I am about to invest in MONO Vinyl playback setup.
The goal - pure, undiluted music straight down the center.
The plan - dedicated 2nd tonearm + mono cartridge + phono
After 6 long months of waiting, my Woodsong plinth with dual arm boards schedule to arrive next month.
I came across a product that peaked my interest. The Monaural Phono Amplifier - Aurorasound EQ-100. No reviews, so I am wondering if anyone tried it yet?
⬆️ Is EQ-100 or something similar, absolute necessary from a purist perspective or should I take the pragmatic path and use the ‘Mono’ switch on my Integrated with a built in phono?
There are ofcourse pros and cons to both approaches so I am seeking advice from folks who have compared both options or adopted another alternative in their vinyl setup.
You described how your UK EMI mono pressings of Ella & Louis sound “off” with RIAA EQ, while the US originals sound wonderful. I was just curious: have you ever tried listening to those UK EMI pressings using a different EQ curve, like CCIR or EMI, if you have access to a phono stage with that option (like the EQ-100)?
Sometimes switching to a different EQ curve—by ear—can make those “off” pressings come alive. I’m not suggesting it’s about being historically precise, but rather asking…. have you experimented to see if any other curve actually sounds better to you on that specific recording?
I recognize without definitive info on the original mastering EQ, dialing in playback EQ is largely educated guesswork. And while something like the EQ-100 offers flexibility with its 10 curves, it’s ultimately your ears not the curve selector that decide what sounds “right.”
That’s all I was getting at—purely from a listening and enjoyment perspective.
As I said before, EQ-100 is an interesting product and it may lead to new discoveries, such as musical expressions and the performer's intentions that have previously been buried or hidden.
@lewmSorry to verge off topic a bit but weren’t the grooves in the mono micro groove pressings wider than the stereo grooves but more narrow than the original mono grooves?
A "two channel mono phono preamp" is any phono preamp or phono driving a linestage where the mono mode is engaged, when you feed that phono section with a true mono cartridge. Lalitk, I don’t understand exactly what you are after. If you want to go the ultimate purist route, then use a true mono cartridge with only two pins for output driving one channel of a stereo phono stage which in turn drives one of the two amplifiers driving one of your two stereo speakers, like Elliot says he sometimes does. The added advantage of the EQ100 is only the ability to select the compensation curve. If you don’t know for sure what pre-emphasis curve was originally used, then fiddling with the de-emphasis curves is pure guesswork. You might find one curve that pleases you most, but you cannot be sure it is the algorithm that was actually used in the making of the mono LP. I’ve got one set of mono LPs, Louis Armstrong and Ella Fitzgerald, the classic recordings, on EMI in mono (UK pressings), where when you play them with RIAA filtering something sounds off. Whereas the original US pressings on Capitol (I think, or maybe Verve) sound wonderful with RIAA filtering. I have always suspected that the EMI pressings were done differently in some way. Of course, no matter what, the music is sublime.
Exactly, the value of a two channel mono phono preamp comes down to design execution, sonic character, how it complements my system’s voicing and not some theoretical advantage from its dual-mono nature alone.
My current phono has ONE input. If I don’t hear any audible advantage with EQ-100, I may upgrade to a high quality stereo phono preamp with TWO inputs and that would be the end of my phono quest for a foreseeable future.
"Mono LPs pressed from 1948 until the early-mid 60’s have a groove width of 1mil. Mono LPs pressed after the mid 60’s and including current mono reissue LPs have a groove width of .07mil...a smaller groove width. "
Not that it matters much, because the point is correct but the numbers are not. Stereo grooves are 0.7mil in width, not .07mil. Also, I have read that the 1mil groove went out in the late 50s or even earlier, not the mid 60s, but that factoid was not documented any more than is the claim it went out in the mid 60s. There was a period of time in there when top artists recorded the same material both in mono and in stereo, two entirely separate recording sessions. For example, I have a recording by June Christy, "Something Cool", separate versions in mono and stereo. Same album cover, same sequence of songs on each, but if you listen to both, you can easily hear differences in phrasing of lyrics and in the improvisations. Both on Capitol. One wonders whether there is any difference in groove width between the two versions and whether an LP side with 1.0mil grooves for mono would have to contain fewer minutes of music than a corresponding recording in stereo which has to use 0.7mil grooves (because 1.0mil grooves would take up more space). I am sure there is someone out there who knows.
I really don’t know why I would ever need a separate mono phono-stage when I already have a great stereo phono-stage. Even if I really want to run a one channel system I can just connect one channel of my phono-stage (which happens to be a dual mono layout internally, at least in part, AFAIK). I guess if one wants to have a separate complete mono system for mono records then a mono one-channel phono-stage makes sense. Even then my phono-stage has two sets of outputs so I could even send a stereo output to a stereo system and a mono output to a mono system.
