Using Wally Tools

As requested by @J.R. Boisclair I copied my post down here from AM thread.

Even though there may be problems like test record quality, interface etc, I still believe that AM software is best for cartridge setup process. I consider visual methods like using a zenith protractor/tool, eyeballing are far more primitive compared to AM. There are too many variables, more precisely too many assumptions.

For example when you align zenith using a zenith tool you think that you’re all set as long as you’ve sent your cartridge before to Wally and you know it’s zenith error. But there are multi assumptions in this solution. Lets say your cartridge has 2.2 degrees zenith error reported by Wally.

- First assumption is trusting that it’s measured precisely. Considering difficulties of measurements with microscope I wouldn't take it granted.

- When you try to correct it using zenith tool you need to align cantilever to 2 degree line which is very hard to do visually. No matter what people say it’s incredibly hard to align cantilever parallel to a line on a mirror surface. Thinking that you aligned cantilever exactly parallel to respective line is second assumption. Additionally you can not align 2.2 degrees as far as I know. Not a great deal but you have to choose 2 or 2.5 lines.

- Cantilever angle (zenith) changes according to anti-skating. If you use Wally skater you set anti-skating according to VTF. When you play a record depending on the stiffness of suspension (soft or hard) the cantilever may skew more or less so cantilever may not be parallel to the lines you set before. Expecting cantilever's skew to match anti-skating you set earlier is another assumption.

- One side of suspension can be softer which is very common even if suspension is in great condition. In that case cantilever's skew angle will be effected by soft side when playing a record. Again zenith will be different than visually set. More assumptions.

If everything is perfect those assumptions are ok but nothing is perfect. That's why arc protractors are great cause it gets rid of assumptions by showing the actual arc that should be drawn by stylus. It is simple, no assumptions. Other protractors like smartractor or Feickert rely on assumptions such as; you can perfectly land one end of protractor over the pivot point and perfect overhang will be set when you align stylus to land over the dot.

When you rely on static alignment procedures for a dynamic system based on pre conceptions like Wally solutions (except arc protractor), multi assumptions are inevitable. In this zenith example; when you accept overhang, VTA/SRA and azimuth are set perfectly in advance there are still problems with zenith which will arise when the record is played. On the other hand when you use AM with a test record you align it dynamically and all factors (VTA, azimuth, ati skating etc) are at play. You only need to know where to look and to learn what the numbers are telling. I set zenith using AM V1 test record and check with AP test record. Track locations are different and cut at different places but both lead you to same zenith alignment. Even with AM V2 test record at hand being low in quality, it still gives same zenith results with V1. That’s why I said “far fetched“ for Wally’s multi assumption zenith solution. Those are my humble opinions.
Final post in my response to your thoughts...
I agree with your point about “beam” protractors versus arc protractors but you can also add the problem of stacked tolerance error that beam protractors are subject to.?

Here is the biggest issue I have with measuring electronically for a mechanical transcription system (a.k.a., turntable): test records themselves.

It is obvious that recording engineers can have a misaligned cutterhead, misaligned cutting stylus, misaligned sled or even an asymmetric cutting stylus (we see plenty of those!). However, they are equally likely to err clockwise versus counterclockwise against their targets. Further, we KNOW those targets or their target ranges (“ranges” in the case of cutting stylus rake angle and vertical modulation angle). The whole WAM Engineering effort is aimed at getting our playback stylus and cantilever to hit those targets. If we have a test record to use as our fiducial to hit optimal targets we are implicitly trusting the recording engineer of that test record to have NAILED all of their targets and to have used a perfectly symmetrical cutting stylus. More variables!

So how do test records do in this regard?

We have a growing stack of laboratory test records (now about 11” high) that we use for our tests but we leaned pretty quickly that the test records have errors of their own and we would need a way to measure those errors so we could net them out of our results so we could better run a worthwhile set of experiments. Since I could write a great deal on this subject I’ll limit it to CUTTING ZENITH ERROR and cut to the bottom line.

We have optically and electronically measured square and sine wave grooves in the vaunted DIN, NAB, CBS Labs, Denon, JVC, and more and found cutting zenith errors of as much as 4.25 degrees.

?So, if you are going to trust any given test record as your fiducial as true and accurate with regards to its fidelity to the engineer’s alignment goals, how do you know they have been attained? What procedures are written in the liner notes to assure you the engineers have taken all possible measures to do so and that they KNOW their own margin of error?

