vta-advice

VTA – A Few Moments of Experimentation Can Really Pay Off

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Specific advice on what to listen for as you critically Adjust Your VTA.

Experimenting with the VTA for this record we found a precise point where it all came together, far beyond whatever expectations we might have had at the time, which revealed a violin floating between the speakers, an effect that as audiophiles we appreciate for the magic trick that it is.

The sound of the wood of the instrument became so clear, the harmonic textures so natural, it was quite a shock to hear a good record somehow become an amazing one. All it took was a few moments of experimentation.

With the right VTA setting we immediately heard more harmonic detail, with no sacrifice in richness. That’s the clearest sign that your setup is right, or very close to it.
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Benny Carter and Tube Versus Transistor Tradeoffs

More Benny Carter

More Thoughts on Tubes in Audio

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Here’s how we weighed the tradeoffs in the sound of the originals versus that of the reissues, with VTA advice to follow. 

This superb sounding ORIGINAL Black Label Contemporary pressing of Benny Carter’s swingin’ jazz quartet is the very definition of a top jazz stereo recording from the late ’50s mastered through an all tube chain.

There’s good extension on the top end for an early pressing, with TONS of what you would most expect: Tubey Magic and Richness. If that’s what you’re looking for, this copy has got it!

We prefer the later pressings in most ways, but this record does something that no later pressing we have ever played can do — get Benny’s trumpet to sound uncannily REAL. If you want to demonstrate to your skeptical audiophile friends what no CD (or modern remastered record) can begin to do, play side two of this copy for them. They may be in for quite a shock. (more…)

Azimuth, VTA, Anti-Skate and Tracking Weight – We Got to Live Together

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With a shout out to my man Sly!

In this listing you can find commentary and advice about tonearm azimuth adjustment, Ansermet’s recordings, Speakers Corner 180g pressings, and more.

The Borodin title you see pictured has DEMO QUALITY SOUND OF THE HIGHEST ORDER!

One of the great London records. The performance by Ansermet is definitive, IMHO, and this recording ranks in the Top Ten Decca/ Londons I’ve ever heard.

The powerful lower strings and brass are gorgeous. Ansermet and the Suisse Romande get that sound better than any performers I know. You will see my raves on record after record of theirs produced in this era. No doubt the wonderful hall they record in is the key. One can assume Decca engineers use similar techniques for their recordings regardless of the artists involved. The only real variable should be the hall. Ansermet’s recordings with the Suisse Romande have a richness in the lower registers that is unique in my experience. His Pictures At Exhibition has phenomenally powerful brass, the best I’ve ever heard. The same is true for his Night On Bald Mountain. Neither performance does much for me — they’re both too slow — but the sound is out of this world. Like it is here.

One of the reasons this record is sounding so good today (1/12/05) is that I spent last weekend adjusting my Triplanar tonearm. The sound was bothering me somewhat, so I decided to start experimenting again with the azimuth adjustment. I changed the azimuth in the smallest increments I could manage, which on this turnable are exceedingly small increments, until at some point the bass started to go deeper, dynamics improved, and the overall tonal balance became fuller and richer. Basically the cartridge was becoming perfectly vertical to the record. I don’t think this can be done any other way than by ear, although I don’t know that for a fact. (more…)

Turntable Set Up Guide Part 1: Why You Need to Do It Yourself

One of our good customers has started writing a blog which he calls

A GUIDE FOR THE BUDDING ANALOG AUDIOPHILE

Below you will find a link to an article about turntable setup in which I am quoted on the subject. I would have loved to write something along these lines myself, but never found the time to do so.

Robert Brook took the job upon himself and has explained it well, so if you would like to learn more about turntable setup, I encourage you to visit his blog and read more about it.

Turntable Set Up Guide Part 1: Why You Need to Do It Yourself

Where Cheap Turntables Fall Flat – The Music of Franz Liszt

 

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Classical music is unquestionably the ultimate test for proper turntable/arm/cartridge set-up. The Liszt recording you see pictured is a superb choice for adjusting tracking weight, VTA, azimuth and the like.