@lalitkSo then the question is whether or not you gain anything by using this two channel mono phono preamp. I’d say that in this case, everything hinges on the design and sound quality. But from what I’ve read here, more than likely no, there’s no difference between using a mono or stereo phono stage if the cartridge is a mono cartridge. So you have three tonearms but do you have three inputs on your phono amp? The ASR Basis I mentioned has two inputs. If you’re having to switch out your phono cable and you don’t care about the inconvenience, then one phono amp is likely all you’ll need. But as I mentioned before, I’d focus more on getting a great sounding phono preamp and not at all about whether the phono stage is mono or stereo. Unless this EQ 100 just flat out sounds amazing.
"Some believe that the presence of vertical content that is then summed introduces distortion and phase anomalies that are audible."
Whether or not such distortions are "audible" is a matter for belief or individual acuity, but whether there is distortion and phase anomalies introduced by bridging a stereo cartridge to produce a mono signal or by using the mono switch on a linestage ought to be measurable, in other words a matter of fact, not belief. Does anyone know of any published science on this subject? Preferably, the results would be compared to those obtained using a "true mono" cartridge on the same program material or a test LP.
”what I find perplexing about the original post is the idea of using a mono cartridge and a mono phono stage. So would you use two different mono phono stages ( left & right) with a stereo cartridge? ”
My original post is about a true mono playback. Two arms in the works, one for true mono cart and 2nd one for a stereo cart with dedicated phono’s.
A true Mono cartridge has only one coil (or two coils wired in parallel) and outputs the same signal from both channels. You can use any normal stereo phono stage and you’ll just get identical signals in both left and right channels.
As far as ‘mono switch” on a preamp or phono stage, I don’t have any direct experience. Can it be further use to collapse any remaining noise artifacts, or completely redundant with a truly mono cartridge, we will see!
The EQ-100 is designed with a monaural configuration with a L/R output for easier connection to a stereo system. The output signal from EQ-100 remains true mono or monaural. I am hoping to compare EQ100 in my system to see if mono vinyl sounds better with a purpose built phono,
➡️ True mono cart + EQ 100
➡️ True mono cart + AD60 (phono board in my Integrated).
There are some mono cartridges that will destroy a stereo record. Which ones I don’t know. Which mono cartridges are not strapped but true mono cartridges; the mono cartridges that house two separate mono coils or a single mono coil cartridge. The stylus is a factor where it pertains to the groove width. Those new remastered mono repressings are cut with the same groove as stereo records. But what I find perplexing about the original post is the idea of using a mono cartridge and a mono phono stage. So would you use two different mono phono stages ( left & right) with a stereo cartridge? That could possibly prove advantages, just like using two separate mono blocks as your power amps. But as was mentioned previously, with a mono cartridge, the signal is equally mono in both channels before it reaches the phono amp. So I would just focus on getting the best phono amp possible. The ASR Basis is my recommendation.
I think your Technics SP-15 is a great TT. Many years ago, Wayne, my friend at Harveys, 45th st, nyc called me whenever something great was coming out of trade-in/repair to their used shelf. (my office was on 44th st, 1 long and 1 short block away)
I bought an SP-15, with a Grace Arm and Grace Cartridge. I gave it to my good friend, and recently installed the B500 arm base on it, and we got a replaceable stylus from Soundsmith for the Grace Cartridge. Changing headshells and/or armwands, tool free arm height adjustment, it is a great way to have alternates in a compact setup, WITH a dust cover, one of my pet peeves.
If anyone is mono curious, I have a turnkey mono phono front end for sell on the ‘ ‘other site’… Miyajima Zero, Miyajima mono ETR SUT, Tektron mono phono (single Tele 12AU7 and 12AX7, and a single Cardas Clear Beyond phono cable (between the SUT and mono phono.
I use2 TT: a Linn LP12 for stereo, and Technics SP15 for mono. I have 2 dedicated mono cartridges, and I will send a Fairchild 225a to a rebuilder for restoration. My current mono cartridges are a Ortofon CG25 DI MKIII- this is a current version of Ortofon's original mono MC cartridge introduced in the late 40's, The other cartridge is a VAS modified Denon 103- one set of coils is removed, and the other set is reoriented for horizontal content. Both cartridges sound a lot different than an adapted stereo cartridge, or pressing the mono button. The Denon sounds better to my ears and in my system. It provides an extremely solid mono image with all of the improvements noted for mono cartridges, along with the extended frequency response of a current cartridge. Solo instruments and small ensembles sound shockingly real and "in the room". It is uncanny to listen to a 70yr old LP that has a silent background and music explodes from the grooves !
