Cartridge Reviews

In a recent review for our sister site Stereophile, I observed that the Clearaudio Signature turntable is “a solid machine,” but then I wondered, “How would it sound running a re-think of one of the most iconic MC cartridges ever, the Denon DL-103R, now produced in collaboration with Devon Turnbull of OJAS as the Denon DL-103o?”

I continued by noting that the “richness, high color saturation, and vibrant personality of the DL-103o were in full force through the Signature [table]/Tracer [tonearm] combo, perhaps better organized than on my long-gone Kuzma Stabi Stogi turntable, with Clearaudio’s trademark refinement and orderliness fully evident.”

Clearly, the Denon DL-103o moving coil cartridge (a quite affordable $549) played well with that Clearaudio Signature table ($5K) and Clearaudio Tracer tonearm ($3.3K) combo. Still, I wanted to go deeper with this MC cart to see how it would fare with a different phono preamp than the Manley Chinook ($3K), a couple of SUTs, and more records. I figured the best way to do so would be right here on AP — so here we are.

Back Story, Features, and Specs
But first, some history. The Denon DL-103R is a variation of Denon's original DL-103, one of the most popular MC cartridges of all time. In the ’90s, the best place to obtain a DL-103 was from a German importer who sold them on eBay. But with growing demand, and perhaps due to the vinyl resurgence, Denon again took up mass production of their ever-popular cartridge, a standard of radio station playback and professional studios since 1964. Said 103R variation has a 0.2mm square solid diamond stylus, tracking force of 2.5gm, frequency response of 20Hz to 45kHz, and an output voltage of 0.25mV. It weighs 8.5g, which makes it a natural fit for heavier, old-school tonearms.

Differences between the 103 and 103R include OFC copper windings and a lighter coil structure. The 103R is lower in output than the 103, and internal impedance of the 103R is lower than the 103. Generally speaking, a lighter coil structure means cleaner, more detailed. and more dynamic sound.

And now we have our review subject, the DL-103o. Denon’s site says the DL-103o cart is a “limited edition of our flagship DL-103R, [and it] showcases premium 6N copper coils and custom styling in collaboration with high-end audio artist and engineer Devon Turnbull. Tuned by our Sound Master, it elevates any turntable, revealing the soul of every song.” Features of this MC cart include a conical stylus, low-compliance design, low-mass stylus assembly, and precision-wound copper coils styled by Turnbull, the audio innovator/upstart also known as OJAS.

That’s essentially all the information available about this cart on the company’s site — though you can read more about the 103o in our own Analog Gear News story that posted here on AP on June 3, 2024 — but we also have the following blurb about the cart at Denon’s YouTube channel: “When audio artist Devon Turnbull (a.k.a. OJAS) collaborated with Denon to create a special edition of the [Denon DL-103R], he took a different approach. Rather than tinkering with its sound, he styled the limited-edition DL-103o with a clear body, inviting audiophiles to admire the fine craftmanship within. We like to think of it as the window to the soul of your hi-fi system.”

Will a clear plastic body change the sound of a stock 103R? Ultimately, it must. When it comes to sound, every change can affect it. As I didn’t have a stock DL-103R in house, I looked to judge the DL-103o by using different phono preamps and step-up transformers (SUTs).

The Setup
For this review, I operated the DL-103o cart with and without a step-up transformer, using the aforementioned Clearaudio Signature table with that Tracer arm, along with Manley Chinook and Tavish Audio Design Adagio phono preamps, Riviera Levante hybrid integrated amp, Voxativ Ampeggio loudspeakers, and SUTs from Bob’s Devices and Auditorium 23. Cabling came from Triode Wire Labs (interconnects), Auditorium 23, Iconoclast, and Anti-Cables (speakers).

One snag out of the gate: the DL-103o weighs 8.5g, a lighter cartridge compared to the Hana Umami Blue (10g) or the Ortofon MC Quintet Mono cart (9g) that I used in the Clearaudio review. Though it’s not standard-issue audiophile practice, I bluetacked a penny on top of the Tracer headshell to achieve the 103o’s recommended tracking force of 2.5g.

Listening Sessions
Of late, I’ve been enjoying vinyl discs from a Chicago-based label, International Anthem Recording Company. The music ranges from cut-up, DJ-scrambled jazz to chamber music to full on free-jazz improvisation. One such album of theirs that I’ve quite enjoyed spinning is bassist Anna Butterss’ new Mighty Vertebrate LP (IARC0086), released earlier this month (i.e., October 2024). According to the label’s site, “Butterss has become a first-call for tour and studio work since moving to Los Angeles from Australia in 2014. She’s racked up credits with notables across the indie, jazz, and pop worlds alike — including Makaya McCraven, Phoebe Bridgers, Jason Isbell, Andrew Bird, and Daniel Villarreal — but her most notable contributions to the burgeoning West Coast creative music scene have been as a core member of both Jeff Parker’s ETA IVtet and rising proto-trance supergroup SML.”

