Two Unknown Magnetic Phono Cartridges

I found this interesting phono cartridge on eBay for under $30 shipped. 

It was advertised as a vintage Sony magnetic cartridge. After clicking Buy It Now, I asked the seller for more details. Sadly, my inquiry fell on deaf ears...

😊May 23, 2024 UPDATE!😊

My instinct pointed towards an early Audio Technica OEM. However, the chunky plastic body doesn't exactly match the AT-1, AT-3, AT-3M or AT-5 featured on this Japanese website.

The stylus assembly is very similar to that from the AT-5. 

But the body shape is somewhere between an AT-1 and AT-3S.

  

After getting a feel of cantilever compliance and seeing the bonded conical stylus under a USB microscope, it felt safe to set VTF at 3 grams. The stylus has yet to skip a track!

Although not quite as dynamic, the tonal balance of this vintage cartridge is reminiscent of my all-time favorite Shure M3D. I’ve listened to it extensively mounted on the Tokyo Sound ST900, Fidelity Research FR54, and Bokrand AS309. I would've recommended this cartridge highly as a nice budget alternative to the M3D or M7D IF the eBay seller didn't go AWOL.

I posted about these cartridges at HifiHaven.org and member Fran604g uploaded pictures of a red version of this phono cartridge. The box is marked CM500 stereo moving magnet cartridge.

When I was writing this article, I visited audio-database.jp several times but didn't search the Coral section deep enough. After clicking Other, I found Coral CP-30D!👍

 A video of the vintage cartridge Coral CP30D tracing an Abbey Lincoln track.

While debating whether it was still worthwhile blogging about a mysterious vintage cartridge that can't be found anywhere, an elongated box arrived at our doorstep.

Inside the ginormous box was a tiny little box. Apparently someone in the packing department couldn’t care less about conservation.

It turned out to be my order for a phono cartridge, which showed up on my feed while I was searching for Blue Note Jazz LPs on Amazon. No literature was provided aside from the stickers on the outer box and plastic protective case. The cartridge isn’t even identified with a trademark or model number. Henceforth, this will be referred to as the Amazon cartridge and the other, the vintage cartridge.

A phono cartridge for under $18 shipped and taxed is like an early 80s dèjà vu when I could walk into Leonard Radio on Sixth Ave. NYC, listen and browse to my heart's delight, and walk out with a $15 Grado GTE+1.

The plastic body is quite robust weighing about 6.5 grams. Instead of traditional mounting holes, the body is threaded. Over tightening the two Allen head mounting screws can result in stripped threads.  

 The google translate camera app on my iPhone gave the above info. I suppose 2.2 grams acupressure = Vertical Tracking Force, since it uses a stylus not an acupuncture needle. OTOH, the printed 5 gram weight doesn't match my digital scale's reading.

I haven’t mastered the use of my USB microscope and this is the best stylus image I managed to capture. It looks like a nude mounted rock with traces of facets. Could it be an elliptical or a not too highly polished conical? I'm not an experienced stylus peeper, so please let me know what you think. 

I mounted the cartridge on a generic Technics-style head shell and set the acupressure to 2.2 grams on my Bokrand AS309. After a couple of tracks I heard sibilance. Increasing the VTF to 3 grams fixed the problem. IMHO, 2.2 grams is too optimistic!

The metal shield of the Amazon cartridge looked similar to the entry-level Audio Technica AT3600L. So I took it out and, as expected, it sounded comparatively dark and veiled. Switching to the Pfanstiehl conical stylus opened up the sound a bit. However, the full bodied tonality of the Amazon cartridge wasn't at all apparent leading me to believe that the two cartridges don't share the same motor.

The Amazon cartridge is a very exciting performer! Macro and micro dynamics are more nuanced, I hear more air on the top end while midrange vitality and low frequency extension are at par with the vintage cartridge. If I'm forced to split hairs, I'd say the vintage cartridge is a tad more refined compared to this Amazon special.

Same Abbey Lincoln track traced by the Amazon cartridge

As I was about to link to the item on Amazon, my original source was showing as currently unavailable. But a bit of searching yielded a blue/gray variant as pictured above that's listing from $19.46 to $23.99. Happy shopping!