Others have noted that most "mono" cartridges are in fact stereo cartridges internally bridged to sum L/R channels to create mono output. These cartridges STILL respond to vertical groove content. A true mono LP does NOT have any vertical content, all signal is cut in the horizontal plane IE side to side. What is left in the vertical plane is noise, dirt etc. A stereo adapted cartridge still reads vertical content, and still includes vertical content in what is summed to create mono output. Some believe that the presence of vertical content that is then summed introduces distortion and phase anomalies that are audible. A TRUE mono cartridge (single coil plane) only responds to horizontal content, and does not reproduce any vertical content- it is immune to the distortion and phase anomalies mentioned earlier. Most listeners note a shocking difference when hearing a true mono cartridge for the first time.
Mono LPs pressed from 1948 until the early-mid 60's have a groove width of 1mil. Mono LPs pressed after the mid 60's and including current mono reissue LPs have a groove width of .07mil...a smaller groove width. True mono cartridges from the golden age have 1mil conical stylus profiles, and some believe this larger stylus can damage an LP cut with a modern/smaller groove width. For this reason, many believe that the best compromise is to use a single coil true mono cartridge, with a modern .07mil stylus. Opinion is about equally divided regarding stylus shape, with many supporting conical shapes, and just as many preferring more exotic shapes (elliptical, hyper-elliptical, shibatta etc).
Regarding cartridges, phono stages and preamps, it seems that the most preferred and best sounding true mono cartridges are moving coil, that require additional amplification of signal. Some use SUT / step up transformers, some use head amps/active phono stages etc. In my experience the choice of preamp is not as important as making sure you have a true mono cartridge. What is important is to be sure that your preamp has adjustable cartridge loading.
Phono EQ is another contentious issue. Some believe that non RIAA EQ coexisted until the early 60s and many report a more satisfying listening experience when playing an LP from the 50's and using a NON RIAA playback curve. So it may be beneficial to consider a preamp that includes adjustable EQ playback curves. There are several preamps that include selectable EQ along with cartridge loading.
The OP probably did not realize there was so much to consider regarding mono cartridges and mono LP playback !
I have stereo and mono versions of the same cartridge. Each is mounted on identical tonearms, both on the same turntable, both running through the same phono-stage. I mentioned this above, but maybe you haven't read through the entire thread.
Even with modern mono records – all cut with mono-configured stereo heads since the mid-60s – there is a big improvement playing those mono records with a mono cartridge. Playing them with a stereo cartridge and engaging a mono switch is just not the same thing. It doesn't sound the same. I'm sure it sounds good enough that way to most people with a small investment in mono records, but if one has a sizable collection of monos, it can be worth using a true mono cartridge.
This has all been stated already and confirmed by those with experience using mono cartridges. You are welcome to disbelieve it all if you want, but what you claim is not rooted in fact. It's just your opinion, but is it an informed opinion? I am interested to know what mono cartridge you used to play mono records, that leads you to conclude it makes no difference vs using a stereo cartridge and a mono switch.
“Oh, don’t tell me about that $20 repress you bought that was mastered from a dubiously disclosed source mastered and pressed who knows where! ” @faustuss
This reminds me of someone like disheveled, bitter audiophile in a dusty record store, side-eyeing a younger collector holding a shrink-wrapped LP :-)
As far believing, I get that we see this differently; we all have our own perspectives.
2nd by stylus type, line contact at the top (all line contact are subtle variants of original shibata, avoiding patent disputes) (note no SAS with further increased contact area seems to exist)
The new Ortofon 2M Mono SE VERSION wins both categories, and happens to be the most affordable at $600! That's a solid recommendation if I ever saw one.
ANYONE OWN/HEARD IT?
My AT33 is boron, better than aluminum, however, I would choose the lighter 1.5g tracking NEW OEM Ortofon 2M Mono SE over my created 2.0g tracking cartridge. I did this a few years ago, the new SE didn't exist.
Those of you who play mono records cut back in the hey day when that was the only format but today reissue producers don’t want to try and sell records that customers have to jump through hoops to play them back properly. Mono reissues are at a marketing disadvantage already just because they’re mono.
The only reconfiguring they might do is and probably electronically, is to limit the cutting head’s movements lateral only to reduce noise and keep in check out of phase anomalies if they were to occur, its the same stylus profile, geometry etc.
The advantage to using your preamps mono switch is to cancel the surface noise picked by your stereo cartridges vertical motion (the opposite stereo channel) and most reissue vinyl is so meticulously pressed these days that it’s free of surface noise most of the time anyway and can be played just fine with systems that lack the ability to combine the channels. Oh, don’t tell me about that $20 repress you bought that was mastered from a dubiously disclosed source mastered and pressed who knows where! Believe what you want though if it makes you feel better.
To @dwette@elliottbnewcombjrpoint, if you are going through the trouble of maintaining analog setup, buying mono vinyl, then why settle for stereo cart with mono switch. That’s like investing in a classic car, detailing it every weekend, then filling it with 87-octane and calling it “close enough….LOL!
