Air Force One Set Up - tips n' tricks

JackD201

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As requested by Gary and seeing as I personally would like to have Bob aka The Phantom churning out more Elites for selfish reasons (I ordered a second one :D ), allow me to kick this off. I hope this helps our new AF1 owners.

The AF1 manual is very comprehensive so just following it to the letter should get you in the ballpark. Here are some things that can still make things easier based on my experience.

Have a buddy around to help you. The platter alone weighs more than a lot of amplifiers and loudspeakers. Even if they have supplied handles, you might want somebody around to spot you. Same goes for the plinth. It's also great to have somebody play nurse to your surgeon. Scalpel, clamp, suture, so on and so forth.

The AF1 comes in two large boxes and comes with a lot of parts as well as all the tools you will need. It's the TechDAS way. Even their carts come with a weight scale along with the screws, leads, hex's, screw drivers and even tweezers. I strongly suggest one get a plain white sheet and lay everything out. Don't be lazy and act like you are living off a suitcase. Unpack! Another peculiarity is TD's looooooooove of scotch tape. At one point I wondered if they were a subsidiary of 3M :D They use a lot of it for the individual packets. Not supplied is a small sharp utility knife or cutter. Have one of these at the ready because you will be using it a lot.

All laid out? Let's go!

At this point you should already have a solid table and that you have already levelled it. With the help of your buddy, set the plinth on it making room for the motor pod. If your rack has its back to the wall, I suggest you make all the air hose connections and controller cable connections prior to putting the plinth on the table. Don't worry. Every hose is labeled. V for Vacuum, F for floating the platter. Drape these gently over the plinth and then let it and the control cable hang freely without crimping. Before you do anything else, put the platter on. Make sure the glass plate is clean using a lens blower preferably and also make sure that the bottom of the platter is clean. even a very small piece of dirt might hamper the platter from spinning. Cleanliness is next to godliness in analog! You will likely see a piece of lead on the inner rim, don't mess with it. It's there for balancing, just like rims on a car or bike. Some people have gotten ahead of themselves and tried to level the table and motor pod before the platter is installed. That won't work. When the platter goes on, the suspension will compress as it should. From this point on just follow the manual in terms of connections to the motor amplifier/pump box and from there to the condenser box. Keep your eye on the labels and use the supplied hose clips.

In the original manual there was some confusion when it came to using the supplied bicycle pump and just how much air is needed. The easiest way to go about all this is to have your buddy manning the pump while you look under with a flashlight. As he pumps and the leg attached to that particular inlet raises the plinth look for the notched ring around the foot pillar. As the plinth rises it will come into view. Let him pump so the plinth is a few MM over the the ring. Do this on all three pillars and then release air from each spout so the ring is in line with the plinth cylinder. You should be at the exact air pressure at this point. For fine levelling adjustments use the caterpillar screw knobs on the top of the plinth and the built in bubble level. Now line up the motor pod and adjust the feet on those so the height and distance is just right. This is easy as pie. Jigs/spacers are supplied. Take the extra time to level the motor pod as well so you get consistent contact and tension with the belt you will soon be extracting from its case with that utility knife and stubborn scotch tape. Put on the belt and follow the instructions for setting up the belt tension and speed calibration. The AF1 uses a belt tensioner system and the belt itself is not of the elastic variety. So, if the platter fails to reach 45rpm you do the opposite of what you would do with stretchy belts. Loosen, do not tighten. A quick loosening and sliding of the tensioner towards the platter should do the trick. Once it reaches 45 and locks on, lock the tensioner. ;)

Now should be arm time. If you are using an arm with a bore through mount and the phono cable goes on the bottom of the pillar, snake that phono cable in and under before hand. Sounds like common sense but when setting up a table that costs as much as a house, excitement can make you do silly things. In any case, if you DO make that mistake the hassle will be so profound that you can be sure you won't be making that mistake again. There's always a silver lining! LOL.

That really is just about it. The table is ready and the rest of the work will be on setting up the arm and cart. With help, set-up and calibration time should be in way less than an hour including clean up.