More variables. You also have to wonder about the algorithmic variables from software. We struggle with that frequently as we have seen that as we computationally filter and average data we can get variable results. We can even “force” the data to tell is what we want to see. Dangerous!

In our opinion, the proper way to make a test record is to communicate HOW we confirmed everything was dialed in perfectly so that you could trust the engineer and his work. The engineer should share his margin of error to demonstrate that all variables were properly managed.

By the way, it is not possible to use the same track to optimize for SRA and VTA. SRA is most sensitive to horizontal modulations and VTA is sensitive to vertical modulations. They are both important for different reasons and though they cannot be adjusted independently, there is a balance to be struck. The research on this balance has never been done, much less published, as far as I can tell. In fact, though a great deal of work has been done on ideal VTA, next to nothing has been done on SRA. Generally speaking, cartridge manufacturers have WAY too high VTA (scientists and research engineers have been complaining about this since papers published in the early 60’s) so the lower, the better - particularly for some brands of cartridges. I think there has been a collective amnesia or willful ignorance amongst cartridge designers to fully understand the cost of a high VTA. The manufacturers enjoy benefits for kicking it high up. Audiophiles don’t. ?

So, I hope I have made it clear that the WAM Engineering system takes into account DYNAMIC play for its alignment procedures and the variables which exist are known, measured and controlled for. One cannot say that about use of a test record as a basis for cartridge/ tonearm optimization for which the variables are not known or shared which allows us to infer that they are not controlled for.

If I did not address any of your points, please let me know. I certainly appreciate that you think deeply on these topics. Whether we agree with each other isn’t important. People like us push standards upwards and that benefits many.
 
Thank you @J.R. Boisclair for taking the time and sharing your response.

Test records are cut different than each other and it's true there are quality differences between them but my or an AM user's concern is not to find test records that are exactly same in quality. We (AM users) use AM test record and use it to reach our cartridge setup goal. The only important test record for AM software is AM test record, the rest is not important. I don't use them and I don't care about them except AP test record which I will explain later. So inconsistent quality between other test records are not important but if you're saying AM test records are flawed than please share your results. IOT say AM test records are inconsistent, flawed, low quality and AM software can not lead you to correct alignment first you need to;
- Test at least 10 identical AM test records,
- Master using AM software
and only after that if you still find AM is no good than we can discuss. But without doing any of those please don't draw conclusions. I'm not advocating test records in general nor claiming they are useful. Based on my experience using it I'm only advocating AM test record with AM software, the rest is not my concern. There is a huge distinction between those two and more importantly I haven't seen anything in your response directly relating to AM.

I know AM software is a pain in the ... but once you master it, AM helps you to reach same alignment every time. I know it cause I did it a couple of times. If you are not sure what it's telling you then AM gives more harm than good IMHO.

AM software is not about the absolute numbers. For example I measured 27dB L-R and 32dB R-L using AM test record but 33dB L-R and 32dB R-L using AP test record for azimuth. I used AM software for both measurements. You can say that they are inconsistent but no. The goal is to reach maximum numbers not to equalize them. In my setups (I did many) the possible maximum numbers for azimuth are achieved at the same azimuth setting for both records. They don't show exactly same numbers but both records (AM and AP) lead to same optimal azimuth alignment.

The same is true for VTA and zenith. Different numbers, different test records cut and pressed at different places even tracks are at different locations but same optimal alignment.

After reading your response my opinion about your (Wally tools) approach is still "indirect and static". Only VTA/SRA is semi-dynamic and semi-direct.
 
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Thank you @J.R. Boisclair for taking your time and sharing your response.

Test records are cut different than each other and it's true there are quality differences between them but my or an AM user's concern is not to find test records that are exactly same in quality. We (AM users) use AM test record and use it to reach our cartridge setup goal. The only important test record for AM software is AM test record, the rest is not important. I don't use them and I don't care about them except AP test record which I will explain later. So inconsistent quality between other test records are not important but if you're saying AM test records are flawed than please share your results. IOT say AM test records are inconsistent, flawed, low quality and AM software can not lead you to correct alignment first you need to;
- Test at least 10 identical AM test records,
- Master using AM software
and only after that if you still find AM is no good than we can discuss. But without doing any of those please don't draw conclusions. I'm not advocating test records in general nor claiming they are useful. Based on my experience using it I'm only advocating AM test record with AM software, the rest is not my concern. There is a huge distinction between those two and more importantly I haven't seen anything in your response directly relating to AM.

I know AM software is a pain in the ... but once you master it, AM helps you to reach same alignment every time. I know it cause I did it a couple of times. If you are not sure what it's telling you then AM gives more harm than good IMHO.

