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What LPs do you use for VTA adjustment

Hi. I'm a newbie to this forum, and also to VTA adjustment. Been making GROSS changes to my system over the past couple of weeks, which has resulted in my getting an SME V arm to replace the RB300 on my Voyd Valdi TT, at least for now. Now for the first time, I have an arm with adjustments.

My system was optimised to my budget in the mid 80s, during my TAN (The Audiophile Network - any members here?) days: Voyd TT, British/Musical Fidelity MVT preamp, 4 MA-50 poweramps (mono 50w Class A), Rogers Studio 1a speakers vertically bi-amped, Kimber PBJ and 4TC. My current cartridge is an original Vdh MC10. The only things that have changed over the years have been cartridges and CD players.

Been playing with the HFNRR test record for tracking and anti skating adjustments. Trying to figure out what all the fuss is about VTA. The 3 records I've tried so far are Ella & Louis "Together Again" MSFL Mono, Patricia Barber "Modern Cool" MSFL, and Air "Walkie Talkie". Other than making the cartridge mistrack when the rear of the arm got too low, I'm not sure if I've honed in on the sound changes. I'm probably being overwhelmed by how good it sounds relative to the RB300, especially in the bass.

Am i right in saying its not just VTA, but a combo of VTA and VTF that needs to be adjusted? When the rear of the arm is low, more weight makes it track again.

Can you guys/gals (if any here) recommend records and tracks that YOU use for VTA setup, and what you listen for.

Right now, with the stylus in the leadout groove, using the SME V ruler to the center line on the arm, front of the arm is at the trackout groove is 1cm above the LP, rear of the arm just after the leadin groove is 0.9cm - so rear is appx 1mm lower. Anyone have or remember what setting they use on the VdH MC10? VTF at 1.8 gms.

Any volunteers in Stamford, CT that want to lend me their ears?

Thanks, Samir.
gofast
dougdeacon
3,338 posts
 
Audiofankj,
I'd be perfectly willing to share my list of course, though it might be of marginal utility. All I've recorded for the VTA data point is the relative position of the mark on my Expressimo VTA collar, e. g., 7:30 or 9:45 or whatever. Unless you have the same VTA collar it would be nearly meaningless. I suppose it would give some sense of relative arm heights for different records.

Yesterday we hit a new low ;-) while playing a record on the Tudor label. (Anybody ever hear of them? This is the only one I've ever seen.) The record wasn't outrageously thin or light, about 120g IIRC, but the optimal arm height was .25mm lower than any other record I've played. This is a HUGE adjustment. It took me 5 or 6 tries to find the right spot, I couldn't believe how low I was having to go. Tudor must have cut their lacquers at a much lower angle than most labels.
4yanx
1,576 posts
 
One thing nice about my Graham 2.2 is that it has a graduated scale from which to take reference points and allow fine tuning while retaining the ability to get back to square one...with a vernier scale on the adjusting knob which allows fine-tuning the VTA in increments of 0.0005 inches to the vertical reference - on the fly.

The "bad" part with such flexibilty is that, like Doug, I've found myself adjusting each record-type individually. A log of such would prove very useful, I'll have to take that suggestion. But, as Doug says, the transferability of such info to a different arm would be problematic.
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rauliruegas
13,005 posts
 
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.
geoffkait's avatar
geoffkait
23,365 posts
 
As i recall there is no guarantee that 20 degrees is the VTA used for a given recording. It would be great if there were a standard that everyone used, but alas....In many cases the angle used is 20 degrees, but in many others the actual angle is 18 or 22 degrees or anywhere in between.
dougdeacon
3,338 posts
 
There may be a standard cutting angle today, but there certainly wasn't back in the LP's glory days from 1955-70. Optimal arm height on same-thickness records from that era varies with the record label and date. It's clear to me that Decca/London, RCA and DGG/Archiv, to name just three, used different cutting angles. It may even have varied from one plant to another within the same company.

Obviously each of us can take this as far as we wish, and one could certainly "set and forget" if one chose. I suspect this might be more satisfactory with rock or other "processed" music than with classical. Large scale works with acoustic instruments are especially revealing of tiny setup changes, even more so if a chorus and soloists are involved. Getting it just right really brings them all to life.

Warning: just a week or so ago '4yanx' expressed some surprise that I was adjusting for each record. Now he's doing it himself! Once you hear that sweet spot you'll want to find it on every record. Ever try just a little cocaine? ;-)
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