I am committed to the full analog ritual—cleaning vinyl, precision tonearms, chasing dead-quiet backgrounds. I am not going to cheat myself out of the magic of true mono playback.
What I gather after reading here and online, a mono cartridge isn’t just about collapsing channels; its about, reduced noise (no vertical modulation pickup) and matching proper stylus profile for mono grooves.
Once installed, I am hoping for a fuller, more centered imaging that feels solid and alive, not smeared in any possible context.
And what about honoring the original intent of the recording?
"The only mono’s I have are reissues which are all lacquered with modern stereo heads these days. I simply use my stereo micro line cartridge and throw the mono switch on my phono preamp and I’m golden. No muss no fuss!"
Exactly what I did for years, I used to feel sorry for people who didn’t have a MONO switch.
Until, I read here what dwette and I and others who know are saying:
A True Mono Cartridge is BETTER. I clarify that by saying, a little, some, a lot, a whole heck of a lot better (depends on each LP content, engineering, condition).
Many things Phono, I emphasize the difference between ’prefer’ and ’better’. I prefer my mx110z's MM Phono RIAA EQ to any other I have heard in my system, I would not claim it is better, your ears/your system ....
In this case, notice I said BETTER! (In anyone's system)
have VAS put a new microridge on boron cantilever for +$400.
A totally unique and unavailable combo that sounds awesome!
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If you don't know how Yahoo Auctions work:
Aleado is a bidding agent, you open an account with them and pre-deposit enough money ahead of time for them to bid on your behalf.
Like eBay, you put in your maximum, it only bids enough to win, up to your maximum.
Seller ships to Aleado who verifies that it is what the seller says it is. Aleado gives you several shipping options to choose from, with time estimates.
You confirm which shipping method/cost, they ship, it does not take that long, even surface these days.
Aleado takes a fee
Bank transfer fee
In-Japan Shipping to Aleado by seller
Aleado ships to you.
I have won several auctions, the one mistake I made was fearing long shipping time during covid and choosing $30. airmail, surface would have gotten here eventually. A complete bargain may only be achieved with patience.
Oh yeah, the small print: they might end early, or they might extend the auction by a day or two, just put your max in and let it happen.
@faustuss mono records have been cut with stereo heads since the mid-60s, but they are reconfigured to cut a mono signal, so it's not the same thing. Using a true mono cartridge makes a big difference even with the reissues. They are cut true mono, with the signal in the horizontal grove and nothing but noise/distortion in the vertical part. A true mono cartridge ignores that vertical part to improve signal/noise ratio.
It works fine to use a stereo cartridge with the mono switch engaged, but it still isn't the same as using a mono cartridge, even for modern reissues.
The only mono's I have are reissues which are all lacquered with modern stereo heads these days. I simply use my stereo micro line cartridge and throw the mono switch on my phono preamp and I'm golden. No muss no fuss!
1st: is it a True Mono Cartridge? Always ask that. No signal generated by vertical motion is what you want.
next: what stylus profile shape?
then the cantilever material? because good mono can be VERY Dynamic
tracking force? (a lot has to be right to track lightly and get excellent measurements).
the combination of light tracking with large contact area of advanced stylus shapes is my preference, which has both longer stylus life and less wear to the grooves. Stereo or Mono
last: tech talk/achieved results/specifications, my copper is better than your copper
cartridges, SUT, cameras, at first I want to run from the technical crap, but after a while, it’s not that complicated, I’m a college graduate for god’s sake (art school) .....
Of your choices, two are conical, no way would I consider them, the Grado ME+ is elliptical, Ortofon Quintet Mono is Elliptical, both on aluminum, Ortofon a lot more $
I would definitely go for an advanced stylus profile for your system
My AT33 Mono, I like MC technology and the tech, but not like the aluminum cantilever or conical tip,
which is why I searched for a broken one, and had VAS rebuild with boron/microridge (nowhere available to purchase).
Yahoo Auctions $40. including Aledo fees/bank fees/shipping in Japan. Air shipping to usa $30 (should have chosen surface ship). VAS $400. total $470. plus 2 round trips 35 min each way, gas and tolls, I call it $600. total. It sounds awesome!
One of my used AT160ml was also Yahoo Auction, win auction cost $160.,
aledo fees/bank fee/ship in Japan to Aleado. ship to usa: $63, total $223.
