Second tonearm / cartridge

I’ve run a Royal N on my Schröder Reference for the last couple of years and recently switched back to a Proteus. The SPU has a softer rendition of the leading edge, music swings rather than rocks, though the results were very enjoyable even with Metallica, it’s just a bit less pacy. Music has a strong body to the sound that make up for it and gives piano the right sort of heft to be convincing and if you can align the stylus well the soundstage is huge with symphonic works. The Doors were magical too.

I did find static a bit more of an issue with the SPU a 3g than with the Proteus at 1.8.

I think I understand the OP here. He is not looking for "better" like @mijostyn or @rauliruegas suggest in their answers.  He is looking for contrast to his current combination. This is similar to my two arm combo of FR-64S/Koetsu and Kuzma 4P9 Lyra or SS Hyperion.  Like @mijostyn ​​​​@rauliruegas, I do prefer the more accurate detail retrieving presentation of the Kuzma/Lyra/SoundSmith so that is the arm I use the majority of the time.  But, there are times when the fireplace is hot and the Jazz is cool and the Koetsu does the trick.

@rauliruegas is right. SPUs are very old tech and Ortofon makes much better cartridges now that are much quieter with a lot more detail. I cannot give you a tonearm recommendation because I would never use a tonearm with a removable headshell (with contacts) or one that is not straight.

Aidas Gala Gold is superior to Benz LP-S ime just to say

Dear @eddiechanghk  : " preferably more bloom, sweet/ warmth vocals mostly for pop/ soft rock musics.  "

Live performance of female/male singers and with the kind of MUSIC you like just do not sounds as what you stated that is what you like.

Then you like colored MUSIC more that's what's recorded in the LP.

If you are a true MUSIC lover then you have to look to Ortofon but not the SPU line but the Windfeld or Verissimo or one by Lyra as the Etna or VDH low output Colibri not the medium/high output Stradivarius. Even the LPS by Benz Micro.

Ok, is up to you.

Regards and enjoy the MUSIC NOT DISTORTIONS.

R.

Groovemaster III or lower end Glanz, either one gives you an very flexible partner to many carts and removable headshell.

My ( biased, as I represent them in USA ) opinion is that an Aidas cart has just the right touch of warmth without hurting resolution. Big alnico5 magnet etc.

Have fun!

Solypsa

@elliottbnewcombjr my phono amp does have 3 inputs : 2 MCs/ 1MM  thanks for reminding me that. 

Consider Functions Of The Second ARM

1. make sure one of the arms has removable headshell

2. that gives you freedom to try MM, MC, MONO, ... listen to your friend's cartridges on your system.

3. above assumes you are able/quick at checking null points, recalibrating tracking force, and anti-skate when changing cartridges, and easy azimuth. Note: micro seiki 505's have easy adjustment of their arm fitting. Headshells with azimuth adjustment can be acquired.

4. 2nd arm should have EASY arm height adjustment in case cartridge height varies. My experiences: Acos Lustre GST 801; Technics 500 Base; Micro Seiki 505s. My Long Russian arm should be easy, micrometer lift, but it isn't.

5. How do you switch between arms into your phono stage?

6. How do you adjust x factors and impedances for various MC cartridges? Switch between MM and MC (SUT) I didn't think about that, and I have 3 arms.

My solution was Fidelity Research FRT-4 which has 3 inputs, front selectable, 4 front optional x factors and impedance options; and PASS for MM thru it. Thus only one set of cables into my Phono Stage.

Entre 100 is similar.

IOW, the mechanics of 2 or 3 arms needs to be solved.

I am and am not attracted to the Warmer Richer Presentation.

This is not a criticism it is not my overall preference, if I were to experience a Rich Presentation the one that keeps me interested is to be described in the following.

There are from my experiences, a scale of perception to how Rich a Presentation is detectable and how the Richness is able to influence a SQ.

I listen to other systems with Cart's in use that would be suggested as having Rich Tone.

I have a familiarity with a Rich Sound that is enjoyed when experienced, that has got extremely attractive separation and an envelope is detectable for the shaping of the Notes and Vocal. The Bass during such an encounter is also able to disappear without an overhang.

I also am familiar with a Rich Sound that is for me a repellent, there is the perception of the Notes and Vocal being conjugated/coherent and there is a Bass Bloom that is lingering and smearing the other frequencies details.

If a Richness is desired t have a Perception as described in my first description a Ortofon Cadenza Bronze might fit the role, a Miyajima Cart will be a Cart' that moves a few notches towards Rich but with the Separation.

When the second description is sought, the Ortofon SPU, Denon or Koetsu Cart's are able to present to this perception to various degrees. I recently was demonstrated a rebuilt Denon Cart' which had a Boron Cantilever, and this was notable for the Rich Tone when compared to Ortofon Kontrapunkt design Cart's.

If a SUT is to be selected to use with the Cart' a furthering of the perception of Richness can be achieved.    

I could quite easily have the Miyajima I listen to in my system, used with my preferred SUT, as an alternative presentation.

I can also have a very Rich presentation (which I have experienced) if I put the Rebuilt Kontrapunkt through the MM Stage of the Valve Phon', that might raise a few eyebrows on this analogue section of this forum.  

The pursuit of Richness without the ambition to become a Millionaire, very planet friendly. 

@mulveling enjoys the Rich Presentation and has extensive experiences with a range of Cart's capable of this presentation. He is familiar with the Ortofon Cadenza Bronze which might be fitting if describes as being closer to the leaner version of Rich in Tone.