Please feel free to ask any questions and if you are a fellow AF1 owner please share some of your own tips. Thanks!
 

MatthewC

Well-Known Member
Aug 27, 2014
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Thank you Jack!

Since I have just setup my a few days ago, I will try to mention a few points:

1. I put my table on Critical Mass platform, and it needs sometime to settle. I left the table on it overnight before I tried to do any adjustments/leveling etc. Even then, a few days later I need a bit of leveling again. So I suggest that one measure the level again a few days after initial setup to allow for floor/rack/platform to settle.
2. The spirit level that's embedded into the plinth, while close, doesn't align perfectly with the platter. I had to use a separate level on top of the platter and level against that instead of the built-in bubble level (assuming that's the right thing to do......)
3. For the motor, I leveled against the top of the spindle while keeping the top of the motor unit (the shoulder?) roughly level with the main table
4. Belt tension. I tried to make it as loose as i can make it.... not sure if that's the right thing to do tho.
5. Arm installation. The cavity under the armboard is not the most spacious. I had the Graham Elite, and I had my favorite arm cable (Kondo LPz), which has a straight DIN plug. Not enough space in the arm base cavity. So one need to watch out the DIN connector/stiffness of phono cable.

My 2 cents....
 

JackD201

WBF Founding Member
Apr 20, 2010
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Come to think of it, yes Matthew, I did level again after two weeks. I use CMS too. Stable ever since :)

Also a good thing of you to point out about some cables. Before I had the Elite, I was using a Phantom II. Because I have all my B-44s with the Graham mount, I had to disassemble the arm's DIN box to put the post though the board. It wasn't that hard since the board assembly comes off. When I went from an IC-70 to an Odin however, Nordost's 90 degree DIN was configured at an angle that wouldn't fit. Seeing as it is easier to reposition the arm's DIN receptacle than to take apart an Odin (who wants to do that right? :D) that's what I did. Thanks to Bob for making the Elite a straight through affair. 90 degree DINs are highly recommended for AF1s and AF2s if your cable is stiff and unwieldy.
 

MatthewC

Well-Known Member
Aug 27, 2014
58
4
238
Couple more observations.....

a) The power supply/pump unit also vibrates during operation. While the vibration is not severe, it's there nonetheless. Not sure if that's just my unit.... but the vibration can be felt when touching the power supply. I wouldn't put the power supply on the same rack as my audio equipment......

b) I noticed that the belt can flutter (the section between the motor spindle and the platter). I was running the table for a whole day so that the belt can work itself into stable position.... but still, the belt flutter slightly. Maybe I have the tension too loose.....
 

JackD201

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Apr 20, 2010
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Probably is too loose Matthew.
 

MatthewC

Well-Known Member
Aug 27, 2014
58
4
238
It shouldn't be wiggling Matt.
david

Hmm. Looking at the belt as it moves, by wiggle I mean the section between the motor and platter will twist a bit here and there. I adjust the tension such that after pressing the calibration (and wait for the speed to lock at 45rpm), I stop the table and press 45. The manual state that I should try to get the table to ramp up to nearly 50rpm and then let it settle back to 45rpm. Currently it spin up to about 49.6rpm before it settle back down. If I tighten any further the max speed will drop (to say about 47rpm). As it stands now, for the 33rpm calibration, it will ramp to to just over 37rpm.

Looking at the motor spindle, I can see the belt move up and down the pulley a wee bit. Is there anything further I can adjust? The motor pulley is a bit covex from what I can see so not sure if the belt will entire sit stable......
 

audioblazer

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Consider using catridgeman digital leveler . V accurate
 

ddk

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May 18, 2013
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Hmm. Looking at the belt as it moves, by wiggle I mean the section between the motor and platter will twist a bit here and there. I adjust the tension such that after pressing the calibration (and wait for the speed to lock at 45rpm), I stop the table and press 45. The manual state that I should try to get the table to ramp up to nearly 50rpm and then let it settle back to 45rpm. Currently it spin up to about 49.6rpm before it settle back down. If I tighten any further the max speed will drop (to say about 47rpm). As it stands now, for the 33rpm calibration, it will ramp to to just over 37rpm.

