“The next piece you need to upgrade is your cartridge,” my editor repeatedly reminded me for months. After receiving my Rega Planar 3 from a generous AnalogPlanet reader, I felt perfectly content with the pre-mounted Rega Elys 2 MM cartridge, as my new system (complete with AudioQuest speaker cables) was already a large improvement from my Audio-Technica LP120 turntable connected to a Panasonic home theater system. However, I researched cartridge upgrades nonetheless and came up with three potential moving coil choices ranging from $524 to $795, but I eventually settled on the $999 Ortofon Quintet Black S.
Sumiko has been shucking these Oyster moving magnet cartridges for many years. They've mostly been entry level products aimed at getting one started in the analog world, placed on a budget turntable and priced accordingly. The least costly $79 Oyster sported a spherical stylus that didn't deliver much in the way of detail but made set up easy and got the job done.
This revolutionary cartridge comes in two flavors: plain and peanut. When the stylus wears out instead of having the cartridge re-tipped, you eat it. It melts in your mouth, not in your hands. Best for “mint” LPs, etc.
In a recent issue of Stereophile, Analog Corner covered a number of products including two very expensive cartridges: the Transfiguration Proteus D ($10,500) and the Kuzma CAR-60 ($12,995). Both feature diamond cantilevers but that doesn't mean they sound at all alike.
Here are two great, "reasonably" priced, superbly built cartridges that I've chosen to review together while giving you the opportunity to "hear" both!
Soundsmith’s Peter Ledermann has been designing and building “fixed coil” cartridges for many years, beginning when he was asked by customers to “back engineer” a B&O design used in that company’s “plug in” cartridge tone arms.
California-based Triangle ART manufactures five gleaming chrome and gold plated high mass turntables as well as its own tone arm. The 'tables weigh from 40 to 850 pounds. Recently, Triangle ART introduced the Zeus MC phono cartridge, thus completing mechanical part of the analog playback.
What makes a phono cartridge worth $3500 or $4000? Pride of ownership? Snob appeal? Sound? Tracking ability? Exotic materials? Styling? Labor cost for skilled artisans? Special ether? Cool wooden box? All of the above?
Back in 2000, when Lyra introduced the Helikon moving-coil cartridge, which replaced the then six-year-old Clavis D.C., the company inexplicably retained the Clavis D.C.'s retail price of $2000. This was inexplicable because the Helikon's revolutionary design was new from the ground up, and because audiophiles—like most, if not all, consumers—perceive price to be a reflection of quality and performance.
Scan-Tech builds low-output moving-coil cartridges for a number of companies, including AudioQuest, Linn, and Spectral (footnote 1). It also markets its own line, under the Lyra brand name (Lydian, Clavis, Parnassus), which is imported and distributed by Immedia out of Berkeley, CA.
These are great times for analog, and I'm happy to have played a small part in the revival, but recently the demand for some products has outstripped supply; getting review samples has been next to impossible. I've requested an Audio Research PH7 phono preamplifier for literally years now, but ARC can't build them fast enough, so they don't need a review. The more they sell, the greater the buzz, and the greater the buzz, the more e-mails I get from readers asking for a review. It's not nice to not be needed.
You know what's the first thing they teach you in dental school? Don't ever say "Oops!" Even if you stick one of those hooked teeth scrapers through the patient's cheek, you don't say "Oops!" "Don't move!"? Yes. "Oops!"? No. That's the big day-one lesson—and given the cost of medical malpractice insurance today, a damn good one.