What would you expect?
He's trying to mimic a M.I.B (men in black) character from the movie on his profile photo.
MM vs. MC: What Happens When People Jump Into MC Too Early?
MM vs. MC: What Happens When People Jump Into MC Too Early?
The decision to purchase an expensive moving-coil cartridge rarely happens immediately. Most music lovers arrive at that point only after spending some time with vinyl.
Perhaps they started with an entry-level MM cartridge, or they already own an affordable MC cartridge. Or perhaps they started with a carefully selected vintage MM cartridge, as I suggested in my article – The Best Vinyl Sound For $1000, and discovered just how much performance can be achieved without spending a fortune.
But after a year or two of listening, reading forums, watching reviews, and talking to other audiophiles, a question inevitably appears:
What am I missing?
What would happen if I installed one of those expensive MC cartridges that audiophiles praise so enthusiastically?
What about Lyra Delos, or some highly praised retipped vintage MC cartridge?
Before we go any further, it is worth mentioning another group of audiophiles—more experienced vinyl enthusiasts—the ones who have already spent several years with analog playback and dream of eventually building a serious turntable with two tonearms, just like the systems they admire on Instagram.
Whenever I asked people planning such systems what tonearms they intended to install, the answer was remarkably consistent:
“One light tonearm and one heavy tonearm.”
In my experience, both approaches lead to expensive detours.
The first mistake is trying to jump into the MC segment before you can afford a solution that really works.
The second is spending a fortune on a two-arm turntable without fully understanding what those tonearms are supposed to accomplish, rather than pursuing a more versatile path.
To explain these mistakes, we need to go back to the beginning.
Cartridges Evolved Together with Records
Phono cartridges did not develop in isolation. They evolved alongside the record itself.
Nobody would seriously consider playing a shellac 78 RPM record with a modern microline MC cartridge. Those records were designed for stylus profiles that, by modern standards, look almost like sewing needles. In many ways, the same principle applies throughout the history of vinyl playback.
As record manufacturing evolved, groove geometry changed. Grooves became narrower, cutting techniques became more sophisticated, and playback equipment became increasingly refined.
Simultaneously, stylus profiles grew more complex. Cantilevers became lighter and stiffer. Magnet structures became more advanced. Cartridge designers continuously searched for new ways to extract more information from the groove.
Many of the moving-coil cartridges that appeared during the 1970s and early 1980s were genuine advances over the moving-magnet designs of their era.
Evaluating those cartridges today, however, is difficult. Unlike vintage MM cartridges, many of which can still be restored to near-original condition simply by installing a modern replacement stylus, a moving-coil cartridge is a much more integrated device. The stylus assembly is not a user-replaceable component but part of the cartridge’s entire mechanical and electromagnetic structure.
As a result, original factory styli for most vintage MC cartridges are long gone.
Restoration typically requires retipping by a specialist, often using a completely different stylus profile, cantilever material, or suspension system than the original design. Sometimes the results are excellent. But what emerges from the process is no longer the same cartridge that left the factory decades ago.
However, cartridge technology did not stop in 1980.
Advances in magnet materials, stylus geometry, coil design, and manufacturing precision have continued for decades. As a result, with only a handful of exceptions, even many of the most celebrated vintage MC cartridges struggle to compete directly with the best modern designs.
What Happens When People Upgrade Too Soon?
What usually happens when people jump into the MC segment with only $1-2K and buy something like Lyra Delos or a similarly priced cartridge?
Some records immediately sound better.
This is especially true of later pressings, where groove geometry became narrower and more sophisticated. Suddenly there is more air, more detail, a deeper soundstage, and a stronger sense of separation between instruments.
The owner smiles and says:
“I knew it. MC really is better.”
Then something else happens.
He pulls out an older record—perhaps Grand Funk Railroad, Nazareth, or Led Zeppelin.
And the reaction becomes less enthusiastic.
The sound is detailed, but somehow less convincing. The music feels more analytical, less cohesive, less emotionally connected. Instead of hearing a performance, the listener begins hearing individual elements of the recording.
Many of the records that define the golden age of vinyl were recorded between the late 1960s and the mid-1980s. Their groove structure and cutting techniques differ substantially from later digitally mastered records, and while the fine stylus of many MC cartridges can extract more information from thin grooves than thicker MM styli, when it comes to the older records with wider grooves – less delicate MM cartridges often produce a more coherent and natural presentation. If you let me use an automobile analogy again, this is like driving a sports car on a highway and a 4x4 off-road.