Looking at the motor spindle, I can see the belt move up and down the pulley a wee bit. Is there anything further I can adjust? The motor pulley is a bit covex from what I can see so not sure if the belt will entire sit stable......

You might have over tightened the belt, there's no play when setup is correct and belt tension is right. I shot a video showing it and I'll post once upload and processing is complete.

[video=vimeo;128154005]https://vimeo.com/128154005[/video]

david
 
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MatthewC

Well-Known Member
Aug 27, 2014
58
4
238
You might have over tightened the belt, there's no play when setup is correct and belt tension is right. I shot a video showing it and I'll post once Youtube upload and processing complete.

david

Thanks David. I think I have the belt tension very loose already, though come to think of it, maybe my motor pully is not totally level? I am not sure what will be a good way to masure the level of the pulley as it's quite small in diameter... I did use a high precision spirit level to level the platter (so much so that I was measuring the un-evenness of the platter :p but I have yet to devise a way to precisely level the motor pulley.......

Let me see if I can find a way to measure if the motor is completely level tomorrow....
 

ddk

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May 18, 2013
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Thanks David. I think I have the belt tension very loose already, though come to think of it, maybe my motor pully is not totally level? I am not sure what will be a good way to masure the level of the pulley as it's quite small in diameter... I did use a high precision spirit level to level the platter (so much so that I was measuring the un-evenness of the platter :p but I have yet to devise a way to precisely level the motor pulley.......

Let me see if I can find a way to measure if the motor is completely level tomorrow....

The video processing is done, you can see it in the previous post.

If the motor and table are leveled properly, the pulley would be too. I just use a simple round bubble level with everything, accurate enough, there are also visual cues when lining up the motor with the plinth, you don't need any special tools. The bubble level on AF1 is excellent and works perfectly for the player.

david
 
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JackD201

WBF Founding Member
Apr 20, 2010
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Manila, Philippines
If you need tools to help you line up the motor pod and the plinth, these are supplied too. They are the black and white plastic jigs. With the AF2 the jig looks like a keychain, the AF1, two chunky blocks. ;) As it is harder to adjust the pod height, use the plinth knobs to get the height exactly matched and levelled. A twist here, a twist there. It's so easy I'm smiling just thinking about it. I scraped my knuckles lots of times trying to get at the still points under my old table.
 

garylkoh

WBF Technical Expert (Speakers & Audio Equipment)
Sep 6, 2010
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www.genesisloudspeakers.com
*Disclaimer* I am not an expert or official rep of the Air Force One. I just spent some time with an early one (and helped write the first version of the Owner's Manual) and have helped a couple of audiophile friends tune their table. I have also spent a lot of time thinking about turntable technology since 1983 when I went to Varsity with the designer of the Roksan Xerses.

A few things that haven't been mentioned:

1) Before pumping the air bladders, make sure that all the levelling screws are set to minimum. If they are not, you will have differing air in the 3 legs. Then, after you pump, use the levelling screws to fine-tune level of the t/t. (Also, see #5 below)

2) The way that high-quality flat belts are manufactured is that a tube is cast or extruded on a cylinder. Then, the individual belts are cut from this tube. This means that the inside of the belt is far more consistent than the outside of the belt. To determine that you have the belt in the correct orientation, hang them off your finger and look at the bottom loop. Turn the belt inside-out and have another look. When the loop has a smaller radius, that is the correct orientation. Think about how when the belt is cast, the outside of the belt is just slightly larger than the inside of the belt. If the outside of the belt is inside, it will force a larger radius on the loop.

3) If the motor is not absolutely parallel with the platter, the belt will ride up and down the pulley. To reduce gyroscopic precession, you also want the belt to be as close as possible to be in line with the center of gravity of the platter. The height will be dependent on the weight of the top-platter you choose. You may need to raise or lower the motor assembly adjusting the inside screw-foot, and then level with the two outside accessible screw-feet to minimize the up/down movement of the belt on the pulley. This is MUCH easier done after Step 2 above.

