My Views and Procedures for Adjusting VTA

karma

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An Introductory Note: This essay was originally started for forum member mep. After starting, I remembered that mep uses a SME 312 arm and not his previous Eminent Technology ET2. So, much that I had to say did not apply to his situation and I stopped writing. However, several forum members encouraged me to continue and what follows is the result. The glitch is the fact that my findings and procedures are based on the ET2 arm, which is a linear tracking air bearing design. I have found that a linear tracking design allows a definitive VTA calibration. Pivoted arms are more problematic due to the geometrical errors that are endemic to their geometry. Still, he basic process still applies to pivoted arms but the VTA sweet spot is much less specific. Please keep this in mind as you read.

I have continued a style as if I were writing directly to mep. Mep, thanks for your encouragement.

Introduction
This is going to be difficult to write. So, let me start by saying that I respect your knowledge and experience very much as well as your exposure to fine equipment. That’s why I’m writing you. I’m not so much interested in expounding my ideas as I am asking for your thoughts on the subject. I do consider myself something of an expert on the subject of adjusting VTA. But, talking with someone who can add to my knowledge is always a privilege. I fear this will sound like I’m the only person on earth that has solved the VTA issue. I know this is not true. I also think that most, if not all, of the material I have read on the subject is totally wrong and misleading. I will assume that the playback system is top notch and is especially strong in the areas of resolution and detail.

Another reason I want to talk to you is we have the same tone arm so our tools are the same. When I say, for example, “as indicated on the circular VTA calibration scale”, you will know exactly what I mean. I also assume that the stylus is a fine line contact type. This is crucial. So, let’s start.

Much of this information I’m sure you already know. But I can’t assume this. Just understand that I’m not talking down to you. I must express the entire idea. Please be patient with me.

This is broken up into several sections. First, I want to give my historical background on the subject. Next, I want to explore the nature of proper VTA adjustment with respect to the groove. This is the critical section. Then, I will go through my adjustment procedure specifically with the ET arm. I will try to define exactly what I am listening for and why. Last, I will explore VTA adjustment mechanisms that are seen on various arms and why most of them are terrible.

My History with VTA
From early in my audiophile (the term audiophile was not yet coined) life, in the early 1960’s, I read about proper VTA (actually called parallelism) adjustment. Mostly, in the early days, we were advised to just make sure the bottom of the cartridge is parallel to the record surface with no further guidance. As the audio art advanced into the high end distinction, more words were spent in the tone arm reviews concerning proper VTA alignment, but with no further guidance. So, the question arises concerning what does one actually listen for when making the adjustment? How do you know when it is correct? It was clear that this adjustment had to made by ear. No guidance.

My arms at the time varied from the SME 3009 to several servo type linear trackers prior to settling on the ET’s around 1990. I started using fine line contact styli around 1974 with my B&O 4004. I have never strayed from this stylus shape. I started using low output moving coils around 1976 with my Yamaha PX-2 and have been using them ever since.

I attempted to calibrate VTA quite a few times with my various arms and turntables. I never had success. I decided to just make sure the bottom of the cartridge was parallel with the record and left it at that. I was frustrated because I could not understand why I was having so much trouble. Little did I know….

Things changed with my first ET2 but not right away. When I first installed the arm on a Sota Star I just adjusted for parallelism. I had given up on precision VTA calibration. But one thing was clear. This arm had a serious VTA adjustor, unlike anything I had previously seen. All of my previous arms had a set screw that was loosened and the position of the pivot was raised or lowered by some arbitrary amount controlled by one’s hand. But the ET adjustor allowed for very controlled amounts of change and it was indicated by scales. Neat! It looked promising. Obviously, Bruce was serious about VTA but the instruction manual gave nothing but the most general guidance. Was this one of Bruce’s little jokes?

So, after a period of use, one afternoon I took a deep breath and decided to attempt a precision VTA calibration.

Then I heard a change!! Amazing! I continued, trying to zero in on the perfect setting. I found it. It took about 6 passes to get to the point where I was making fine adjustments. I was astonished at the improvement. The sound just sort of clicked in. And I was sure I had it right. I’ll explain below.