AM software is not about the absolute numbers. For example I measured 27dB L-R and 32dB R-L using AM test record but 33dB L-R and 32dB R-L using AP test record for azimuth. I used AM software for both measurements. You can say that they are inconsistent but no. The goal is to reach maximum numbers not to equalize them. In my setups (I did many) the possible maximum numbers for azimuth are achieved at the same azimuth setting for both records. They don't show exactly same numbers but both records (AM and AP) lead to same optimal azimuth alignment.

The same is true for VTA and zenith. Different numbers, different test records cut and pressed at different places even tracks are at different locations but same optimal alignment.

After reading your response my opinion about your (Wally tools) approach is still "indirect and static". Only VTA/SRA is semi-dynamic and semi-direct.
Perhaps I wasn’t very clear. I am saying that we are finding test record cutting to generally exhibit a lack of care with regard to cutterhead and cutting stylus setup characteristics. Mine was not a commentary about the pressings of the records - only the cutting.

If even the vaunted laboratory test records such as DIN, NAB and CBS laboratories can show rather egregious signs of cutting carelessness as they do, then why should we believe that ANY one test record - including the AM test record - could be reliably used as a fiducial which we can TRUST to align our stylus/cantilever as opposed to trusting univariate methods to hit the same targets all cutting engineers are aiming at?

If any test record engineers cared to write liner notes to share how they controlled for and measured the variables in order that we could then KNOW they had a firm grasp of the many ways a cut can go geometrically wrong and had the competence to mitigate them with a KNOWN margin of error, only then could we trust that record as a setup fiducial.

If I were to have used the DIN test record to correct for zenith error I would’ve aligned my stylus over 4° off from perfectly aligned. How far off is the AM record cut?

So, my concern with test records is as a CLASS, not specifically with the AM test record as we have not yet measured it for geometric cutting errors. The question of test record cutting accuracy is hardly my only “issue” with the electromechanical approach to playback cartridge set up, but it is one issue I limited myself to with regards to the approach because it is related to your points of discussion that elicited my detailed response.

You seemed to ask why I didn’t take aim at AM in my response. That is because I was not trying to attack them but instead trying to stick to addressing your points. Or, perhaps you didn’t intend that but instead meant by, “I haven't seen anything in your response directly relating to AM” that I didn’t have any points applicable to AM. Of course that would not be the case since every time I refer to an electro-mechanical test or multivariate test I am referring to tests of the same type employed by AM.

Cheers,
J.R.
 
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Perhaps I wasn’t very clear. I am saying that we are finding test record cutting to generally exhibit a lack of care with regard to cutterhead and cutting stylus setup characteristics. Mine was not a commentary about the pressings of the records - only the cutting.
You made yourself extremely clear. I'm aware of differences between test records long before this topic and probably I mentioned it on somewhere else on this forum. You say all test records are flawed, cut carelessly then I ask if test records are cut without care and attention then how come you expect music records to be perfect? How come you expect music records to be cut perfectly when care and attention was not even spared for test records?

The logical answer is; music records are cut even worse, angles are all over the place with more errors. If this is the situation then what's use of perfect cartridge setup? If geometrically perfectly aligned cartridge does not match with record grooves due to careless cutting then what's the benefit of perfect geometrical alignment? Music records won't be played at their best because alignment of the cartridge will never match the grooves.
 
You made yourself extremely clear. I'm aware of differences between test records long before this topic and probably I mentioned it on somewhere else on this forum. You say all test records are flawed, cut carelessly then I ask if test records are cut without care and attention then how come you expect music records to be perfect? How come you expect music records to be cut perfectly when care and attention was not even spared for test records?

The logical answer is; music records are cut even worse, angles are all over the place with more errors. If this is the situation then what's use of perfect cartridge setup? If geometrically perfectly aligned cartridge does not match with record grooves due to careless cutting then what's the benefit of perfect geometrical alignment? Music records won't be played at their best because alignment of the cartridge will never match the grooves.
Despair is actually a reasonably logical conclusion. However, we KNOW what targets they are aiming at with regards to the geometric cutting pattern and the four angles with which the cutterhead stylus and torque tube require to be set up at. Certainly, engineers are just as likely to err clockwise as counterclockwise in any one of these parameters. But since we KNOW what the targets are, we can aim for them to be spot-on with our playback stylus and cantilever and therefore have the *highest probability of getting the most information out of all records*. It’s a simple normal (symmetrical) distribution curve and we’re trying to place ourselves in the middle of it.

