Here I’m thinking about the recent SDE LP release of the Beatles’ Revolver. I’d guess most folks here play the mono lp using their regular stereo cartridge. But do some here change to a mono cartridge, or have a dedicated mono setup? And is it a thing to listen to mono lps through only one speaker? Apologies if I have placed this in the wrong SH forum!
Hmm, I wonder if they made P-mount mono carts? Listening to The Zombies - The Zombies , but with a stereo cart, microline stylus. With the modes set to mono on a Parks Audio Puffin Phono DSP and Scott 370R. Would be super easy to swap the cart too, if I had a T4P mono cart, if they made any. Curious if it would make any difference at all. Dunno.
Interested in the replies. I have the Classic mono for Axix, Bold, 2014 Sgt Peppers mono and the 2014 White mono, all which are well regarded and I don't care for any of them. I was wondering if I need a different cart...which is either a Hana Red or VDH Crimson (currently the Red).
Even new modern mono cartridges operate the same as the newer stereo cartridge. Back in the day a mono cartridge operated in a up down fashion and side to side, the mono records then where cut different. All that has been abandoned, all records today be they mono or stereo are cut with a stereo cutter head. I would say "most" people just use the same stereo system they normally play all their records on, some might flip a mono switch if they have one. Others might not care even to do that. Some might have a mono cartridge and a frontend to handle mono records but then still listen to them through two speakers. I always wanted to try and put together a TOTL true mono system with all old equipment. Mono preamp, mono power amp, mono turntable/arm, a true mono cartridge and one speaker to play true mono cut records. It actually gets pretty complex doing a system like this, most of those old records are not RIAA EQed standardized, your preamp will have an adjustable phono stage to change EQ setting for all the different records. Then of course all that vintage equipment would need restoration and finding still good cartridges. Todays mono records are mainly just for the mix on the original master tape as it is different in most cases from the stereo master tape. That being said there is no right or wrong in playback of modern mono records with newer stereo equipment.
Buy a nice Y-cable on Amazon, maybe $10 max. Attach it to your stereo audio cables before playing a mono record. Done. Our host posted this particular "hack" in a thread some years ago that I can't seem to find anymore.
And the mono box made and sold by a SHF member is not a bad idea if you don't want to cable switch or make your own. I couldn't find anything suitable and realized it was right under my nose. What I was wondering is at what point in time did mono records start being cut in stereo (effectively stereo records with identical R and L channels)-- does this go back as far as the '60s, and if not, is there an advantage to listening with a mono cart for those records?
KG confirmed in an email to me. Mono is mono. Stereo is Stereo. It's really that simple. Direct quote from KG "coils of a stereo head are opposite polarity, otherwise feeding the same signal to both channels would result in vertical modulation instead of lateral. This has been the case since the introduction of stereo with the Westrex 3A cutterhead. I don't know what was done in the very early days, but since the 60s the absolute polarity (which coil is pushing and which is pulling, so to speak) was agreed upon by all cutterhead manufacturers. The idea that cutting mono with a stereo cutterhead is somehow "less mono" is a fallacy. I would guess that by 1965 all mono cuts were done with stereo heads. I think that about sums it up. (Excuse the pun)"
Nah, I just use my stereo cartridge for everything. I don't think I've owned a mono cartridge since I was a child playing records on a portable mono record player. Since I play a mix of stereo and mono LPs, using a mono cartridge for mono records would require me to either have two turntables or swap the cartridge/headshell and rebalance the tone arm every time I switched from mono to stereo or vice versa. Doesn't seem worth the trouble.
I like using a heavy tracking Stanton 500 with a conical tip for vintage mono pressings, mainly because it seems to hug the U-shaped mono groove well, but it’s still a stereo cartridge. I also sum the channels to reduce background noise.
You can of course but really don't need to, a modern styli with some way to sum the signal (like a mono switch) will do you just fine. I keep mono carts around for older pressings, mainly for before when Stereo didn't exist and the groove was different.
