Why mono?

to echo Jazdoc's comments; i too have the Miyajima Premium Be Mono. it's mounted on my Reed 2P arm on my Garrard 301. it did take some time to break in; and demanded a good setup to sound optimal.

most of my mono Lps sound better on this $1100 retail cartridge than on my Rockport/Lyra Olympos stereo cartridge ($11,000 retail).

this morning i was playing some of my 45rpm Jazz reissues and played a mono on the Rockport/Olympos. for grins i tried it on the Garrard/Miyajima Mono and damn! it sounded a significant degree better.

caution; the Miyajima is one of those 'different' mono cartridges that will harm a stereo Lp.

there are a number of other things to think about with a mono cartridge beyond what Elizabeth mentioned above.

some of them might want a heavier arm than medium compliance arms most of us have. for instance; the Miyajima works on the Triplaner or Reed; but it might work better on a heavier arm.

some mono cartridges have just one magnet, but with the normal 4 output pins. which means you will have a ground loop if you connect like a stereo cartridge is connected. i had to use a splitter into my stereo phono stage and leave one channel disconencted. then i use my 'mono' switch on my preamp. if you don't have a mono switch then you would need to find another solution.

the Lyra Titan i mono has 2 separate mono magnets; which avoids the whole 'ground loop' issue and allows a normal connection. other mono cartridges use normal stereo magnets and simply 'sum' them so a mono signal is sent to the preamp.

as Elizabeth mentioned some use the smaller stereo stylus and others the larger mono stylus.

anyway; even if it sounds complicated it's not; you simply have to understand how the particular mono cartridge you choose will integrate with your system.....and what adjustments might be required.

Because mono disks are cut differently. If you are really into a large collection of mono lps, like I am, best to assign a separate arm and cartridge to their playing. The Lyra is ideal, but Shure makes some mono cartridges that are great sounding, and good values.

Sorry Yogiboy but as you see from the good advice offered so far, there are not just a few simple answers.

But I might suggest answers start with how many mono records you own (i.e. how much time will you spend listening to mono?) and how anal you are about LP playback? Then consider:

Is it a true mono design cartridge (see above) or internally strapped for mono (some claim this for Grados but I don't know)?

What size and shape stylus do you choose?

Are your mono LPs original (larger, conical stylus could be better) or recent reissues (mono cutter heads no longer available so reissues are cut with stereo heads, thus modern stylus tip could be best)?

Does your arm offer easily adjusted VTA (older LPs cut at different angle, see Fremer's article in recent Stereophile)?

If your mono LPs are originals, you may want to consider alternate EQ adjustments. Although the RIAA curve was approved in the mid-50s, some labels continued using other EQ into the '60s.

Back to the original question, a mono switch on your phono/pre should allow for quieter playback, thus more enjoyment. But there are many steps beyond and only you can decide how far to take it.

Thanks Pryso,all my mono's are reissues so I guess it would be fruitless to go mono!But the explanations are top notch.

Granting that I've never listened to a modern high-end mono cart, I'd be curious to know whether the posters touting mono carts above did their comparisons to stereo carts as the OP suggests (and as I normally do in my system), which is with a preamp mono switch engaged? If not, then you're working at a relative disadvantage in S/N ratio at the least (disregarding for the moment all the other sonic variables between what of course could be quite different carts). If what we're really talking about here is listening to mono records in mono vs. listening to them in stereo -- not simply whether a mono cart sounds better than a nominally equivalent stereo one for playing mono records *in mono* -- then that strikes me as somewhat of an apples-and-oranges comparison.

I still don't think I've heard/read a convincing argument as to why investing in a separate mono cart has an advantage over simply using a mono switch if you have one (assuming your stereo cart is properly aligned), since summing the 2-channel signal cancels out virtually all of whatever spurious vertical modulation info may be present. (On top of which, it is my experience that a minority percentage of mono records in clean condition will actually sound better played with a stereo cart *in stereo* despite the lower S/N ratio, presumably due to disk-mastering/pressing anomolies that can sometimes result in a degree of unwanted HF cancellation when played in mono.)