4) Because of the air-bearing (there is more play with an air-bearing than a captive bearing but lower friction) gyroscopic precession is more likely, hence a minimum of tension on the belt is useful - but a slight off-levelling of the platter away from the motor also allows gravity to counteract the belt tension to reduce precession. This is a case against being absolutely, perfectly level. Sonically, gyroscopic precession sounds like a loss of pace and rhythm. Especially with Jazz, the members of the band lose "lock" with each other and they sound less "in the pocket".

5) Because the center of gravity of the turntable is not equidistant from each foot (especially with different weights arms) you will have to change the air pressure in each foot and compensate with the levelling screw. Sonically, the music loses emotion. Get it right, and you get goosebumps.
 

Steve Williams

Site Founder, Site Owner, Administrator
*Disclaimer* I am not an expert or official rep of the Air Force One. I just spent some time with an early one (and helped write the first version of the Owner's Manual) and have helped a couple of audiophile friends tune their table. I have also spent a lot of time thinking about turntable technology since 1983 when I went to Varsity with the designer of the Roksan Xerses.

A few things that haven't been mentioned:

1) Before pumping the air bladders, make sure that all the levelling screws are set to minimum. If they are not, you will have differing air in the 3 legs. Then, after you pump, use the levelling screws to fine-tune level of the t/t. (Also, see #5 below)

2) The way that high-quality flat belts are manufactured is that a tube is cast or extruded on a cylinder. Then, the individual belts are cut from this tube. This means that the inside of the belt is far more consistent than the outside of the belt. To determine that you have the belt in the correct orientation, hang them off your finger and look at the bottom loop. Turn the belt inside-out and have another look. When the loop has a smaller radius, that is the correct orientation. Think about how when the belt is cast, the outside of the belt is just slightly larger than the inside of the belt. If the outside of the belt is inside, it will force a larger radius on the loop.

3) If the motor is not absolutely parallel with the platter, the belt will ride up and down the pulley. To reduce gyroscopic precession, you also want the belt to be as close as possible to be in line with the center of gravity of the platter. The height will be dependent on the weight of the top-platter you choose. You may need to raise or lower the motor assembly adjusting the inside screw-foot, and then level with the two outside accessible screw-feet to minimize the up/down movement of the belt on the pulley. This is MUCH easier done after Step 2 above.

4) Because of the air-bearing (there is more play with an air-bearing than a captive bearing but lower friction) gyroscopic precession is more likely, hence a minimum of tension on the belt is useful - but a slight off-levelling of the platter away from the motor also allows gravity to counteract the belt tension to reduce precession. This is a case against being absolutely, perfectly level. Sonically, gyroscopic precession sounds like a loss of pace and rhythm. Especially with Jazz, the members of the band lose "lock" with each other and they sound less "in the pocket".

5) Because the center of gravity of the turntable is not equidistant from each foot (especially with different weights arms) you will have to change the air pressure in each foot and compensate with the levelling screw. Sonically, the music loses emotion. Get it right, and you get goosebumps.


This is so instructive that I've made it a "sticky"
 

MatthewC

Well-Known Member
Aug 27, 2014
58
4
238
Gary,

That's very insightful. Thank you and Jack for starting the thread!

I will definitely re-do my setup. One question re: (5). I take it you mean each foot should have the same air pressure. Without some kind of pressure gauge, is there any telltale observations we can make to infer if the air pressure are roughly equal?
 

garylkoh

WBF Technical Expert (Speakers & Audio Equipment)
Sep 6, 2010
5,599
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www.genesisloudspeakers.com
This is so instructive that I've made it a "sticky"

Thanks, Steve! I hope that it helps the other AF1 owners. I'm sure that some of this will be useful to AF2 owners too.