Further, the point must be made that if cutting engineers COULD have a way to tighten their tolerances as I have been doing for the playback side, then we are all in a good position to get much more out of all of our records. The loose tolerances in both today’s cutting and cartridge assembly are not something we MUST live with. It is for this, and other reasons that the future of vinyl is incredibly positive as far as I’m concerned!
 
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You seemed to ask why I didn’t take aim at AM in my response. That is because I was not trying to attack them but instead trying to stick to addressing your points. Or, perhaps you didn’t intend that but instead meant by, “I haven't seen anything in your response directly relating to AM” that I didn’t have any points applicable to AM. Of course that would not be the case since every time I refer to an electro-mechanical test or multivariate test I am referring to tests of the same type employed by AM.
Yo were subliminally attacking AM all the time. You are calling AM multivariate and arguing how undependable are software solutions that uses test records by addressing test records' cutting issues. I found myself defending AM as a consumer because there are two things wrong here IMHO.

1. One rival company subliminally or directly attacking other company's solution. And doing it by claiming how wrong and flawed are software based solutions depending on test records when his company's multi assumption based solutions are even more flawed which I pointed many times before.

2. Reaching to a conclusion without knowing AM software algorithm and it's test records, without even trying them.

BTW I'm not affiliated with AnalogMagik or any other company.
 
However, we KNOW what targets they are aiming at with regards to the geometric cutting pattern and with regards to the four angles with which the cutterhead stylus and torque tube require to be set up at. Now, Engineers are just as likely to err clockwise as counterclockwise in any one of the parameters. But since we KNOW what the targets are, we can aim for them with our playback stylus and cantilever and therefore have the highest probability of getting the most information out of all records. It’s a simple symmetrical distribution curve and we’re trying to place ourselves in the middle of it.
Does it occur to you that same could be done for AM test records and corrective measures are embedded to AM software? Couldn't AM engineers end up with same solution, to compensate test record cutting errors in software?
 
Does it occur to you that same could be done for AM test records and corrective measures are embedded to AM software? Couldn't AM engineers end up with same solution, to compensate test record cutting errors in software?
I agree, it could! For example, if we knew the lacquer was cut with -2 degrees cutting zenith and the cutting stylus was 45.5°/43.8° then the software could adjust the results to compensate for this embedded error. However, there is no evidence I have seen that such care was taken. It would be fantastic if it did.
 
Yo were subliminally attacking AM all the time. You are calling AM multivariate and arguing how undependable are software solutions that uses test records by addressing test records' cutting issues. I found myself defending AM as a consumer because there are two things wrong here IMHO.

1. One rival company subliminally or directly attacking other company's solution. And doing it by claiming how wrong and flawed are software based solutions depending on test records when his company's multi assumption based solutions are even more flawed which I pointed many times before.

2. Reaching to a conclusion without knowing AM software algorithm and it's test records, without even trying them.

BTW I'm not affiliated with AnalogMagik or any other company.
@mtemur, I have been trying to restrict myself to addressing your points which were aimed at the WAM Engineering methodology. In order to defend the method from your claim that our method has more variables and assumptions than AM, I had to do my best to demonstrate why this is not true. You do not accept my rebuttal. That’s fine! I just cared to have an opportunity to address your points but could not have done so without referring to any electromechanical test method such as AM employs.

I was recently asked on a podcast about AM and I did not respond with my usual series of issues I have with multivariate tests but instead focused on test records generally as I think that is the bigger prize (tighter cutting tolerances). I don’t want to be seen badmouthing a competitor. I did it before to a client and it became public and I regret doing so as my public apology demonstrated.
 
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Hi WBF Members,
FYI;
Using my WallyScope to see the Effects of the Sound With Changing Tonearm Height for the Changing Determined Dynamic & Static VTA & SRA

Approx. three weekends ago (W/C: 9th & 10th Sept) I spent these two full days altering the height of my Kuzma 4Point 11" Tonearm (with an effective length of 280mm) on my Kuzma XL DC TT from being horizontally level to platter (0.00mm) on my Kuzma tonearm tower digital height gauge, to -(minus) 5.0mm, then back to 0.00mm, then to +2.5mm, then to +5.0mm and finally to +7.27mm (where I determined and achieved the ideal 92 degrees dynamic SRA).