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I’m a bargain hunter and willing to take risk, you win/you lose: I may lose -$250. on the tonearm I bought from Germany that had to be rewired, time will tell, seller is stalling. Or, it’s total price will be $404. incl customs and shipping to usa + $250 VAS rewire = $654. I’m not crying or giving up yet. My search: the only arm that fits in that location with a removable headshell
Thanks for taking the time to research and your recommendations. I am less likely to consider a used cart at this juncture of my analog journey. I don’t want to 2nd guess the condition or setup of my analog chain.
here's the AT160ml Cartridge without a headshell, from Samurai, I took a chance on two used with headshells, VAS checked them, they both were good! One body turned out to be a model 150 with 160ml beryllium/microridge stylus, seller gave me 1/3 refund I asked for when I informed him. The cartridge model is only marked on it's top, so seller did not know until I removed it from the headshell to move it to the other screw position.
I used the shorter SME 3009 on my Thorens TD124 for many years, loved the knife edge design. So obvious what everything does. Note: those arms have a concealed rubber tube that isolates the rear counterweight tube section, if buying used, make sure it has been renewed.
I was just admiring the two longer 3012’s Steve has among the forest of TT’s you pass by. It was that combo, with Shure’s V15VxMR beryllium/microridge that I mentioned earlier as the best bass I ever had and will never forget. Tracked at 1.0g
It’s not tool free or quick to change the height, but it seems like you will leave things alone after setup, unlike me who changes headshell/cartridge combos frequently (including friend’s cartridges we listen to here).
I never saw or heard a Groovemaster, it sure has nice features, what do the reviews say about comparison to SME, others
a. very thin wire, thus no forces back onto the arm interfering with anti-skate which is happening on my re-wired 12.5" New Art Vinyl Blackbird Arm (didn’t happen with it’s original litz wire). That is why I changed to the 11-1/8" long JVC Victor UA-7082, with internal 5 pin din. (current Blackbird uses 5 pin din).
b. magnetic anti-skate, awesome (my Acos Lustre GST-801 has that)
c. optional 9, 10, 12" lengths
c. Rotary Lift, tool free height adjustment. Looks as easy as my Acos Lustre GST-801 which is so smooth I change height while playing. Note: both my friend’s Micro-Seiki 505 and my JVC Victor have similar tool free rotary height adjustment, but neither (both bought used) is smooth enough to adjust while playing. It doesn’t matter, I am not refining VTA, I am just getting the cartridge’s height differences dealt with to achieve horizontal headshell when playing. Ability to adjust while playing is amazing.
d. removable headshell, I would order a spare OEM headshell.
or, when you take a chance on one of these vintage beryllium/microridge, you get a vintage AT headshell with azimuth adjustment. Tracks at 1.25 g.
Notice, not a slot adjustment, has two sets of concealed threaded holes for two optional locations, you need screws the correct length for any different cartridge. I have a collection of mounting hardware from over 40 years, and Vail Hardware one town away with nearly anything I need. I have made custom length screws in the past: I put two pairs of nuts on, cut, then when you take the old nuts off, they straighten the cut end of the threads for you.
The Rigid Float, may be the best thing ever made, it’s just too ugly for me.
Thank you for your positive feedback with Mono playback. That’s my plan as well, buying a mono cart. I am contemplating between Miyajima Zero vs Hana SL Mono MK II or Ortofon. The choice of cart would be contingent upon choice of tonearm. So far, I have narrow down my options to SME 3012R, ViV Rigid Float snd Groovemaster IV.
I can lower all 3 arms onto an LP, it plays perfect speed (as Halcro proved)
so I can compare 2 or even 3 cartridges within seconds by my two dials on my SUT
I make any needed volume adjustments when I change, my Cayin Amp volume knob is right there at 12 oclock normal (for more precision, for subtle differences, I make temp. A,B,C pencil marks on the amp’s aluminum face plate).
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A new friend and I just quickly compared a pair of Mono LPs and a pair of cartridges, just to let him hear the difference.
1st with my MM Stereo AT160ml Cartridge and Mode dial in Mono, beryllium cantilever with MicroLinear Stylus (VAS verified good)
2nd the MC AT33ptg/II 50th Anniversary MONO (VAS rebuilt with boron/microridge) Mode Switch in Stereo and then moved to Mono.
The Stereo Cartridge playing a very flat, excellent condition mono LP of content recorded in 1955, with mode switch in Mono sounded good, if I only had a few Mono LP’s, like the old days, that would be ’good enough’.
The Mono Cartridge (mode switch stereo or mono made no difference this time) was immediately more involving, definitely had increased clarity of individual instruments, that’s a trombone, that’s a trumpet, ..... if voices, I can say there would be an obvious improvement there too.
If you have more than a few Mono LP’s, if you have the money, definitely get a true mono cartridge. start at least with the Grado ME+ Mono Elliptical on Aluminum for only $185, it will be worth it, you will hear a preferred difference.
I have to say, I personally wouldn’t pay $1,000 or more, but the $600. I spent creating my Franken MC Mono with boron/microridge is noticeably better/preferred to the Grado Elliptical, i.e. the risk paid off!
