2. analog
  3. 1244713018

VTA setting for 'parabolic' and 'elliptical' styli

Hi,
please let's have some expert opinions based on experience regarding this subject.
One cart manual specifically recommends negative VTA (arm down from level at pivot) for parabolic styli, as compared to some elliptical styli prefering positive VTA (arm up from level at pivot), see Townshend IEE 500 manual:
http://downloads.nakedresource.com/ve_download_centre/index.php?townshend/elitetownshend_cartridges.pdf
as seen on Vinylengine: http://www.vinylengine.com/library/townshend/eei-500.shtml

To further confuse the issue, in a manual for the Garrott P77, also using a parabolic stylus (Micro Tracer), it states the complete opposite, moving the arm UP by 4-5mm for best VTA...! That's one hell of a lot positive VTA, close to imposible to even realise with mu SME-V. (The arm begins to bottom out on the lowered arm-lift)

Could anyone shed some light on these contradictions for us?

The 'EEI 500' does work best with negative VTA, and so does my A&R P77, also sporting a parabolic stylus.
In terms of ALL line-stylus type carts (all my MCs) it was ALWAY understood that UP from level gives more treble and DOWN less treble etc. etc. (..in VERY simple terms, as we know the whole spiel).

It needs to be mentioned, that the MM carts noted above **appeared** to need more arm UP to sound correct, according to my then current experience --- indeed they seem to work the other way around! Hm...
Greetings,
Axel
axelwahl

Showing 2 responses by timeltel

timeltel's avatar
timeltel
830 posts
 
Regards, Alelwahl, greetings all: Gregm (I think) has the handle on this concern. To my simple understanding, lines in space can be either parallel or divergent. The angle of the cutter head varies from one producer to another, from one standard to the next and as Gregm says, styli too. What a mess!
Axel, it seems to me that the narrower the profile of the stylus in contact with the groove walls, (some) divergence becomes less critical and the less apparent (slight) VTA error becomes. The signal is not "smeared" to the same degree across the associated surfaces because of this diminished area of contact. Could one think of this as a time/space consideration? I don't want to even consider how this might apply to a conical stylus.
Such is my perception. I tend to optimise VTA and utilize the finest profile stylus available, adjusting VTA when recording or when the reproduction is unlistenable. This is not to say correct VTA is unimportant, or "one bullet for all game" (perfectionists, please leave me some wiggle room. If I try to fix it often enough, I'll break something).
Rual, consequently I share your philosophy of setup to an acceptable standard and then "enjoy the music": the standards of most A'gon contributors seem pretty high.
timeltel's avatar
timeltel
830 posts
 
Regards, Axelwahl: Always glad to know if I have the Shure on the wrong foot, your opinion is respected. I should have clarified: 90% of my listening is casual, frequently from another room or while reading. Music is constantly present but is not always an event. There may be others who do the same. I hold the highest regard for those who adjust VTA to within "1/200th turn" for every selection. When listening to music critically, VTA becomes much more my concern, correct adjustment takes only a moment and is well worth the small effort, but is not a thing I obsess about, nor would I suggest it of anyone. Knowing the difference is the key, how it is applied seems relative to the environment. My 350Z can achieve 159 mph, but I don't choose to always drive it that way.
Dertonarm, if you think I put the cart. before the course, so be it, but let's return to Axel's post, he asks an interesting question. I'm sure you can respond professionally to the technical aspects concerning stylus profiles and their relation to VTA, whereas the only reference in my "audiophile resume" is 40 yrs. of undocumented interest. Accordingly I will continue to adjust VTA when I think it necessary.
More to discover