Cartridge Opinions - Sorry

I’m sure we all do but some are easier than others. The times I used to wish my decks had a detachable headshell like my first Rega 3 did. Of course they didn’t because we were told detachable was very bad.

But was it really?

No, they are not better

With the Rega there wasn’t much need to manoeuvre. The square bodied Nagoaka cart was fairly straightforward to align and the mirror check revealed no issues either.

Overhang must be spot on.

I remember having a couple of protractors for alignment and some were easier to use than others. I knew that with a 2 point protractor that the inner alignment point was critical to get right because of potential end of side tracking issues.

I use Dr. Feickert NG for all tonearms/cartridges.

I never found arm height to make difference so I kept to the recommended advice of keeping the arm parallel to the top-plate/platter.

Negative VTA can be problematic, positive VTA isn’t a problem.
If you have Rega TT with Rega tonearm then you may find the VTA is negative and you can’t fix it, you can only add something between a cartridge and tonearm (or thicker mat).

It’s important to get setup right but don’t get too obsessive. There will always be the odd opera torture track that will give most arm/cart combos hiccups.

I do not have yet anything like that on any tonearm/cartridge I’m suing now (no miss tracking). The Hi-Fi News TEST LP is the best test for cartridge suspension and tracking abilities. 

I do remember certain Shure cartridges being renowned for their tracking abilities. Perhaps it might be worth finding out what carts classical stations such as BBC Radio 3 used to employ in the days before they switched to digital.

Almost any good high compliance cartridge can do the same. The Grace LEVEL II for example, and it’s much better than any Shure. But Grace is a Japanese cartridge, you guys remember American cartridges only (and how they were advertised) @cd318

@chakster,

Good points. Yes, overhang simply has to be right. It hurts to think of that diamond not finding the best way through that spiral groove.

One thing that still puzzles me is the notion that the perceived sonic difference between moving magnet and moving coil designs was largely down to the better structural integrity of the latter with its non-removable stylus?

Is there any truth in this?

Since a lot of people use the Ortofon (blue and red) mm cartridges I wondered whether anyone had used that old trick of applying the tiniest drop of superglue to help further secure the plastic stylus assembly to the cartridge body?  

Since you could still easily break off the assembly when it was eventually time to replace the stylus, it might be something worth considering. Perhaps even moreso with a used cartridge.

I think it was something first suggested by UK reviewer, the king of tweaks himself, Jimmy Hughes.

The notion seemed to gain further credibility when Linn brought out their K9 cartridge which featured a tiny Allen bolt on the front of the cartridge to secure the removable assembly (Linn had a thing for the the letter 'k' and its profile looked like Doctor Who's electronic dog). 

Linn claimed that it helped with tracking and also resulted in a reduction in surface noise - and I tended to agree with them.

But that was over 15 years ago and perhaps today's moving magnet designs are better built.

@cd318 there are many vintage MM and MI with fixed stylus holder assembly: Denon DL-107, ADC TRX series, Technics EPS100 and P100 series, SONY XL-50 ... There is a screw to tighten up removable stylus to the cartridge body. 

Audio-Technica cartridges designed even better without that screw and a plastic stylus holder never fell apart and it sits firmly on AT-ML170 for example. 

atmasphere :
"The big deal you’re going to find is that if the tonearm properly tracks the cartridge, then the choice of cartridge is far less important than people make it out. By ’properly track’ I mean that no matter what is in the grooves, the music is always relaxed and well-defined, no hint of stress or breakup; almost as if you were listening to tape."

I would have to say that I disagree with this. There is a huge difference between my Benz Micro and my Koetsu Onyx. On well engineered recordings, it’s not really close. There is an audible difference between them and my Koetsu Rosewood Signature.

Now, I suppose you could say that I don’t have the Benz "set up" properly.

I have a Sumiko MMT arm in a VPI HW MK IV table. Do those components allow for the adjustments needed to "set up" properly, which in my 40 years of experience has simply meant to use that protractor-looking thingy and follow the instructions of each manufacturer, then fiddle until it sounds the best that I can make them?

Thank you, ML

Dear @unreceivedogma : You are rigth about. Problem is that that gentleman is really a " roockie " in that specific issue but he think as his followers is an expert and is far away from there., like it or not all of them unfortunatelly  are wrong.

They  have to learn as you learned and as many other audiophiles do it each single day, my self including.

Of course that with your Premier MMT tonearm you can make all the adjustment need it for any cartridge. That’s even today a very good tonearm design builded by Jelco under Sumiko specs and characteristics and quality level required by.


Regards and enjoy the MUSIC NOT DISTORTIONS,
R.