Cartridge Upgrade Advice:


Hi all — I’d love some guidance from this community on choosing my next cartridge upgrade.  I am looking for a “reference” cartridge that can “take it up a notch”.  Thinking $5k max range,

My current system:

  • Turntable: VPI Classic Signature HW with 12” tonearm
  • Phono stage: Manley Chinook (tube)
  • Preamplifier: McIntosh C2800 (tube)
  • Amps: McIntosh MC611 mono blocks (600 wpc)
  • Speakers: Revel Salon 2
  • Current cartridges: Soundsmith Zephyr MIMC ES, Denon 103 (beater), Miyajima Zero (mono)

Upgrade candidates I’m considering:

  • Kiseki Purple Heart
  • Soundsmith Sussurro Mk II
  • Lyra Kleos
  • Ortofon Cadenza Bronze
  • Hana Umami Red

Priorities: I listen to a lot of jazz vocals and large-scale orchestral, with some classic rock. I want resolution and refinement but without harshness, grain, or fatiguing sibilance. Musicality is just as important to me as detail retrieval.

👉 I’ve set up a short poll to keep things organized. Please vote and add your reasoning/experience: [insert link here]

Thank you in advance — your experience will help me (and likely others) make a more informed choice.

Q1. Which cartridge would you recommend for my setup?

  • Kiseki Purple Heart
  • Soundsmith Sussurro Mk II
  • Lyra Kleos
  • Ortofon Cadenza Bronze
  • Hana Umami Red
  • Other (please specify)

 

Q2. Why did you choose this one?

 

Q3. What speakers/amp/TT do you run, and what kind of music do you mostly listen to?

ulcerdoc

I installed and have been listening to the SoundSmith Hyperion Mkii MR in my system.  It’s been glorious.  Was easy to set up.  The best cartridge I have heard to date.  Blows my Koetsu out of the water.  Detail ++++, Soundstage ++++, bass: super tight and deep. Musicality +++.  I couldn’t be happier.  Or maybe I could.  My Chinook is a bit noisy on 65 dB gain.  Maybe time for a Steelhead?

Glad to hear it!

I have no experience with either Manley, but if a phono stage of that quality is noisy I wonder if you have a tube that needs replacing?

Dogberry

The Chinook is actually very sensitive to tube noise, especially at 60–65 dB gain with low-output MC cartridges. Some tubes work extremely well; others sound great but can be noisy.

It’s not a bad tube - and the Gold Lions have are pretty reliably quiet.  I am getting a steady hiss out of both channels.  No variability of tube tap exacerbation.  I have the SE version which goe to 65dB, overdriving the tubes.  This is the probable cause.  I don’t get it at 50dB,  Haven’t tried 6o 

There are too many things I don’t like about the Chinook - especially having to open the box to set the gain and all the load adjustments on the back - even though it sounds wonderful for the price.  I have decided to step up to a Steelhead because I want to run multiple tone arms and now have a cartridge that can benefit from a better prestage.  I will stay within the Manley house sound family though.   And it should be a lot quieter.

Thanks for your input.

 

I’ve been using Hyperion MR Mk II for a couple of moths now.  Here are my more detailed listening notes:

Overall character

The Hyperion is best described as neutral, resolving, and unforced. It does not add warmth, sweetness, or “romance,” but it also avoids sounding clinical. What stands out most is how complete the presentation feels—top to bottom, nothing calls attention to itself.  You just hear music

Resolution and detail

Resolution is exceptional, but not in a spotlighted way. Low-level detail emerges naturally rather than being pushed forward. Inner textures of strings, hall ambience, and decay trails are all clearly rendered without edge or glare. This cartridge makes it easy to follow complex orchestral passages without fatigue.

Tonal balance

The tonal balance is very even. Bass is articulate and controlled rather than exaggerated, with excellent pitch definition. Midrange is honest and transparent—voices sound like voices, not “audiophile voices.” The treble is extended and airy but notably well behaved; there is no etched quality or false sense of excitement.

Dynamics and tracking

Microdynamics are a strong suit. Subtle shifts in intensity and phrasing come through clearly, which benefits acoustic music in particular. Macrodynamics are clean and composed rather than explosive. Tracking has been flawless in my setup, even on demanding records.

Soundstage and imaging

Soundstage width and depth are excellent, but what impresses more is stability. Images lock in place and remain solid even during complex passages. The Hyperion doesn’t exaggerate space—it simply reveals what’s on the record.

Comparisons / use case

In my system, the Hyperion has become my reference cartridge for:

  • classical and orchestral recordings
  • well-recorded jazz
  • high-quality modern pressings
  • any record where neutrality and resolution matter most

Hyperion is very noticeably better than Zephyr MiMC in every way.  I still enjoy more “voiced” cartridges such as my Koetsu or Miyajimas for older or less-than-perfect recordings, but when I want to hear exactly what’s in the groove, the Hyperion is the cartridge I reach for.

Final thoughts

The Hyperion MR Mk II rewards careful system setup. In a resolving but quiet chain, it offers a level of transparency and balance that feels more like a mastering tool than a flavor cartridge. It doesn’t overly impress on first listen—it’s designed to stay right over time.

For listeners who value accuracy, composure, and long-term listenability over euphonic coloration, the Hyperion is a serious endgame contender.