How are you playing your precious MONO Vinyl?

Sorry, Doggie, I was editing my post while you submitted yours. Ortofon's use of the term "dual coil mono" sounds like the kind of double talk I read when I researched the Quintet mono. In other words, it sounds like code for a bridged stereo cartridge.

Honestly I do not know.  I have all of the above: true mono cartridges (Myajima and AT), bridged stereo to mono (Ortofon 2M Mono SE - personal fav), and a stereo switch (KAB). all work.  My take is that Ortofon, ever practical, has probably determined the same thing, that is that all these methods all work, therefore, they settled on the bridged stereo to mono approach as the most practical for them.  That is likely true from a manufacturing perspective in allowing them to offer mono versions of cartridges across several models at various price points in both MC and MM.  Also, the number of units sold per annum is probably relatively small.  Again looking at from a practical perspective this makes sense.

“I have all of the above: true mono cartridges (Myajima and AT), bridged stereo to mono (Ortofon 2M Mono SE - personal fav), and a stereo switch (KAB). all work. 
@billstevenson 

Thank you for weighing in on mono vs stereo cartridges based on your experience. I have been reading up on design attributes of some of the mono carts and what sets them apart. 

Ortofon’s mono cartridge line (like the 2M Mono SE, Quintet Mono, and even Cadenza Mono) all use stereo generator bodies internally wired for mono, exactly as you say. To me, that’s a smart scalable manufacturing strategy, perhaps a conscious decision especially given how niche the mono market is…..

I have no reason to doubt your hands on experience, of course they all work! However, that’s not the point of this discussion…I was trying to access the purist approach to play mono vinyl. 

Your Miyajima with its true mono generator and lateral-only compliance is arguably the “purist” approach—perfect for pre-1960 deep groove pressings. The 2M Mono SE is one of the best examples of a stereo-bodied mono cart done right and possibly the ideal companion for modern mono vinyl re-issues. 

I plan to do exactly what you’ve done, i.e. trusting your ears and the only way to cut through the theory or assumptions. Hopefully my approach of comparing different mono carts and phono’s lead me to a setup with minimal to no compromises. 

Lalitk,

Using your ears makes sense, but it only will take us so far.  This thread makes clear what a mine field the whole mono record business can be.  For example, as lewm points out, when and how a record was made matters.  Records cut late 1940s until early 1960s were mostly cut with groove width of 1.0 mil.  The exact dates vary by label.  Miyajima and AT, for example, make conical stylus cartridges with no vertical compliance that work for those, but for records made on modern cutting lathes the grooves are 0.07 mil wide, and these need a different stylus altogether.  Just using ears can land the unwary in trouble because using the wrong stylus can damage the record not to mention not sounding very good.

“what a mine field the whole mono record business can be”
@billstevenson 

You’re absolutely right! Fortunately, I don’t own any pre-60’s mono vinyl. I am aware of the grooves width on mono reissues, so I am considering to start with Miyajima Zero Mono cart with 0.7 mil pure conical diamond stylus spec. 

And yes, use your ears but only after you’ve used your eyes, loupe, and Discogs.