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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
128x128saxman73
saxman73's avatar
saxman73 OP
56 posts
 
@noromance @folkfreak Thanks for your advice. 

I got in touch with Robin. He suggests the Miyajima Spirit and said it can work with added weight at the headshell on the SME. Granted I'm sure other arms would be better matches. I am looking at Fidelity Research, perhaps FR24 MK II (I don't think I can afford FR64 right now, especially if I already go for a Miyajima) and also Audio Technica ATP-12T, which seems to be a good match for these cartridges and can be had for pretty cheap. 
folkfreak's avatar
folkfreak
1,349 posts
 
Just FYI if you do go Miyajima these are prone to hum and buzzing if you cannot manage ground issues. The only foolproof solution I have is using the ground lift switch on my step up. A mono switch will also cancel the hum but kind of defeats the point of using a mono cartridge on the first place 😉. All the other recommended solutions such as only connecting one channel did nothing for me.
saxman73's avatar
saxman73 OP
56 posts
 
@folkfreak I'll keep that in mind, thank you!
noromance's avatar
noromance
9,771 posts
 
@saxman73 Look at a Jelco TK-850S tonearm. $795 from George Merrill. I use a few with Decca cartridges. Excellent performer.
chakster's avatar
chakster
6,144 posts
 
I think any good tonearm can be used with Mono cartridge unless the cartridge compliance and toneam effective moving mass is well matched.

I believe the benefit of the stereo stylus on a true mono (MM) cartridge is higher compliance compared to oldschool mono MC and related stuff.

Higher compliance = better tracking ability. True Mono MM cartridges with higher compliance does not require a heavy oldschool toneamrs designed for low compliance mono carts.

Also a high-end stylus profile on a true Mono cartridge is better for vintage records played for decades with inferior conical styli. High-end profiles like LineContact and Shibata will ride in virgin part of the record groove walls (not touched yet by a conical profile). The music can be extracted from the grooves in much better quality.

All these can improve the sound of an old mono records.

* I'm talking about mono records from the 70's, not from the 50's whichrequire huge stylus. 
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