How are you playing your precious MONO Vinyl?

’Since my post, I did bit more research and found out EQ-100 would be beneficial for early mono records that used non-RIAA EQ curves’

I agree with above statement regarding non-RIAA EQ curves. My phon preamp is a Graham Slee Revelation C (similar functionality as the Aurorasound EQ-100. Cartridge used: Ortofon MC Cadenza Mono).

I do favour this setup to any other setup using other phono preamps and stereo cartridges because of sound quality. I have a lot of old mono records with pre RIAA EQ curves. As per advice of Graham Slee, I am using only Input Right, bridging Input Left with an ’inactive’ plug.

https://www.hifisystemcomponents.com/phono-preamps/revelation-mm-revelation-mc-archival-phono-preamps.html

The Revelation C was designed for archivists with a preference for low-output moving coil cartridges, and is based on the Reflex C hi-fi RIAA stage moving coil phono preamp.

As well as being a stereo RIAA preamp there are settings for other types of record, so rather than guessing the tonal balance, the Revelations have all the EQ settings you should need arranged on a three switch front-panel matrix.

The purpose of a preamp such as the Aurorasound EQ-100 is to playback discs using a pre-emphasis equalization other than the RIAA standard adopted around 1960 or so.  If your collection includes original discs from early in the micro-groove LP and 45 era, then some of them may use EQ curves such as AES, Columbia, London, etc.  All would be mono, of course.

Note that these early EQs only apply to the original discs mastered and pressed before ~1960.  Reissues since that time would all use RIAA.

I have a second system based around an HK Citation preamp that supports these earlier EQs.  I have one turntable set-up for 78 playback as well as another turntable for 45/LPs with a swapable mono or stereo cartridge.

My experience is that the old EQs are critical for playing 78s, but more subtle with LP/45s.  Most of the early LPs I have with alternate EQs sound OK played back through RIAA.  I’ve learned to listen for the difference.  Getting the bass turnover correct removes an unnatural thickness/thinness in the lower mid/upper bass range.  The correct high frequency roll-off gets the right balance of extension and surface noise reduction.  But a casual listen might not notice anything amiss.

So, if you have a number of early LPs/45s in your collection, you might enjoy a preamp like the Aurorasound EQ-100 or other with similar flexible EQ to dial in the correct playback response.

BTW, I am considering adding a turntable with two tonearms to my main system with one dedicated to mono connected to a flexible EQ preamp.  Good idea!

Define “early”, because that’s where there is lots of controversy.

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.