Asking for members blessings on Nagaoka MP 300 purchase

Have you ever calculated the actual change in VTA that occurs when one adjusts for an "average" LP (in terms of thickness) and then plays for example a 200gm LP or on the other hand an exceptionally thin LP, like maybe an old RCA Dynagroove (they are flexible, so I assume they are thin)? The change in VTA is infinitesimal. If it makes a big (audible) difference to you, have at it. As for me, this is a level of anal behavior that I refuse to enter into. If I am missing something as a result, it’s an acceptable compromise. This is my attitude toward all of my cartridges on all of my different tonearms. Same goes for fussing with load resistors with MC cartridges. I use any value above that which is needed to achieve a ratio of 1:10 or better, between the internal R of the cartridge and the input impedance of the phono.

I found this quote on line, credited to Michael Fremer: "I don't buy that at all [?] nor do I buy changing VTA with different thickness records. On a 9" tonearm you need to move the back of the arm 4MM (that's a lot) to effect a 1 degree SRA change. The differences in thickness between these mats and indeed, between a 120g and 180g record is far less than 4MM and far less than 1 degree. Any differences heard from tiny changes in VTA/SRA are either in one's mind OR due to azimuth shifts that are easily audible and especially true on unipivot arms due to the offset angle..."

I might add also that claimed "improvements" associated with small tweaks of VTA (usually much much less than 4mm up or down) are usually based on snap subjective judgements, hardly a reliable indicator. But again, to anyone who derives satisfaction from tweaking VTA, you have my full support, because this is a hobby that first of all needs to give us pleasure.

@lewm thanks for your reply, all reasonable points. Yes, I agree such small changes in VTA shouldn’t matter.  And I have no standing to question Michael Fremer.  I had the pleasure of meeting him once at a demo, he’s quite funny in person.

My point, I guess, was that others here and elsewhere noted that the Nagaoka MP-500 is sensitive to VTA in their systems.  That’s one reason I opted for the MP-300 initially, because I thought the “Superfine polished elliptical bonded diamond” stylus would be less fiddley than the more sophisticated stylus on the MP-500. My experience is that the MP-300 is more sensitive than the Audio Technica cartridge with a Shibata stylus it is replacing.  The Nagaoka also sounds noticeably better, especially when the VTA is dialed.  YMMV.

kn

Awesome cartridge. The entire line. I have the MP500 and have had it in my system for 5 years. Perfect for me. 

I’m currently playing a Harvey Andrews ("Friends of Mine" gatefold, 1973) album through the MP-500 on a Rega RB330 on an Acoustand pod (it’s how I play unknown vinyl to protect more valuable styli). I think my wife brought this album into our joint lives 47 years ago. She denies it, and maybe there is a let out in that it might have come from my brother’s collection (joint with his wife, whose tastes are not mine at all).

Ignoring those details of vinyl sortation, the point for this thread is this: the MP-500 sounds very nice without much attention to VTA. I can change the VTA on that pod with pennies put under its spikes, but have not yet found a need to go there.

I do have a couple of Acoustand pods on the way that include VTA adjustment, and I’ll swap the Rega tonearms onto them, as they have no built-in VTA adjustment, and use the two older pods for SME arms that do allow VTA adjustment.

My only point was i don’t change VTA for every or even any particular LP. But by all means, when installing a cartridge I do set VTA using an LP of average thickness. I set it initially so that the top of the headshell is parallel to the LP surface.  After or during listening that immediately follows, I may adjust further. Usually not, and almost never again after that initial setup. I won’t deny that a secondary reason for not fretting about VTA is based on my own particular character.