Turntable choice for mono records

I think I did respond to the question you re-phrase above. You are collecting a bunch of opinions from strangers, but there is no reason to believe that a bridged mono cartridge is any different from using a mono mode switch with a stereo cartridge, except the one I mentioned earlier: With a bridged mono cartridge, the derived mono signal is then amplfied and RIAA corrected, With a mono switch, the mono signal is derived after amplification and RIAA correction have taken place (but keep in mind that the LP is feeding a mono signal to both channels, regardless).  The only way to tell whether that difference is important to you is to try it both ways, IMO. I would not necessarily go by the opinions of others.  AND you should keep in mind that any mono cartridge may sound different from any stereo cartridge, just because they are two different cartridges. That's always a confounding factor. For that reason, I would be loathe to generalize.

vac..., You wrote, "I have also heard from audiophile friends that a mono setup brings out a deeper soundstage and sometimes better imaging which seems to run counter to the argument that the improvement is only related to surface noise reduction."

The language is a little confusing, because it could be taken as a claim that mono is superior to stereo in conveying soundstage and imaging, which is of course false on the surface. So, I think (or hope) what you meant to ask is whether using mono mode, via a mono cartridge on mono LPs is superior to using a mono mode switch, when playing mono LPs. That is the $64 question that I cannot answer, because I have not used a mono cartridge. This is where Elliot claims that a mono cartridge is superior to just the switch. Please see above where I described the mechanistic difference in terms of signal processing, between using a mono cartridge and using mono mode. (Of course, there is nothing safer than wearing suspenders AND a belt, so possibly using both mono mode and mono cartridge is best of all.) I can only say that I do hear suggestions of soundstage and imaging with just a mono mode switch that are not readily apparent when using stereo mode, with mono LPs. But Elliot may be correct that it gets even better with a mono cartridge. Sorry, but this boils down to listeners, systems, and subjective judgement.

As to which of those particular cartridges are true mono types, that is also a bit mysterious because manufacturers seem to try to obscure the methods they use to make mono cartridges from their stereo cartridges. (All 3 examples you cite are models that are also available in stereo.) I have a hunch that the Shelter mono is a bridged stereo cartridge. Ortofon is a bit tricky, because their literature is ambiguous, and they definitely try to leave the reader thinking their mono cartridges are true mono. Some may be true mono; I am pretty sure that some others are not. I never investigated the 2M. And finally, the AT33; I dunno. There are only a few brands where you can be sure of true mono. One of course is Miyajima. I think one of the Denons. Maybe others can help.

Elliot, I respect the fact that you have put a lot of effort into mono playback of mono LPs, but I have to question the following statement, with reference to some shortcomings you listed above of using only a mono mode switch to listen to mono LPs:

"It DOES NOT reduce any surface noise, warps, debris, any vertical movements picked up by a stereo cartridge, it in fact doubles that, as any L or R are combined, then doubled."

I was taught by reading that the L and R channel noise(s) generated by dirt or damage in the groove walls are (predominantly) out of phase with each other and will thus be cancelled when the two channels are combined, as when one uses the mono mode for playback.  This concept is consistent with my repeated experience that HF background noise is reduced when I listen in mono mode (without also using a mono cartridge).  Also, I don't quite get what you mean by "doubled".  If the noise is cancelled because out of phase, then nothing is left to double.

The whole discussion is complicated by what definitions we use for "mono LP" and "mono cartridge".  So we could be talking past each other.  As you know, most mono cartridges for sale today are actually stereo cartridges in which the two channels have been bridged internally, in order to generate a mono signal.  That is really no different, except in one way, from using a mono mode switch on a phono stage or linestage.  The one difference is that in the former case, the mono signal is generated BEFORE RIAA correction and amplification takes place in the phono stage. Whereas in the latter case, the combining of the signals happens after those two processes have occurred. (Using a Y-adapter between the cartridge and phono inputs is really a bad idea in my opinion, because in that case each side of the cartridge is seeing the impedance of the other side in parallel with the input impedance of the phono stage.)  So I can believe that a mono cartridge, especially a true mono cartridge (one that is built so as not to respond to vertical motion of the cantilever) might have advantages vs using a mono mode switch.

Mijo, Since we both own the same brand and type of speaker, I have to say one is nearly always a little off axis because of ESL treble beaminess, but also that I invariably do hear an improvement in mono mode vs stereo mode, with mono LPs.  These improvements are (1) reduced high frequency LP noise, (2) better more focused possibly more extended sounding treble, and (3) on really good well recorded mono LPs, I sometimes can forget I am listening to a mono signal.  The brain (and probably phase effects encoded at the microphone) create a quasi-stereo feel that is very pleasing.  Oddly or perhaps obviously, this effect is more commonly achieved with complex big band or orchestral pieces, rather than with duo or trio music.

Are you also using a mono mode switch ? And are you comparing the switch alone to switch plus mono cartridge? No one is claiming a stereo cartridge in stereo mode is superior to mono cartridge on mono LP.

Whether a mono cartridge is “better” than a stereo cartridge used in mono mode will depend as much upon the differences between the selected stereo and mono cartridges, on the two different tonearms, and on the accuracy of alignment, as it does upon the choice of which way to produce a mono signal. Thus I think it’s very difficult to say that a mono cartridge is the best way to go. This also assumes cost is no object.

Turntable per se would make no difference, mono vs stereo. You want the best you can afford. Same goes for tonearm. Generally , if you’re buying a TT-TA ensemble, better TTs come with commensurately better TAs. As to the particular cartridge comparisons you ask for, I leave that to someone else.

Personally, I just use the mono switch on my linestage when playing mono LPs.