I have read that many (lower end I assume) mono cartridges are just "summed channels" within the cartridge. Then I've read a True Mono cartridge only allows certain movement of the stylus and can cause damage on a stereo record. Are modern mono records (reissues, etc) just stereo records with identical channels? Basically, cut the same was as any stereo record. If so, would a True mono cartridge damage a modern mono record? Just curious if anyone could explain things in layman's terms
Disc cutters definitely don't use a mono cutterhead for mono re issues. I would not play a modern mono reissue or one after 1967 since it's a fold down with a true mono cartridge.
A true mono cartridge has a single coil. Old mono cartridges (ie: GE VRII) have cantilevers with only horizontal compliance, and these will damage stereo records. There are some true mono cartridges that have vertical and horizontal compliance, and can safely play stereo records. Examples include Grado’s MC+ and ME+, and Denon’s DL-102.
Most modern mono carts - even true single coil models - have sufficient vertical compliance (ability for the stylus/cantilever to move up and down, in addition to the lateral compliance that lets it move side to side) that they won't damage a stereo disc, including one cut with a mono source (a 'modern mono'). In many period mono carts, there was very little vertical compliance (since there was no signal encoded in the vertical plane), so playing a stereo disc on one of these carts would run the risk of causing damage to the groove (which is part of the reason for the warning on many early stereo discs to not play them on a mono player - there was also the matter of stylus size and tracking force, which I'll come back to). However, as stereo became common, many manufacturers started building 'compatible' mono carts, which would allow for vertical movement (even though they didn't have their coils arranged to pick any of that signal up). From what I understand, there are still a small number of mono carts made today with no vertical compliance - however, I've not personally confirmed this. The mono carts I read up on prior to purchasing mine (the AT MONO3/LP, and later the AT33MONO) all did have enough vertical compliance that they wouldn't damage a stereo disc if you played one by accident. Another part of this is the stylus size - mono records were designed to use a 1 mil (25 um) stylus, but stereo was intended for a .7 mil (18 um) stylus. A 1 mil stylus sits a bit high in the stereo groove, which can potentially reduce the ability of the groove to absorb the tracking forces on the stylus. Add in the higher tracking forces used in many mono-era arms (a quarter ounce - 7 grams - or more) and you have a good chance to grind up the grooves on your new Zappa record if you play it on Grandma's old console. Most modern mono carts use a .7 mil stylus (or smaller) and track at 'normal' modern forces (somewhere around 2-3 grams), so they'll work with modern monos as well as older ones.
Good info. So a modern Ortofon SPU mono is probably safe for modern mono records and Stereo (if you play one by accident)? I'm just curious. I see no need for a mono cartridge, I'm not certain a big enough difference vs using my Preamp mono switch. If I recall, I believe the 2m Mono is just twisted coils summed before the output.
The SPU is kind of an edge case - it does appear to have a 1 mil stylus and a slightly heavier recommended tracking of 3-5g (here's the one I'm looking at: SPU Mono - if there's another model you're looking at, this may or may not apply), so I don't think I would be inclined to let a stereo disc (or a modern mono) keep playing once I realize I'm playing it with this cart. However, vinyl is often more durable than many of us seem to give it credit for, at least in this kind of situation, so I'm skeptical this is going to wreck anything if you do wind up using it by accident. If I was only playing period mono discs (prior to 1968, and intended to be used with a 1 mil stylus), this would a great choice. I believe you're correct - from their page ( 2M Mono ): "The 2M Mono uses a strapped output to deliver the same output signal from both sets of pole pins." However, the stylus size and VTF are more suited to modern mono cuts, at .7 mil and 1.6-2g tracking.
I've messed around with a few true mono cartridges (Denon DL-102, GE VR-II, Grado MC+), but found that was no inherent magic in a true-mono body. My conclusion is that I get the most satisfactory reproduction from vintage mono 45s and LPs using a good ol' Stanton 500 with a D5100 AL-II .7mil conical stylus tracking at 4.5g, with the channels summed to mono. It honestly sounds HUGE and PUNCHY and 3D. For modern mono, I just use my standard stereo cartridge, which sometimes sounds better summed and sometimes sounds better not summed, depending on how carefully the mastering was done.
On vintage mono records, it sounds way better than it has any right to! Really terrific. I like it so much, I went on eBay and found four more NOS Stanton NY styli while I still could. I've tried it on stereo records too, but the results were not so impressive.
If you ever decide to make a second pass, give serious consideration to the AT33MONO - I continue to be floored by just how good this thing sounds on period monos, particularly classical recordings. Having said that... I don't understand how this cart sounds as good as it does, but Stanton really nailed it with the 500. No point messing with what works well for you.
