VTF and VTA- Constant or not?

In an ideal world there would be an ideal setting but in this one there is not. The lack of standards in the recording industry still amazes me after almost 50 years of listening. The question you ask revolves around the degree of trouble you want to take. Some arms have calibrated height adjustment that can be altered while playing ; it is therefor possible to get an ideal setting for THAT record and write it on the cover. WAY too much trouble for me, I have used such arms and will sometimes alter the setting if a record sounds bad but have a default setting I return to after playing. The instruments used in setting up the arm are already in your possession, your ears. Get a setting that sounds right to you on most of your records and don't worry about it. Why isn't there a more scientific method? Records are cut in different labs, cartridges have their styluses at different angles, we all hear differently. Use a good alignment tool, track at the top of the recommended range and adjust the arm height to a good compromise and you will be fine. In general raising the arm at the pivot increases treble and lowers bass , lowering it has the opposite effect. I myself as well as several others I have talked to usually have the arm lower at the pivot end than the stylus end as we find it gives the best balance, but that is for you to determine. There is more lit on these questions than you would ever want to read, sites like Vinyl Engine will cover everything in great detail. I am just giving my own experience. If you had a well equipped lab it would of course be possible to arrive at an ideal setting for any particular record, but there would be no guarantee that it would be ideal for the next record. Get it to where you like it and then , as Raul says, "Relax and enjoy the music".

Agreed that everything we try to improve is for the sake of our own ears. My query was in fact triggered off when I played my old DGG Karajan's Beethoven Symphony No.5 and some of my beloved records. They used to be sounding very good and lively but they all failed this time. In short, I had to check the VTF and VTA/SRA all over again.

My 1st point: As cartridge ages and requests fine-tuning, so will the optimum VTF and VTA/SRA. Factory recommendations are only for reference and binding when the carts are still young and with original parts(i.e. not rebuilt by a third party).

My 2nd point: "Set and forget" won't be able to optimize the performance of a cart for a longer period of time. To me, it's not hassle, it's fun and challenge. Once succeeded in optimizing a cart, it gives satisfactions and enjoyments. That may be what this hobby is all about. In fact, "everything may change" means everyday could be a whole new experience! It's not boring, and a cart become more like an organic life form.

I had come across some tonearms with VTA on the fly. In brief, they couldn't satisfy me with "ultimate rigidity" and are more prone to "resonances" which are quite serious in my tiny listening room:)

best regards
Dan

What's your best, quickest method to prove that VTF and VTA/SRA have been set up correctly or close to ideal?

"Prove"? Hmmm, I doubt the concept of proof is practical in this context. One could prove these things with lab equipment and a frequency analyzer, but since the optimum settings vary with each record you'd spend your whole life proving and no time listening.

That said, my partner and I are pickier than many, even amongst A'goners. Here's what we do:
1. We know our rig and system's sound really well. We understand what each adjustment does (at the stylus/groovewall level) and precisely how it effects the sound.
2. We listen to music we enjoy, alot.
3. We adjust while listening to optimize the sonic performance of each parameter.
4. The only "proof" we require is that instruments and voices sound as real as possible. (We once fussed with electronic measurements to optimize azimuth, but found we could adjust by ear as accurately and faster.)

One or both of us generally knows after a few seconds of listening which adjustments are out of whack and what direction they need to go. That comes from experience, there's no shortcut for trained ears (though research and guidance is helpful of course).

What tools do you need to have in measurements?

For VTF
We tweak VTF every single day, sometimes even for different LP's, but for that our only tool is our ears. A scale is only useful when you set up a cartridge and occasionally if the suspension relaxes so that a different VTF base point needs to be identified. I haven't unpacked ours in months.

For VTA (SRA actually, VTA is a misnomer)
1. My eyeballs, to level the cartridge (just a rough starting point, which is all we need initially for the reasons Stanwal explained; since very LP is different, there's little point obsessing over the initial setting IMO)
2. My ears. (We adjust SRA for each record. No exceptions. Most others do less, to each his own.)
3. Post-it notes and a pencil. (To record arm height settings on each LP jacket so we can quickly dial in for replays.)
Thanks to good record-keeping this actually takes very little time, and no playing time is lost since we adjust SRA on the fly.

Is it possible to have them "set and forget"(i.e. constant)?

Is it possible? Of course. Is it optimal. No.

If you value set and forget and also value optimal performance, go to live concerts or play from digital sources. Reproduction from vinyl records is too complex and the components involved (including the media itself) contain too many variables for set and forget to be optimal. Your choice.

If not, how frequent will you have your routine checking with the carts you have come across?

In our case, with every LP as I said. This has been so with every cartridge we've used, but we don't "check" our setups by dragging out a scale, a magnifier or other tools. We play music and adjust as required. I don't need a scale or a magnifier to know when my cartridge's VTF or SRA is optimal. The sonics tell me.

Doug

P.S. In 2004 I understood very little of this. It took about 3 years to get reasonably competent.

Hi, Doug,

The only "proof" we require is that instruments and voices sound as real as possible.

Very good point. We can only be sure when a piano sounds like a piano, a cymbal sounds like a cymbal, and vocals sounds like somebody is singing live in front of you. Our musical perception should be established with our experience with live (esp.classical) concerts with mainly acoustic instruments, instead of based upon someone's top-notch audio system. Live performance always come first, audio system second or third. Life without live (concerts) could be a big mistake for any serious audiophile.

If you value set and forget and also value optimal performance, go to live concerts or play from digital sources.

The digital sources that could satisfy me are far too expensive than the vinyl setup!!! It seems I have to at least spend 3-5 times more...Esoteric? No way! dCS? Maybe...sorry, I'd rather buy an Audi A4 Quattro S-tronics and a couple of nice MC carts;)

Is ZYX UNIverse really that good, Doug? So many A'goners have one or two in their system. Is the Copper version(ending with "-X") the best? I just saw your article on fine-tuning ZYX's cart. It is really interesting...

Dan

Doug,
What would happen to the data on your post-it notes if you changed arm, cartridge, or table?
This thought has always kept me from adopting a similar system.

Cheers.

Tom