Do You Own And Use A Mono Phono Cartridge?

Definitely use a well-recorded, decent condition, true-mono pressing from before 1968, please. It doesn't really matter if the recording is well-known or not, as long as it is well-recorded.

 

Thanks...I'll start giving it some thought. It'll take some thought as I have a lot to choose from.

 

To achieve stereo?

 

Dual mono.

 

SAMPLES WITH AND WITHOUT MONO BUTTON:

http://speedy.sh/UjtUK/RN-IL-59.wav


http://speedy.sh/RC7RH/DS-IWUC-61.wav

I finally got around to dubbing some demonstration samples to help people get an idea of what the effect of using a mono button (or a double-Y cable) is.

I just dubbed a couple of samples to show the effect of a mono button. When I get the time to mount a mono cart, I'll add a mono cart sample to the samples below.

These samples were dubbed to uncompressed 24/96 .wav files.

The two files I linked to each have two samples--the first is a mono record played with a stereo cartridge and nothing else going on. The second is the same track played with the same cartridge with the mono button depressed.

I did nothing to these files, no filtering, EQ, volume matching -- nothing.

The first sample is Rick Nelson's "It's Late" through to the end of the lead guitar break. The source is was an original US Imperial stars label mono LP press of "Ricky Sings Again" from 1959.

The second sample is Del Shannon's "I Wake Up Crying", which is Track 1 Side 2 of an original US Bigtop mono copy of "Runaway With Del Shannon" from 1961.

Here's the waveform for the sample of It's Late:
Last edited: Today at 1:37 PM

 

When the Beatles Mono Box comes out.... Were all doomed.

 

You are if you screwed up and pressed a dissonant stereo/mono crossweave into your turntable mat. That's for sure.

 

I own a GE VR II in a headshell and use it with my Audio-Technica ATP 16-T tonearm. I mainly use it for pre 1957 mono discs. Though I also use it with a lot of my old blues and R&B originals pre 1967, especially less than ideal pressings.

 

Wow... that there is one WILDLY specific quandry...

 

I avoid it by not using a mat and not worrying about stereo/mono crossweaves, as I'm pretty sure there's no such thing! Sorry, saw the ruse on another thread and couldn't help myself...

 

I voted yes since I plan to buy one. I think we (hifi buffs) have forgotten the virtues of mono. A stereo cartridge has a 45/45 degree alignment of the coils, which is not optimum for reproducing mono. For mono, ideally, a 180 degree alignment lines up perfectly with a laterally cut monaural groove. For greatest dynamic range and resolution, a mono cartridge is logically the best choice. In the nature of the audiophile hobby, a slight inconvenience of changing a headshell (with the mono cartridge) should not deter someone from experiencing superior sound? should it?

I do not think a stereo cartridge with a mono switch performs the same as a genuine mono cartridge. Has anyone made a comparison?

 

Great test, can see the noise floor reduced, and what appears to be distortion artifacts or background noise reduced. Looking forward to see mono cartridge results, thanks, nice work!

 

I use the mono switch on my preamp.

Even if I had a table with two arms, I probably would not mount a mono cartridge. In that case I might voice one for jazz and the other for classical. But I don't see that happening anytime soon.

 

I prefer a stereo cartridge for playback of all records, including mono records (78s, 45s, and early LPs). Of course, I will use the mono switch (or the double Y-cable setup) in order to sum the channels...which is all you really need for mono playback. The extra benefit of using a stereo cartridge is that if one groove wall is worn out and the other groove wall is fine, you can isolate the signals from the good groove wall for playback and needledrops. You don't have that choice with a mono-only cartridge.

 

It doesn't. I've compared. Again, it's not for everyone as true mono designed cartridges (like my Lyras) are expensive and most of the affordable ones are simply internally wired for mono, which is pointless if you ask me since you can double-Y or use the mono button if you have it and achieve the same results.

Of course in my case changing carts isn't a slight inconvience as my tonearm has a fixed headshell, but my last TT had a removable one and that was a breeze. Just readjust VTF and you're set.

 

That choosing the best signal is a nice benefit, for sure. None of mine records are in that bad a shape, though, so I'm not doing that anymore.

I suppose you're right about "all you really need," but in my case all I really needed was not all I really wanted once I heard a good mono cart. No going back for me. Can't 'unhear' what I've heard.

 

Since this thread was sort of inspired by the Beatles mono box talk, I thought I'd offer this thought...

Despite the announcement of that mono Beatles Ortofon cart, etc., I'd wait on any purchases until the box is out and some reviews are in.
We don't know how the records will sound, so whether a stereo cart straight, a stereo cart with channels summed or a mono cart will yield the best results is a total unknown.

I use mono carts on old mono lps and singles, and even some 'modern' ones (by that I mean late 60s, 70s, 80s), but until we know the specifics on the box it's all up in the air.
Hard to be patient, but there's no reason to pull the trigger on extra expenditures until we really know what's happening.

 

And loading, and gain, and possibly capacitance.

 

I use a UtopiaBE cartridge on a Durand Talea arm feeding a dedicated moms input on my phono preamp

 

I have a dedicated mono turntable. Its a Ariston RD11s with a Jelco SA-250 tonearm. The cartridge is the Miyajima Premium Mono BE.

Scott

 

WOW...someday. Where's Santa?

 

I have 2 arms on my Garrard 301. One, an SME 3014 is carrying an Ortofon SPU GM mono cartridge. The other is Cleraudio Satisfy w/Clearaudio Melody cartridge. The SPU sounds awesome. I usually pick a mono lp or stereo now.

 

I probably have 25-50 mono lps (out of several thousand) - it's not my thing. So mono cart would be kinda pointless. Also the summed mono on my preamp is pretty swell.

 

First of all, thank you Steve for such a great forum and all the fine work you've compiled.

Yes, the master tape setup I understand. (at least for me since I am familiar with tape) However I have not encountered very many mono records that are unequally worn to the degree, that I'd need to select either the left or right. I understand special circumstances, especially for archival purposes, that playing an undamaged channel (or much cleaner channel) would be more beneficial than combining them (stands to reason) However these are more the exception than the rule. Most mono records have sustained wear on both channels, and always unequally somewhat, and mostly out of phase, but even so in most cases I would say combined L+R yields better results.

Combined L+R plays cleaner (records only.. although tape hiss reduced by the same) since wear consists of largely difference signal recut into the groove by the offending stylus. So, by summing out of phase noise and distortion, we cancel it, or partially cancel it.

More importantly, a properly designed mono cartridge (not stereo adapted to mono by the manufacturer) is designed so the coils, or coil/ magnet system, will be exactly in line with stylus movement and the laterally cut groove. I have read glowing reviews of mono carts breathing "new" life and dynamics, but need to revisit to see which cartridges are true mono design, vs. stereo to mono adaptations.

Thanks for reading, I have not yet purchased a mono cartridge. Has anyone had experience with a true mono cartridge, and is it worth the investment?
Steve VK