Yes, the Classic Records mono Blue Note series was cut with a “Microgroove” cutter head, I think also some of the earlier Sam Records Chet Baker titles were as well.
True Mono cartridges only respond to horizontal groove content and have little to no compliance in the vertical plane. A stereo cartridge adapted for mono either through rotation of coils, or summing of channels still responds to vertical content. The presence of this content introduces distortion and phase anomalies that some believe are audible. Mono LPs from 1947 to conversion to stereo had a 1mil groove width, and corresponding mono cartridges had a 1mil conical stylus tip. Stereo LPs introduced 2 very important changes that rendered true mono cartridges just about useless: a smaller .7mil groove width, which required a smaller stylus tip, and vertical groove content that required cartridges with vertical compliance. Newer stereo cartridges were backwards compatible, meaning they could play older mono LPs as well as new stereo LPs. The industry began a wholesale changeover to stereo- even for mono LPs which were still produced for a time, but with 7mil groove widths. The reissue boom has resulted in a lot of vintage mono recording to be made available again, in pristine new pressings. They are mono in the sense that the original master was mono, but these new LPs are pressed using stereo cutting and pressing equipment- groove width is .7mil, and there is vertical content in the grooves (identical to horizontal content because it is mono after all), meaning that one should use either a stereo cartridge or a NEW adapted mono cartridge for playback. DO NOT use a vintage mono cartridge, or a cartridge with a 1mil stylus tip to play these NEW mono LPs ! One can use a single coil true mono cartridge to playback any mono LP from about 1960 and earlier, without fear of damage. The industry phased out mono, and began converting pressing equipment from mono to stereo in 1958, By the early to mid 60's 1mil mono pressings just about disappeared, and mono pressings were generally unavailable after about 1968. For these reasons, I would suggest using a .7mil stereo cartridge for playback of a mono LP produced after about 1960. There are a few true single coil mono cartridges produced. Ortofon CG25DI MKIII- this is an update of the original Ortofon moving coil mono cartridge introduced in 1947. It is big, heavy, and tracks at 3g-4g. Denon 102- this is a single coil mono cartridge, but also has vertical compliance ! It was made for Japanese radio stations, broadcasting in mono, but with a need to play back stereo LPs. Stereo LPs could be played back without damage, but the signal was all mono. Several Miyajima cartriges are true single coil mono cartridges
I decided I wanted to give a Mono cartridge a try, since I have quite a few mono records, quite a few originals from the 50's and 60's, some Japanese Blue Note mono pressings and some modern Mono reissues. What I did up to now (I don't have a dedicated Mono switch in my system/amp) was to record the vinyl (I record most of my vinyl anyhow) and then sum the two channels in the digital domain. That works quite o.k., but I have heard that true mono playback should be better. I guess I will find out soon. I went with the Audio-Technica AT33 Mono which was still a reasonable investment. I still have an original Technics headshell which I can mount the cartridge on and then use it on my Technics SL-1210 GAE.
I have a couple of gospel lp's from the early 60's that aren't labeled whether they are stereo or mono. I have a Miyajima Infinity mono cartridge. My question is how does a stereo record sound if played back with a mono cartridge? Do you immediately know that something is wrong based on the sound? I have played these albums with my stereo cartridge due to the fear of the unknown. Just looking for some additional clarity on how do you know if a mistake was made by using the wrong cart with a stereo lp.
If the label on a vintage disk doesn't indicate mono/stereo then it is probably mono. No need to mark it as such when all disks are mono. Stereo/mono was labelled when stereo was introduced, as there was a need (and marketing) to differentiate. The practice declined when stereo records became dominant, and the mono records were compatible with the stereo carts.
I’m looking to get the Grado MC, as I have quite a few mono records and would love to hear the difference.
I got one and it sounds great. Much better than with a stereo cart used with the mono knob on the preamp
Mono carts come in three current kinds and one defunct: 1. A stereo cartridge with the output of the two channels summed. This is the same as using the mono button or Y-connectors. This has vertical compliance and will not damage a stereo disk. 2. A stereo cartridge with the cantilever rotated 45º so that one coil/magnet is sensitive to lateral motion, and the other either not installed, or if installed to make production simpler, not wired up. This has vertical compliance and will not damage a stereo disk. 3. A designed-from scratch mono cartridge that has no vertical compliance (eg Miyajima), and this should not be used on a stereo record. (4. There were once commonly, and recently rarely, mono versions of Decca cartridges that simply have either only the lateral coil installed, or if the vertical coil is installed, it is not connected.) I did not understand about type 2 cartridges till Peter Ledermann patiently explained it to me. Leif Johansson explains it in this video (go to 2:30 for explanation):
