Mono Cartridge Stylus

Miyajima is correct.  

@billstevenson Why are they correct?

Any collector of mono records will probably wind up with a mix of microgroove and pre-microgroove records.  Miyajima has catered to this market for many years and makes stylii for both types of records.  If you are interested in collecting and playing these records you are going to have to make a decision about whether you want to be able to play both.  It depends on what you want to collect and listen to.  If you only want to collect reissues, then you only need microgroove capability and that will simplify your requirements.   

@billstevenson You're essentially saying the same thing that I posted. Miyajima doesn't mention Microgroove pressings.

About stylus size of Zero MONO
0.7mil is suitable for reissue monaural LP and a monaural LP of after 1960.
1.0mil is suitable for the monaural LP of a deep groove of the first press of the 1950s.
However, both styli can trace the monaural LP of all generations without a problem.
When you listen to the monaural LP of all generations, we recommend 0.7mil.
When you listen to a monaural LP of the first press of the 1950s mainly, we recommend 1.0mil.

Maybe we are, but I want to be clear.  A 0.7 mil stylus often sounds terrible on a pre-Microgroove record, and a 1.0 mil stylus might jump right out of the grooves of a Microgroove record.  This is why Miyajima and others make both and why collectors seeking best performance need both.  It is not correct that both stylli can trace all generations of mono records in all cases. Very demanding material requires proper matching.  

This is why I posted the preferred stylus size of 0.7 for Microgroove pressings. Miyajima overlooks the Microgroove pressing altogether. I have a fairly large mono vinyl collection and most of them are Microgroove. I'd say one eighth of my collection is modern re-pressings. I'm currently using a 1.0 sized elliptical stylus and haven't had any noticeable issues but if I were to order another mono cartridge, I believe the 0.7 stylus would make the most sense. Or if there's a stylus size between 0.7 and 1.0, that might even be better.

Miyajima overlooks the Microgroove pressing altogether. 

?? Miyajima mono carts come in both .7 and 1.0, what did they overlook (miss?) 

@kennyc I'm referring to their description as to what stylus type is best for what type of pressing.

About stylus size of Zero MONO
0.7mil is suitable for reissue monaural LP and a monaural LP of after 1960.
1.0mil is suitable for the monaural LP of a deep groove of the first press of the 1950s.
However, both styli can trace the monaural LP of all generations without a problem.
When you listen to the monaural LP of all generations, we recommend 0.7mil.
When you listen to a monaural LP of the first press of the 1950s mainly, we recommend 1.0mil.

It is not clear to me why you are confused.  Actually, I don't believe you are confused, rather it seems you have figured this out correctly.  Since the majority of your mono records are Microgroove the best stylus option for you is 0.7 mil. 

@billstevenson There was confusion on a previous thread about the difference between Microgroove mono pressings and the earliest vinyl mono pressings. Even though I mentioned on that previous thread, that Microgroove pressings had a narrower band width than the early mono pressings that weren't Microgroove, it appeared as though none of us knew what stylus would be best for Microgroove records. When I was able to sort it out and get this information (assuming that AI is correct), I wanted to post it so that other monophiles also understood the differences. I didn't want to keep it all to myself, what fun would that be?

Got it. Well now I am going to open another aspect to the mono discussion that had me scratching my head for a long time.  That is what shape works best.  Miyajima makes a case for their wonderful sounding conical stylus.  I have a Zero.  Peter Lederman of SoundSmith makes a very compelling argument against conical and I have learned that they are in fact hard on records.  For old jazz I actually prefer a very lowly MM cartridge only available in the EU that has a Shibata stylus, it is the Ortofon 2M Mono SE.  But is is lousy for classical being too bright and edgy.  The Miyajima is easily the best for that, which is a dilemma.  I also have a VAS Nova, with an elliptical styllus and reasonably priced, a SoundSmith Hyperion with a line contact and pricey that are both good sounding for classical (but not as good as the Miyajima) and are easier on the records.  I have others, the accumulated detritus of a lifetime of seeking unobtainium.

I've considered getting the Hana SL Mono MK II cartridge because both of my local dealers sell Hana and have recommended it. Just yesterday I sent them an email asking about their Shibata stylus. But now I'm just thinking about getting the Audiomods tonearm I've been wanting for the FrankenThorens that I've been building. That is, after I have all the panels replaced in one of my Quad 2905 ESL's. Those Quads are a pain.

Currently I'm using an AT 33 that I bought many years ago after Jonathan Carr of Lyra recommended it on one of my earliest posts about mono cartridges. https://forum.audiogon.com/discussions/which-mono-cartridge-at-around-1-300-00 

The Miyajima would definitely be a game changer compared to what I've been using however the conical stylus would concern me slightly.  For only $1,700.00 there's the EMT HMD 025 which I understand is a refined sounding cartridge but more reserved sounding than the Miyajima (just from what I've read). The diamond on the EMT is listed as an SPH 25, whatever that is. The magnet on the EMT is listed as an AINiCo,nickle-plated and the magnet listed on the Hana is listed as an Alnico.

Usually whenever I'm wanting to upgrade my stereo with a new purchase, I just look for quality and value and don't get too caught up in the integration of a specific tone. However that would change when it comes to  phono cartridges and my understanding is that the Miyajima is the gold standard where tone is concerned. I primarily listen to classical LP's as that makes up the majority of my collection. 

It is a pain to replace all the panels in 2905 speakers, but well worthwhile, and much cheaper than buying a new set of 2912s.