VTA and the Record Groove
The relationship between the record groove and the stylus is similar to a lock and key. If the key is not aligned with the lock it will not work. If it is not pushed in far enough it will not turn. The alignment must be correct for the scheme to work. The analogy fails at a certain point but it illustrates the point. Let’s assume the highest frequency in the record groove presents a curvature that exactly matches the narrow curvature of the stylus, where the stylus actually contacts the groove. If the stylus is placed in the groove, the stylus should fit perfectly, like a key into a lock. This represents a perfect VTA alignment. OTH, if the stylus is tilted either up or down in the direction of the groove, the stylus will enter the groove but it will not perfectly contact the entire curvature of the groove. It will enter at an angle to the axis of the groove modulation. This represents a misadjusted VTA.

The above example shows that VTA calibration is most important for high frequencies. Mid-range and bass need not apply because their groove wave lengths are so long that VTA misalignment is only a small angular fraction of that wave length. Thus, small changes to VTA such as required for VTA calibration with high frequency groove modulations, have essentially zero effect at lower frequencies. Thus, all we have read about touting improved bass performance or imaging, or staging, with proper VTA is just wishful thinking. It’s the high frequencies that count.

The Procedure
Initially, I did not know what to expect, what defined correct, what height change increments to use, or what direction to start. I started with the cartridge parallel as judged by eye. Then I started adjusting the pivot height, keeping records of the height changes from the scales, and listening carefully. I missed! Then I returned to the start and went in the opposite direction. I missed! Remember, I did not know what a “hit” sounded like so I was not very optimistic. But I continued the process, reducing the height change increments for each pass.

When I heard a change for the first time I was very excited. I continued the process using smaller and smaller increments of height change and zeroed in on the sweet spot, always recording my process. The first time this took a fair amount of time. But, with more experience, I can do it fairly quickly. The most difficult situation is adjusting VTA on a new cartridge because I have no history with it.

So, what had I learned? Well, a lot.
1. Proper VTA alignment was definitely worth the trouble. This was an “Ah Ha” moment for me.
2. There is a very small height window where the VTA is correct. Very small. For those of you who are familiar with the ET arm, a change of less than one division on the circular VTA scale is the size of the sweet spot. However, you can hear the approach to the sweet spot about two divisions away on the VTA scale, either plus or minus from the sweet spot.
3. The increments of height change must be very small or the sweet spot could be passed without even knowing it. Typically, a change of more than two scale divisions is too much. You will miss. I usually use 1 division changes. This causes a very small change to the pivot height. Proper VTA is a very small spot indeed.
4. VTA error sounds exactly the same with the pivot either high or low. The sound will not indicate which direction to adjust.
5. The sound gives no indication of how far off the adjustment is until it is very, very close to right, within 2 divisions on the VTA scale.
6. The VTA sweet spot is very small and sensitive.
7. Only certain kinds of recorded sounds make the VTA calibration relatively easy. I chose a good, closely mic’ed solo piano recording. I’ll explain below because this is a critical issue.
8. The descriptions I had read for VTA adjustment were totally wrong, misleading and not repeatable.
9. Last, and most important, the vast majority of arms have no hope of allowing a correct VTA calibration. The ET is special along with a few others, all expensive, because of its sophisticated VTA adjustor.

What I’m Hearing
I use one record for VTA Calibration. There are many records that would work but they should all have a wealth of complex high frequency information. I use a standard thickness , closely mic’ed, Colombia recording of Glen Gould playing solo Bach on piano. I believe a good harpsichord recording, closely mic’ed, might work even better because of the incredible interplay of harmonics a harpsichord can produce. But I did not have the right harpsichord record. So, I settled for the excellent Gould recording which is closely mic’ed and better than most Colombia’s. I use this record only. I have been for years.

Why? Well, I know exactly what to listen for. In fact, not only do I use just one record, I also use only one passage. This one passage offers an extremely complex collection of many strings simultaneously vibrating. The object here is to be able to separate out the strings which occur only when the VTA is correct. I am specifically listening to the pianos characteristic buzzing quality when multiple strings are in action. This mostly involves the harmonics of the notes that are played. When VTA is not correct, the strings sound homogenous. When the VTA is correct, this homogenous quality disappears and is replaced by the individual harmonics. This quality makes for a very sensitive VTA calibrator.

I pay no attention to any other attribute. I am only interested in the stylus fitting the groove properly. All other audio qualities follow from this.