Modern mono records are mostly cut with a stereo stylus, so there's less to gain by using a dedicated mono cartridge. It's with '60s era and earlier records that will really benefit. I used to have a dedicated mono cartridge I used in a separate armwand. I sold it to help pay for an upgrade elsewhere. I'd like to get another one at some point. A true mono cartridge is just, but a mono switch is okay. It will solidy, focus the presentation, both image-wise and temporally.
All this being said above, there's still nothing wrong if one wants to use / try a mono cartridge with a modern mono LP --- the other day I was using the "modern" AT33Mono cartridge with a "modern" Miles, Sketches of Spain pressing and I wasn't complaining... ... is one better than the other? I dunno, at 60 years young now, any subtle differences in a comparison like that are probably slipping right through anyway... plus I own some pretty nice stereo cartridges too. So I'd only say a good mono cartridge will match a good stereo cartridge on modern mono. More than anything in this case quality of cartridge will mean more than cartridge type. For example, an AT33Mono would sound better than a cheapo stereo cartridge, and vice versa is true too, a good stereo cartridge will trump a cheap mono cartridge. So on modern mono, either type can sound good - and quality of cartridge always matters if seeking better sound.
Glad to see another AT33MONO fan on here. That cart really hits above it's weight for me. Sounds excellent on old and new mono vinyl.
Modern MONO LPs are cut using a stereo width groove. You should use a cartridge with a modern stereo styli profile to play these records. Most new mono cartridges are stereo cartridges that are adapted for mono playback either by rotation of the coils in side of the cartridge, or summing of coil outputs to derive a mono signal. And then there is a mono button.... OLD mono LPs (pre 1960) have a different and wider groove width, that benefits from playback using a suitable styli size and profile. There are other issues involved that may encourage the use of true mono/ one coil cartridge, but that is not what was asked by the OP. You can play a modern mono LP using a stereo cartridge, and pressing the mono button. You can use a dedicated modern mono cartridge that has summed or rotated coils to playback a modern mono LP.
I'm a fan of the AT 33 cartridges, as evidenced by I also own an AT33EV and an AT33PTGii in addition! The AT33Mono, with an 0.65 mil conical tip, is probably better targeted at "modern" mono, which in this case I mean mono cut on a stereo lathe. That also means all the way back into the early 1960's for some labels, even late 50's! The transition from mono cut to stereo cut started in 1958 (with the implementation of stereo pressings), and it was not instantaneous, with some labels not making the switch until the mid-60's. Even the larger labels did not switch all pressing plants at once, it was phased. So I guess I'm saying it's best for old mono up to a point, then you might be able to a better match (like a cartridge with a 1 mil conical tip, I own a few that I've played with on original mono). But it also means a large percentage of mono records owned out there today are cut on a stereo lathe, and the At33Mono is just fine.
I've been trying to get an answer from the new owner of the London Decca brand as to whether he will convert a Jubilee to mono. If you know about the inside of a Decca you will quickly see it is perfect for this job, with a lateral coil right around the stylus, yet still has vertical compliance so an accidentally played stereo LP will come to no harm. In the course of my search I had a nice chat with Peter Ledermann (of Soundsmith), who described to me how modern, dual-coil, versions of stereo cartridges that call themselves "true mono" do so because they use the same parts as the stereo version, but rotate the cantilever mount 45º. Then one coil is ignored and one connected to both outputs. Consequently the output isn't exactly the same as a stereo cartridge with the mono button pressed. For one thing, most of the debris causing surface noise in the groove will be causing vertical stylus movement, and this will be ignored.
Yes, the at33mono allows horizontal modulation with vertical compliance. Perfect for the post '65 mono cuts even produced today. (Ref my post above Westrex 3A cutter) I would like to try out the larger vintage 1 mil mono stylus one day but I wouldn't want to accidentally play a later 2 eye Miles mono and screw up the grooves. The AT33 has performed admirably on vintage mono 50s and 60s that I don't feel the need to bring on a 2nd mono cart. It's been an all-star for me for old to new.
Yes. It's certainly not required, but I use a second turntable with a mono cart for playing mono records. Bottom line, mono records sound better on my mono deck compared to my stereo deck with the mono switch engaged.