Removable Headshells, even high quality ones, might not be perfectly level with the arm, so you need to check both Azimuth and VTA at the headshell, when down on the mirror or in the groove, suspension properly flexed by tracking weight.
I just ordered this versatile kit of inexpensive levels, I’m not planning on leaving them on, but they are sized to fit hot shoes on cameras and I can compare the cheap things to my better quality levels, I have found some good, some not in the past
I use a speck of sticky tack to defy gravity and temporarily hold something like a level, or a cartridge nut in a tiny place until I get a screw started
I use this mirror, same thickness as an LP, any deviation from straight is ’oppositely’ reflected, makes it easy, and the level can confirm if all is well.
I often listen to Mono from my reclining chair on my porch, where most of my recovery from 31 surgeries has occurred, and often use the Mode Switch, so true mono cartridge, then L+R to L projects only the Left Speaker diagonally into the room, out to the porch
or, Listen from the far right corner, sofa next to my coffee warmer, and perhaps while I eat, the coffee table rises up for meals/snacks. The two chairs simply spin around for either 2 CH music or 5.1 video.
I hope you have a team fetching you stuff. Donna can handle the TT properly, and loves music too, so whatever I’m in the mood for
for those here who want to know the difference, i.e. "that’s good enough for my small need".
You are a good one to tell us what happens in your system with your particular Mono LPs.
a. play the stereo cartridge with the preamp in Mono position
b. play the mono cartridge, perhaps name a few LPs it makes an ’easily noticeable’ improvement
b1. leave switch in Stereo position (no need to use mono position with a true mono cartridge) (especially interesting for others who don’t have a stereo/mono switch, i.e. you don’t need both
b2. move to Mono position, in your case, is it just habit, or do you hear a benefit?.
Thank You!
I’ll try this weekend & take notes. Recovering from spine surgery 7 weeks ago. I haven’t even turned my 2 channel system on since the beginning of March. To be continued. Dan
I’m so lucky to live near and have Steve and Ray Leung of VAS as friends as well as problem solvers. They are quite busy.
They rewired the tonearm I bought on eBay (came with no right channel), and put a new boron cantilever/microridge stylus on the AT33PTG/II MC Mono body I bought from Yahoo Auctions with a broken cantilever for this purpose. This advanced combo does not exist unless you have it built.
I drove down before lunch, picked them up, got home, re-installed and re-calibrated all 3 active arms: Stereo MC/Stereo MM/Mono MC.
OMG that MC Mono cartridge sounds awesome, far better than I expected, far better than my Grado ME+ Elliptical which does a darn good job with Mono LPs for only $185.. I am glad I spent what totalled around $600.
I played this LP for the 1st time (one of the 4,000 lps my friend left me, mostly jazz, many Mono, the majority played once, a few times at most).
I highly recommend it, and exactly what I mean about players making their mark with excellently recorded Mono techniques. Read the notes, awesome players all.
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Ray checked and cleaned 5 of my cartridges with their 100 power microscope, I looked at the last one, it’s amazing to view them so magnified. I want one!!!!
He identified each of the various stylus shapes (SAS; Shibata; Van den Hull; MicroLinear; Conical) within seconds without hesitation.
Then he cleaned them, all the way down into the suspension pocket, two of them were tricky to clean, you and I would have shaking hands, he has no hesitation. I think I keep them clean, and yet ...... one had some metal specks, I bet I had it out on my workbench in my shop where my magnifying shop light is, and the cartridge’s magnets pulled some metal dust out of the carpet tiles I have on the surface. I’ll try to remember to be more careful in the future.
He confirmed they all are in good shape and most happily have even wear, i.e. former owners and I are getting the anti-skate correct, and the sellers told the truth, it’s nice to have your ears confirmed with facts. After all, I/we are capable of hearing what we want to or expect to hear.
He said he can try in the future to put a new stylus in the beryllium cantilevers, but no guarantee, they break very easily.
I specifically asked, and Ray confirmed what I have read elsewhere, MOST cartridges they rebuild, the stylus have uneven wear, which confirms MOST people are not getting their anti-skate correct. (that’s us folks)
I no longer trust the arm’s dials, I use a blank side of an LP, and adjust to counteract active skate, not what the dial says, what physically happens while the lp is spinning and I adjust. And I re-check both tracking force and anti-skate frequently.
btw, on an off chance (they have everything) I took them one of the beveled washers I used to repair my JVC Victor UA-7082 Tonearm’s Counterweight Sag.
Sure enough, they have a messed up UA-7082, so I was able to let them know my experiences and sent them photos and measurements. Their brass piece is a disaster, bent, stripped threads, but they are very resourseful.
My repair method allows holding the inner part with a tool when tightening the counterweight, then assemble into the post last, that is a critical difference when the internal part is a mess.
I am so glad I bought and repaired it, it is a wonderful tonearm when working.