VTA Adjustor Mechanisms and Other Issues
Once I was successful with the VTA adjustment, it was clear why I had had such a difficult time with VTA in the past. Many (most) tone arms do not have an adjustor that permits the very fine adjustments necessary for a proper VTA calibration. Typically, tone arms follow the venerable SME 3009 model. It has a set screw that secures the pivot pillar. To adjust tone arm height (VTA), the set screw is loosened and the pillar is moved up or down by hand. There are no scales. There are no gear drives. There is no friction to permit a setting to be held. In short, this type of adjustor offers no hope, except luck, to attain a proper VTA. It’s no wonder I never found the sweet spot.

To those that claim to have been successful with VTA, I would first ask a question seeking to discover what type of adjustor is used on their tone arm. If it s a set screw type I will dismiss their opinions. The odds against them are too high.

What is needed is a well engineered micrometer type adjustor. Fortunately, many modern, expensive tone arms are now so equipped. As far as I know, no tone arm that costs less than, say, $2000 qualifies. My two tone arms, the ET2.5 and the Graham 2.2 Deluxe both have wonderful adjustors. I have come to believe that the quality of the VTA adjustor is the most reliable indicator that a given tone arm is a serious design and one that that I would consider owning.

Sparky
 
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mep

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Sparky-Thanks for taking the time to write this. This article will give food for the thought for those who can perform precision adjustments to their VTA. It's interesting to note that you started off using a SOTA table. My first ET-2 was installed on my SOTA Star Sapphire that I owned at the time.

Mark
 

karma

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HI Mark,
You are welcome. I always dreaded writing this up because the ideas are difficult to express. Remember, you are not off the hook. I want and need your thoughts after you have had time to digest the essay.

Yes, I really liked the Star. It taught me about the advantages of vacuum hold down. I exchanged the Star for the Sota Nova several years later which I still have. I probably should have gone all the way and bought the Cosmos. But, I have been very happy with the Nova. I have no doubts about vacuum turntables. They are the way to go. They allow resolution and detail to strut its stuff. And this not even mentioning the ability to flatten warps. And, as we all know, there is no such thing as a perfectly flat record.

Sparky
 

ack

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The Analogue Productions Ultimate Test LP has a track for VTA adjust; it has a 60Hz and 4kHz pair of tones in 4:1 ratio and one is supposed to use an IMD tester to adjust VTA so that distortion is minimized. What is that all about?
 
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karma

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The Analogue Productions Ultimate Test LP has a track for VTA adjust; it has a 60Hz and 4kHz pair of tones in 4:1 ratio and one is supposed to use an IMD tester to adjust VTA so that distortion is minimized. What is that all about?

HI ack,
Not really sure what to think about it. There is no doubt that misadjusted VTA results in distortion. The issue is whether it can be effectively measured. Personally, I don't have an IMD meter. I can measure harmonic distortion down to ridiculous levels but not IMD. IMD meters are fairly rare and usually quite expensive. Even most hi fi repair shops can't measure IMD. It's the kind of instrument you would typically find in a development lab. The other issue is the fact that the signal from a record is somewhat unstable from an instrumentation point of view. I'm not sure that it can be truly useful. I would have to try the Test LP before I could say. But since I can't measure IMD the question is just academic.

And I must ask why bother? Every good high fi system has all the tools necessary to adjust VTA. Why not do it by ear? Ultimately we must satisfy our ears.

Sparky
 
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ack

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Thanks; I am just a measurements guy as well, and strongly believe that good measurements must support listening results, and if not, perhaps we are not measuring the right attribute or not measuring it the right way. I need math as well, if you know what I mean...
 

MylesBAstor

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HI ack,
Not really sure what to think about it. There is no doubt that misadjusted VTA results in distortion. The issue is whether it can be effectively measured. Personally, I don't have an IMD meter. I can measure harmonic distortion down to ridiculous levels but not IMD. IMD meters are fairly rare and usually quite expensive. Even most hi fi repair shops can't measure IMD. It's the kind of instrument you would typically find in a development lab. The other issue is the fact that the signal from a record is somewhat unstable from an instrumentation point of view. I'm not sure that it can be truly useful. I would have to try the Test LP before I could say. But since I can't measure IMD the question is just academic.

And I must ask why bother? Every good high fi system has all the tools necessary to adjust VTA. Why not do it by ear? Ultimately we must satisfy our ears.

Sparky

See pg 51.

View attachment et2manualpart2..pdf
 

ack

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Thanks Myles. The manual says:

Presently most records are cut with resulting vertical angles between 16 and 20 degrees. The average vertical angles of cartridges manufactured today is slightly higher than 22 degrees... Use the VTA dial and set ... such that the tonearm wand is parallel to the surface record. The adjust the VTA dial to -1 degrees.

