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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 6 responses by newbee

newbee
4,815 posts
 
Madness indeed! Without denying at all, or minimizing, the effect of properly set VTA/VTF 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! Small wonder that many folks like CD's.

In recent years I've learned to avoid this tinkering and settled on just enjoying the music. What little I lose in sonic's I gain in music appreciation. :-)
newbee
4,815 posts
 
Doug, One thing that never seems to get discussed when folks talk about VTA and the need for fine adjustments, or any but the most gross for that matter, is the type of stylus they are using. I suspect some folks with good systems and ears who don't hear the benefit have eliptical tips or (do they even make them anymore) conical tips, which are far less demanding than line stylus and the like. BTW, out of shear laziness I just (pre)set my VTA for record thickness now-a-days. Talk about gross! :-)

Stew, That question is downright mean! :-)

As in all things audio related you either have developed a sense of 'rightness' or you haven't. By rightness, I mean personal aural preference of how your record should sound. If you put on, for example a 180gm record and your VTA is set for 180 gm records, and the records tonal balance seems off you fiddle with the VTA a little bit. If it gets more in line with your expectations you continue 'til it doesn't get better (but don't get too anal about this). If you notice no change or it gets worse, you've got a bummer record. Thats a real problem, there are some bummer records out there and if you think you can make them all into silk purses by fiddling with VTA/VTF you're going to get very frustrated.

Have fun, don't make this into rocket science. :-)
newbee
4,815 posts
 
I thought Stew just asked this question, perhaps in a slightly different form.

The differences between thick and dark and thin and bright are emblematic of the differences heard when you are playing LP's of varying thickness using just one setting for everything and is IMHO why one needs to be able to adjust VTA at a minimum at least to compensate for such thickness.

An alternative for those who are trying to avoid being neurotic about adjustments is to get a cartridge with an eliptical stylus and set this up using a high quality LP which represents the thickness common to the bulk of your LP's, then just play your reords and relax and forget it. For those of different thicknesses you won't hear that big a difference and the energy/angst saved will be its own reward. BTW with experience you will in a short period of time be able to tell whether or not you have a recording problem or a set up issue. With experience. Takes time. No one can do it for you.

Regarding VTA to compensate for mastering problems. Its not an issue IMHE. You can't correct mastering problems with VTA adjustments, at least I haven't yet.

Regarding you last question. Ye old chicken/egg inquiry. What difference does it matter how you get synergy - matching the source to the electronics, matching the amp to the speakers, etc. So long as you get a sound you find acceptible when its all plugged together and turned on. Obviously it makes a difference if you have more than one source, but I suspect you knew that already.

FWIW, I can be quite anal with vinyl at times. I have a pre-amp where I can adjust loading on the fly. I've been know to change the loading to compensate for a really bright recording. I can hear the drums now, they're coming to get I know, bearing their tar an feathers.

Bottom line, do what ever feels good, even aurally. :-)
newbee
4,815 posts
 
Well, I'm not one of those mavens you are looking for but you sound lonely so what the hell. IMHO, fluid damping, just as putting a brush on the front of the stylus, should help out in smoothing warps, etc, in less than perfect records. You will probably see a lot less woofer cone motion when your stylus/arm encounteer a warp. That motion robs you of amp power and can alter/cause deterioration in upper frequency response. Other than that, you're probably right. Except that perhaps this damping might minimize vertical displacement somewhat you have encountered airborne vibrations or other groove defects. I don't know. Just a WAG for your entertainment. :-)
newbee
4,815 posts
 
Dumb question. Can you change the viscosity of the fluid in the damper? Would that help? FWIW, some years ago I had your problem with a 'normal arm' so I thought. Well I developed what I though was a subsonic problem due to cartridge/arm mismatch. One of those mavens on the net told me I could and should add fluid to the arm at the pivit point, that it had a well for it. Well, I did and it worked. Suggests to me to ask, is there any other adjustments mentioned in the owners manual that have been overlooked?
newbee
4,815 posts
 
Durbin, You need a rocket scientist. A dumb suggestion - BTW I think the mineral oil is a very safe and potentially effective oil to use - go down to the skid row part of town and bum a 'needle' from a resident. Then, once you clean it out, extract a small measured amount of the fluid in the trough and replace it with MO in the same amount. Just keep doing this until you no longer have your problem. Edison did this type of thing regularily with some success (at least with light bulbs). :-)
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