Very interesting, of course, but it's just impractical to chop and change like that. I prefer to find a sweet spot that works with most LPs. Life's too short to fart about to the extent shown here.
I agree. You find the correct azimuth...set the tracing distortion model gat works for you (baerwald is widely used for Rega geometry arms as the best compromise so Linn, Origin Live and many more arms hor example) set the vta and check each step change using say 3 different LPs and using the best compromise then leave well alone.
Now imagine owning a Linn Sondek and having to adjust suspension as well every now and then or every time the temperature changes....God as much as I love turntables that is too much fuss!
Vta may vary a little between different LPs due to the equipment that the master was cut at in terms of the cutting head angle. Changes might be a degree or two at most so starting at level tonearm moving up or down by a mm or two in each direction will result in diffferences to clarity. Vtf wont alter that much if anything at all. In engineering terms those very slight changes in vta make no difference whatsoever in "rhythm" as claimed...that I am afraid is not true. The slight changes wont affect timing but the precision especially for line contact and microline cut stylii in the high frequency area where there can be tiny modulations measured in microns. Changing vta for every LP really isnt needed. Its a compromise across a range of LPs. Azimuth will be the same for all LPs...it needs the headshell to be precisely parallel to the LP surface. Only minute changes barley visible are needed either side and most systems simply wont allow such precision though and some may require shimming of the armboard where angles cannot be changed on the headshell. Theres a bit of subjective assessmet here azimuth. As long as the tonearm for fixed headshells is paralell to the playing surface you need do nothing more.
Very interesting, of course, but it's just impractical to chop and change like that. I prefer to find a sweet spot that works with most LPs. Life's too short to fart about to the extent shown here.
@Marten Dekker the guy actually said that he changes VTA on the fly for every LP.
I agree. You find the correct azimuth...set the tracing distortion model gat works for you (baerwald is widely used for Rega geometry arms as the best compromise so Linn, Origin Live and many more arms hor example) set the vta and check each step change using say 3 different LPs and using the best compromise then leave well alone.
Now imagine owning a Linn Sondek and having to adjust suspension as well every now and then or every time the temperature changes....God as much as I love turntables that is too much fuss!
Hello, could someone please tell me the name of the first song they are demonstrating. I think he said it was Count Basie?
Vta may vary a little between different LPs due to the equipment that the master was cut at in terms of the cutting head angle. Changes might be a degree or two at most so starting at level tonearm moving up or down by a mm or two in each direction will result in diffferences to clarity. Vtf wont alter that much if anything at all. In engineering terms those very slight changes in vta make no difference whatsoever in "rhythm" as claimed...that I am afraid is not true. The slight changes wont affect timing but the precision especially for line contact and microline cut stylii in the high frequency area where there can be tiny modulations measured in microns. Changing vta for every LP really isnt needed. Its a compromise across a range of LPs. Azimuth will be the same for all LPs...it needs the headshell to be precisely parallel to the LP surface. Only minute changes barley visible are needed either side and most systems simply wont allow such precision though and some may require shimming of the armboard where angles cannot be changed on the headshell. Theres a bit of subjective assessmet here azimuth. As long as the tonearm for fixed headshells is paralell to the playing surface you need do nothing more.