How are you playing your precious MONO Vinyl?

lalitik, I'm old enough that I began buying LPs after stereo had been introduced but while mono versions of most recording were still being released.  I didn't yet have a stereo system so I have many older mono LPs.  As a result I had similar questions to yours.  

As a result I also considered a two arm set up, one with a mono cartridge.  Then I became concerned about EQ after learning not all labels accepted the RIAA after it was established.  I don't claim expertise but here are my conclusions.

It comes down to when the given mono records were produced.  For the now many reissues of classic/popular mono recordings, a quality stereo cartridge played through a mono circuit in a phono stage will be good.  That is because apparently mono cutter heads are no longer available so the mono reissues were cut with stereo heads.  Matching groove width is important and this satisfies that.

For older original mono LPs then a mono cartridge with proper stylus size and lateral only pickup (less noise) should perform best.  Along with a mono playback stage.

Regarding EQ, I realized my mono LPs were issued beginning in the late '50s and are all US pressings.  So they are all RIAA, thus eliminating my need for adjustable EQ.

In my old age with the desire to simplify as much as possible I settled for a single arm with interchangeable head shells to accommodate both stereo and mono cartridges, along with a mono switch.

My 1Cent (mono after all), is that what I learned here is true: a TRUE Mono Cartridge is best, no need to put my mode switch in Mono Mode.

How Much Better? a little, some, more, a heck of a lot better, depends on the individual LP, but the key is to ONLY pick up the content, NOT pick up anything that might be noise or inadvertently considered content. NOT Sum Noise.

Distinction of individual instruments and/or voices can be significantly improved. Scuffs, scratches, warps, anything in the groove can be totally ignored.

To use a stereo pickup, and sum, is to add the unwanted noise in both channels, that's MUD added to the Mono Content both sides.

It is hard to free yourself of the habit of seeking imaging. Happily, McIntosh's have other options, sometimes the best is to take the input from the MONO Cartridge, and Play that thru only 1 speaker, L only or R only, whichever sounds best in your space at your listening position which can now be anywhere. I can play my L speaker only and sit on the far end of the room at mt position on the sofa with my coffee warmer, or out on the adjacent porch.

I just changed and now have 3 arms, all with removable headshells, to use any cartridge on any arm. 

My 1st/Main True Mono Cartridge is Grado ME+, with replaceable elliptical stylus ($100.), MI using standard MM Phono. I just replaced my stylus, easy, did it upside down while mounted on my old fixed arm.

Cartridge $185., extra stylus $100.

I sent this to Steve at VAS just to confirm that I wanted an advanced stylus shape on the AT33PTG/II Mono Body as my alternate mono cartridge (It;s done he says it sounds great, I'm picking it up tomorrow).

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AI Overview

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While it's generally recommended to use a mono cartridge for mono LPs, some advanced stylus shapes, like line contact or Shibata, can be used with mono cartridges to improve sound quality. These shapes offer greater contact with the groove wall, potentially revealing more detail and reducing noise. 

Elaborating on the benefits and considerations:

• Improved Tracking and Detail:

  Advanced stylus shapes, such as line contact or Shibata, are designed to trace the groove walls more precisely, potentially revealing more detail and reducing noise. 

• Reduced Wear:

  Some advanced stylus shapes may offer lower tracking forces, potentially reducing wear on the record. 

• Potential for Better Sound:

  Some audiophiles believe that advanced stylus shapes can improve the overall sound quality of mono records. 

• Mono Cartridge Compatibility:

  While advanced stylus shapes are often associated with stereo cartridges, some mono cartridges also utilize them. For example, the Hana SL Mono MK II features a Shibata stylus. 

• True Mono vs. Stereo Cartridges:

  It's important to note that a "true mono" cartridge has only two pins, while a stereo cartridge has four. Using a stereo cartridge on a mono LP can cause damage to the record. 

In summary:

If you're looking to upgrade the sound quality of your mono LPs, using a mono cartridge with an advanced stylus shape like line contact or Shibata can offer a potential improvement. However, it's important to ensure the cartridge is truly mono and that the stylus is properly aligned and adjusted for optimal performance. "

Beatles, One of the new friends I met here brought his collection of Beatles, both 3 Mono Versions and their Stereo versions, all in very good condition. We spent a few hours listening.

I found it was always easier or just natural to follow the words, content of the song/story of the songs in Mono, while the added interest/complexity of the Stereo Image sometimes emphasized the musical content more than the story of the song. That is a big deal when the songs are new, not so much after they become familiar, but in a focused comparison, that became apparent to both of us.

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John's Voice, Paul's Bass Playing on Sgt. Pepper's

I have Sgt Peppers in CD/LP/Reel to Reel (7", 7-1/2 ips). It's great to let people hear/choose among formats.

Any matching content: LP always beats the CD, and people become shocked at how good the tape sounds, to the point I glanced over to find tears coming out of my nephew's eyes (he's a musician). I would love to hear this on Rick's 15 IPS 2 track (another friend I met here). Led Zeppelin on his Otari has to be close to what they were hearing in the studio, making decisions, it is so far beyond any version I ever heard. 

I shake my head at the subtleties of Paul's bass playing, John's voice that I am far more easily aware of, and I have to wonder if Mono would be a superior 1st listen even though it is outstanding Stereo.

@elliottbnewcombjr How would using a stereo cartridge on a mono record damage the record? I can see that using a mono cartridge with no vertical compliance (eg Miyajima) on a stereo record could cause a problem, which is one further reason why I converted the Ruby 3: it retains it's vertical compliance but produces no signal from such movements.

As for the Beatles, I have my brother's original Parlophone mono releases, and have only ever played them with RIAA equalisation. I don't know if they were recorded that way, but they do sound fine.