As featured in the two videos, most of my listening and testing were done via my near field hifi. But I also cross referenced the cartridges fitted to the Bokrand AB309 + Garrard 401 downstream to the Altec 753Cs in the main system. Neither cartridge unseated the Shure M3D as my favorite magnetic cartridge but both provide a level musical satisfaction unimaginable at this price point! 

Addendum

More stylus pictures

Click on the images to enlarge

I forgot to mention that when I did the AT3600L vs. $18 Amazon cartridge comparison, I was reminded of a Pickering V-15 vs. XV-15 match. Could there be a moving iron motor inside this Amazon cartridge?

@gary7 at Audiokarma identified the origin of this Amazon cartridge.👏 But is it the entry-level $79 or the more bling $129? 🤔 

Suffice it to say, I've been enjoying my $18 version so much such that I'm not in a hurry to re-mount the Shure M3D.😊

Here's another video of the $18 Amazon cartridge, this time mounted on a Fidelity Research FR54 tonearm tracing a track from Naked Eyes in honor of Burt Bacharach (1928-2023).

 

Moving Iron Cartridges: Grado, Nagaoka, Pickering/Stanton and Piezo/Sparta

This is the last installment of my series on magnetic phono cartridges, which commenced with early stereo cartridges followed by moving magnet cartridges. These cartridges were evaluated in the near-field and main system in the man cave. Tonearms used include the Syntec S220, Denon DA305, Fidelity Research FR54 and Grace G565, mounted on the Garrard 401, Realistic MKVIII, Rek O Kut B12GH + L34 and Thorens TD124 or MKII.

Grado

This collection of Grado cartridges dating back to the 80s and 90s is a testament to my being a dyed-in-the-wool Grado fan. They served me well when I spun LPs via a suspended sub-chassis, belt-drive turntable, feeding hacked Dynakit preamps and classic push-pull EL84 and EL34 amps to drive BBC LS3/5As or Quad ESLs.

But as soon as I started dabbling with idler driven turntables + higher mass tonearms, no negative feedback preamps, single-ended triode amps and high efficiency speakers, the voicing of Grado cartridges started sounding contrived and unnatural. I switched to using the Denon DL103 and Ortofon SPU low output moving coil cartridges via mic transformers.

Grado GTE+1 + ZTE+1 stylus

Although the Pickering/Stanton 371 was more fatiguing to my ears, the GTE+1 has a similar tonal curve. The GTE+1's mid-bass sounds boosted, the midrange is slightly recessed, followed by a sudden rise in the upper female vocal range that gives a nasal quality, which is borderline shouty. The rising response goes all the way to the mid-treble range then it sharply rolls off in the extreme high frequencies. 

This kind of voicing presents an exciting sound that has created a fan base as well as harsh critics for Grado. Tonally, the early Grado SR80 headphones I own were voiced in a similar fashion.

Grado Signature 8MZ

The tonal curve I described above is still apparent in the Signature 8MZ but milder. The upper midrange/lower treble peak was refined and the frequency extremes more extended. In the process, however, micro and macro dynamics suffered. Refinement, detail and resolution improved at the expense of musical excitement.

I also noted a lack of air and spaciousness between instruments and vocals as presented by both 8MZ and GTE+1, which resulted in a drier and narrower sound field compared to the Nagaoka, Pickering/Stanton and Sparta S220.

Nagaoka

Nagaoka MP11

In the Fall of 1983, my dearly departed dad, a violinist, conductor and music professor, went on an observational tour of orchestras and music schools in the UK under the auspices of the British Council. Before heading back to Manila, he took a side trip to NYC to visit me and see his old haunts. The Nagaoka MP11 pictured above was his gift + a couple of Popular Hi-Fi and Hi-Fi Answers issues he picked up along Tottenham Court Road.

Nagaoka MP11

Mounted on my stock AR XA turntable in '83, I didn't think too highly of the MP11 and preferred the GTE+1. So it rested for more than three decades. When I revisited it, the tables were turned. Listening to the MP11 exposed the Grados' flaws.