Mighty Vertebrate is highly engaging, and typical of inventive musicians who have grown up with hip-hop, electronic music, and jazz, combining genres whose output is often modified by computer manipulation. Think DJ Shadow meets drummer Chris Dave meets FSOL. Mighty Vertebrate strings together a collection of moods, improvisations, grooves, ambient washes, and themes that recall a good soundtrack, one where sci-fi themes are offset by nature romps and misty, drone witnessed vistas. It's acoustic, it’s electronic, and it grooves. Mighty Vertebrate also recalls the ’90s work of Harold Budd, Jon Hassell, and David Toop, its ever-changing vistas permeated with synths and percussion. This often reminded me of the majesty of the classic post-rock Chicago outfit, Tortoise.

Played through the $3K Manley Chinook phono preamp, the DL-103o engaged me with its clarity, impressive tonal depth, and laudable treble extension. The overall sound was rather shallow compared to a better cart, but the DL-103o’s liveliness and transparency made the music jump and groove.

Switching to the less-expensive Tavish Audio Design Adagio phono preamp ($1.5K), music became better fleshed out, more tonally saturated and with deeper, though boomy bass. The Manley provided a larger sonic window and a purer overall view of the Denon cart, pointing out its faults while providing better transparency. The Tavish, a more forgiving phono stage, tended to gloss over the Denon’s imperfections, presenting a lusher, richer, less balanced but also less finicky performance.

Keeping the Tavish inline and adding a Bob’s Devices SKY step-up transformer ($1,375) wound for the DL-103o, music improved to a far greater degree than when changing the phono stage. With the SKY SUT in place, the Clearaudio table’s left- and right-channel outputs were fed into the unit, and then, via separate interconnects, into the phono preamp. The ground wires followed suit. The result was a sonic transformation — a revelation. Presence and scale became monumental, a sonic landscape of humongous proportions. Tonality was elevated across the board. The treble, once lean, now shimmered with a saturated richness while the mids and bass deepened, acquiring a profound, almost subterranean quality. The soundstage expanded — a vast, immersive effect. Weight and depth were also significantly enhanced. It was a stunning improvement — a testament to the transformative power of a well-made, well-matched SUT.

My Auditorium 23 A23 MC SUT, an old warhorse in my audio arsenal, was up next. The brainchild of Keith Aschenbrenner, this little marvel, priced at a mere $999 back in the day, is practically a must-have for those who indulge in the sonic delights of Ortofon SPU cartridges or Shindo Labs gear — and I am one who is guilty on both of those counts. The A23, a sleek, minimalist machine, distilled the raucous energy of the SKY SUT into a more refined, crystalline sound. While the bass remained robust and resonant, the strings sang with newfound clarity and precision. The treble, too, was polished to a diamond sheen, offering greater transparency and detail, yet still luminous and rich. In this refined setting, the vinyl seemed to glow, its essence revealed with unprecedented depth and purity through the DL-103o and the A23 SUT.

Conclusions
While the DL-103o offers a compelling value proposition for MC cartridges in the $500 range, it can feel a bit rough around the edges compared to its more expensive brethren. Its strengths lie in its lively dynamics, balanced tone, and engaging character, making it a worthy adversary to the similarly priced Hana EL MC. However, those seeking a more extended treble, richer and smoother midrange, deeper bass, and bolder dynamic presentation may want to consider higher-end and more expensive MC carts, if your budget allows.

That said, the Denon DL-103o MC cartridge transmuted its modest pricetag into golden performance when paired with worthy components. Each pairing revealed new facets of its character, its allure and enjoyment factor growing with each revelation. I was astonished by the dramatic transformations wrought by different phono preamps and SUTs. Choose your component pairings wisely, and the DL-103o could very well ascend to taking a place of honor amongst your most treasured MC cartridges.

For more about Denon, go here.
To find an authorized Denon retailer, go here.

Author bio: Former musician, former artist, and former legal wastrel Ken Micallef has written numerous hi-fi equipment reviews for Stereophile and Analog Planet, and his byline has also appeared within Mojo, Electronic Musician, and The Grammys. You can also find him at YouTube (Ken Micallef Jazz Vinyl Audiophile).