The Two-Tonearm Solution
This duality brought many music lovers to the two-tonearm solution. Between 2015 and 2018, I built a dozen vinyl systems around exactly this concept. One tonearm carried a cartridge, such as a Shure V15 or an ADC XLM, for earlier records. The second initially carried an Audio-Technica AT33, but its tonal balance was surprisingly similar to the ADC XLM. To make the setup more interesting, I developed my own product, Denon Goliath - a modified Denon 103 that I extensively reworked with retipping and a custom wooden-body conversion. The result deserves a separate article.
It was through the Denon Goliath that I first rediscovered later recordings such as Iron Maiden albums from 1986–1988. For the first time, I heard how much information these records actually contained. Compared to the MM cartridges I had been using previously, it felt as though ten to fifteen percent of the information in the groove had not been retrieved.
These two-tonearm systems were remarkably versatile. They handled both older and newer records with equal confidence and provided an elegant solution to the problem. I used vintage Victor or Denon direct-drive motors and custom plinths to build those turntables, and for that period, they were a perfect audiophile product within a budget below $6000.
And yes – one tonearm on that type of player was light for high-compliance vintage MM cartridges, and the other was heavy for a low-compliance Denon.
Why is it a costly mistake to use the same solution today?
The economics now are very different. Many vintage motors have reached the end of their practical service life and require extensive restoration. A modern turntable capable of accommodating two tonearms, together with the required armboards and tonearms, can easily exceed $15,000–20,000 before you even start thinking about cartridges.
At the same time, today we have My Sonic Lab cartridges that combine very high resolution with a surprisingly natural and balanced presentation across a much wider range of records than was previously possible.
And this is the key point.
Today, buying a versatile My Sonic Lab cartridge and one good tonearm for it is a much smarter decision than a two-tonearm solution. Even the entry-level My Sonic Lab models can compete successfully with combinations that would previously have required two separate tonearms.
As a result, the traditional solution of maintaining separate cartridges for different eras of records becomes much harder to justify when working within a limited budget.
For listeners seeking a turntable capable of reproducing an entire record collection with equal confidence, the most sensible strategy today is often to aim directly for a My Sonic Lab cartridge and a single 12-inch tonearm with low-to-medium effective mass. In my practice, the Moerch DP8 12-inch red dot worked best, but common SME tonearms work perfectly well too, except for heavier models such as the 3012R or M2-12R.
A Quick Word About Lyra
No discussion of MC cartridges would be complete without mentioning Lyra.
On this website, you will find a separate review of the Lyra Delos, one of the most popular first MC cartridges. In that article, I explain why I rarely recommend it. However, that does not mean it is a bad cartridge. In fact, for many listeners it can be exactly the right choice.
Many entry-level and mid-level high-end systems suffer from a lack of overall transparency. This is often caused not by the cartridge itself, but by the system as a whole. Loudspeakers may have a high Effective Drive Mass, amplifiers may deliver insufficient current, and the entire system may sound slightly closed-in.
In such systems, the energetic and highly detailed character of a cartridge like the Lyra Delos can be extremely beneficial. The cartridge effectively cuts through the system’s overall lack of openness, creating more air, more apparent detail, and a greater sense of excitement.
This is precisely why opinions about Lyra cartridges are often so polarized.
One listener installs a Lyra and immediately falls in love. Another listener hears the same cartridge and finds it overly analytical or fatiguing. Both listeners may be correct. The difference is the system.
So, Should You Upgrade to MC?
My answer is yes, absolutely.
A properly chosen MC cartridge can absolutely deliver a meaningful improvement in analog playback.
The mistake was upgrading without sufficient funds and purchasing an MC cartridge that lacks versatility.
If your system is already highly transparent—sensitive loudspeakers, low Effective Drive Mass, sufficient amplifier current—I would suggest looking toward a cartridge no less than the My Sonic Lab Eminent EX or better, such as the My Sonic Lab Hyper Eminent.
If your system still lacks overall transparency, a cartridge such as the Lyra Kleos may be a good choice, but I recommend addressing the lack of transparency first and then moving to the My Sonic Lab Hyper Eminent anyway.
If your budget for an upgrade is less than $4K, which would allow you to afford Lyra Kleos or a My Sonic Lab Eminent Ex, I would not rush into MC cartridges at all.
Don’t forget that if your phonostage doesn’t properly support MC cartridges, you will need a SUP and a cable to connect, which adds at least $1-2K more.
A properly restored vintage MM cartridge, such as a Shure V15 or an ADC XLM, remains one of the smartest purchases in analog audio below the $4K threshold. More affordable MC cartridges improve certain aspects of reproduction while simultaneously sacrificing others. You gain something on one group of records and lose something on another, and the result is often not a breakthrough, but a compromise.
If your budget allows, skip the intermediate steps and move directly toward a truly versatile design such as the My Sonic Lab.
Does a two-tonarm solution make any sense today?