One of the reasons $10,000+ front ends exist is to play large scale, complex, difficult-to-reproduce music such as Liszt’s two piano concertos. You don’t need to spend that kind of money to play this record, but if you choose to, it would surely be the kind of record that can show you the sound your tens of thousands of dollars has paid for.

It has been my experience that cheap tables more often than not collapse completely under the weight of a mighty record such as this.
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Liszt / Piano Concertos No. 1 and 2 / Richter

More Franz Liszt’s music

Piano Concertos No. 1 and 2 / Richter

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A distinguished member of the Better Records Orchestral Music Hall of Fame.

This A++++ Beyond White Hot Stamper 2-pack has sound that must be experienced to be believed! The finest Liszt 1st & 2nd Concertos we know of for performance and unquestionably for sound when they sound like this. More like LIVE MUSIC than any classical recording I have played in longer than I care to remember – both sides are so big, rich and transparent we guarantee you have never heard a better piano concerto. (more…)

Aretha Franklin – Amazing Grace – A Bit of Experimentation with VTA Can Really Pay Off

More Aretha Franklin

More Amazing Grace

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This is a handy record for VTA setup, a subject we discuss at length below.

On the better copies Aretha’s vocals are as dynamic as any you will ever hear, and unlike all the records she did with Tom Dowd, her voice never breaks up on this record. If you have big speakers that can play at loud levels, with the right volume level you can really get Aretha to belt it out like nothing you have ever heard. 

Like most modern churches, the kind that have upholstered pews and lots of carpeting, the natural reverberation of the sound isn’t as pronounced as it would be were the recording taking place in a 16th century cathedral. (more…)

Grieg / Peer Gynt / Fjeldstad / LSO – Speakers Corner Reviewed / VTA Advice

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Sonic Grade: C+

The Fjeldstad has long been one of our favorite performances of Peer Gynt here at Better Records. 

This record is handy for VTA set-up as well, a subject discussed below in our listing from 2010.

The sound is excellent for a modern reissue*, but in the loudest sections the orchestra can get to be a bit much, taking on a somewhat harsh quality. (The quieter passages are superb: sweet and spacious.)

So I adjusted the VTA a bit to see what would happen, and was surprised to find that even the slightest change in VTA caused the strings to lose practically all their rosiny texture and become unbearably smeared.

This is precisely why it’s a good heavy vinyl recording for setting up your turntable. If you can get the strings to play with reasonably good texture on this record you probably have your VTA set correctly. (more…)

Helplessly Hoping to Get the VTA Right

More Crosby, Stills, Nash and Young Records in Stock

More Commentaries and Letters for So Far

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This listing from 2005 (!) contains commentary about VTA adjustment using the track Helplessly Hoping from a Hot Stamper pressing of CSN’s So Far. 

Helplessly Hoping is a wonderful song that has a lot of energy in the midrange and upper midrange which is difficult to get right. Just today (4/25/05) I was playing around with VTA, having recently installed a new Dynavector DV-20x on my playgrading table (a real sweetheart, by the way), and this song showed me EXACTLY how to get the VTA right.

VTA is all about balance. The reason this song is so good for adjusting VTA is that the guitar at the opening is a little smooth and the harmony vocals that come in after the intro can be a little bright. Finding the balance between these two elements is key to getting the VTA adjusted properly. (more…)

Turntable Set Up Advice – Using Court and Spark

More Joni Mitchell

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your copy of Court and Spark.

There are loud vocal choruses on many tracks, and more often than not at their loudest they sound like they are either breaking up or threatening to do so. I always assumed it was compressor or board overload, which is easily heard on Down to You. On the best copies there is no breakup — the voices get loud and they sound clean throughout.

This assumes that your equipment is up to the job. The loudest choruses are a tough test for any system.

Setup Advice

If you have one of our hottest Hot Stampers, try adjusting your setup – VTA, Tracking Weight, Azimuth, Anti-Skate (especially! Audiophiles often overlook this one, at their peril) — and note how cleanly the loudest passages play using various combinations of settings.

Keep a yellow pad handy and write everything down step by step as you make your changes, along with what differences you hear in the sound. You will learn more about sound from this exercise than you can from practically any other. Even shootouts won’t teach you what you can learn from variations in your table setup. And once you have your setup dialed in better, you will find that your shootouts go a lot smoother than used to. (more…)