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Hopefully, every time you change your VTA, you re-align your cartridge........It is the hypotenuse of a triangle and as you raise or lower the back end of the toneram (from a previous cartridge alignment) you have now made the pivot to stylus distance shorter.What you might think is a change from adjusting the VTA (SRA), you may have just been experiencing the sound of something different, not necessarily better, just different.I have re-thunk the entire SRA debate. I have to ask myself why I would not want to have the contact surface of the stylus be anything but vertical? Any slant of the stylus adds a time element to the playback, as any other contact angle other then perfectly vertical is going to smear time together during playback.A stylus "rake" angle was used during the dead wax cutting process, much like a machinist would add "kerf" to the cutting tip of a lathe. This "kerf" simply kept the cutting tip from chattering (which causes skip). The modulations in the vinyl can be nothing other then completely vertical in nature (from a side view) or the vinyl would not cleanly pull out of the the stamper.'ner
So what's the rake on mono records? Is it the same?Paul
For a 9" arm, 1/4° of change requires 4mm of arm height adjustment. This will definitely affect the cartridge alignment, because the tonearm is a fixed distance and if the back of the tonearm length has been raised or lowered, the stylus distance (measured on the record's surface) will change. Wayner
So one would have to ask oneself, why would the record industry and the hifi establishment want an ideal arm angle that most table are not made to approach, as the ideal settings for playback? Would it not be the easiest for the general consumer at large to simple set the arm for "level"? In the long run, I believe the level arm produces the SRA that the cartridge manufacturer wants you to use. Almost everyone can judge if an arm is level (with needle in the record groove), requiring no special tools, or a USB microscope or some other CAD program to draw lines and try to guess where the contact ridge is. It should not be this complicated, nor do I think that it is.I also have read many articles on the subject and the conclusion is, no one can actually tell where the sweet spot is, and for all practical purposes, it was right under their nose.I'm not saying that you should not fiddle with such things. I have, but in the end, I went back to the parallel arm. It just makes a whole bunch of sense to do it that way.'ner
You are correct. I was thinking about 1/4° equals 1 mm of height adjustment. My bad. 4mm for 1°, 8mm for 2°, and 10mm for 2.5°So it is very obvious that most tables could not reach the 92° rake angle, if they measured 90° now.
I have nothing but the highest respect for vinyl_lady. I know that Laura will pursue this until she is happy with the results, one way or another. She is one person here that does use her knowledge, but also common sense and will find the answer that fits what she is looking for.'ner
1/4° change resulted in a .00009" difference. I thought it would be a little more then that.1° change resulted in a .0015" change.2° change resulted in a .006" change. This one would be significant. The others, we can't see that small. So I will eat some crow, and say that small changes will have an effect that we can't deal with. However a drastic 2° change will require a re-alignment.Make sense?'ner
I suggest you ignore the posts by a dude named Raul. Waste of time.neo
Hi,I've read some of yours and you seem a lot like Raul, the self-appointed arbiter of all things audio, but I wouldn't make such a statement without reading more of your utterances. They don't interest me. You're probably more knowledgeable than Raul but that's not hard to do.Brilliant nonspecific attack BTW.neo