How to go abut setting VTA?

[1200reasons]

In the factsheet he recommends tail down.

[karma67]

[alphaGT]

There is much geometry going on with adjusting a record needle. The idea of adjusting VTA is to get the diamond tip to set at the correct angle in the groove (SRA) . I see in magazines and on other analog websites they use USB microscopes. But a good magnifying glass is all I need. Different manufacturers will sometimes list the correct angle. And if they don't, 92 degrees is a good average angle. Leaning slightly forward.

Of course adjusting the VTF will also change this angle. But that changes the pressure on the suspension. When a cartridge is fairly new, it's good to keep the tracking force at medium, or more. As the suspension starts to break in over time, you can reduce the tracking force to put less pressure on it, and allow the cantilever to keep a healthy angle. I.e. Keeping the coils centered in the magnetic field. Keeping the bottom of a box type cartridge level with the record is a great place to start, but it's only a starting point. And of course record thickness can affect the SRA, but we don't want to undo all of the adjusting we did for the suspension, so adjusting the VTA can fix the SRA back to 92 degrees. And once you've got 92 degrees, it's still worth adjusting by ear. As the truth is, even on expensive cartridges if you look really close, you can see that diamonds are not always perfectly attached to the cantilever. So listening is always the last step. Unless your arm can allow VTA on the fly, it really is best to get it as close as possible and leave it. I imagine certain diamond cuts are more or less sensitive to this adjustment.

As far as vinyl heating up to the point of destruction? I'm not sure I buy into that. I'll have to conduct an experiment with my laser thermometer. Play the same track over and over checking its temp each time.


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[bbbiker800]

not to me its not or every other 2m black owner who will tell you their cartridge sounds much better tail down.

Do you think that might apply to a 2M Bronze too ? (same body but different stylus)

I had a 2mm spacer added when I brought the Rega RP3 so I have no experience of it without the 2mm to 'help' the VTA - at the time forum people were advocating 3mm or even 4mm.

regards, richard

[karma67]

i would say so,i would aim as a starting point to get the underside level with the record surface.

[AlasdairB]

Some people swear they can hear the effects of changing VTA. They generally seem to find 'tail up' gives brighter treble and lighter bass and 'tail down' tames the treble and gives heavier bass. The trouble is that many good cartridges have VTA that is way out (30 degrees or more) but still sound good - so how on earth can changing VTA by one or two degrees be important? The same effects are also reported with spherical styli such as the Denon DL103 - but changing stylus rake angle (SRA) cannot possibly have any effect on a spherical stylus, so it is hard to see how SRA is the issue either. (SRA can only matter with a line contact stylus - but for these correct azimuth is usually much more critical.)

So what's the answer? Most people who are concerned about VTF adjustment use arms with underslung counterweights and in these raising the arm pivot reduces tracking weight (VTF) and lowering it increases VTF and a thick vinyl record will increase VTF slightly and thin vinyl will reduce it slightly. If you try increasing or reducing VTF, you will find that this has exactly the same sonic effects as people usually claim for adjusting VTA - high VTF gives more bass and subdued treble and vice versa. Roy Gandy's Rega arms all have concentric counterweights, so raising and lowering the pivot on these has no effect on VTF. That's why people who have arms with underslung counterweights swear that VTA is important but Roy Gandy swears that it is not. QED.

Therefore the answer is to set your arm level, or slightly out of level if you prefer - it's not important. What is important is that you then adjust the VTF carefully until you get the sound how you like it.

(When Esco fitted a Paratrace stylus to my Denon DL103 they recommended 1.8-2.0 VTF and, sure enough, it tracked perfectly at that - but it was a little too bright for my taste. I found it needed about 2.4g to reduce the treble, bring up the bass and make it sound 'just right' to my ears.)

[montesquieu]

Set it and forget it.

