How are you playing your precious MONO Vinyl?


I am about to invest in MONO Vinyl playback setup.

The goal -  pure, undiluted music straight down the center. 

The plan - dedicated 2nd tonearm + mono cartridge + phono

After 6 long months of waiting, my Woodsong plinth with dual arm boards schedule to arrive next month. 

I came across a product that peaked my interest. The Monaural Phono Amplifier - Aurorasound EQ-100. No reviews, so I am wondering if anyone tried it yet? 

⬆️ Is EQ-100 or something similar, absolute necessary from a purist perspective or should I take the pragmatic path and use the ‘Mono’ switch on my Integrated with a built in phono?

There are ofcourse pros and cons to both approaches so I am seeking advice from folks who have  compared  both options or adopted another alternative in their vinyl setup. 

Thank you for your time! 

lalitk

Those of you who play mono records cut back in the hey day when that was the only format but today reissue producers don’t want to try and sell records that customers have to jump through hoops to play them back properly. Mono reissues are at a marketing disadvantage already just because they’re mono.

The only reconfiguring they might do is and probably electronically, is to limit the cutting head’s movements lateral only to reduce noise and keep in check out of phase anomalies if they were to occur, its the same stylus profile, geometry etc.

The advantage to using your preamps mono switch is to cancel the surface noise picked by your stereo cartridges vertical motion (the opposite stereo channel) and most reissue vinyl is so meticulously pressed these days that it’s free of surface noise most of the time anyway and can be played just fine with systems that lack the ability to combine the channels. Oh, don’t tell me about that $20 repress you bought that was mastered from a dubiously disclosed source mastered and pressed who knows where! Believe what you want though if it makes you feel better.

 sorted the list OP gave us

1st by tracking force, lightest on top

2nd by stylus type, line contact at the top (all line contact are subtle variants of original shibata, avoiding patent disputes) (note no SAS with further increased contact area seems to exist)

https://dgmono.com/mono-cartridge-database/

The new Ortofon 2M Mono SE VERSION wins both categories, and happens to be the most affordable at $600! That's a solid recommendation if I ever saw one.

ANYONE OWN/HEARD IT?

My AT33 is boron, better than aluminum, however, I would choose the lighter 1.5g tracking NEW OEM Ortofon 2M Mono SE over my created 2.0g tracking cartridge. I did this a few years ago, the new SE didn't exist. 

BRAND MODEL MM/MC COILS VERTICAL COMPLIANCE STYLUS SHAPE STYLUS SIZE (mils) TRACKING (grams) WEIGHT (grams) PRICE (2023)
                   
Ortofon 2M Mono SE MM Dual Yes Line contact 0.2 x 2.0 1.4-1.7 7.2 $600
Lyra Kleos Mono MC Dual Yes Line contact 0.1 x 2.8 1.65-1.75 8.8 $4,400
Lyra Etna Lambda Mono MC Dual Yes Line contact 0.1 x 2.8 1.65-1.75 9.2 $11,000
Lyra Atlas Lambda Mono MC Dual Yes Line contact 0.1 x 2.8 1.65-1.75 11.6 $14,300
Hana SL Mono MC Dual Yes Line contact Shibata 2.0 5.0 $750
Ortofon MC A Mono MC Dual Yes Line contact 0.2 x 4.0 2.0-2.5 6.0 $5,500
Ortofon MC Cadenza Mono MC Dual Yes Line contact 0.3 x 1.6 2.2-2.7 10.7 $1,480
Dynavector XV-1s MC Dual Yes Line contact 0.3 x 1.2 2.6-3.2 12.6 $5,850

 

“Oh, don’t tell me about that $20 repress you bought that was mastered from a dubiously disclosed source mastered and pressed who knows where! ”
@faustuss 

This reminds me of someone like disheveled, bitter audiophile in a dusty record store, side-eyeing a younger collector holding a shrink-wrapped LP :-)

As far believing, I get that we see this differently; we all have our own perspectives. 

Peace!

@faustuss 

I have stereo and mono versions of the same cartridge. Each is mounted on identical tonearms, both on the same turntable, both running through the same phono-stage. I mentioned this above, but maybe you haven't read through the entire thread. 

Even with modern mono records – all cut with mono-configured stereo heads since the mid-60s – there is a big improvement playing those mono records with a mono cartridge. Playing them with a stereo cartridge and engaging a mono switch is just not the same thing. It doesn't sound the same. I'm sure it sounds good enough that way to most people with a small investment in mono records, but if one has a sizable collection of monos, it can be worth using a true mono cartridge.

This has all been stated already and confirmed by those with experience using mono cartridges. You are welcome to disbelieve it all if you want, but what you claim is not rooted in fact. It's just your opinion, but is it an informed opinion? I am interested to know what mono cartridge you used to play mono records, that leads you to conclude it makes no difference vs using a stereo cartridge and a mono switch.