My Sonic Lab Platinum v Gold Signature

@pindac , yes, I agree about Ortofons. I have a long history with the A90, which I bought upon its release and played so much that Ortofon has rebuilt it for me twice already. It might be on the cold and detailed side of neutral, at least more so than what I’m seeking in my next purchase. The titanium-bodied Verismo is reputedly closer to neutral and would be sorely tempting, as well as a relative bargain (if one can say that with a straight face about a $7K cartridge), except that its electrical characteristics might make it a sub-optimal mate for my phono stage, which is entirely based on SUTs. At 7 ohms DCR with a .2 mV output, it would seem to work with the Allnic’s 26X SUT but the load impedance seen by the cartridge, 70 ohms, is likely to be a bit low. I say this with some confidence because I have an Ortofon SPU Royal GM II with similar electrics at 6 ohms, .2 mV, along with the same Replicant stylus, and I have to run that one through a different phono stage, one that won’t be available for this new purchase, to get it just right. At 26X through the Allnic, I find the top end on the Royal to be closed in, and I suspect the Verismo would be similar. Ortofon seems to like this combination of electrical traits now; the Windfeld Ti is 7ohm/0.2mV, too. The A90 at 4 ohms/0.27mV is ideal into the 20X option, which is one reason I’ve stayed with it for so long. I’m splitting hairs here, of course; but, hey, isn’t that what this hobby is all about? :-)

I appreciate the recommendation of the Sumiko, and looked it up. Unfortunately, I think its combo of 0.5 mV output at 30 ohm DCR could make my Allnic pretty unhappy. I’d have to try it to see.

@wrm57

Did you end up with the MSL Signature Gold?

No, I went for a Lyra Etna Lambda instead. The uncertain length of warranty from MSL (and its importer, MoFi: see the long mijostyn thread), put me off. And I had not used a Lyra since the entry-level Lydian Beta in 2000, so I wanted to see what this top manufacturer is up to these days. After conferring via email with Jonathan Carr, who is remarkably kind and forthcoming, I went with the regular, non-SL version. It’s a fantastic cartridge, easily the most precise and dynamic I had heard to that point, with exceptional speed and detail without sacrificing coherence, body, and musical satisfaction.

Very happy, I had no intention of buying another high-end cartridge. Then my dealer called a month ago with an offer I could not refuse. Ortofon had an MC Diamond they’d used at Axpona for less than 20 hours, perfect condition, available with full warranty for nearly half off MSRP. I jumped on it. It is still breaking in but wow, what a cartridge. I haven’t decided whether it’s better than the Lyra but it is every bit the equal and perhaps even more coherent and tonally rich. But until I can mount them on the same arm and do a direct comparison, I can’t make any valid comparisons. I feel very lucky to have them both.

@wrm57 It's been a year or so...how did the comparison go between the Etna Lambda and the MC Diamond go?....I'm currently eyeing both..Thanks

Just seeing this thread. I've enjoyed the Gold MSL originally, then got the Platinum and finally received the 1st Diamond Sig by MSL in the US. This is all a moot point now since MSL has stopped production, so no one is able to purchase these cartridges now unless some dealer has a unit sitting unclaimed, which is highly unlikely.  With this being said this is my thoughts on the 3 MSL cartridges. (And yes, today I'm still listening, and in love with, the Diamond Sig).

The Platinum retrieves slightly more low-level detail—nothing overtly dramatic, but clearly perceptible—and consistently reveals more micro-information. With both the Gold & Platinum MSL cartridges, the presentation between the speakers becomes strikingly un-hi-fi: less mechanical, more organic, and far closer to a true “you are there” experience.

From my perspective, the Gold remains the more overtly musical of the two, carrying a subtly euphoric quality that I find deeply engaging. The Platinum, by contrast, is more even-handed across the frequency spectrum, and I suspect listeners focused on classical repertoire may favor its tonal balance and composure.

Both cartridges deliver a remarkable sense of physical presence, as though actual human bodies and instruments are occupying the recorded space—something no other cartridge I’ve owned has managed to achieve. Overall, the Platinum presents as slightly more polite (only in comparison to the Gold), exceptionally well-mannered, highly resolving, and capable of projecting a large, expansive soundstage.

As for the MSL Signature Diamond… imagine combining the best qualities of both the Gold and Platinum, sprinkling in a touch of fairy dust (actually diamond dust), and prepare yourself accordingly. There’s little more to say beyond this: if you have the opportunity to hear one, do so. It will not disappoint. 

(Dealer disclaimer)