I see your point for 78s and late 1940s and I don’t know about 45s of the 50s, but I own nothing in any of those categories. 0.7 mil or exotic nonconical stylus is fine for my needs. And I do insist upon 2 channels of mono output, however it’s achieved. That’s how I approach the mini-dilemma. Plus my preamp must have a mono switch.
advice for mono cartridge
Hi,
I have a Garrard 401 with a Magnepan Unitrac and an SME 3009 Mk II Improved.
I’m thinking about turning one of the tonearms into a dedicated mono setup, probably on the SME 3009 Mk II Improved, as the Magnepan is my main arm and I really like the sound of it for stereo. The SME has a detachable headshell, making it easy to switch back and forth if necessary and I’m used to the sound of the Magnepan, so I don’t really want to change anything there.
I run MM only right now (although I guess I could pick up a step up transformer) and the SME has an effective mass of 9.5g. It also tracks only to 1.5g (although I bought the additional counterweight, which might help with that). It seems like my choice of mono cartridges is thus pretty limited. It seems the Ortofon 2M Mono Special Edition could be a good choice.
At the same time, I’m reading all sorts of contradictory info about whether vertical compliance, which the Ortofon seems to have (as opposed to Miyajima), is a good thing or not and whether a 1 mil or 0.7 mil stylus is best. Some also say a more modern line contact profile (the Ortofon has that) is actually preferable, even for older records, etc. Ortofon seems to say just that in their literature and Michael Fremer seems to agree. Also the Ortofon seems to have internally strapped output, which is somewhat controversial.
I actually heard recently a couple of very high end systems that used Miyajima mono cartridges and they sounded fantastic, huge soundstage, very realistic … but they were also clearly out of my price range, and only fit much heavier tone arms.
I have a mix of older mono pressings and reissues, presumably cut with a stereo cutter head.
I'm looking for advice from people with direct experience.
Considering the above,would the Ortofon 2M mono SE be a good choice? Does anyone see anything else more or less in that price range that might better it? Or should perhaps just wait and switch to a tone arm that would give me better options for mono down the line, perhaps a Fidelity Research FR-24, FR-54 or FR-14, which contrary to the FR-64 and FR-66, can be had for cheap. Budget is a concern overall.
Any input would be appreciated.
Thanks!
Jerome Sabbagh
I have a Garrard 401 with a Magnepan Unitrac and an SME 3009 Mk II Improved.
I’m thinking about turning one of the tonearms into a dedicated mono setup, probably on the SME 3009 Mk II Improved, as the Magnepan is my main arm and I really like the sound of it for stereo. The SME has a detachable headshell, making it easy to switch back and forth if necessary and I’m used to the sound of the Magnepan, so I don’t really want to change anything there.
I run MM only right now (although I guess I could pick up a step up transformer) and the SME has an effective mass of 9.5g. It also tracks only to 1.5g (although I bought the additional counterweight, which might help with that). It seems like my choice of mono cartridges is thus pretty limited. It seems the Ortofon 2M Mono Special Edition could be a good choice.
At the same time, I’m reading all sorts of contradictory info about whether vertical compliance, which the Ortofon seems to have (as opposed to Miyajima), is a good thing or not and whether a 1 mil or 0.7 mil stylus is best. Some also say a more modern line contact profile (the Ortofon has that) is actually preferable, even for older records, etc. Ortofon seems to say just that in their literature and Michael Fremer seems to agree. Also the Ortofon seems to have internally strapped output, which is somewhat controversial.
I actually heard recently a couple of very high end systems that used Miyajima mono cartridges and they sounded fantastic, huge soundstage, very realistic … but they were also clearly out of my price range, and only fit much heavier tone arms.
I have a mix of older mono pressings and reissues, presumably cut with a stereo cutter head.
I'm looking for advice from people with direct experience.
Considering the above,would the Ortofon 2M mono SE be a good choice? Does anyone see anything else more or less in that price range that might better it? Or should perhaps just wait and switch to a tone arm that would give me better options for mono down the line, perhaps a Fidelity Research FR-24, FR-54 or FR-14, which contrary to the FR-64 and FR-66, can be had for cheap. Budget is a concern overall.
Any input would be appreciated.
Thanks!
Jerome Sabbagh
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- 40 posts total
From what I've read, hdm raises a good point about matching stylus size with the vintage of the LP and thus the grooves. Apparently all the cutter heads are now stereo (no surprise) so even remastered mono LPs will have a narrower groove than the originals. That may be why Mr. Carr recommends modern styli, if he tests with reissue pressings? |
In practice, who is going to have more than one mono cartridge mounted up and ready for use? Only a mono-phile who hates stereo, and there's not many in that category. So most of us will choose one mono cartridge and live with it. I already mentioned the factors that governed my own decision; I simply do not own any LPs cut much before about 1953-55. And I don't play rock and roll 45s, either. (Nor do I know what would be optimal for those.) If you're a 78-nick, you make a different decision in favor of 1.0mil conical or whatever. I bought a Shelter 501 mkII mono, and I stopped worrying about it, not that I think my choice is the absolute one and only valid one. |
Lew, I agree not many will bother with more than one mono cartridge, if even that. But apparently others really get specific in matching stylus tip with the groove. Just scroll down the options here. https://www.esotericsound.com/CartStyli.htm Are most of those folks doing archival work? |
- 40 posts total