2. analog
  3. 1162051424

The importance of proper set-up

For many of the readers of this forum, this may seem obvious. Certainly, had I read this even a week ago, I would have scanned it with only marginal interest. I have owned a VPI Aries 2 for about 2-3 years. I am using a Transfiguration Temper W. Over the years, I have adjusted the VTA/VTF settings. This was a slow evolution. Each adjustment brought improvement. However, what at first seemed like a fix or cure, proved over time to still be lacking. Initially, I thought the sound somewhat strident or etched. I thought, at least in comparison to cd, the bass was lacking. So, I dropped the arm back slightly, each time being sure to re-check the VTF. I use the Shure SFG-2. Almost invariably, the VTF will have changed with each adjustment. While some people might think I was fooling myself into thinking I heard not too subtle differences with each adjustment, I can only tell you, to my ear, the differences were unmistakable. The funny thing is, and the reason that I felt compelled to share this anectode is that each time I would adjust the table, I would think I "nailed it", the perfect balance of treble, bass, and midrange, while preserving all the ambient soundstage and layering I had previously heard. Now, mind you, certain records would sound better on certain settings, while others I recalled sounding better on earlier settings. For instance, a record which had a deep, rich low end, might sound better with the cartridge tipped up slightly to reinforce the top end. It was only after playing literally dozens of records that I began to formulate an opinion, one way or another as to whether the sound was too thin, or the bass too exxagerated at the expense of air and separation between the players. That would cause me to make yet further refinements. However, whether by luck or just perserverence, I have now stumbled on a setting that has revealed so much of the midband that was previously obscured, it is downright spooky. Those who love analog know that the music lives and breaths in the midband. I don't know whether its the table, the arm (10.5), the releveling of the table, or just catching the perfect rake angle, but after more than 2 years, I am finally enjoying the true virtues of my rig.
My purpose in writing is to suggest that even if you think you have your table set to perfection, if you haven't experimented with other settings, i.e. haven't tipped the sylus up or down slightly, haven't tried to add a tad more weight to the arm, haven't levelled the table precisely, you may not be enjoying the full benefit of your investment. Yes, it is tedius, but let me assure you, the rewards are well worth the effort.
stew3859

Showing 5 responses by dougdeacon

dougdeacon
3,338 posts
 
Nsgarch is right, madness lurks around the very next corner!

Now, mind you, certain records would sound better on certain settings, while others I recalled sounding better on earlier settings.
You're but one step from where we are, adjusting arm height for each record. Once you go there, there's no escape. The only way to maintain sanity after that (he said hopefully) is to record each record's optimal setting for quick and painless setup on replays. You'll quickly notice that records on the same label tend to like similar settings, with only a tiny adjustment for record thickness/weight. You can even make lists, which makes finding the best setting for a new record much quicker.

As Nsgarch said, madness! But it sure sounds good doesn't it?!

whether by luck or just perserverence, I have now stumbled on a setting that has revealed so much of the midband that was previously obscured, it is downright spooky.
That's the way we first found that sweet spot, dumb luck and fumbling. The right setting for any particular LP is so tiny that stumbling across it is almost the only way, at least until you practice alot.

More madness!
dougdeacon
3,338 posts
 
Dan's right. I can't even measure the difference with my digital gauge, which goes out to .01g. Certainly no one could measure it with a Shure gauge.

About 2/3 of our LP's fall within a very small height adjustment range, less than one revolution of my tonearm's VTA dial. The bulk of the remainder fall within a similarly small range, but two revolutions lower.

I tweak VTF nearly every day by ear, but adjusting for each LP based on microscopic arm height changes would be madness even for me!
dougdeacon
3,338 posts
 
I can recall all of the trips from my listening chair to the turn table to give another tweek of the VTA, id infinitum. I wonder when I ever found time to actually relax and enjoy the music!
That's why we record the setting for each LP on the jacket. Now there's no tweaking at all. I've got the arm height dialed in before my platter even spins up to speed.

Small wonder that many folks like CD's.
That's funny, but I can't imagine anyone abandoning vinyl for CD's because they're tired of fussing over VTA. CD's are more convenient, no question, but anyone sensitive to VTA isn't likely to find them fully satisfying.
dougdeacon
3,338 posts
 
Stew,

Since you're crazed enough to ask, the best primer I've seen on VTF and VTA adjustment by ear is at Lloyd Walker's site. Read this first:

http://www.walkeraudio.com/fine_tuning_your_turntable.htm

As LW points out, their are two levels of adjustment for VTA. Call them coarse and fine.

Coarse adjustments effect either tonal balance, bass vs. treble, or nothing. IME the degree of change varies from cartridge to cartridge. Coarse VTA changes affect tonal balance on my Shelter 901 but do little or nothing on my ZYX's.

The fine adjustment effects something much subtler, tightness and integration of notes in the TIME domain. (I'm not talking about image focus or tightness. Imaging happens in the SPATIAL domain, L vs. R, and is largely controlled by azimuth, not VTA.)

If you hear these time domain changes you'll hear them from anywhere. Being in the sweet spot is unnecessary (unlike imaging, which can only be evaluated from the sweet spot relative to your speakers). My partner hears VTA changes from two rooms away, especially if I goof it up!

When VTA/SRA is spot-on, each note gets as short and tight as possible. This is easier to hear with bass notes than treble, due to their longer wavelengths. The different frequencies that make up a sound are also integrated for maximum realism and impact. Getting drum, cymbal or piano hits right works. It is much easier to hear on good recordings, acoustic instruments and top caliber vocals than on poor recordings, amplified instruments or poor quality vocals.

It is harder to hear with unipivots than with more stable arms. It is harder to hear with conical styli than elliptical, and harder with elliptical than with fine line or micro-ridge. It is harder to hear in bloomy or less resolving systems than in tight and more resolving ones.

It's also harder to hear when dancing or singing along, so Newbee, Stltrains and Styx all have strong musical arguments on their side!
dougdeacon
3,338 posts
 
IME it's rarely possible to use VTA to balance out frequency problems from the system, room or recording. VTA adjustment just doesn't alter bass/treble balance that much. It alters bass/treble timing, which is a different thing.

As Newbee said, the only way to hear the difference between these effects is experience. Listening closely to systems other than one's own is helpful. Whether you like or dislike what you hear elsewhere, you always learn something from the experience.
More to discover