MONO cartridge recommendation

So, does that mean we should be fine playing back a modern re-issue on a stereo cart, without Y-connector or Mono switch, as long as there is no extraneous vertical motion from scratches etc? (Assuming that both channels are putting out the same output, so there is no need to "sum" both channels).

@pryso

Yes, I understood that is what you meant. The Ellington Uptown that I was referring to is an original pressing from '52-'53, a Columbia Masterworks six-eye with machine stamped 1A matrices. Of the 200 or so monos that I own, about half are 50's to mid sixties originals and I was actually referring to playing those vintage pressings with line contact or microridge styli specifically.

Interesting that you should mention the 103. As I stated upthread, I've spent a fair bit of time with 103R's (about 6-7 years actually) including running the stock conical playing both stereo and mono records for about 1000 hours before experimenting with a couple of different line contact styli (Peter Ledermann's standard line contact as well as his OCL, which strongly resembles the Ortofon Replicant stylus). So I'm familiar with not only how the Denon conical sounds but exactly how different (and IMO how improved) a line contact will sound on exactly the same cartridge.

The link below is to a photo of one of my modified 103R's. This one was installed and potted into an aluminum body (kind of a DIY Zu 103R) and then retipped with Soundsmith's ruby cantilever and line contact stylus. I also had an ebony bodied 103R with the both the standard line contact and later an OCL on it.

So as well as running the 103R stock, I've also run that aluminum bodied version both as a stereo cartridge and strapped for mono in the past (it is now a back up cartridge in storage). As you say, we all have our preferences, but, based on my experience, I can't imagine anyone not wanting to run the Denon with a line contact or microridge over the stock conical, including on vintage pressings, after having the opportunity to hear one with a decent, more exotic stylus profile.

That experience is in fact what my preference for the LC or MR is based on.

http://img.canuckaudiomart.com/uploads/user_image/2507/21842.jpg

@devilscucumber

You don't HAVE to sum or run a mono cartridge on modern mono reissues, but it is not simply an issue of noise/scratches; by summing or running a good mono cartridge on those records the performance itself will be enhanced and improved, regardless of noise that may or may not be present.

@ hdm

Thanks, for that, I have an Audio Technica AT-3 on an SME3009 non-improved and it certainly improves 1960's mono lp's, however it may not be the best cart/tonearm match. My other arm (Tecnoarm) has an Ortofon MC25FL, which is far superior so I may use that for the modern mono represses.

@folkfreak , I seem to recall from an earlier thread on the Zero that you run a custom mono phono cable to eliminate hum. What manufacturer made it for you? I’ve been eying this cartridge for along time but I have no mono switch on my preamps or phono stage, so a mono cable might be just the thing. Thanks in advance.

@wrm57 sorry I do not use a custom cable. Perhaps you are thinking of this advice on the topic

http://www.durand-tonearms.com/Support/Mono%20connections/monoconnections.html

I actually tried this and it did not work for me. I found that either using the mono switch on my amp or lifting the ground on my step up works fine and completely eliminates the problem — the latter is how I have it currently configured as my step up has a three way ground lift switch