Wow, you flip a lot of albums. That's like 8 sides a day.
I had a Van den Hull Frog that I am sure I had 2,000 hours on. He advertised they would run twice as long as your typical cartridge... which the rule of thumb is 1,200... so 2,400.
Vinyl Lovers-- Cartridges!!!! Do you have a daily driver?
About a decade ago, some kind soul told me that the phono preamp was ever so important and that I could keep spending here and there, but to get to Oz I'd need a good one. Since that time I've had a Manley Chinook and now Modwright's reference phono stage.
These pieces have allowed me to get deeper into vinyl. I have a lovely LTA Aero DAC (tubes and R2R), which I adore. Yet, nothing is the same as vinyl. Ok--maybe my reel-to-reel stuff but I only have about a half dozen albums.
At any rate, here's my dilemma. I'm finding cartridges just don't hold up that long. I keep a clean shop and my records are in very clean shape. I do not, however, have a laboratory clean room here. I run VTA generally at the middle of the spec. Still, cartridges are easy to run through--or so it seems to my ear.
I've had mixed results retipping moving coils. Sometimes it's fabulous!
I think I'm getting a little tired for buying cartridges only to wear them out. I've run through a Benz Micro LPS, Kiseki Purpleheart, Dynavector 20x something, Audio-Technica ART9, Ortofon 2M black, and a few others I cannot recall. The initial outlay doesn't bother me. What's getting me is they just seem to fade off. I doubt I'm getting more than 1000 hours before they sound raggedy. Yet, I've never counted.
I've noticed with a high quality phono preamp you can use a lower priced cartridge to amazing results. So, I just scooped up an $800 Nagaoka MP-500, hoping I could use it as a daily driver to spare my Goldring Ethos (fantastic cart by the way). I don't have the Nag yet to evaluate.
What are others doing? If you're someone who plows through lots of vinyl in their listening sessions, do you just pony up ever year for a new $2k, $5k cartridge? Do you run lower priced, value carts?
- ...
- 54 posts total
If you want to minimize use of an expensive MC that needs to go to the factory or to a re-tipper or to be discarded apparently, when the stylus is worn out, then it seems to me you want as a daily driver a cartridge that has a user-replaceable stylus. That means either MI or MM. Seems to me the OP is already on the right track with the MP500. IMO, you cannot do much better than that, in fact. But also remarkable to me is that the OP seems to be buying a new MC every time his stylus wears out (the criteria for which judgement are not stated), when in fact the cartridge can go back to its maker or to any good retipper for restoration, at a lower cost compared to buying an entirely new cartridge. Seems to me this is a tempest in a teapot. |
@lewm @dogberry , thanks for the vote of confident on the Nagaoka!!! @awise1961 I'll check out that grado. Haven't owned one in 20 years! @billstevenson I love VAS. I had Soundsmsith tell me they couldn't do anything with a couple of carts and VAS jumped right on them and the results were great. No offense to SS--I know he knows what he's doing. |
I find you can get excellent imaging and wonderful sound, new, for below $1k, and I also take chances on used Vintage cartridges, both MC and MM. I asked advice here years ago, and finally chose a SUT FRT-4 and my 1st MC It’s my daily driver which I keep on my 12.5" long arm with fixed head. Based on hours played, I sent it to AT, they said worn but still good but suggested I trade it for a new one at half price, I will probably keep doing that, it sounds so good to me (and all my friends) that I didn’t consider anything else. Very wide separation combined with tight channel balance gives excellent Imaging; it tracks at what I consider heavy at 2.0g, and it needs screws with nuts, I wish it had integral threaded holes. I encourage acquiring the few inexpensive tools and practice enough so that mounting, aligning, calibrating tonearms/cartridges becomes an accomplished skill, frees you from dependency on others, which opens the door to further options. One tonearm with a removable headshell for a small collection of alternate cartridges (preferably two tonearms which I finally put together age 72). Once you tie down a terrific phono stage, assuming one darn good cartridge that helps you do that, then you can truly compare alternate cartridges, I try to think ’preferred’ rather than ’better’, or ’alternate’ i.e. if you have 3 that are tough to choose which is best, just enjoy all 3 while dividing the wear. My short 3rd arm is my best MONO (AT33PTG/II Mono with advanced tip on boron by Steve at VAS) ready to go, also fixed head. I can also use/compare to my Grado Elliptical Mono on my 2nd arm. My 2nd arm is my removable headshell, easiest tool free VTA on the fly height adjustment (Acos Lustre GST-801) for actively changing pre-mounted cartridges from my small collection which typically are chosen for rare light/stiff cantilever materials, and light tracking, several track at 1.25g. Headshells allowing azimuth adjustment are desirable. Prior Vintage in rotation: Sumiko Talisman S Sapphire Tube Line Contact ; Shure MM V15Vxmr body with new Jico SAS on Boron, undamped brush up or down; Shure MM 97xe rebuilt by VAS with advanced tip on Boron with Shure’s damped brush up or down; AT440ml MM MicroLine on aluminum; AT14Sa MM shibata on tapered aluminum; ATTR485U MM Shibata. My latest and greatest used Vintage: AT160ml (on 150e Body) is the lightest/stiffest beryllium cantilever with MicroLine Stylus: combo yields light 1.25g tracking, largest contact surface, longest life, least wear, it’s a win/win/win that sounds closest to real than anything else I own. I just bid and won another on Yahoo auctions using aleado to bid for me because as soon as I fell in love with it, I realized like your post’s subject, it has a life span, and even if some expert tries to put a new tip, the beryllium cantilever might shatter if you look sideways at it.
|
- 54 posts total