How to best use the Mana table for an LP12

[The Flatearther]

[quote='kuma' pid='186278' dateline='1333225735']
The *problem* with Mana set up is, like an LP12, depending on who's doing the set up, it varies. Stopping the rattles and leveling the glass is easy but the actaul tuning part as well as tightness of nuts on the frame work seem to be a *feel* thing.

Set up procedure seems straight forward ( no black magic ), but then actually doing it.. Guess one needs to try many ways to see what's correct.

Ball bearing tricks always seem to make things softer so I don't usually care for it.

Kuma could you be so kind and explain the tuning please?
Thanks
Flat

[The Flatearther]

Hi guys, thanks for your input. I received some outstanding help from PFM from some ex Mana forum members. This included the so called secret JW method.
I spent last night repeating the process a number of times until I was satisfied I had the process down pat.

Consequently, I have spent the whole of the day listening to records and ordered 3 more.

Once I had the stable set at the exact sweet spot and believe me when I say it is definitely an art! The LP12 just snapped right into the Mana effect.
PRaT snapped massively into focus. Bass flowed with real bounce. Dynamics, tune, power, acoustics, detail, bass extension and tighness, all were of an order of magnitude akin to a keel, I kid you not. If I had just brought the Linn home from Cymbiosis with a keel upgrade and got this result it would have been a well justified cost. What a massive difference I just cannot stop grinning at the detail that each and every player has around them as well as the whole sound and most importantly it's not lost any boogie factor, no instead it has gained it in spades. I cannot believe that I have had this table for years and never appreciated what it could actually do and the musical presentation it was capable of resolving. I'm sitting here listening to the Gaucho album by Steely Dan with sheer joy.
For those of you who are interested here is the JW method. Thanks go to James "Lord of the Ergos". One thing I would add, is that for me the best effect came with the locknuts nipped up tight by hand. Then using the spanner I just turned maybe 1-2 degrees, certainly no more, just till they snugged up. I could probably undo them by hand if I tried hard. That's how I set it for maximum musicality. I did this both for the floor and shelf spikes. Using listening as the benchmark.

Next steps for me are a Keel for my Aro and then either a Akiva or Dyna drt 1s.

Mana Setup and Tuning.

"*Why Mana is Different*

Setting up Mana is easy, but the one thing that many people overlook is that some bits of Mana such as Stages and Ref Tops are inherently flexy. In other words, if their grounding spikes don't contact the ground with equal force, then the Stage or Top will twist to some extent to accommodate. This twist makes the rest of the setting up more difficult than it needs to be. I'm also convinced that frame twist contributes to a hard sound. That said, some Mana such as multi-tier stands don't twist, but the principle of even spike contact on the ground remains valid.

*Installing Mana Metal*

Install grounding spikes on the foot with the nut on the underside. On bare floors, the spike should be as short as possible. On carpet, lengthen sufficiently to pierce through to the floor whilst leaving the Mana clear. Shag pile might pose some challenges. Some people prefer to cut a cross to help penetrate the carpet. What's NOT recommended are screws into the floor. The metal-to-metal contact is NOT desirable.

Use a spirit-level to ensure that the Mana is perfectly horizontal on both planes. Adjust the spikes (with loose nuts) until level. When satisfied with the levelness, nip up the nuts 1/8th - 1/4 of a turn past finger tight. You will need to use an allen key to hold the spike still when tightening the nut. Now, you need to check for frame twist.

*Tuning Mana Metal*

My 'centre-lift' method is nothing more sophisticated than lifting one side of the Mana with your finger or lever positioned in the centre of the rail closest to the floor. If there is no twist, the pair of tightened spikes should lift-off and touch-down at exactly the same time. If not, adjust accordingly. Then repeat the procedure on the adjacent rail. The truly anal can perform the 'centre-lift' test on all four rails, but I've found that unnecessary. If building up multiphases of Mana, the same levelling and untwisting procedure applies to each succession of phases. Once level and twist-free, your Mana is ready for glass.

*Installing Mana Glass*

Installing glass on a levelled and twist-free frame is straightforward. The stubby spikes are installed with the nuts under the cross-member. Place identical coins in each corner to set the clearance and adjust the spikes with an allen key until contact with the glass is just made. Sometimes, the opposing rails of Mana may not be perfectly parallel and as such, the glass may rock with the coins in place. This is not generally a problem. With the spikes in contact with the glass at each corner, remove the coins. Check the level of the glass, and adjust until level on both planes. By this stage, the glass should not rock and it's ready for tuning.

*Tuning Mana Glass*

Nip up the nuts of three stubby spikes whilst holding the spike stationary with an allen key, and leave the fourth spike finger-tight only. Tap the glass over each spike and listen for the tone. Adjust the looser spike until the tone is identical at all four corners. Nip up the fourth spike and re-check the tone at each corner. The act of tightening the nut can affect the tone, but it is vitally important to get this right. Tune each piece of glass starting from the lowest shelf and work your way to the top. Take your time. It typically takes me about an hour to tune my 5-tier

The same glass tuning principle applies to board tuning. The only difference is that boards have a little bit more give, and if second-hand, likely to be indented from previous spiking.

James