Hi Halcro,
You combined two topics into one post. I'll address them individually.
METHODS
Arthur's method and mine are more alike than different. We each start from a defined baseline and move up in increments, noting sonic improvements as we go. When the sound begins to deteriorate we take that as the upper limit of the sweet zone. We then fine tune between that upper limit and the last known point of improvement, which of course is the sweet zone's lower limt. It's the same methodology.
There are some differences of course. Our baselines are different. Arthur starts at the manufacturer's recommended minimum VTF. I start at the mistracking point, which will vary with individual cartridges, tonearms, climates, and even records. Choose an arbitrary point or learn how to optimize for each unique situation, it's up to you.
Arthur takes you through big steps, then smaller steps, then tiny steps. I take you directly to tiny steps because IME they are audible with this cartridge.
RESULTS
We play a few hundredths of a gram above the mistracking point. You prefer much higher VTF's. I suspect this is because we listen to different music, through different systems, with different ears that are attuned to different sonic priorities. (BTW, it would really help discussions like this if yours were listed.)
Doug
You combined two topics into one post. I'll address them individually.
METHODS
Arthur's method and mine are more alike than different. We each start from a defined baseline and move up in increments, noting sonic improvements as we go. When the sound begins to deteriorate we take that as the upper limit of the sweet zone. We then fine tune between that upper limit and the last known point of improvement, which of course is the sweet zone's lower limt. It's the same methodology.
There are some differences of course. Our baselines are different. Arthur starts at the manufacturer's recommended minimum VTF. I start at the mistracking point, which will vary with individual cartridges, tonearms, climates, and even records. Choose an arbitrary point or learn how to optimize for each unique situation, it's up to you.
Arthur takes you through big steps, then smaller steps, then tiny steps. I take you directly to tiny steps because IME they are audible with this cartridge.
RESULTS
We play a few hundredths of a gram above the mistracking point. You prefer much higher VTF's. I suspect this is because we listen to different music, through different systems, with different ears that are attuned to different sonic priorities. (BTW, it would really help discussions like this if yours were listed.)
The strings sound just as horrible at 1.5gm, 1.7gm and 1.9gm.I'm not surprised. 1.5g is much too low and 1.7 probably is too. Ours is the only UNIverse I've heard of that's yet broken in (down?) enough to play below 1.8, never mind any lower. 1.9 would have been marginal in colder weather for us a year ago, as I explained. I doubt yours has enough hours on it to attempt such low VTF's.
I actually found that I heard none of your aural descriptions on HF and bass when I followed your methodology.
The fact that I'm tracking much higher than you and apparently the other users here is a little worrying?.....but perhaps it's all system dependent?
I'm getting the Continuum Copperhead this week together with the Dynavector DV1s and I get my Schroeder Ref arm in a month so I'll be able to mount the ZYX in both to compare it to the Hadcock.I think you've hit the nail on the head. The UNIverse is too resolving and sensitive a pickup for your present tonearm to get the most out of it. I suspect you'll hear very different results with both of your new arms, on which I congratulate you BTW.
Doug