The importance of proper set-up


For many of the readers of this forum, this may seem obvious. Certainly, had I read this even a week ago, I would have scanned it with only marginal interest. I have owned a VPI Aries 2 for about 2-3 years. I am using a Transfiguration Temper W. Over the years, I have adjusted the VTA/VTF settings. This was a slow evolution. Each adjustment brought improvement. However, what at first seemed like a fix or cure, proved over time to still be lacking. Initially, I thought the sound somewhat strident or etched. I thought, at least in comparison to cd, the bass was lacking. So, I dropped the arm back slightly, each time being sure to re-check the VTF. I use the Shure SFG-2. Almost invariably, the VTF will have changed with each adjustment. While some people might think I was fooling myself into thinking I heard not too subtle differences with each adjustment, I can only tell you, to my ear, the differences were unmistakable. The funny thing is, and the reason that I felt compelled to share this anectode is that each time I would adjust the table, I would think I "nailed it", the perfect balance of treble, bass, and midrange, while preserving all the ambient soundstage and layering I had previously heard. Now, mind you, certain records would sound better on certain settings, while others I recalled sounding better on earlier settings. For instance, a record which had a deep, rich low end, might sound better with the cartridge tipped up slightly to reinforce the top end. It was only after playing literally dozens of records that I began to formulate an opinion, one way or another as to whether the sound was too thin, or the bass too exxagerated at the expense of air and separation between the players. That would cause me to make yet further refinements. However, whether by luck or just perserverence, I have now stumbled on a setting that has revealed so much of the midband that was previously obscured, it is downright spooky. Those who love analog know that the music lives and breaths in the midband. I don't know whether its the table, the arm (10.5), the releveling of the table, or just catching the perfect rake angle, but after more than 2 years, I am finally enjoying the true virtues of my rig.
My purpose in writing is to suggest that even if you think you have your table set to perfection, if you haven't experimented with other settings, i.e. haven't tipped the sylus up or down slightly, haven't tried to add a tad more weight to the arm, haven't levelled the table precisely, you may not be enjoying the full benefit of your investment. Yes, it is tedius, but let me assure you, the rewards are well worth the effort.
128x128stew3859
It seams that I am one of the lucky few who can not hear the change in VTA/VTF. That is why I have an SME V and enjoy the music.;)
Stew,

Since you're crazed enough to ask, the best primer I've seen on VTF and VTA adjustment by ear is at Lloyd Walker's site. Read this first:

http://www.walkeraudio.com/fine_tuning_your_turntable.htm

As LW points out, their are two levels of adjustment for VTA. Call them coarse and fine.

Coarse adjustments effect either tonal balance, bass vs. treble, or nothing. IME the degree of change varies from cartridge to cartridge. Coarse VTA changes affect tonal balance on my Shelter 901 but do little or nothing on my ZYX's.

The fine adjustment effects something much subtler, tightness and integration of notes in the TIME domain. (I'm not talking about image focus or tightness. Imaging happens in the SPATIAL domain, L vs. R, and is largely controlled by azimuth, not VTA.)

If you hear these time domain changes you'll hear them from anywhere. Being in the sweet spot is unnecessary (unlike imaging, which can only be evaluated from the sweet spot relative to your speakers). My partner hears VTA changes from two rooms away, especially if I goof it up!

When VTA/SRA is spot-on, each note gets as short and tight as possible. This is easier to hear with bass notes than treble, due to their longer wavelengths. The different frequencies that make up a sound are also integrated for maximum realism and impact. Getting drum, cymbal or piano hits right works. It is much easier to hear on good recordings, acoustic instruments and top caliber vocals than on poor recordings, amplified instruments or poor quality vocals.

It is harder to hear with unipivots than with more stable arms. It is harder to hear with conical styli than elliptical, and harder with elliptical than with fine line or micro-ridge. It is harder to hear in bloomy or less resolving systems than in tight and more resolving ones.

It's also harder to hear when dancing or singing along, so Newbee, Stltrains and Styx all have strong musical arguments on their side!
Doug, One thing that never seems to get discussed when folks talk about VTA and the need for fine adjustments, or any but the most gross for that matter, is the type of stylus they are using. I suspect some folks with good systems and ears who don't hear the benefit have eliptical tips or (do they even make them anymore) conical tips, which are far less demanding than line stylus and the like. BTW, out of shear laziness I just (pre)set my VTA for record thickness now-a-days. Talk about gross! :-)

Stew, That question is downright mean! :-)

As in all things audio related you either have developed a sense of 'rightness' or you haven't. By rightness, I mean personal aural preference of how your record should sound. If you put on, for example a 180gm record and your VTA is set for 180 gm records, and the records tonal balance seems off you fiddle with the VTA a little bit. If it gets more in line with your expectations you continue 'til it doesn't get better (but don't get too anal about this). If you notice no change or it gets worse, you've got a bummer record. Thats a real problem, there are some bummer records out there and if you think you can make them all into silk purses by fiddling with VTA/VTF you're going to get very frustrated.

Have fun, don't make this into rocket science. :-)
As a newbie making coarse VTA adjustments, how do I know if I'm adjusting for differences in the record thickness.. or merely adjusting for variations in sound engineering and mastering?
Some of my records have a heavy, dark sound with lots of bass and some sound thin and bright. If it's a cd or other source, I can be assured that these differences are in the actual recording or mastering and not a VTA/vinyl thickness issue.

But with records, I suspect that I'm often using VTA as an "eq" for variations in mastering rather then as an adjustment for physical variations in the vinyl itself.

What should I be hearing to know the difference?

Even more disconcerting:
On a TT only system, how do I know I'm not using TT setup as a system eq? What if my preamp/amp/speaker combo is overly bright (or bass heavy) and I've inadvertantly compensated for it by playing with VTA and cartridge loading? What are the repurcussions, if any?
I thought Stew just asked this question, perhaps in a slightly different form.

The differences between thick and dark and thin and bright are emblematic of the differences heard when you are playing LP's of varying thickness using just one setting for everything and is IMHO why one needs to be able to adjust VTA at a minimum at least to compensate for such thickness.

An alternative for those who are trying to avoid being neurotic about adjustments is to get a cartridge with an eliptical stylus and set this up using a high quality LP which represents the thickness common to the bulk of your LP's, then just play your reords and relax and forget it. For those of different thicknesses you won't hear that big a difference and the energy/angst saved will be its own reward. BTW with experience you will in a short period of time be able to tell whether or not you have a recording problem or a set up issue. With experience. Takes time. No one can do it for you.

Regarding VTA to compensate for mastering problems. Its not an issue IMHE. You can't correct mastering problems with VTA adjustments, at least I haven't yet.

Regarding you last question. Ye old chicken/egg inquiry. What difference does it matter how you get synergy - matching the source to the electronics, matching the amp to the speakers, etc. So long as you get a sound you find acceptible when its all plugged together and turned on. Obviously it makes a difference if you have more than one source, but I suspect you knew that already.

FWIW, I can be quite anal with vinyl at times. I have a pre-amp where I can adjust loading on the fly. I've been know to change the loading to compensate for a really bright recording. I can hear the drums now, they're coming to get I know, bearing their tar an feathers.

Bottom line, do what ever feels good, even aurally. :-)