Does this make sense to you? Following the recommendation will result in a VTA angle 21 degrees and above... Did I miss something?
 

karma

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HI Myles and ack,
Myles, as usual you are a wealth of information and knowledge. I've never seen this write up by Bruce. I get very frustrated by the lack of standardization. It is a good argument to adjust VTA for each record.

But I refuse.

ack,
I have nothing against measurements and numbers when they correspond to the listening experience. The problem is that often they don't. Before the concept of "high end" audio really took off, typical reviews of solid state amps (tube amps were still nearly non-existent) were driven by measured distortion. These amps came to the point where their distortion became vanishingly small. Yet, they sounded bad. The measured numbers just didn't support the listening experience.

Then came along J. Gordon Holt who dismissed the measured performance almost entirely. Thus, the birth of subjective reviewing and it was revolutionary. It was the real birth of High End audio. Being a measurements type at the time, I was skeptical. But then I listened. I had a revelation. Gone was all my solid state stuff and in came tubes. I've never looked back.

The problem with subjective judgments is we are left with having to depend on the quality of the ears that are making the judgment. Holt had great ears and terrific taste. But the door was left open for many who were not so disciplined, talented, and experienced. Without measurements to guide them, many folks were lost. This led, in my view, to ridiculous extremes such as the SET amp movement.

The most talented amp designers use both measurements and subjective judgments to voice their equipment. And this is as it should be. But, in the end, it's your ears that must make the final call, damn the measurements.

Sparky
 

bblue

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Apr 26, 2011
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Sparky,

I agree completely with your assessment of the ET2's ability to be precisely calibrated VTA/SRA-wise. It's quite audible and pretty easy to determine the right range and then the exact spot for a given record. (VTA=Vertical Tracking Angle, SRA=Stylus Rake Angle, VTF=Vertical Tracking Force)

Are you using the gauge-type VTA indicator wherein each division is .001" adjustment? Or the original gauge with increments labeled as '-' adjustments?

It's really necessary to, when you install the cartridge, come up with a predictable starting point from which to set your 0 reference on the gauge. I usually do this by starting out with the cartridge body or arm head parallel to the record, as well as the arm itself, at the recommended VTF. The VTF is critical since it also affects VTA. So you tweak with arm height to get the stylus at this 90 degree starting point. I use a Dino-scope USB microscope to assess the angle of the stylus edges at this initial setting, trying to make the 90 degree point relative to the VTA gauge zero.

For SRA you generally want between 1-2 degrees tilt (stylus tip pointing rearward). That is a reference point which will be modified as you listen to VTA changes and take into account the difference between actual VTA degrees of the record and the cartridge (SRA and VTA are actually two different things, but the only one you can really adjust is SRA, VTA is affected somewhat). And of course that is different between records and even sides of the same records, so it's helpful to keep a little offset 'log' for records you play to quickly dial in the proper setting.

The worst part about all this is while you are adjusting VTA/SRA angles, you are also affecting the cartridge overhang adjustment which you carefully did with the little plastic protractor. So, once you're in the ballpark with VTA, you should go back and fine tune the overhang, as that can severely degrade phase response and distortion.

And of course, should you find that your starting VTF isn't quite in the best spot, you need to change the VTA adjustment by the right amount to get back to where you were on the gauge before VTF was changed. It's the same round-robin that you would have to do with most any arm, only for the most part it's a little easier to maintain.

Your log should reference the cartridge used along with VTF so if you have to translate from one adjustment range to another, you at least have some sort of reference.

It unfortunately gets a lot murkier when you change cartridges. You're starting from total scratch again and may or may not find a correlation between old log entries for the previous cartridge and the new one. But I would certainly rather go through this uncertainty on an ET arm than a pivoted one.

On my gauge, as I'm determining the correct VTA/SRA I cross over an area where there is a significant change of bass character. It tends to be somewhat broad, perhaps .01" on the indicator. But within that range, or sometimes right on the edge, there's a finer area where the character of the high frequencies is changed. Usually if you're up too high (larger minus numbers) the high frequencies will have a more pointed, aggressive sound, whereas below the correct point they tend to soften a bit too much. Right in that transition is the idea point.

I'm glad you posted your experiences, as very few people seem to have much to offer on the alignment of this arm. Hopefully some of my procedures will help someone.