For each of these tonearm height changes, using the Wally Scope (with the Wally Tools Dino-Lite Stand Adaptor purchased from Wally Tools / J.R. a few weeks back), I determined the static and dynamic VTA and the static and dynamic SRA and for each height change I altered the VTF to be always 2.0g and listened to music with one of my brand new (and fully cleaned twice on my Keith Monks Classic RCM) high quality Jazz LPs which has lots of natural instruments in particular the piano (i.e. Misty by Tsuyoshi Yamamoto Trio, 45rpm, Ltd Edition, Super Cut, LP).

My cartridge was set-up to Lofgren B using the Wally Universal Tractor.

The VTF for my 'My Sonic Lab Eminent Ex' cartridge was set to 2.0g for each height change.

Before reducing the height of the tonearm, the tonearm was already set at 0.0mm (perfectly horizontal - using the Wally Reference to set the arm up incl. azimuth).

I used the average Contact Edge to Cantilever Angle (CE to CA) (I determined with the Wally Scope & Dino-Lite Stand Adaptor back on 19/08/2023) of 67.81 degrees (which from the seven sets of readings I took on 19/08/2023 appears to be a respectably consistent average value).

My critical (with headphones) listening equipment are;
- CH Precision P1 Phono Stage (without the separate CH X1 Power Supply) (using the 1st current inputs connections)
- Hifiman EF1000 Headphone & Speaker Pre-Amp (Tube) & Power Amp (SS) (using the 'CD' RCA inputs)
- Hifiman Susvara Headphones (using the stock XLR cable to connect to the EF1000)
- Clearer Audio Silverline Optimus Reference RCA cables from the P1 to the EF1000

The results for the tonearm height changes are as follows;

Tonearm reduced in height from 0.00mm to -(minus) 5.0mm
Measured average static VTA = 22.37 degrees
Measured average static SRA = 90.18 degrees
Measured average dynamic VTA = 21.25 degrees
Measured average dynamic SRA = 89.06 degrees

Changes to the Sound at -5.0mm from original set height of 0.0mm
;
Generally a warmer and smoother sound with an increase in bass (to a point of being a bit woolly) and a reduction in treble with the treble also being not as forward sounding and not so clear sounding. Music sounded a bit quieter (than at 0.0mm height) so had to turn up the volume knob on the EF1000 Amp by one red dot (to now have five red dots in total showing on the volume scale). Record surface noise increased i.e. more noticeable during quieter music passages.
Overall a much warmer and analogue sound to the music with lowering the tonearm from 0.00mm to -5.00mm.
If I was to keep to this height I would need to adjust the height of cueing mechanism (i.e. raise it) on the Kuzma 4Point 11" as the stylus is a bit too close for comfort to the LP surface.

Tonearm increased in height from -5.0mm back to 0.00mm

Measured average static VTA = 23.73 degrees
Measured average static SRA = 91.54 degrees
Measured average dynamic VTA = 22.53 degrees
Measured average dynamic SRA = 90.34 degrees

Changes to the Sound at 0.00mm from -5.0mm;
From raising the arm height back to 0.00mm (tonearm horizontally level to platter), a bit less bass with it being clearer. Treble slightly more dominating than at -5.0mm. Record surface noise dropping by a small amount and can drop sound level volume back down one red notch on the EF1000 Amp. Sound stage (width & depth) increased by a small amount.

Tonearm increased in height from 0.00mm to +2.5mm
Measured average static VTA = 23.35 degrees
Measured average static SRA = 91.16 degrees
Measured average dynamic VTA = 23.1 degrees
Measured average dynamic SRA = 90.91 degrees

Changes to the Sound at +2.5mm from 0.00mm;
Sound quite similar to the 0.00mm level with record surface noise slightly reduced further, treble a bit more dominant to the bass and a bit more forward. Sound stage (width & depth) slightly increased.

Tonearm increased in height from +2.5mm to +5.0mm
Measured average static VTA = 24.76 degrees
Measured average static SRA = 92.57 degrees
Measured average dynamic VTA = 23.68 degrees
Measured average dynamic SRA = 91.49 degrees

Changes to the Sound at +5.0mm from +2.5mm;
Same sound stage and record surface noise as for the +2.5mm height. Instruments in the background a bit more clearer and prominent. Bass a bit more clearer in texture. Treble now very clear but not bright nor sibilant. Overall a good well balanced (across the frequency spectrum) and clear sounding sound of the music.

I had to re-calibrate and adjust the Kuzma arm tower's digital height gauge to be able to read this +5.0mm height adjustment.

