Cartridge Upgrade Advice:

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. 

"the Hyperion is a serious endgame contender."

Your assessment isn't surprising. Enjoy it.

Koetsu Rosewood Signature Review

System: VPI Classic 4 with 12-inch VPI 3D arm -> Manley Steelhead -> McIntosh C2800 -> McIntosh MC611 monoblocks -> Revel Ultima Salon2 with dual SVS SB-16 Ultra subs (Trinnov Nova)

The Koetsu Rosewood Signature is often labeled a "romantic" cartridge, but in a modern, low-noise system it is better described as tonally dense, dimensional, and musically natural rather than soft or colored. Mounted on the 12-inch dual pivot VPI 3D arm, it feels exceptionally stable and well controlled.

The midrange is the clear strength. Vocals and acoustic instruments have body, weight, and presence that sound physically believable rather than enhanced. Detail is not spotlit; it emerges organically through tone and harmonic completeness.

Treble is smooth, extended, and well integrated, with no glare or edge. Cymbals shimmer naturally, and strings retain sweetness without dulling. Bass is tuneful and coherent, emphasizing pitch and texture over sheer punch. With properly integrated subs, low frequencies sound realistic and musically connected.

Imaging favors depth and dimensional layering over razor-sharp outlines. Soundstage scale feels natural, with convincing front-to-back perspective. Dynamics are confident and unforced, and tracking is secure once properly set up.

Compared directly in the same system, the Soundsmith Hyperion offers greater transient speed, air, and large-scale dynamic contrast, particularly on big orchestral works, while the Koetsu counters with superior tonal density, midrange realism, and long-term listenability.

The Rosewood Signature is at its best with vocals, jazz, acoustic music, chamber works, classic rock, and smaller ensembles. Large symphonic material can sound beautiful, but cartridges emphasizing speed and macrodynamic scale may have an edge there.

Like the Hyperion, this not a cartridge that impresses in the first five minutes. It excels at musical realism and emotional engagement, encouraging long listening sessions and constant record pulling.

Highly recommended for listeners who value tone, dimensionality, and musical coherence over analytical fireworks.  It’s an excellent “number two/change-up” in my system.

Koetsu Rosewood Signature Review

System: VPI Classic 4 with 12-inch VPI 3D arm -> Manley Steelhead -> McIntosh C2800 -> McIntosh MC611 monoblocks -> Revel Ultima Salon2 with dual SVS SB-16 Ultra subs (Trinnov Nova)

The Koetsu Rosewood Signature is often labeled a "romantic" cartridge, but in a modern, low-noise system it is better described as tonally dense, dimensional, and musically natural rather than soft or colored. Mounted on the 12-inch dual pivot VPI 3D arm, it feels exceptionally stable and well controlled.

The midrange is the clear strength. Vocals and acoustic instruments have body, weight, and presence that sound physically believable rather than enhanced. Detail is not spotlit; it emerges organically through tone and harmonic completeness.

Treble is smooth, extended, and well integrated, with no glare or edge. Cymbals shimmer naturally, and strings retain sweetness without dulling. Bass is tuneful and coherent, emphasizing pitch and texture over sheer punch. With properly integrated subs, low frequencies sound realistic and musically connected.

Imaging favors depth and dimensional layering over razor-sharp outlines. Soundstage scale feels natural, with convincing front-to-back perspective. Dynamics are confident and unforced, and tracking is secure once properly set up.

Compared directly in the same system, the Soundsmith Hyperion offers greater transient speed, air, and large-scale dynamic contrast, particularly on big orchestral works, while the Koetsu counters with superior tonal density, midrange realism, and long-term listenability.

The Rosewood Signature is at its best with vocals, jazz, acoustic music, chamber works, classic rock, and smaller ensembles. Large symphonic material can sound beautiful, but cartridges emphasizing speed and macrodynamic scale may have an edge there.

Like the Hyperion, this not a cartridge that impresses in the first five minutes. It excels at musical realism and emotional engagement, encouraging long listening sessions and constant record pulling.

Highly recommended for listeners who value tone, dimensionality, and musical coherence over analytical fireworks.  It’s an excellent “number two/change-up” in my system.