plays, friction and tonearm geometry create a tendency for a conventional pivoted arm to move inward. Anti-skate applies a counteracting force.

Depending on the turntable, it might use a dial, a small hanging weight, or a mechanism you don’t adjust yourself.

Follow your model’s instructions. Some manufacturers specify setting a numbered anti-skate dial to match the tracking-force value as an initial setting; other designs use different arrangements. It is not a universal rule that every dial belongs on “2.” (audio-technica.co.jp, audio-technica.co.jp)

Anti-skate is also not a cure for every skip, distorted note, or damaged record.

Get the recommended baseline right before experimenting. If a problem remains, investigate it rather than turning the dial until something changes.

There is a point at which adjusting becomes guessing with a knob.

Check cartridge alignment when it applies

On many tonearms, the cartridge mounts in slots that allow its position and angle to be adjusted.

That position matters. A conventional pivoted tonearm carries the stylus across the record in an arc, and cartridge alignment helps manage the tracking-angle error across the playing surface.

Poor alignment can contribute to distortion, sometimes particularly noticeable toward the end of a record side.

If you are installing or replacing an adjustable cartridge, use the manufacturer’s specified alignment method, overhang gauge, or a suitable alignment protractor.

A few practical points:

• Use a tool appropriate for your tonearm and chosen alignment method.
• If you print a protractor, verify its scale using the printed reference measurement.
• Follow the tool’s instructions carefully; don’t assume the cartridge should simply sit square in the headshell.
• Protect the stylus while handling the cartridge, and recheck tracking force after changing its position.

Some systems have fixed cartridge positions or use dedicated mounting arrangements. They do not need the same procedure.

You don’t have to loosen a correctly installed cartridge just to prove you’re involved. But “someone probably set it up” becomes a less reassuring statement when you buy used equipment with an unknown history.

If this part feels uncomfortable, a knowledgeable technician can help. A tiny exposed stylus is a poor place to discover how steady your hands are after three coffees.

Be thoughtful about mat thickness

A platter mat is part of the physical setup. Changing its thickness changes the height at which the record sits beneath the tonearm.

A substantial change can affect the arm’s playing angle. Some turntables provide arm-height adjustment; others do not. Follow your manufacturer’s guidance before making corrections, and avoid treating every small thickness difference as a crisis.

The point is to choose a mat that suits the turntable.

At Analog Restorations, we make platter mats, so naturally we think they deserve consideration. That also means being honest about their role: a mat cannot correct cartridge alignment, restore a worn stylus, or make an unstable cabinet stop wobbling.

Choose accessories with an understanding of the system they’re joining.

And resist stacking several mats just because you own them. This is a turntable, not a sandwich.

Check the stylus and the record

Before evaluating sound quality, make sure the stylus is clean and the record is in reasonable condition.

A buildup of debris on the stylus can interfere with playback. Clean it using the cartridge manufacturer’s recommended method, and use liquids only where approved.

If you suspect a bent cantilever, damaged stylus, or excessive wear, have it assessed or replace it as appropriate. Changing the tracking force won’t repair a damaged tip.

Use a clean record you know well for your first listening check. If something sounds wrong, try another record before blaming the equipment.

One worn pressing can send you on a remarkably expensive investigation.

Confirm the connections

Setup also includes what happens after the signal leaves the turntable.

Check that the left and right audio connections are secure, that any separate ground wire is connected as instructed, and that your PHONO/LINE settings suit the equipment receiving the signal.

A turntable’s PHONO output needs a compatible phono stage. A LINE output belongs in a line-level input.

Very quiet, thin sound or severe overload may indicate a connection or phono-stage problem. Those are things to check before concluding that your cartridge lacks musical sophistication.

Our earlier guide, “You Bought a Turntable. Now What?”, explains the basic system connections in more detail.

Listen before changing anything else

Once the setup is correct, play a few familiar records.

Listen for clear vocals, stable playback, and whether a particular problem occurs across several albums or only one. You don’t need to sit rigidly in the center of the sofa looking as though you’re conducting a hearing examination.

If you make further adjustments, change one thing at a time. Keep a note of the original setting so you can return to it.

Changing the mat, cartridge settings, speaker position, and cables all at once may produce a difference. It won’t tell you what caused it.

And once the system is working properly, give yourself permission to leave it alone.

Before you buy the upgrade

Ask yourself:

• Is the turntable stable and level?
• Is the tracking force correct for the installed cartridge?
• Is anti-skate set according to the turntable’s instructions?
• Is cartridge alignment correct, where adjustable?
• Are the stylus and records clean and in suitable condition?
• Are the connections and phono settings correct?
• Can I describe the problem I want an upgrade to solve?

You may still decide to upgrade. That’s part of the enjoyment for plenty of people.

But you’ll be making that decision after hearing your existing equipment working as intended.

There’s something satisfying about discovering you don’t need a new component after all. Of course, you’ll probably spend the money, but just on records.