I’ll be listening again soon, all 3 headshels allow azimuth adjustment
Notice the yellow levels on two of the arms (adjust arm height so level when playing, cantilever suspension engaged), I’m leaving them on for now, near the pivot, an extra 2+ grams. I noticed, Steve uses VPI with several uni-pivot arms ready, each have a smaller level on the headshell, I’m gonna look into that.
Thank you all for your feedback. Lot of good advice / information here for anyone looking to dip their toes into mono playback. For clarity, I do not intend to play mono vinyl with a stereo cart or swap headshell’s. I want my mono playback setup as ‘set it and forget it’.
And I do not own any pre RIAA mono Vinyl yet but still remain curious to hear back from anyone have a direct experience with EQ-100. I think it’s an interesting product with really cool retro design.
RE: Woodsong plinth…not sure what kind of feet I’ll get with my plinth. Chris assured me his best work to date so I am really looking forward to experiencing the final product.
Note that you really only need a mono switch for LPs made before 1968 or so. Mono records made after that are cut with a stereo lathe.
That’s correct but not 100% correct. When mono records are cut with a stereo lathe, the cutting head is reconfigured for cutting mono. It’s not quite the same thing as cutting stereo. Kevin Gray has explained that in one of his interviews or white papers (I can’t remember which).
Use a mono switch for mono records cut since the mid-60s too. It can improve the sound and reduce noise.
note that Most (not all) Mono Cartridges' compliance material is designed to RESTRICT vertical movement.
from Audio Technica,
"Generally speaking, it is possible to play a mono LP using a stereo phono cartridge, but if it is a true mono record, better performance can be obtained by using a true mono cartridge. So, what defines a true mono record? Vinyl records can be either mono or stereo and each differs greatly in the way that it is recorded and cut. Cutting refers to the mechanical process of imprinting the recorded signal into the record surface. A heated cutting stylus literally cuts the signal into the soft surface of a lacquer-coated blank disc from which vinyl copies will ultimately be made. True mono records are cut laterally: The cutting stylus moves from side to side, cutting the same signal in both record groove walls. We refer to this as horizontal modulation. The playback stylus, therefore, requires compliance (movement) in the horizontal direction only. By contrast, stereo records are cut in both lateral and vertical directions. The cutting stylus moves not only from side to side but up and down as well, therefore the stereo playback stylus requires compliance in both directions.
A stereo cartridge will never quite faithfully reproduce the true mono signal accurately because it is not restricted to horizontal compliance only. Some phase and tracking errors will exist.Additionally, there will be some amount of cross talk between the cartridge’s independent left and right channels. A true mono cartridge eliminates these problems by producing only one signal and distributing the signal to both channels equally; the signal appearing in the left and right channels will be identical. This arrangement produces a sound that is more focused (centred) and has more weight (punch). An additional benefit of the design is that of surface noise reduction. When the same exact signal is reproduced at the same time by two speakers, the signal-to-noise ratio is improved.
Note: A mono cartridge should not be used to play back a stereo LP record unless it is specifically stated that the cartridge has appropriate compliance in the vertical direction. Our AT33MONO moving coil cartridge is one such cartridge.
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random finds re: Mono Switch might improve even when using a true mono cartridge
Below from Ortofon's mono cartridge page ...
Advantages of using a mono cartridge to play mono records
If you play a mono record with a stereo cartridge you will not achieve the same signal in the two channels due to imperfections such as crosstalk, noise, phase errors, tracking error, antiskating and distortion. This difference between the channels will result in an unstable and partially fuzzy image. A mono switch, to some extent, can improve this.
Playing the same record with a mono cartridge will have none of the aforementioned problems, as this cartridge only produces one signal, which afterwards is directed to both channels in the system. This will provide a much more forceful and stable image with a fuller sound.
Another significant advantage of using a mono cartridge to play mono records is the absence of response to vertical movement. This means that a mono cartridge is essentially impervious to the pinching effect which comes into action when the stylus is pushed vertically upward in very narrow grooves. In addition, the response to dust, dirt and wear will be reduced substantially as the vertical component will not be heard. The final result will be a much more clean and noiseless reproduction of the mono record. These effects simply cannot be achieved merely by the use of a mono switch.
because a stereo cartridge has no choice but respond in both planes, anything internally that causes phase shifts or differences in inductance and capacitance will affect the output when summed.
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On a mono Lp the only things in the vertical plane are noise and distortion.
the Aurorasound EQ-100 is uniquely different, from the manual:
"When a stereo cartridge is used, any vertical signal on a record is cancelled by an internal circuit of EQ-100. Only the R+L horizontal signal are detected to assure a superior sound stage with less noise."
Cancelling any vertical input seems to me FAR better than producing the noise and then summing the noise in both channels, that is my biggest objection and what I referred to as MUD on top of the Mono Content (Dual Mud?)."
