I was hoping there’d be some explanation of the preamplification being used, since ceramic cartridge output V is dependent upon stylus displacement not velocity. So ceramics don’t need RIAA filtering in the phono stage.
@lewm
If you look at the RIAA curve, you’ll see a sort of ’flat’ spot that isn’t duplicated by the constant amplitude characteristic. So you do need some EQ. If you look at a proper ceramic phono input, you’ll usually see a network that takes care of this.
This is the same issue faced by strain gauge cartridges, although some of them are built to accommodate the RIAA curve.
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@lewm : Philips had not much sucess with its cartridges. As a fact I knew Philips on cartridges thank's to the " euphoria " to discovery new MM cartridges in that long MM thread and I found out my sample GP 412MK3 through ebay. No other gentleman before me posted northing about Philips.
Well the GP 412MK3 is really good quality performer and Philips said that the cartridge magnet is : " magnet steel " and the cartridge is a MM with an unsual low output for a MM of mere 1.3mv.
This Philips and the Micro-Acoustics is worth to listen it and especially the GP 412MK3 not so easy to find out ( I still own it. ).
R.
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My MC journey has been Clearaudio Concept MC -> Benz Wood SL, Shelter 501 with line Ruby contact, Lyra Delos, Benz Wood SL, Benz Gullwing, Benz LPS, Aidas Gala Gold. I'm now running a Stanton 980 LZS, with a Gyger - S retipped D98 stylus. I'd liken the Stanton's profile to "Dynamic, vivid neutrality..." if that's a thing. I like it as much as my Aidas Gala Gold, which ever so slightly romanticizes its presentation, but it probably the most natural sounding MC of the lot I've tried. The Stanton just seems to be so effortlessly dynamic, without adding any liberties of its own to the sound. Of course the Stanton is a fantastic tracker, but the Aidas was no slouch in that regard either, as the Aidas tracked better than the Benz I had. Long story shot, I'm really diggin this Stanton 980, but if I had a second arm or table I'd have the Aidas in there too. It's all good, life is short and there are many superb cartridges.
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IF you have the table for it, nothing beats (still) the ORIGINAL ADC XLM.
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Thanks, Atma, but I did mention somewhere that RIAA has that shelf between 500 and 2KHz. Which would not be properly compensated by an unadulterated ceramic. Seems some of them had compensating networks built in, or not.
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The Clearaudio Charisma is pretty special
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Ortofon 2m Black did it for me.
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- Grace F9 (Soundsmith makes replacement styli)
- Technics EPC-205C* (the EPC-100C has already been mentioned; JICO makes replacement styli for the 205)
- JVC/Victor X-1 (JICO makes replacement styli)
- Audio Technica 150* (really any of the AT 150 models; AT150 MLX/Sa, ATML 150)
- Fidelity Research FR-6SE
* Best with TOTAL capacitance (including cables) <200pF
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Hmm. I have not owned a MM since a Shure V15, 1970’s?
So all the cartridges I have used have bee MC and sounded much better.
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Another vote for the Clearaudio Maestro V2 Ebony. Easily one of the widest stages I've heard from any cartridge.My Hana SL has slightly more detail, but doesn't present as well.
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Back in 2010, motivated by Raul’s monster thread (yes, it was even too big back then), I bought a handful of vintage MM carts off eBay, just to try when I had some time. They were all reasonably priced or downright cheap, which of course is one of the beauties of MMs compared to MCs. I mounted a few and thought were were OK, nothing too special. The Grace F9 was definitely a keeper but the others, not so much, probably more because of mismatches with my tonearm at the time than anything else.
The gem of this small horde was a brand new ADC TRX-2 that I never opened. I wasn’t sure at first whether I was going to keep or resell it, so I put it in the drawer and then just forgot about it. Reading this thread brought it back to mind so I mounted it last week. Whoa! this thing is remarkably good! Fluid, dynamic, detailed, musical, it pretty much does it all. Maybe it doesn’t have quite the refinement and openness of my top MCs like a Benz TR or A90, but it comes remarkably close and adds something organic that they don’t really have. And the soundstage is huge. I had to track down the right headshell first because it is very compliant. The ADC LMG-1 at 7.6g is just right.
So thank you @fjn04 for this thread, and @rauliruegas for cluing me into this cartridge way back when. I’m going to dig around in the drawer and see what other neglected MM treasures I might find.
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Dear @wrm57 : You are welcome.
Well Your ADC cartridge as other ADC models are really good and is no MM design but Induced Magnet. ood for you.
Regards and enjoy the MUSIC NOT DISTORTIONS,
R.
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@rauliruegas , yes, I saw "induced magnet" in the included lit but didn't know what it meant, figuring it was just marketing-speak for MM.
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1) Micro Acoustics 630MP (an Electret not a MM but I think still meets the spirit of the thread)
2) Signet TK-7LCa
3) Empire 4000D/III
I sure miss the good old days learning from Raul, lewm, and nandric on Raul’s 1000 page MM thread…
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I really like the AT VM540ML
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gakerty, I love the 980LZS, too. In my case, I have the 981LZS, one NOS and one used. It is said that the 981 is a selected 980, but i doubt that makes any difference.
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Lyra Atlas Lambda SL
This is truly end game for me. Had a DV XV-1s before this (also great) and a Clearaudio Concerto V2 before that.
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I’ve four Decca London cartridges. Maroon with line contact tip, Gold with line contact, Garrot Bros Gold with line contact, Super Gold with Paratrace. All have Decapods except Maroon. Output is easily 5mV.
Each one has its own particular flavor and behavior. Once you go Decca, it’s hard to listen to anything else. The combination of idler, Decca, tubes and electrostatics just gels for me.
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