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
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. :-)
IME it's rarely possible to use VTA to balance out frequency problems from the system, room or recording. VTA adjustment just doesn't alter bass/treble balance that much. It alters bass/treble timing, which is a different thing.

As Newbee said, the only way to hear the difference between these effects is experience. Listening closely to systems other than one's own is helpful. Whether you like or dislike what you hear elsewhere, you always learn something from the experience.
I am playing with my first unipivot arm, a Kuzma StogiS, which rests in a trough of silicone damping fluid. Something strikes me as irrational about this approach. If an LP is not absolutely flat, the silicone prevents the arm from moving instantly with the up and down motion of the record surface. The result is that SRA is constantly changing, and not by a small amount I think. How can that be anything but wrong?
Giving this a bump in hope of getting a response to my post above. Where are
all the analog mavens?