First, the long sentence about how the Aurora works can be applied to any stereo preamplifier when the mono switch is activated. That is what they all do, and that is why HF noise from the LP surface irregularities is reduced, not enhanced, compared to playing a mono LP in stereo mode with a stereo cartridge. Then in your second paragraph you revert back to this idea of "summing". Just forget it. It's a semantic twister. None of this is to say that I disagree with your contention that using a mono cartridge is superior to using a stereo cartridge plus mono switch. I am in no position to disagree, because I don't use a mono cartridge at all. Although I do own a Shelter mono cartridge that has been sitting in a box for about 5 years.
For you guys who do use a mono cartridge to feed a stereo phono stage, consider that the two channels of your phono are unlikely to be absolutely identical in all measurable aspects of their performance. Thus the output from one channel may differ very slightly from that of the other channel, thus introducing, say, phase differences or slight differences in distortion or frequency response. Thus there could be an audible difference possibly between activating the mono switch and not activating it. And results might differ from one system to another, particularly because humans are reporting on what they hear. Nevertheless, I urge those of you with mono cartridges to try it both ways, mono switch on vs mono switch off, and report back.
Before I had a mono cartridge, I definitely heard improvement engaging the mono switch on my preamp when playing mono records with my stereo cartridge. It mostly came in the form of noise reduction, but it didn't benefit in other ways like the true mono cartridge does. I never engage the mono switch when playing the mono cartridge since that's pointless to do. Even Boulder in their manual says the mono switch is for playing mono records with stereo cartridges.
for those here who want to know the difference, i.e. "that’s good enough for my small need".
You are a good one to tell us what happens in your system with your particular Mono LPs.
a. play the stereo cartridge with the preamp in Mono position
b. play the mono cartridge, perhaps name a few LPs it makes an ’easily noticeable’ improvement
b1. leave switch in Stereo position (no need to use mono position with a true mono cartridge) (especially interesting for others who don’t have a stereo/mono switch, i.e. you don’t need both
b2. move to Mono position, in your case, is it just habit, or do you hear a benefit?.
"For the umpteenth time, using a mono switch when playing a mono LP with a stereo cartridge is not per se going to increase noise because of "sum"-ing. Phase cancellation takes care of that, and reduction, not summing, of common mode noise is the principle benefit of using the mono switch."
I keep forgetting this, because not always but MOST OFTEN, using my True Mono cartridge sounds FAR better, MUCH LESS NOISE than using my Mono Switch.
is UNLISTENABLE with a Stereo Cartridge, a history lesson at best, (where’s Louis?). When played with my Grado ME+ Mono, $185. elliptical, it is both enjoyable (there’s Louis) and is the easiest demo I can play for others.
A muddy mess with terrific sounding AT33PTG/II Stereo’s advanced stylus via mx110z’s Mono Switch. Play with the Grado Mono Cartridge: Individual instruments and voices become distinct (not imaging, but distinction) to the extent you can imagine the individual players. Definitely DOES NOT OCCUR using the Mono Switch.
Where is phase cancellation mentioned?
If Phase Cancellation is ASSUMED to occur, it doesn’t occur perfectly, not in my experience.
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You do not need to spend a lot of money for True Mono Cartridge, $185. is the current price of the Grado ME+, elliptical stylus, if you want to go beyond that, ok, but not needed to simply enjoy your current or future Mono LP's,
especially if you listen to Jazz, so many greats made their reputation before Stereo. If it's in good shape and mono, you will have no hesitation, recording techniques were already very good, buy, plan on it sounding INVOLVING..
the Aurorasound EQ-100 is uniquely different, from the manual:
"When a stereo cartridge is used, any vertical signal on a record is cancelled by an internal circuit of EQ-100. Only the R+L horizontal signal are detected to assure a superior sound stage with less noise."
Cancelling any vertical input seems to me FAR better than producing the noise and then summing the noise in both channels, that is my biggest objection and what I referred to as MUD on top of the Mono Content (Dual Mud?).
It may be the best way to use a single arm, single stereo cartridge to play a Mono LP. Thus my objection that it does not have provision for proper Stereo, ... and
it always ends up Line Level Out (after doing what? complicated for infrequent use, the switches were left in what position?)
OP, I’m excited for you, I had a Thorens TD124, single arm, I can imagine the Garrard’s are a similar degree of AWESOME. Best Bass I ever heard, here or anywhere since. I’m happy with what I am getting, but you never forget the difference once you have had it.
It’s funny to see them on spikes, maybe in a concrete bunker, I need a final layer of rubber even with my current JVC Victor TT81 player (since wrapped in black tape)
the TD124 was very sensitive to vertical vibrations from my springy wood floors, and I need/prefer a dust cover.
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These are a combo spike/soft, and adjustable, has anyone tried them______?
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