What VTA setting do most Triplanar owners use/recommend ? Appreciate that there are a host of subjective variables ie the cart, record thickness, VTF, listening preferences etc etc but I reckon there is an optimal range or reading on the scale of 1-11. From my experience with a Lyra Skala and VTF of 1.60 gm, a reading of around 5.5 on the VTA cylinder( taking the reading from the top of the silver cylinder in line with the vertical scale and NOT the horizontal line in the middle) appears most promising but am still learning and experimenting. Would appreciate any comments/suggestions. Cheers
It's one thing to have a feature on a tonearm (VTA on the fly) and quite another this feature to not compromise the basic tasks that a tonearm is intended to provide (sonics).
I'd opt for inconvenience (omitting a feature) if its implementation compromised sonics. This is of course, a slippery slope between ergonomics and sound however, and everyone has their own tolerance level for performing different tasks.
Mikelavigne: Thank you for some excellent advice.suThe cart has been set up with a MintLP etc.I guess I have been far away from a blissful state of mind for too long and that does'nt really help VTA or anything else.Wow what a fantastic system you have!! Tvad: Would have appreciated your tongue in cheek more if I had'nt forked out 4.7k! Did we exchange notes on an CJ pre many moons ago? Cheers and Happy listening
one of the great design features of the Triplaner is that VTA can be set dynamically (as you are listening), it is easy to change, and the changes are repeatable (there is a scale).
you need a reference LP which has a track with space and clarity. maybe a string quartet or great piano recording. some people like a solo violin.
it is also helpful to use an Lp of average thickness.
once the cartridge is fully broken in and you have found the correct overhang, then level the arm (really, level the cartridge body which typically, but not always, levels the arm). note the location on the VTA scale.
drop the VTA half a turn. more bass and space? drop it more. less bass and space, raise it. you are looking for the VTA spot where the bass gets muddy as a bottom point on your scale. keep lowering until things get clearly worse. then start raising the VTA in half turns until the top end is airy and open. if it gets edgy you went too far. once you find the spot where the top end gets worse you start lowering the VTA until you find the best combination of top end refinement, space and bass. you may end up making 1/4 or 1/8th turns to really dial it in.
finding the right reference disc is half the challenge.
sometimes it is best done with 2 people; one to listen and one to turn. after you have done it a few times it can be done dynamically.
this does take some time particularly when getting use to the process.
make sure you write down the scale location and record thickness for the ideal spot. don't trust your memory.
lastly; sometimes my mind is not in the right place for doing this kind of thing. don't fight it. this kind of critical listening requires a bit of peace and contentment to work (at least for me). this is suppose to be fun.
Many thanks appreciate the advice. I guess there are no shortcuts but a slow trial and error process. I think I am getting frustrated coz the VTA that works, for example with female vocals is less than good with blues or rock. May be I should stop looking for an ideal setting...simply level the tonearm...and enjoy the music...except that when I enjoy the music there is that little devil that keeps telling me that it could sound better and off I go again...almost wish I had stuck to the Rega RB 1000!! I am sure I will get there eventually. Happy listening
VTA depends upon your own individual arm/cartridge set-up which is what I think everyone has said to you. Start by getting a level arm early in the arm set-up process before worrying about VTA adjustments. My own set-up puts the VTA dial on my Tri-Planar VII Arm arm between 50 and 70 depending on record weight, the way the grooves were cut, digitally remixed vinyl, straight analog vinyl, mono, and stereo recordings. This statement does not include the variabilities of your table and its sound qualities, your phono stage, or the platform on which your table sits and how all these elements interact. Set everything up well and then listen to your records and mark each one if you like with its own VTA. If you have a highly resolving system, you should easily be able to hear the smallest change in VTA.
There is no industry standard for height differential between platter and tonearm mounting plane, although turntables tend to be clustered fairly closely in this dimension.
The point is that a Tri-Planar setting of 5.5 on one turntable can be the equivalent of another turntable set at 6.25 (using an identical cartridge).
There really is no way to correlate what one Triplanar user finds to work for VTA with what another Triplanar user uses for VTA, unless the cartridges are exactly the same (even 2 lyra's probably won't be exactly the same), the tables are exactly the same, the mounting is exactly the same, etc. The markings on the tower are simply a reference indication. You just need to learn to trust your ears.
The best I can tell you is that my Triplanar sits slightly tail up with my XV-1s. With this cartridge I can pick up on the sonic differences that come with changes in VTA adjustment, but it is no where near as sensitive to this as a Universe for example. I've never heard the Lyra but it could very well be that it is not overly sensitive either.
Sunnyboy i would suggest making very small movements and then give that adjustment the time to audition a few of your lps. A little goes a long way in all of your arm adjustments.
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