By the way, if you are frustrated by the limited functionality of the plastic protractor, MintLP makes a mirrored glass version of it, with perpendicular marks in several places to help set the cartridge twist (Zenith) by allowing you to easily see the position of the cantilever. Really helpful for a precise alignment. His name is 'Yip', in Hong Kong, at MintLP@Hotmail.com. Top quality work, designing custom precision mirrored protractors for various turntable/arm configurations.

--Bill
 

mep

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I never used the plastic protractor. ET metal jig has the scribe line engraved in it.
 

bblue

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I never used the plastic protractor. ET metal jig has the scribe line engraved in it.
Yeah, those were primarily for dealers and have been discontinued for some time.

You can always use a small size 'square' tool to scribe a line perpendicular to the engraved line somewhere in the middle of the arm travel. Or two lines very close together. I don't know how well you could site the cantilever relative to the new line(s) without a mirror reflection to guide you (parallax effect).

Does your ET2 have the damping tray?

--Bill
 

karma

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HI bblue,
Thanks for your reply. Are you actually using the ET arm? Which version? What is your manifold pressure? What turntable? How is your turntable mounted? Does your cartridge use a fine line contact stylus? Would you characterize your system as have great resolution and detail? I'm asking for this just to fill in my data base. Thanks.

I make no attempt to zero the adjustment system other than trying to get the cartridge level with the record surface. I'm not even too picky about this. Since i will be changing the angle some unknown amount and I will be judging the result by ear I don't find it to be important. But the level cartridge (roughly) is the starting point.

If the cartridge is one that has been previously calibrated, I'll use my previous numbers for reference but I still totally rely on my ears. All I use the previous record for is to see if I am in the ball park. The previous numbers are not more helpful because everything depends on starting with a level cartridge. Since I can't measure this with sufficient accuracy, its utility is limited. If the cartridge is new, all bets are off and one must start from scratch. But everything is still done by ear.

Can you optimize repeatability? I do this by using only one record for the VTA calibration. This makes life a bunch easier.

Your point about VTF is good and important. With a level cartridge, I use a digital scale to make that adjustment first. All I'm worried about is the VTF is sufficient to not allow mistracking. Typically, this value will be around 3/4 of the maximum specified by the cartridge manufacturer. I'm not a fan of using the minimum possible tracking force. This is all established before I start with VTA calibration. Once set, I never vary the VTF since it will affect the VTA.

The scale I am referring to in my essay is the circular scale that slips over the shaft where you put the lever that makes the adjustment. That is the case for the arm on my Sota Nova.

On the arm that is on my Oracle Delphi V, I have the ET dial gauge mounted and I don't use the circular scale at all.

Sparky
 
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karma

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HI All,
Unless you ordered the mounting jig, the plastic protractor is the only tool you have to adjust the tracking angle. I have the jig so the plastic tool sits unused. But I have experimented with it and found it worked quite well.

Sparky
 

mep

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Yeah, those were primarily for dealers and have been discontinued for some time.

You can always use a small size 'square' tool to scribe a line perpendicular to the engraved line somewhere in the middle of the arm travel. Or two lines very close together. I don't know how well you could site the cantilever relative to the new line(s) without a mirror reflection to guide you (parallax effect).

Does your ET2 have the damping tray?


--Bill

I don't have the dampening trough. I somehow I acquired the original owner's manual for the trough though.
 
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karma

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HI,
I had the trough at one time. I didn't see the advantage so I removed it. I don't miss it except for the drowned moths!!. I don't believe ET offers it any more. Maybe Bruce felt the same as me.

Sparky
 

bblue

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Apr 26, 2011
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HI bblue,
Thanks for your reply. Are you actually using the ET arm? Which version? What is your manifold pressure? What turntable? How is your turntable mounted? Does your cartridge use a fine line contact stylus? Would you characterize your system as have great resolution and detail? I'm asking for this just to fill in my data base. Thanks.
Sparky, I have the standard ET2 running a manifold pressure of 8.5 psi measured at the incoming manifold airline.

Currently the ET2 is mounted on an older Sota Sapphire temporarily until I get a replacement turntable. I have three arm wands, two with Ortofon A90's with the Replicant stylus (similar to the Fritz Geiger design) maximum contact fine line, and a Zyx R1000 Airy 3 X SB, also fine line.

The system has excellent resolution.

