But before you read on, as always, please accept that this is my way of doing things - that suits me. There are as many ways to make a print as there are printmakers!
Also, as I've said many times - don't forget that any press is really just a gap between two hard things. It is the nut that operates it that will control its effectiveness!
Note too that with mounted lino and a tight fitted chase or even unmounted lino and just side supports, the only raised element is the lino surface to be inked. This stops the rollers 'bumping' into a sudden edge and shifting paper and block.
I am looking for two things: One, that I can feel just a slight resistance as the sandwich is gripped and feeds itself through the press. And two, the surface of the paper has a slight but even deboss mark from the un-inked block.
Those factors are fairly subjective however and each and every block, inking and paper combination may well require subtlety different pressure adjustments. Personally as my Marmoleum is quite thin, I usually tweak these pressures by the addition of sheets of paper underneath the mounted lino.
It seems obvious, but the amount of ink on the slab will directly affect the amount of ink on the roller; which will, in turn, directly affect the appearance of the print. Unless you are using thick layers of completely opaque ink (and even then finer details and edges of areas will quickly smear and fill in if there is too much ink) any variation in the amount of ink applied to the roller and thence to the block will change the tone of the print.