To my ears, the MP11 is the moving iron equivalent of the Denon DL103R. It has a sweet midrange, detailed and extended in the frequency extremes with a middle row concert hall perspective. Even if the presentation is more relaxed than the Pickering/Stanton models below, it still presents musically satisfying dynamic nuances. 

Nagaoka MP110 body + MP10 conical stylus

Encouraged by my rediscovery of the MP11, I kept my eyes peeled for another Nagaoka MP cartridge at close to '80s pricing. Fortunately, I lucked out with a couple of NOS MP10 styli + a cheap MP110 body. 

I couldn't detect any sonic difference swapping the MP11 or MP10 stylus between the MP11 and MP110 bodies. The DCR of the MP11 coils averaged at ~ 550 ohms while the MP110 ~ 600 ohms. Thus, I assumed that the MP11 and MP110 bodies are identical.

Sonically, the MP110 body (or MP11 body) + MP10 stylus = the moving iron equivalent of the Denon DL103.

Pickering/Stanton

Pickering XV15 + D400 conical stylus

The positive attributes I noted about the Pickering 380 + Stanton 371 = Pickering XV15. Compared to the MP10/11, the concert hall perspective is more front row. The midrange is the most three-dimensional in this survey and comparable to the Shure M3/7D. Dynamically, this cartridge is the most exciting in this group. 

The MP11/10 beats the XV15 + original conical stylus in terms of detail resolution. Perhaps with an original elliptical stylus, the detail and resolution in the frequency extremes will most likely equal or even surpass the MP11.

Note that the Stanton 680 is the same exact cartridge and the stylus are interchangeable between the two bodies.

There's a lot of SPU juiciness from this cartridge!

Pickering V-15 Phase IV + IV AM stylus

The Pickering V-15 Phase IV was designed as the entry-level model in the Flux-Valve (moving iron) line up. I measured an average of 780 ohms DCR from its coils vs. 1200 ohms for its higher-end brother, the XV15. 

Its overall performance is formidable and the superiority of the XV15 might only shine through in a direct A/B comparison. The Stanton 600 is the equivalent model.

Sparta 220S

This Sparta 220S cartridge came with one of my Syntec S220 tonearms. The Japanese OEM was identified as a Piezo YM-114 aka Hitachi DS-ST101 by wualta in Audiokarma. It's a very smooth-sounding cartridge with good detail and extension in the frequency extremes. Not as dry as the Grados, but like the 8MZ, it doesn't have the micro/macro dynamic prowess of the Nagaoka MP10/11 and Pickering XV15/Phase IV.

Coda

My Grado cartridge collection survived the '90s purge when I unloaded my two Merrill modified AR turntables, two pairs of Quad ESL57s, a 15 ohm pair of Rogers and a 12 ohm pair of Spendor LS3/5As, a pair of Acrosound TO330 push-pull output transformers, Lafayette KT600, Acrosound 20/20, Dyna ST35, Eico HF87, Leak 20, Pilot SA232, SA260 and many other classic equipment. 

The proceeds financed the acquisition of tubes and directly heated triodes, Tamura and Tango SE output transformers, idler driven turntables, high mass tonearms, high efficiency Altec drivers and other DIY audio materials.

 

Pickering XV15 and V-15 Phase IV + Nagaoka MP11 and MP10

Since these four cartridges emerged as my favorites in this shootout, it might be the right time to let go of my collection of Grado cartridges...

The Wrap 

Moving Iron + Moving Magnet

Nagaoka MP10, MP11, Pickering XV15, Shure M3D
Pickering V-15, Pickering Phase IV, Shure M44

 A couple of moving magnet cartridges deserve pride of place along with my chosen moving irons - the Pickering V-15 + DAT2 for its sweetness, the Shure M44 + EMJ N44G for its dynamic qualities and the Shure M3D for its timelessness! 

Nagaoka MP10, MP11, Pickering XV15 and Shure M3D

Finally, if I could only have four, these are the cartridges I'm keeping!

Moving Magnet Cartridges from Audio Technica, Pickering/Stanton and Shure

This installment will cover successors to moving magnet phono cartridges I discussed a couple of months ago. The cartridges were evaluated in the near-field system and cross-referenced with the main system. Tonearms used include the Fidelity Research FR54, FR24 MKII, Grace G565 and SME 3012, mounted on the following turntables: Garrard 401, Thorens TD124 Mk I or II, Rek O Kut B12GH or Shield MO-19.