+1

[karma67]

(When Esco fitted a Paratrace stylus to my Denon DL103 they recommended 1.8-2.0 VTF and, sure enough, it tracked perfectly at that - but it was a little too bright for my taste. I found it needed about 2.4g to reduce the treble, bring up the bass and make it sound 'just right' to my ears.)

or you could have lowered the tonearm at the back and reduced vtf ,there is more than 1 way to skin a cat

[Barry]

There is much geometry going on with adjusting a record needle. The idea of adjusting VTA is to get the diamond tip to set at the correct angle in the groove (SRA) . I see in magazines and on other analog websites they use USB microscopes. But a good magnifying glass is all I need. Different manufacturers will sometimes list the correct angle. And if they don't, 92 degrees is a good average angle. Leaning slightly forward.

Of course adjusting the VTF will also change this angle. But that changes the pressure on the suspension. When a cartridge is fairly new, it's good to keep the tracking force at medium, or more. As the suspension starts to break in over time, you can reduce the tracking force to put less pressure on it, and allow the cantilever to keep a healthy angle. I.e. Keeping the coils centered in the magnetic field. Keeping the bottom of a box type cartridge level with the record is a great place to start, but it's only a starting point. And of course record thickness can affect the SRA, but we don't want to undo all of the adjusting we did for the suspension, so adjusting the VTA can fix the SRA back to 92 degrees. And once you've got 92 degrees, it's still worth adjusting by ear. As the truth is, even on expensive cartridges if you look really close, you can see that diamonds are not always perfectly attached to the cantilever. So listening is always the last step. Unless your arm can allow VTA on the fly, it really is best to get it as close as possible and leave it. I imagine certain diamond cuts are more or less sensitive to this adjustment.

Excellent post Russell!

Also being fastidious about SRA is only important with line contact stylii whose profile more closely approaches that of the cutter.

[alphaGT]

Excellent post Russell!

Also being fastidious about SRA is only important with line contact stylii whose profile more closely approaches that of the cutter.

I don’t know that the SRA is ONLY important to Line Contact, my Elliptical stylus on my Sumiko can produce audible differences with SRA adjustments. But I will agree that it is CRITICAL with a Line Contact, trying to keep as much of the long side in the groove. As you said, mimicking the cutter. We must realize that reading record grooves is tedious business, with groove features measured in micro and nanometers. Sure a blunt diamond can ride on the walls at their tops and get much music, but so much detail is there for the diamond that can reach deep and maintain constant contact with the smallest features of the groove. I find that my very oldest records after a thorough washing and then playing them on a nicer cartridge than they’ve ever known, and the details are still there! Not worn off after all these years and many plays, the finer needle profile is reaching new information deeper than any of my old needles could reach.

A fine cartridge of great cost, demands the very best setup possible. To make it sound good, and to make it last. Cranking up the tracking force to try and adjust the SRA can wear the suspension on the cantilever down prematurely.

But this is just me, I like taking the most care to setup a cartridge. I mounted my first one when I was 13, and have learned much about the physics since then. I make my own templates from card stock, I use micrometers to measure azimuth and pitch. And I’ve got a few nice magnifiers to see with. I just like doing it. I like the feeling of knowing I’ve done my best to get the perfect setup. Something I take pride in.

But, if your tonearm has no adjustments, and you only paid a few hundred on a cartridge. Then squaring the cartridge body may be all you can do? And you won’t hear much difference from higher tuning on a cart of that level anyway. So if you like to tweak your record player, you need to invest in one that allows you to tweak. I would love to own a Triplanar or a Graham tonearm! I find all the many adjustments sexy. And the VPI arm I’ve got is not bad on adjustability, It’s a nice arm, and I am pleased with it. Perhaps I should attempt to write a book on the subject? I’ve read plenty from other experts who have written their methods, or video taped them, who was it selling videos? Robert Harley? And I think Mike Fremer also has some tutorials on the subject. But while they show a good setup, they leave much unexplained. As to why you would choose a certain template, when to tweak and when to listen, it is an endlessly deep subject that most gloss over, figuring that most don’t want to get that deep. They just want their cartridge set up. They think to understand is not necessary. But for people like me, I want to understand every aspect, and know what compromises we are choosing to make. Perhaps I will set down and attempt to get all of these things organized in my mind, take some useful photos, and write a book that will make me rich and famous! Or at least bring in enough money for a new tonearm?


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