One question re: (5). I take it you mean each foot should have the same air pressure. Without some kind of pressure gauge, is there any telltale observations we can make to infer if the air pressure are roughly equal?

No, this comes back from my days setting up the Linn Sondek. You want each of the three suspensions to have the same period of oscillation. So, the further away from the center of gravity, the softer you want it to be. But we are talking about miniscule differences. You do have to iterate through #1 to #5 and then back around again to get it spot on.

Following Jack's advice, shine a torch under the chassis and get the feet up to the same height. Then, I put a little more into the back left (nearest the center of gravity). If you have an arm here, put even more air into this foot. The more pressure, the lower the compliance. And as with cartridge cantilevers - the lower the compliance (for the same effective mass) the higher the resonant frequency.
 

MatthewC

Well-Known Member
Aug 27, 2014
58
4
238
Thanks, Steve! I hope that it helps the other AF1 owners. I'm sure that some of this will be useful to AF2 owners too.


No, this comes back from my days setting up the Linn Sondek. You want each of the three suspensions to have the same period of oscillation. So, the further away from the center of gravity, the softer you want it to be. But we are talking about miniscule differences. You do have to iterate through #1 to #5 and then back around again to get it spot on.

Come to think of it. There may be a way to measure it. If say, we put a weight (say 5kg?) on each foot, and see how much each is depressed, we can deduce that each has the same air pressure if each depress by the same amount?

Hmm. Scratch that. Now I remember my LP12 days.... The idea was the platter should motion up and down in a vertical manner and not have any sideway motions. How do I check *that*with the AF1, it being so massive..... I am condamned to the eternal hell of audiophilia nervosa it look like....
 
Last edited:

rockitman

Member Sponsor
Sep 20, 2011
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*Disclaimer* I am not an expert or official rep of the Air Force One. I just spent some time with an early one (and helped write the first version of the Owner's Manual) and have helped a couple of audiophile friends tune their table. I have also spent a lot of time thinking about turntable technology since 1983 when I went to Varsity with the designer of the Roksan Xerses.

A few things that haven't been mentioned:

1) Before pumping the air bladders, make sure that all the levelling screws are set to minimum. If they are not, you will have differing air in the 3 legs. Then, after you pump, use the levelling screws to fine-tune level of the t/t. (Also, see #5 below)

2) The way that high-quality flat belts are manufactured is that a tube is cast or extruded on a cylinder. Then, the individual belts are cut from this tube. This means that the inside of the belt is far more consistent than the outside of the belt. To determine that you have the belt in the correct orientation, hang them off your finger and look at the bottom loop. Turn the belt inside-out and have another look. When the loop has a smaller radius, that is the correct orientation. Think about how when the belt is cast, the outside of the belt is just slightly larger than the inside of the belt. If the outside of the belt is inside, it will force a larger radius on the loop.

3) If the motor is not absolutely parallel with the platter, the belt will ride up and down the pulley. To reduce gyroscopic precession, you also want the belt to be as close as possible to be in line with the center of gravity of the platter. The height will be dependent on the weight of the top-platter you choose. You may need to raise or lower the motor assembly adjusting the inside screw-foot, and then level with the two outside accessible screw-feet to minimize the up/down movement of the belt on the pulley. This is MUCH easier done after Step 2 above.

4) Because of the air-bearing (there is more play with an air-bearing than a captive bearing but lower friction) gyroscopic precession is more likely, hence a minimum of tension on the belt is useful - but a slight off-levelling of the platter away from the motor also allows gravity to counteract the belt tension to reduce precession. This is a case against being absolutely, perfectly level. Sonically, gyroscopic precession sounds like a loss of pace and rhythm. Especially with Jazz, the members of the band lose "lock" with each other and they sound less "in the pocket".

5) Because the center of gravity of the turntable is not equidistant from each foot (especially with different weights arms) you will have to change the air pressure in each foot and compensate with the levelling screw. Sonically, the music loses emotion. Get it right, and you get goosebumps.

Very interesting observations Gary...especially #'s 4&5. I will have to give it a try soon.
 

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