Top to bottom: Audio-Technica AT3600L, AT110E and AT3600L+Pfanstiehl stylus   

Audio-Technica

Audio-Technica AT3600L
Vertical Tracking Force (VTF) Range = 3-5 grams
Tested @ 3g VTF

This $10-15 Audio Technica cartridge gained notoriety when it became known as the OEM version of the Rega Carbon. It has a pleasant sound, which highlights the midrange due to truncated frequency extremes. 

After prolonged listening, I noted compressed dynamics and slightly grainy (but pleasant) upper end. For the price, this is a musically balanced cartridge with colorations that enhance rather than detract from the musical experience.

AT3600 body + $10 Pfanstiehl conical stylus
Tested @ 2.5g VTF

As a $10 experiment, I ordered a generic Pfanstiehl conical stylus with aluminum cantilever. This stylus looks very similar to the one fitted to the Audio-Technica CN5625AL sans A-T logo. 

The aluminum cantilevered conical stylus took away most of the graininess, giving a more harmonious sound, while simultaneously improving the frequency extremes and detail resolution. In spite of the improvements, the sound was still "closed-in." 

Audio-Technica AT110E
Tested @ 2g VTF

The AT110E was an 80s entry-level model highly regarded by the UK audio press. I've kept it all these years as a back-up and threw it in the mix for perspective.

No contest! The sound opened up and everything came into focus from the midrange and both ways to the frequency extremes with much greater resolution.

Top: Pickering V-15+DAT2
Bottom: Stanton 500V3

Pickering V15/Stanton 500V3 

Pickering V15 body + DAT2 Conical Stylus

Tested @ 3.5g VTF

The Pickering V15 + DAT2 has a very sweet and 3-D midrange! Its tonal character is very reminiscent of its moving iron ancestor, the Pickering 380. High frequency performance is not quite as extended as the SC39B/ED or AT110E but it is silky smooth with life-like harmonic overtones. 

Bass extension is less, compared to the AT110E and SC39B/ED, but still at par with the M44 + EMJ N44G. Dynamics at micro and macro levels is better than the SC39B/ED and AT110E but not quite in the same league as the M44 + EMJ N44G. 

Stanton 500V3
Tested @ 3.5g VTF

I thought the 500V3 sounded very similar to the Stanton 500 Mk II when I compared them in the early 2000s. But I was disappointed with this sample I acquired in 2016. In spite of the slightly better bass impact vis a vis the V-15+DAT2, the 500V3 sounded peaky in the upper midrange (most noticeable on female vocals), with a sizzling top end compared to its older stable mate.

Swapping the DAT2 stylus in the 500V3 body tamed a bit of the harshness but the midrange still wasn't as liquid. Quality control may have declined at the tail end of Pickering/Stanton production. In fairness though, I'd rather listen to this cartridge than the AT3600L.

Left to Right: Shure SC35C, M44-7 + Pfanstiehl, M44 + EMJ N44G, SC39B
and SC39ED stylus (right front) 

Shure

Late 90s Shure SC35C
Tested @ 3.5g VTF

Twenty years ago, I found the SC35C to be a good alternative to the M3D and M7D, albeit with a modern tonal character. But after being exposed to other Shure models in this survey, the SC35C sounded comparatively dry, grainy and the least transparent.

Its neutral tonal balance is its greatest asset! However, the high VTF requirement of 3.5 - 5 grams might scare the younger generation of audiophiles.

Shure M44 body + Pfanstiehl 0.7 mil spherical stylus
Tested @ 4g VTF 

The Shure 44-7 + generic (Pfanstiehl) 0.7 mil spherical stylus is a very dynamic and exciting combination. Shure admits boosting the bass frequencies - I hear boosted mid > upper bass + sibilants in vocals due to a rising upper midrange to lower highs.

The listening experience brought me back to the 80s NYC club scene of Palladium and Nel's. Great for spinning 12" 33/45 rpm singles to relive 80s club days. BUT NOT for serious listening to vocals, jazz or classical. Very HIGH output, close to 10mV and it also requires high VTF in the range of 3-4g. 

