Stylus Rake Angle

Timing is referred to as a definition of transient performance as it relates to the stylus/groove contact point. The narrower the better, 'perpendicular to the apex'...or so. Hence, the 92 degree figure.

Start with a parallel arm and set overhang. I'm willing to wager that if you then set SRA on the fly, you will not find any measurable change in overhang. Granted, at or near that 90 degree standard.

Csontos, This is easy to test for yourself. Just check your overhang after you change SRA. I've done this many times and you might be surprised how much it moves. The only instance it wont change is if you started out with tail up and then changed to tail down the exact amount from level that you were with tail up. This is because at level your overhang will be the farthest. Going tail down or up from level will shorten your overhang.

I agree Raul. I think it is worth resetting overhang after changing in SRA. Especially if you moved it allot.

Using my MINT LP arc protractor, it is very clear that changes in VTA (SRA)
alter overhang. It is more severe at the outer edge than at the inner grooves
because of the trace of the arc. IOW, the variance away from the arc is
greatest at the beginning of the LP.

In my system, this is audible. The MINT is extremely precise, assuming that it
was ordered correctly with the right pivot to stylus distance, or effective
length.

Now the Mint glass thickness is different from the various LP thicknesses, and
thus overhang changes slightly with different LP thicknesses.

Regarding the timing of the note when adjusting VTA, I think Schroeder is
talking about the harmonics not arriving before or simultaneously to the
fundamental. IOW, the note's fundamental (frequency?) should be heard first,
followed by its harmonics with a natural sounding delay. This is pretty easy
to hear with a mandolin or harpsichord pluck. If the timing of that pluck is
off, the VTA is off. I think this is his and DougDeacon's point.

Peter et al, If you hear an effect of VTA on timing, I don't doubt it. I just wonder why that would be so. I certainly believe that VTA adjustment makes a difference, and I do pay attention to it in a non-anal way. However, I never thought about it in the way stated or inferred by Frank Schroeder. If there is substance to it, it's interesting to me.

I think of it like this: If the fundamental is being obscured by the harmonics, the harmonics are arriving too early. I hear this when the arm is too low in the back. If the fundamental occurs unnaturally early, or there appears to be a minute lag before you hear the harmonics after the fundamental, then the arm is too high.

This is roughly how Doug described it to me and it corresponds to what I hear. I can see how this could be described as a tonal shift or emphasis between the high and low frequencies.