Oh, yes, but on a much higher level, where lies a very different world of pushing analog playback to the limit. In this game, the goal is no longer versatility.
The goal becomes specialization.
Coming back to the automobile analogy again – BMW X6 is excellent both on a highway and a moderate cross-country, but if you want to set lap records at a racetrack and compete in the Camel Trophy, you need two totally different cars – let’s say a Ferrari and a Defender.
Different cartridges and different tonearms are optimized for different records from different recording eras. This approach can extract the absolute maximum from the medium, but it also requires a completely different level of investment. The threshold begins at roughly $35K, and with the necessary infrastructure – step-up transformers and cabling – it can easily reach $ 45K–$50K. And in this game, the formula “one light-mass tonearm and one heavy tonearm” doesn’t always apply. Some of the best contemporary setups need two heavy tonearms because both cartridges, specialized for records from early and later eras, are low-compliance.
The core of this article is that choosing between MM and MC cartridges is not the real question.
The real question is whether you are optimizing your setup for budget, versatility, or specialization.
At the first level, the goal is straightforward: achieve the best possible sound within a comfortable budget. And vintage MM cartridges like the Shure V15, ADC XLM, and others with Jico styli outperform most existing low-priced MC cartridges, both contemporary and vintage.
The second level begins when the goal of achieving better sound meets a meaningful upgrade that works equally well across a wide range of records. Here's where My Sonic Lab cartridges stand out as one of the most compelling solutions available. If you already know you have no interest in building a $35,000-plus analog front end in the future and that extracting the absolute last few percent of performance from vinyl is not your goal, then a simpler, more universal approach makes perfect sense. In that case, I would focus on turntables that can accommodate a quality 12-inch tonearm but do not necessarily require multiple tonearms.
How Far Down the Rabbit Hole Do You Want to Go?
If, on the other hand, you believe that analog playback may become a long-term passion and that one day you may want to pursue the specialized approach discussed in this article, it may be wise to choose a turntable platform with greater long-term flexibility.
In that scenario, a single universal cartridge such as a My Sonic Lab can serve as an excellent starting point. Later, as priorities and experience evolve, the same turntable can become the foundation for a more specialized two- or even three-tonearm system.
The challenge is that the right answer depends not only on your budget, but also on your goals, your record collection, and how you plan to enjoy music in the years ahead.
If you would like to hear all the cartridges mentioned yourself rather than read about them, I encourage you to visit the REFERENCE VINYL RECORDINGS page.
Reference Vinyl Setup No. 1 in that collection was built around the very concept discussed in this article: a turntable with two specialized tonearms, one optimized for older records and the other for later pressings. Incidentally, that turntable used two heavy-mass tonearms, not the traditional “one light and one heavy” combination.
The Reference Track 1 and Reference Track 2 collections contain recordings made with a wide variety of cartridges, including vintage MC designs and modern cartridges from different price categories.
Well-known and relatively expensive MC cartridges occupy the last two positions. Yet despite their price and brand name, they are outperformed by cartridges ranked much higher—including a humble Shure V15 mounted on a very modest turntable. More importantly, that particular Shure was used in a stock configuration. It did not benefit from many of the upgrades I would normally recommend, such as a top-level JICO stylus with a boron cantilever, a wooden headshell, or mounting it on a 12-inch Moerch. Had that Shure received all those upgrades, it would have been higher in the list, closer to the top 5 positions occupied by the best modern MC carts.
I hope the information in this article—and the accompanying reference recordings—helps you make more informed decisions about your analog front end.
Paul Gerbert, Independent Audio Consultant
Helping audiophiles navigate an expensive and confusing hobby through smarter decisions and long-term planning.
Disclaimer: I don't sell My Sonic Lab cartridges, Lyra cartridges or any other gear mentioned in this article.
