What Do You Hear When You Adjust VTA?

For stylus that elliptical or non-fine lined, the VTA is less critical. Generally the description of tighter non-muddy bass and clean highs makes sense.

But for a fin-line or Shibata stylus I think you need to listen a bit differently. The groove wall modulations for bass are large, and any semi-aligned crtridge will play them. But high frequencies are very small, to the point where the angle of the cutting head plays a major role. Since a fine line stylus shape is also narrow it becomes apparent that the high frequency grooves must align with the narrow stylus edges.

Therefore you need to listen to leading edge transients on cymbals and bells and such. If you get that right then all else should fall into place.

Do a search for SRA. The Stylus Rake Angle (SRA) is not exactly the same as the Verticle Tracking Angle (VTA)and much has been discussed on this subject. In the SRA search under the analog section there is a discussion about using a USB microscope for setting the SRA. About half way down Doug Deacon has an entry that I found enlightening and specifically discusses the audible changs to listen for as you adjust the SRA up or down. Doug adusts his by ear on each album and has keen insight to what you can listen for. Very interesting read that helped me find the proper SRA for my table/arm/cartridge by listenind also. I would place a link to it, but I do not know the proper procedure.

A VTA/SRA self-appointed "expert" once listened as I played around with the VTA adjuster on my new tonearm. He was most careful to have the arm moved up and down two or three times before he finally announced where the sweet spot was. "Anyone can hear the effect," he proclaimed, but in fact I couldn't hear any difference whatsoever. A few hours after he left I found that the adjustment collar was not in fact threaded to the arm pillar, and that my "adjustments" had not altered arm height by even a mm.

Take what you will from this anecdote. I haven't bothered to try and enlighten the expert, and I've gently parried his offers to recheck the setting since then.

Drrsutliff,

I think you meant this thread?

Instructions for including links and other things in a post are at the bottom of this page. Click on "markup tags".

Glad to hear some of my endless babblings helped. ;)
Doug\

Thanks to Doug and others who helped on my thread. I think I have a better grip now.

Like Doug had previously said, adjust for proper temporal integration of the note and its harmonics. Works best for my on piano as I am more familiar with the sound. SRA too high would put the harmonics ahead of the note and vice versa. Bass drums and strings pizzicato also good for me.

Properly adjusted SRA will also enhance the soundstage, more 3D and less congestion. IMD is minimized when SRA is optimized. Poor SRA will increase IMD and muddy up soundstage.

Way too high or low setting will change high and low frequency balance but IMHO, the setting needs to be way off (varies with cart). It is also tricky adjusting SRA just listening for tonal balance. If room has inherent frequency anomalies, it is very easy to fall into using the SRA as tonal control and ultimately arrive at wrong setting and compromise other areas.

Changing VTA changes VTF slightly and will alter geometry very slightly ( longer arms less affected). Recheck VTF if VTA is changed a lot >2mm.

Best way to learn VTA setting is using the adjustment itself. Start by aligning the arm horizontally which usually puts VTA at 22 to 23 degree. Adjust in 0.5mm increments. I would suggest 5 increments higher and 5 increments lower. Listen for everything mentioned here. Try and maintain VTF constant. You will come to a setting that you like the most and probably the correct SRA/VTA.

Good luck