Tonearm increased in height from +5.0mm to +7.27mm
Measured average static VTA = 25.73 degrees
Measured average static SRA = 93.54 degrees
Measured average dynamic VTA = 24.28 degrees
Measured average dynamic SRA = 92.09 degrees

Changes to the Sound at +7.27mm from +5.0mm;
The change in sound was very interesting and not expected ! i.e.;
Sound now very even across the full frequency spectrum with equal clarity for the bass, midrange and treble. There was a kind of silky fluidity to the music. The background instruments now very clear and audible and now part of the overall musical sound (whereas before they were a bit distant and divorced from the more foreground instruments).
The sound is louder than for the other arm heights, and has lower noise floor and record surface noise.
Overall a great sound at this height.
However, from playing quite a few different records from the record used for the different height settings, (of different genres & quality and age) over the last couple of weeks at this +7.27mm height, I have found the following (note:- all records cleaned on my Keith Monks Classic RCM, with the older records cleaned multiple times between each play to get the bwst sound quality possible);
- High quality new records sound amazing with a high change in the overall sound quality and very low surface noise
- Lower quality new records sound great with a very noticeable change in overall sound quality and a lower surface noise than before with the lower arm heights.
- Low quality and old (bought second hand on Discogs, Ebay etc.) records had a much improved sound quality but the surface noise has increased (for some LPs considerably) as opposed to decreasing, thus causing a major distraction to critical music listening.

Note:- In order to achieve a height of +7.27mm and be able to obtain a VTF of 2.0g for my Kuzma 4Point 11" & MSL Eminent Ex, I had to lower the cueing mechanism on my 4Point 11" arm. I also had to re-calibrate and adjust the Kuzma arm tower's digital height gauge again to be able to read this +7.27mm height adjustment.

I have kept my tonearm at this +7.27mm height for the past few weeks (i.e. since I originally changed it as given above) and played quite a few different genres and different quality of records for around 25 hours worth of playing time (as recorded with my Stylus Timer).

As suggested by Wally Tools / J.R. the next set of tests I will be conducting (at the current +7.27mm tonearm height) will be to reduce the VTF of my MSL Eminent Ex.
The VTF changes (my proposal) from the current 2.0g will be in steps of 0.2g to minimum (if possible) of 1.2g (note:- minimum VTF may be higher than 1.2g if mis-tracking starts to happen as I reduce the VTF) and listen to any changes to the sound for each step change of VTF.

Photos from the WallyScope for determining the Dynamic & Static VTAs and SRAs for each of the Tonearm Height Settings to follow next.
 
@Bonesy Jonesy excellent write-up and GREAT information! I don't think I'd have this type of patience to do what you just did. Can you quickly say with the tonearm set at +7.27mm is your MSL body still close to parallel? Or slightly tilted up in the back now? What I can say is with my own MSL Plat Sig I find it very crucial to have the VTF very precise at between 1.94 to 1.97. Just my own expereince.
Thanks again for the time you put into this, well done!
 
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Hi WBF Members,
FYI;
Using my WallyScope to see the Effects of the Sound With Changing Tonearm Height for the Changing Determined Dynamic & Static VTA & SRA

Approx. three weekends ago (W/C: 9th & 10th Sept) I spent these two full days altering the height of my Kuzma 4Point 11" Tonearm (with an effective length of 280mm) on my Kuzma XL DC TT from being horizontally level to platter (0.00mm) on my Kuzma tonearm tower digital height gauge, to -(minus) 5.0mm, then back to 0.00mm, then to +2.5mm, then to +5.0mm and finally to +7.27mm (where I determined and achieved the ideal 92 degrees dynamic SRA).

For each of these tonearm height changes, using the Wally Scope (with the Wally Tools Dino-Lite Stand Adaptor purchased from Wally Tools / J.R. a few weeks back), I determined the static and dynamic VTA and the static and dynamic SRA and for each height change I altered the VTF to be always 2.0g and listened to music with one of my brand new (and fully cleaned twice on my Keith Monks Classic RCM) high quality Jazz LPs which has lots of natural instruments in particular the piano (i.e. Misty by Tsuyoshi Yamamoto Trio, 45rpm, Ltd Edition, Super Cut, LP).

My cartridge was set-up to Lofgren B using the Wally Universal Tractor.

The VTF for my 'My Sonic Lab Eminent Ex' cartridge was set to 2.0g for each height change.

Before reducing the height of the tonearm, the tonearm was already set at 0.0mm (perfectly horizontal - using the Wally Reference to set the arm up incl. azimuth).