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One very important point of @rauliruegas which might be getting lost is that of locking in on a distortion we like …. Systems and rooms can be thought of as a collection of distortion we like… |
Don't overlook that @raulfullofgas is with carefully mapped for placement, lifelike Wax Models from the the local Orchestra, being adornments in the listening space to replicate the near field experience. From recollection from posts 5-idh years past, the conductor visits to produce the arrangement. Then the two subjectively compare the audio system and unanimously agree the undeniable similarities with the end sound being produced |
Van den Hul Crimson: When Individuality Is More Interesting Than AccuracyIn Three SentencesIf your primary goal is to hear a record as close as possible to the original master tape, there are cartridges I would rank higher than the Van den Hul Crimson. However, absolute accuracy is not the only path to musical enjoyment. The Crimson is one of the rare cartridges that departs from strict neutrality in a way that can make music more exciting rather than less convincing. Before talking about the Crimson itself, I should explain how I personally evaluate cartridges. Assuming the rest of the system is already well balanced and free from obvious tonal colorations, my primary reference remains the original analog master tape. Fortunately, I own a small collection of master tapes from the 1970s and 1980s, which allows direct comparisons between tape and vinyl playback. Over the years, two cartridge families have consistently impressed me most in this regard: Air Tight and Ikeda 9Gss. Air Tight tends to be a little lighter, more open, and slightly more focused on the midrange and upper frequencies. Ikeda 9GSS on a heavy arm, delivers a more authoritative and articulated bass foundation. Lately I have found myself leaning slightly toward the Ikeda presentation, although at that level we are already discussing personal preference rather than clear superiority. For later digitally mastered pressings I often used Koetsu, which is not what I would call a reference cartridge. In fact, one of its attractions is precisely that it has a recognizable personality of its own. My Jade, for example, added a noticable "stone" coolness to the presentation that was not necessarily present on the record itself. Yet I enjoyed that interpretation for the certain type of records. And that brings us to the Crimson. Because once you have a reasonably stable reference, it becomes easier to recognize when a cartridge is doing something different — and whether that difference is helping or hurting the musical experience. And I must say that many cartridges depart from the reference path and lose or misinterpretate something in the process. The Crimson was one of the rare exceptions. When I first heard it several years ago, the immediate impression was not greater accuracy. In fact, compared with Air Tight or Ikeda, I would definetely not describe it as more faithful to the master tape. Yet I found myself wanting to continue listening. The Crimson seemed to inject energy into the rhythmic structure of the music. The effect is difficult to describe in purely technical terms, but it almost feels as if the drum skins have been tightened slightly and the bass guitar strings have become a little lighter and more taut. Everything gains a greater sense of elasticity, snap, and forward momentum. As a result, the music develops a stronger feeling of drive and energy. The rhythm section becomes more animated, more eager to move forward, and the entire presentation feels more alive. Whether this effect represents greater accuracy is a separate question, but what matters is that it is extremely enjoyable to listen to. I am not sure how much of this character can be appreciated through a phone speaker, but there is a video of this cartridge playing in one of my client's systems on my Instagram page for anyone curious to hear it for themselves.
If Lyra family often creates its sense of excitement through air, openness, and high-frequency illumination, then the Crimson creates excitement through momentum. Records seemed to move forward with unusual confidence. The effect was especially noticeable on jazz, acoustic recordings, and rhythm-driven material where timing matters as much as tonal richness. What impressed me most was that this observation repeated itself years later on a completely different system. Recently I had another opportunity to listen to a Crimson while helping an audiophile optimize his system. The primary cartridge was a Top Wing Suzaku, but the second cartridge mounted on the turntable was the Van den Hul Crimson. Within a few seconds of listening, I found myself hearing exactly the same character I remembered from years before. That suggests the impression was not system-specific. It appears to be part of the cartridge’s fundamental personality. Would I choose the Crimson as my only cartridge? Probably not and mostly because of my specific genre preferences inclined to rock music. And I still value having a reference point that stays as close as possible to the master tape. But would I happily own a Crimson as a second cartridge? Absolutely. Because some cartridges are valuable for their accuracy. Others are interesting for their character. The Van den Hul Crimson belongs firmly in the second category — and in its own way, that may be just as valuable.
Paul Gerbert, Independent Audio Consultant Helping audiophiles navigate an expensive and confusing hobby through smarter decisions and long-term planning. |
@colossalsound : you posted something that if I or you were " oponents " and t that statement is not true because you are an audio Advisor and I'm only an amateur music lover/audiophile. Your knolege/skill levels are way way different to mine.
" claim that every cartridge requires an entirely different transformer or phono stage is taking the idea to an extreme " No single active high gain phonolinepreamp needs nothing of that. Ypsilon ask which cartridge because they have 4 different SUT gain transformer s but they don't modified nothing. " Subtle " differences, well that's a listenable difference for the better and no was not me where started that " theoretical " ( that you obviously can't understand ) buta today silver wire SUT manufacture,it's not only gain but several other factors and he is a true expert not like you or me. Do you know which must be the input MM impedance in the phono stage where the SUT will be connected?, obviously 47K, right? Wrong. that same expert posted in Agon several times thatshould be over 150K aand you know what for more years that I remember all my MM cartridges were running at 100k and SUTs ( before the expert posted ) 150K and he uses over 200K. As I said,'m only an amateir you are the " professional. " Btw, me neither want tofollow " teaching " you. So be happy.
@tomic601 : yes agree with you and through the years I posted the same: that each one of us likes ourdistortion developed by the room/system. @frank009 @billstevenson agree with both of you.
R.
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