I make no attempt to zero the adjustment system other than trying to get the cartridge level with the record surface. I'm not even too picky about this. Since i will be changing the angle some unknown amount and I will be judging the result by ear I don't find it to be important. But the level cartridge (roughly) is the starting point.

If the cartridge is one that has been previously calibrated, I'll use my previous numbers for reference but I still totally rely on my ears. All I use the previous record for is to see if I am in the ball park. The previous numbers are not more helpful because everything depends on starting with a level cartridge. Since I can't measure this with sufficient accuracy, its utility is limited. If the cartridge is new, all bets are off and one must start from scratch. But everything is still done by ear.

Can you optimize repeatability? I do this by using only one record for the VTA calibration. This makes life a bunch easier.
Right. Yes, I can re-tune to a given record if I have made note of the optimum setting. Unfortunately, that's only good as long as I STOP MESSING with things, which seems to be almost never. So I always fall back on a quick by-ear alignment for each side that seems to need it.

Your point about VTF is good and important. With a level cartridge, I use a digital scale to make that adjustment first. All I'm worried about is the VTF is sufficient to not allow mistracking. Typically, this value will be around 3/4 of the maximum specified by the cartridge manufacturer. I'm not a fan of using the minimum possible tracking force. This is all established before I start with VTA calibration. Once set, I never vary the VTF since it will affect the VTA.
I usually go toward the high end of the recommended range. Most of the time the suggested forces are, uh, rather optimistic... especially during break-in. But if the recommended force is close to the top of the range, I will at least try it first.

The scale I am referring to in my essay is the circular scale that slips over the shaft where you put the lever that makes the adjustment. That is the case for the arm on my Sota Nova.

On the arm that is on my Oracle Delphi V, I have the ET dial gauge mounted and I don't use the circular scale at all.
Gotcha. The ET dial gauge is the one I use, and I adjust its mounting height so that when the VTA adjustment is all the way down, the gauge says 0.000 and that's the point I use to set the stylus angle (visually) to 90 degrees or slightly higher (90.5).

There's enough adjustment range to maximum on the gauge to cover the entire SRA span to 92 degrees, and it makes the numbers between cartridges pretty close in range as well.

--Bill
 

karma

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HI Bill,

Thanks for the info.

Other than periodic releveling, I never mess with my set up once it is set.

8.5 PSI is a value I don't recognize. What pump are you using? If it's a Wisa, I measured 7.5 PSI. I don't think that this difference is significant.

How does the zyx compare to yout Ortofon's? I have never heard either. But I have had experience with designer of zyx. He designed the Monster cartridges which I used for years. First, I had the Alpha Genesis 1000 (two of these) and then the Sigma Genesis 2000 (two of these). I still have a 2000 mounted on my ET2.5 on my Sota Nova. I think it is just an outstanding cartridge. I would expect the zyx to have the basic signature of the 2000 but probably better.

On my ET2.5 mounted on my Oracle Delphi V, I have a Lyra Skala. It's definitely the best cartridge I have owned. It's also the most expensive.

You want some fun for a week end? Try getting all the air leaks fixed when you are using 27 PSI as I am. They are fixed but it took some creative thinking.

Sparky
 
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MylesBAstor

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Apr 20, 2010
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HI Bill,

Thanks for the info.

Other than periodic releveling, I never mess with my set up once it is set.

8.5 PSI is a value I don't recognize. What pump are you using? If it's a Wisa, I measured 7.5 PSI. I don't think that this difference is significant.

How does the zyx compare to yout Ortofon's? I have never heard either. But I have had experience with designer of zyx. He designed the Monster cartridges which I used for years. First, I had the Alpha Genesis 1000 (two of these) and then the Sigma Genesis 2000 (two of these). I still have a 2000 mounted on my ET2.5 on my Sota Nova. I think it is just an outstanding cartridge. I would expect the zyx to have the basic signature of the 2000 but probably better.

On my ET2.5 mounted on my Oracle Delphi V, I have a Lyra Skala. It's definitely the best cartridge I have owned. It's also the most expensive.

You want some fun for a week end? Try getting all the air leaks fixed when you are using 27 PSI as I am. They are fixed but it took some creative thinking.

Sparky

ZYX really doesn't really have anything in common sonically with the Genesis cartridge line. :) The ZYX has the ability to draw you into the music that eludes (d) the Genesis cartridges.
 

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Site Founder | Site Owner | Administrator
Ron Resnick
Site Co-Owner | Administrator
Julian (The Fixer)
Website Build | Marketing Managersing