Accurate VTA adjustment for classical records is critical to their proper reproduction. If you do not have an arm that allows you to easily adjust its VTA, then you will just have to do it the hard way (which normally means loosening a set screw and moving the arm up and down until you get lucky with the right height).
Yes, it may be time consuming, it may even be a major pain in the ass, but there is no question in my mind that you will hear a dramatic improvement in the sound of your classical records once you have learned to precisely adjust the VTA for each and every one of them. We heard the improvement on this record, and do pretty much on all the classical LPs we play. All records really.
VTA is not a corner you should be cutting. Its careful adjustment is critical. Of course, so are anti-skate, azimuth and tracking weight. The links below have a fair amount of advice on turntable setup which might be worth checking out.
This is what we sometimes refer to as Blockbuster Sound. It does not sound very much like a live orchestra, nor is it trying to. It’s trying to be huge and powerful in your home.
It’s more in line with a Rock Demo Disc such as Crime of the Century or Dark Side of the Moon, in the sense that everything has been carefully placed in the soundfield, each with its own space and sonic qualities.
It’s not the recreation of a live orchestral event — it’s the actual creation of a unique orchestral staging of its own making.
Which is ironic. HP talked about The Absolute Sound of live unamplified music as being the standard, yet somehow this recording ended up in his Top Twelve All Time Greats. Makes no sense to me, but neither do many of the records on The TAS Super Disc List.
That said, our current favorite Planets is the other Planets on the TAS List, Previn’s performance for EMI.