Is extremely accurate "VTA" adjustment necessary?

Dear Rene: I agree with you ( your second answer ) and Twl
points of view. here it is one of my answers in the past on this subject:

05-24-04: Rauliruegas
Dear Samir: Here it is another way to adjust VTA/SRA:
invert the polarity in one channel, put a mono record, set the preamp in mono and adjust the VTA/SRA where you hear least sound.
The VTA/SRA is a critical parameter, but don't be madness and obsessive with it.You, like me, want to enjoy music instead of adjusting equipement, so always we have to take a compromise position. I recomended that you use an average thickness record or 3 to 4 different thickneses/labels of records and finding the best compromise. Then : turn on your audio system and enjoy listening to the music.
BTW and only for information: The industry standard for cutting head VTA is 20 degrees, each cartridge is designed to function around this angle when the tonearm is parallel to the record, so you have to start with your tonearm parallel to your records, this position is very very close to the " ideal ".
There are many issues in the VTA/SRA, but what you want is to know how adjust it and I think that now you already knew it.
Best wishes and always enjoy the music.
Raul.
Rauliruegas (Answers)".

Now, the only way to get the perfect VTA/SRA on a record is using a scientific tool like the Spectra Lab. We can't to have the perfect VTA/SRA through our ears, but through our ears is the easiest way.
Now, I don't want to go on with the same answers that other people ( including the article reviewer ) already speaks about. What I can tell you is that with your cartridge it will be very dificult to hear minute changes in the VTA/SRA.
Rene, you told us that you have 10 years of experience in analog: Doug has only 13 months on analog, but as you can see he feels like an " expert ". Hi is an inexpert people (likes to be in any single thread repeating what other people say. Don't do any own contribution )on analog and this is reflected with his wrong attitude against the article on VTA/SRA and that in your fouth answer you put all things very clear. Be carefully with this Doug.
Regards and enjoy the music.
Raul.

Raul,
I have read many of Doug Deacon's posts over many months (both here and on Audio Asylum) and I consistently find them independent, thoughtful, based solidly in his own experience and listening tests, and quite well reasoned. I think you have very inappropriately "slammed" him in your comments. You and Doug have disagreed a number of times; that is no reason to make this personal attack which I find both unwarranted and offensive.
.

Rene,
I reread the article and understand that a key aspect of it is your question, "Is it really VTA/SRA changes that we're hearing or is it something else?" Apologies if I seemed to be dismissing it. This article has been used or mis-used both here and elsewhere by those with non-scientific motives. I suppose I was responding to those rather than to the article itself.

"Why don't we hear the variation in VTA as the LP rotates, since this variation is much bigger than changing the arm height by .005'"

That is a good question. Finding answers could indeed lead to improvements in music reproduction on vinyl. Even if the TT is perfect, many records are not. Neither Rushton nor I have vacuum hold-down, though I do use a periphery clamp. Even with two clamps however, some records just aren't flat. This makes the question very interesting. Wish I could suggest a satisfactory answer, but at the moment I can't.

The theory of changing resonant behavior doesn't seem completely satisfactory when the same differences are being reported across multiple, high quality rigs. I wonder if that theory came from the well-observed behavior of Rega style arms, which DO change audibly every time you adjust the arm locking nut?

It is *possible* to carelessly adjust arm height on a TriPlanar in such a way that its sonic character *might* be effected. The VTA tower raises/lowers the arm on a large diameter threaded rod. The good aspects of the design include a long thread contact area, to prevent wobbling about the vertical axis, and a set screw that pulls the entire mechanism tight against the outer housing. Lots of contact area, not just one screw point. Still, as with any mechanical device, there is some play in the mechanism. For example, one can approach any given arm height setting from either above or below. If one approaches a particular setting from above, the slack in the threads may not all be taken up. For this reason, I always adjust by bringing the mechanism *up* to a setting before locking the set screw. I can actually feel the weight of the arm moving up, so gravity is helping defeat any looseness in the threads. I also give the arm support a little nudge back and forth while turning the set screw to lock the setting in. This assures that the set screw mechanism is solidly seated. When carefully adjusted like this, a TriPlanar is quite rigid. Once it's locked down, any attempt to move the arm mount in any direction simply moves my 60 lb. turntable, without affecting the arm mount itself as far as one can tell by feel. No, I'm not going to pick up the table by the tonearm to test that!

I suppose it's possible that the mechanism's resonant behavior could change when I raise or lower the arm a few thousandths of a mm, but the kind of musical changes I described above don't seem to be consistent with that model, at least to me. They seem more consistent with the idea that the timing of when the playback stylus hits each individual groove modulation must match the timing as they were originally cut. SRA in other words. :-( Back to where we started.

Thank you Rushton and Restock for your supportive comments, and for even taking the time to unearth examples of why these attacks are without basis. I guess that's what honest men do. This little vendetta has appeared on multiple threads in the last couple of weeks, for whatever reason. I have chosen not to respond so as not to contribute to any deterioration in our normally enjoyable atmosphere. I will continue that policy. We all disagree from time to time, but that's no reason to poison the room. One wonders why the moderators haven't stepped in.

One point Raul made does need elaboration. "The industry standard for cutting head VTA is 20 degrees..." That may be true today, but manufacturing variances happen at all times and millions of records were cut before the standard existed. Old Deccas/Londons, for example, were cut at lower angles than more modern ones. If one only listens to recent releases then Raul's point would be more valid.

Golly, I sure hope Rushton's platter is flatter than mine. He paid enough for it. Why don'cha know, last Summer my li'l Teres actually absorbed 158 pounds of airborne moisture (Raul measured it for me). Why it blowed up so much it looked like Jabba the Hut. The spindle turned into an "inny"!

There are some very interesting answers, but honestly, after reading, most of the readers will know, why the CD had so much success.

Anyway, in real life the VTA is important, but I think, when some will hear every nuance from every little bit of a hair when changing, what is happening when the record has a little warp ? Or one bigger and a flat one ? And where are they ? In the middle ? Or more inside ? 80 g pressing or 180 g ?
Throw them away, adjusting every time again, depending on the warp of a record, or it's thickness or on air pressure or, or depending on the new power cord or ...( endless ).

What do you do without a vacuum hold down ?
Getting mad ?
Anyway, there will be always differences, I can hear it while using Vacuum or not, without changing the VTA.
Next is, some cartridges are more sensitive for VTA than others, some sound very good in a wide range of setting than others... there are so many points to do something, it is not easy to find the "only" point. More important than VTA is the adjustment for Azimuth in my opinion, that's the real thrill .... Anyway, enjoying the music is not easy, it is a tough task, to find the right "note", only a few will find the light in the darkness ...( I am joking ) Happy screwing