I used the average Contact Edge to Cantilever Angle (CE to CA) (I determined with the Wally Scope & Dino-Lite Stand Adaptor back on 19/08/2023) of 67.81 degrees (which from the seven sets of readings I took on 19/08/2023 appears to be a respectably consistent average value).

My critical (with headphones) listening equipment are;
- CH Precision P1 Phono Stage (without the separate CH X1 Power Supply) (using the 1st current inputs connections)
- Hifiman EF1000 Headphone & Speaker Pre-Amp (Tube) & Power Amp (SS) (using the 'CD' RCA inputs)
- Hifiman Susvara Headphones (using the stock XLR cable to connect to the EF1000)
- Clearer Audio Silverline Optimus Reference RCA cables from the P1 to the EF1000

The results for the tonearm height changes are as follows;

Tonearm reduced in height from 0.00mm to -(minus) 5.0mm
Measured average static VTA = 22.37 degrees
Measured average static SRA = 90.18 degrees
Measured average dynamic VTA = 21.25 degrees
Measured average dynamic SRA = 89.06 degrees

Changes to the Sound at -5.0mm from original set height of 0.0mm;
Generally a warmer and smoother sound with an increase in bass (to a point of being a bit woolly) and a reduction in treble with the treble also being not as forward sounding and not so clear sounding. Music sounded a bit quieter (than at 0.0mm height) so had to turn up the volume knob on the EF1000 Amp by one red dot (to now have five red dots in total showing on the volume scale). Record surface noise increased i.e. more noticeable during quieter music passages.
Overall a much warmer and analogue sound to the music with lowering the tonearm from 0.00mm to -5.00mm.
If I was to keep to this height I would need to adjust the height of cueing mechanism (i.e. raise it) on the Kuzma 4Point 11" as the stylus is a bit too close for comfort to the LP surface.

Tonearm increased in height from -5.0mm back to 0.00mm
Measured average static VTA = 23.73 degrees
Measured average static SRA = 91.54 degrees
Measured average dynamic VTA = 22.53 degrees
Measured average dynamic SRA = 90.34 degrees

Changes to the Sound at 0.00mm from -5.0mm;
From raising the arm height back to 0.00mm (tonearm horizontally level to platter), a bit less bass with it being clearer. Treble slightly more dominating than at -5.0mm. Record surface noise dropping by a small amount and can drop sound level volume back down one red notch on the EF1000 Amp. Sound stage (width & depth) increased by a small amount.

Tonearm increased in height from 0.00mm to +2.5mm
Measured average static VTA = 23.35 degrees
Measured average static SRA = 91.16 degrees
Measured average dynamic VTA = 23.1 degrees
Measured average dynamic SRA = 90.91 degrees

Changes to the Sound at +2.5mm from 0.00mm;
Sound quite similar to the 0.00mm level with record surface noise slightly reduced further, treble a bit more dominant to the bass and a bit more forward. Sound stage (width & depth) slightly increased.

Tonearm increased in height from +2.5mm to +5.0mm
Measured average static VTA = 24.76 degrees
Measured average static SRA = 92.57 degrees
Measured average dynamic VTA = 23.68 degrees
Measured average dynamic SRA = 91.49 degrees

Changes to the Sound at +5.0mm from +2.5mm;
Same sound stage and record surface noise as for the +2.5mm height. Instruments in the background a bit more clearer and prominent. Bass a bit more clearer in texture. Treble now very clear but not bright nor sibilant. Overall a good well balanced (across the frequency spectrum) and clear sounding sound of the music.

I had to re-calibrate and adjust the Kuzma arm tower's digital height gauge to be able to read this +5.0mm height adjustment.

Tonearm increased in height from +5.0mm to +7.27mm
Measured average static VTA = 25.73 degrees
Measured average static SRA = 93.54 degrees
Measured average dynamic VTA = 24.28 degrees
Measured average dynamic SRA = 92.09 degrees

Changes to the Sound at +7.27mm from +5.0mm;
The change in sound was very interesting and not expected ! i.e.;
Sound now very even across the full frequency spectrum with equal clarity for the bass, midrange and treble. There was a kind of silky fluidity to the music. The background instruments now very clear and audible and now part of the overall musical sound (whereas before they were a bit distant and divorced from the more foreground instruments).
The sound is louder than for the other arm heights, and has lower noise floor and record surface noise.
Overall a great sound at this height.
However, from playing quite a few different records from the record used for the different height settings, (of different genres & quality and age) over the last couple of weeks at this +7.27mm height, I have found the following (note:- all records cleaned on my Keith Monks Classic RCM, with the older records cleaned multiple times between each play to get the bwst sound quality possible);
- High quality new records sound amazing with a high change in the overall sound quality and very low surface noise
- Lower quality new records sound great with a very noticeable change in overall sound quality and a lower surface noise than before with the lower arm heights.
- Low quality and old (bought second hand on Discogs, Ebay etc.) records had a much improved sound quality but the surface noise has increased (for some LPs considerably) as opposed to decreasing, thus causing a major distraction to critical music listening.