I took some pictures of the heroic tech doing it while my son (provided muscle) and I watched: https://drmoss.ca/Quad_2905_Repair.pdf

@dogberry I recently had them all replaced but had failure after just a few weeks. The tech who did the work is now history and I think I've found someone who's better qualified.

@gooyfoot,

I have an AT 33 Mono Anniversary that I have had for years, but used sparingly.  It sounds just fine for Baroque and Early Music, but is not a great tracking cartridge.  So it sits a lot as I jump around.  I will spend a year listening to just jazz, but for the past few months have spent 2-3 hours listening to J.S. Bach and then anything goes for the rest of the day.  Let me know your thoughts on the Hana if you go that way. 

Bach's work is in my mind the forerunner of modern jazz piano music (Brubeck, Peterson, Powell, Monk, Walton, Evans, etc).  Which is to say that any cartridge that does well with Bach ought also to sound good with piano jazz LPs. Don'tcha think?

@lewm Bach’s Well Tempered Clavier, from then on everything changed. As far as Jazz is strictly concerned, augmenting and diminishing chord patterns created a departure from traditional harmonic structures and the resurrection of modal harmony that preceded Bach, allowed room for greater improvisation overall. Anyway, the wow and flutter that I get from playing Glenn Gould’s Beethoven Sonatas on Columbia has steered me in the direction of getting a better tonearm. I would say the same is true for records of Bach piano pieces. I’m just not 100% on whether tracking accuracy relies more on the tonearm or more on the cartridge?

Seems to be a lot more “mono” cart choices nowadays compared to 5-10yrs ago.  

@kennyc Agreed and if I'm correct, Monophonic popularity has greatly increased over the past ten or more years. I just wish boutique labels like Impex, Speakers Corner and Analogue Productions would take on more mono classical recordings. Mono Jazz seems to be their primary focus where mono is concerned.

@lewm Re: Bach as the precursor for modern jazz piano.  You are on to me my friend, although ironically he didn’t like the piano.  Can’t be blamed really, the instrument of his day was not yet fully developed.  Also, I am listening to his cantatas for the last month or so (there are hundreds), which don’t have much keyboard in them.  Anyway, Bach is ever present in jazz piano.  And jazz piano is my personal favorite of all music.  Responding to other comments concerning wow and flutter on some mono piano records, it is usually a result of the hole being off center.  Sometimes this can be doctored if you are careful.  Also, a lot of old jazz monos are being reissued in cd now and the wow and flutter is usually mitigated on those.  

I did get a response from Hana and it cited an explanation for their stylus;

I have been toying with the idea of buying a Maroon Mono from londondecca.com, just to hear what a mono Decca can do. Assuming it is good enough to earn a permanent place on a tonearm, I have to consider the stylus it comes with. By default this is a conical 0.8-1.0 mil in size. Since almost all of my mono LPs are from the microgroove era, it might be better if I ask them to fit it with one of their other styli (line contact or Paratrace available). What would you do?

@dogberry I. would contact DECCA about it, preferably a tech person rather than retail. The stylus I'm using is a .65 conical and its been trouble free so I would try staying within the .65 to .8 range as I. believe a 1.0 stylus would be too large.

londondecca.com tell me that a line contact stylus is available on the Maroon Mono for $285 extra. I've spent the morning with my mono-converted BM Ruby 3, and I'm not sure it makes sense to spend ~2.3kCDN on the Maroon out of curiosity. I'll have to think about it for a while.

@dogberry Agreed, I wouldn't buy another mono cartridge unless I absolutely had to, just because I have a long list of other things that I think I need. But to be fair to DECCA, it looks like a nice cartridge and a line contact stylus is what I want on my next cartridge.

Mono is a bit special to me as I have no hearing in my left ear, and cannot perceive stereo. The London Reference has been a great favourite purely for its sound (I can't speak to imaging and suchlike), and I am curious as to whether a Decca mono cartridge would be as special to my ear.

Now having discovered that a SS Hyperion gives the Reference quite a challenge, another possibility for the same cost as the Maroon would be a SS Zephyr MkIII in mono. Possibilities!

Shoulda mentioned Chick Corea re Bach.  I would love to hear those two playing together or to have Bach hear Chick. Anyway, we were blessed to have Chick in our audiophile lifetimes. As to the plethora of mono cartridges available these days, I don't know whether that is due to any resurgence in the popularity of mono recordings or to successful marketing of the idea that one must have a mono cartridge in order to enjoy those mono recordings. The Lyra Helikon Mono was once highly touted, but I notice no one here has mentioned it.

Somewhat apropos to this conversation, I just unearthed from a large collection of records that I have taken custody of, a copy of "Play Bach: The Original Jazz Interpretations of the Music of Johann Sebastian Bach" by the Jacques Loussier Trio.  This one is volume 3, so maybe there is more in store.  I am listening to it as I key this note.  It is quite good, very much in the vein of MJQ.  According to the liner notes this guy made Bach music in a jazz context into a career.  It is very well done.  It is on London, PS 289 if you are interested.  With respect to Chick Corea, I think I have all of his records.  My favorite without question is the one he did with Bela Fleck.

I have all 3 of those “Play Bach” LPs. They were great fun but I haven’t had a listen in decades. I should pull one out for a spin.

I'd favor listening to PDQ Bach. I saw the professor live at CCM many years ago.

@dogberry: I currently have a Decca 4RC sitting at the London/Decca office in England, waiting for me to choose between the original stock size conical stylus and the line contact that London offers. Having them rebuild it as a mono model has also been swirling around in my brain. I already have two stereo London’s, but the Decca 4RC has a different motor structure and cartridge body construction (and therefore sound character) than later Deccas (and of course Londons), which I anxiously await hearing.