Mono cartridges

bonzo75

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Hi, who has had experience with multiple mono carts on mono classical recordings?

Please state impressions.

Also, is the SPU mono similar to SPU stereo in sound signature - full bodied tone, flowing, less highs? and are the Lyra monos similar to their stereo carts?

I have heard the Miya zero in a couple of systems and like it. It does not sound similar to the madake
 

Tango

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Hi, who has had experience with multiple mono carts on mono classical recordings?

Please state impressions.

Also, is the SPU mono similar to SPU stereo in sound signature - full bodied tone, flowing, less highs? and are the Lyra monos similar to their stereo carts?

I have heard the Miya zero in a couple of systems and like it. It does not sound similar to the madake

Since you mentioned Lyra, the following is extracted from the Thoress Phono Enhanzer manual.

“The majority of currently produced dedicated mono cartridges are of the moving coil type, carry omniflexible styluses and possess a dual-coil mono generator assembly. Some of them tipped with 25 micron or 17 micron spherical diamonds while others are fitted with more elaborate diamond profiles such as line contact or micro ridge. In fact, the finest dedicated mono cartridges are derivatives of high grade stereophonic low-output moving coil cartridges and differ in their internal construction from the corresponding stereophonic variants only in that the generator coils are arranged in parallel to the record surface to suit lateral-monaural reading. (In rare cases, these cartridges have, in addition, decreased compliance in the vertical direction). This is to ensure that the signal can be kept free of disturbances due to (unwanted) residual vertical stylus movements, with a reduction in effective groove noise as a welcome side effect.
The signal generator of a dedicated mono cartridge ignores residual vertical stylus movements and it is mainly this feature which makes a dedicated mono cartridge to be prefered over a stereo cartridge for mono reproduction, providing both units are state-of-the-art devices.

Examples of omniflexible dual-coil dedicated mono MC cartridges are: Audio Technica AT33-Mono (0.35mV),
Lyra Dorian Mono (0.25mV), Lyra Helikon Mono (0.25mV), Dynavector DV-1s-Mono (0.25mV).

Where cost is not an issue, the Dynavector and the Lyra are the best choices and thus highly recommended to ensure that full benefits are gained from our Enhancer. Recall, these devices can be used on high gain inputs of any version (including the stereophonic versions) of the Enhancer without further adaptation, as they feature dual-coil designs.”

Thoress suggests a dual coil design mono cart is suitable for a two channel stereo base system.

Regards,
Tang
 

Tango

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Why is this thread in the Computer Based Music Server Forum anyway?
 

bonzo75

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Thanks. Very interesting.
 

bonzo75

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Oh I thought I put it in the cartridge forum. Must have misclicked. Mods, can you please move
 

awsmone

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Hi Tango

Good summary

I bought the Audio Technica mono as tipping my toes in the water, see my thread mono madness

Mono cartridges for classical and jazz mono recordings are brilliant

Decreased noise and greater dynamics

The four big issues with mono cartridges

1. Alignment of the coils or coil
2. Vertical compliance, a true mono cartridge doesn’t need much vertical compliance but you cannot play these on stereo records
3. Size of stylus, microgroove use 25 micron styli, but non microgroove need bigger styli, dont buy a non microgroove mono cartridge for microgroove mono records

4. Wiring, do you have a mono switch on your preamplifier or phono

You need specific cartridge wiring if you don’t, this is because you have two grounds wired, but only one ground active, the result is a ground loop amplified through you phono preamplifier

Then you need a y connector to overcome this issue, which are easy to find on eBay or you can wire the stereo connector yourself, I have done both...

A very few mono cartridges only have two tags, like the Denon 102, then you will once again need a y connector in the system unless you plan to play only thru one speaker....the ultimate mono.
 

bonzo75

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Zero seems to be the consensus choice, but I am interested in Soundsmith mono feedback. None available.

Miniguy's post suggests that miyajima carts with no vertical compliance cannot be used on Mono reissues, so he moved to SPU mono, and says the sound was equally good with more flexibility.
 

leyenda

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I have zero, which is excellent as per the consensus. Also have the spu a mono that I like to use to play some stereo lps. It does not play on the same level as the zero nor the stereo spu ae (but thats maybe more to do with the tip difference). The zero also does not play like the stereo shilabe that i had (not that impressed).
 

bonzo75

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Thanks. I agree mono is different from Miya stereo.

Can you please recommend some mono LPs for classical? Feel free to PM, thanks
 

miniguy

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If you intend to own only one mono cart for playing all mono records, you are better off with one that has some vertical compliance. As I mentioned previously on this forum, with a cart having zero vertical compliance, you risk distortion with any mono record mastered with a stereo cutting head. I have experienced this first hand with some mono reissues mastered at Pallas. This is due to phase anomalies starting at a tape playback head which can result in non-constant groove depth during the mastering process. If you insist on only one mono cart with no vertical compliance you should consider playing at least modern mono reissues with your stereo cart in mono mode either thru a mono switch or y-adapter. The primary justification for using any mono cart is for the greater difference it makes compared to a stereo cart on true microgroove records, mid-sixties and earlier, not as much on more modern ones.
 

awsmone

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There are so many mono classical that are great

All the early mono mercuries, which were reissued in stereo

Of course

Schumann Symphony No.4 - Wilhelm Furtw?ngler-BPO (DG 1954 Studio)
L.A. Fille mal Gardee on Decca is amazing in mono
kubelik/chicago - mussorgsky, bartok (mercury living presence)
> v.beinum/rco - bruckner 7, 8& 9
Furtwangler's Beethoven Ninth from 1954 on Tahra
"Swan Lake" - Dorati, Minneapolis MLP 1954
Liszt: Hungarian Rhapsodies, Mephisto Waltz Funerailles, Liebestraum No. 3
Dvo?ák*, George Szell, Royal Concertgebouw Orchestra* ?– Symphony No. 8 In G Major, Op. 88
Deutsche Grammophon ?– 18155Lpm friscay Verdi requiem
1956 DG Shosty Dym. #10 with Ancerl/CPO.
Walter Mahler 1 1954
Furtwangler 1951 Brahms 1 with NDR
EMI monos Stravinsky Jeu
de cartes; Roussel Sym #4; Balakirev Sym #1; Britten Bridge Variations,
etc.)
EMI TOSCA with Callas
Any Kathleen Ferrier monos
Eric Kleiber Figaro
Friscay Magic flute
Bohm Cosi fan tutti
Krips Don Giovanni
issay-dobrowen-pt-2-philharmonia-scheherezade mono transfers from 78

Just a little taster :)
 

awsmone

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Yes agree that unless old true monos go for a cartridge with vertical compliance for reissues

I prefer the true single coil designs in lateral orientation as noise and dynamics are much better

I now seem to listen to mono and stereo about 50:50, there seems to be a tonal purity of the monos which is less common on the stereos, could this be phasing issues?
 

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