Note:- In order to achieve a height of +7.27mm and be able to obtain a VTF of 2.0g for my Kuzma 4Point 11" & MSL Eminent Ex, I had to lower the cueing mechanism on my 4Point 11" arm. I also had to re-calibrate and adjust the Kuzma arm tower's digital height gauge again to be able to read this +7.27mm height adjustment.

I have kept my tonearm at this +7.27mm height for the past few weeks (i.e. since I originally changed it as given above) and played quite a few different genres and different quality of records for around 25 hours worth of playing time (as recorded with my Stylus Timer).

As suggested by Wally Tools / J.R. the next set of tests I will be conducting (at the current +7.27mm tonearm height) will be to reduce the VTF of my MSL Eminent Ex.
The VTF changes (my proposal) from the current 2.0g will be in steps of 0.2g to minimum (if possible) of 1.2g (note:- minimum VTF may be higher than 1.2g if mis-tracking starts to happen as I reduce the VTF) and listen to any changes to the sound for each step change of VTF.

Photos from the WallyScope for determining the Dynamic & Static VTAs and SRAs for each of the Tonearm Height Settings to follow next.

Tonearm reduced in height from 0.00mm to -(minus) 5.0mm

thumbnail_IMG_4394_Tower Height at -5-00mm.jpg

Dynamic VTA & SRA

thumbnail_IMG_4395_Average VTA & SRA-Dynamic.jpgthumbnail_IMG_4390_Pic0047-Dynamic.jpgthumbnail_IMG_4389_Pic0046-Dynamic.jpgthumbnail_IMG_4388_Pic0044-Dynamic.jpgthumbnail_IMG_4387_Pic0043-Dynamic.jpgthumbnail_IMG_4386_Pic0042-Dynamic.jpgthumbnail_IMG_4385_Pic0041-Dynamic.jpgthumbnail_IMG_4384_Pic0040-Dynamic.jpgthumbnail_IMG_4383_Pic0036-Dynamic.jpg
 
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Tonearm Increased in Height Back to 0.00mm
thumbnail_IMG_4399_Tonearm Tower Height_0-00mm.jpg

Dynamic VTA & SRA


thumbnail_IMG_4373_Photo-0023-Dynamic.jpg

thumbnail_IMG_4374_Photo-0024-Dynamic.jpg
thumbnail_IMG_4375_Photo-0026-Dynamic.jpg
thumbnail_IMG_4376-Photo-0027-Dynamic.jpg
thumbnail_IMG_4377_Photo-0030-Dynamic.jpg
thumbnail_IMG_4379_Photo-0031-Dynamic.jpg
thumbnail_IMG_4380_Photo-0032-Dynamic.jpg
thumbnail_IMG_4381_Photo-0033-Dynamic.jpg

Static VTA & SRA

thumbnail_IMG_4382_Photo-0029_Static.jpg
 
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That is the end of my posts for the Subject of Varying Tonearm Heights Having an Impact on the Dynamic and Static VTA and SRA.

Apologies to all for such a long post !

All have a great weekend
 
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@Bonesy Jonesy excellent write-up and GREAT information! I don't think I'd have this type of patience to do what you just did. Can you quickly say with the tonearm set at +7.27mm is your MSL body still close to parallel? Or slightly tilted up in the back now? What I can say is with my own MSL Plat Sig I find it very crucial to have the VTF very precise at between 1.94 to 1.97. Just my own expereince.
Thanks again for the time you put into this, well done!
Hi SOS,
Thank you for the kind words. Much appreciated.

TBH I haven't really noticed the position of the body of my MSL Eminent Ex at the +7.27mm tonearm height i.e. whether it is is parallel or slightly up at the back or not.

If you bare with me, I will take a photo of it with playing a record this coming Sunday evening and post it on this thread (as I am just about to retire for the day now, and away from home all day tomorrow with going to the UK HiFi Show at Ascot Racecourse and seeing a close family member on Sunday).
 

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