M44-7 body + EMJ N44G stylus
Tested @ 3g VTF

Since genuine N44G styli are hard to find and if ever available, demand exorbitant amounts, I took a chance on this EMJ N44G stylus for my other M44-7 body because of the EMJ website description, "It's NOT for DJ play but for ordinary listening."

This Japanese 0.6 mil conical stylus mounted on an M44 body is a highly refined performer. It retains the exciting dynamics of the M44-7 + generic stylus above, while all the rough edges are polished. It may not have the dignity of the M3D or M7D, but it preserves most of their virtues including the 3D midrange. It is a worthy descendant with better tracking ability. Definitely not an ordinary listening experience! 😁

Shure SC39ED
Tested @ 1.5g VTF

It would have been nice if I had access to a Shure V-15 Type IV or V but the SC39ED is as close as I could get to a top of the line Shure cartridge. The light tracking force range of 1.25 - 1.5 grams will be most welcomed by those afflicted with over 2 grams VTF phobia.

Mounted on the FR54 or Grace G565, this cartridge sounded tired and soggy. But it woke up once mounted in my lowest mass tonearm with interchangeable head shell - the Fidelity Research FR24 MkII.

This cartridge exemplifies the sound of flat frequency response and high detail resolution. The tonal balance is very neutral like the SC35C but with less grain and greater transparency. It also has the most extended frequency response at both ends of the spectrum in this survey.

With all that detail and such wide frequency response, I wonder where the passion and soul of the music went?

SC39B
Tested @ 2g VTF

I was about to give up on the SC39ED's lack of musicality when I spotted an original SS39B spherical stylus for this cartridge body at V-M. The simpler stylus profile brought a much needed joi de vivre to this cartridge body and I started enjoying music again! 

CODA

After a head to head comparison with its older sibling, the AT110E, my enthusiasm for the Audio-Technica AT3600L was dampened. For sheer musical pleasure, it's obvious that my personal picks are the Pickering V-15/DAT-2 and the Shure M44 body + EMJ N44G!

Even if the Audio-Technica AT110E, Shure SC35C and SC39B/ED don't meet my musical requirements, their virtues should fulfill mainstream audiophile expectations. So don't let my bias stop you from pursuing them. Listen and decide for yourself.

All these cartridges are no longer in production except for the AT3600L. But since they were massed produced from the 60s to the 90s, they're not difficult to find and replacement styli are readily available. 

There are more classic cartridges out there to try and I hope this article encourages other audio hobbyists to embark on their own journey. 

Early Stereo Era MM and MI phono cartridges

Front: Shure M3D
L > R: Pickering 380, Stanton 371, Empire 888, Shure M7D

In the early 2000s, I spoke highly of the Shure M3D and M7D in retro cool tonearms and cartridges. Being an inveterate collector, I've acquired a couple more early stereo phono cartridges that came with turntables and tonearms I purchased in the ensuing years. I'm revisiting the two Shures in this long overdue follow-up and will compare them to a few more cartridges from the dawn of the stereo LP era.

The cartridges were evaluated in my main system and also in my audio playground. Turntables used include the Garrard 401, Gates CB77 and Sony TTS2500, fitted with the Audio Technica 1501-II, Fidelity Research FR64fx, FR54 and Grace G565 tonearms.

Shure M3D and M7D

Shure M3D

These two models were engineered from the same blueprint. While the M3D was manufactured to closer tolerances, the less stringently built M7D was marketed towards budget-conscious listeners. If forced to split hairs, I'll admit to hearing more refinement, better stereo separation, slightly better resolution and extension in the frequency extremes from the M3D. But in all honesty, I'd much rather enjoy their music-making abilities.

Shure M7D

The key attribute of this cartridge design (which sadly Shure veered away from until they completely exited cartridge manufacturing in 2018) is its lifelike presentation of the midrange. I stand by my earlier assessment that these are the moving magnet equivalents of the Ortofon SPU.

Empire 888

I'm not sure if the stylus in this cartridge body is an OEM or a generic replacement. But I deemed it was fair enough to include it in this survey since it tracked like a champ at a moderate 2 grams of Vertical Tracking Force (VTF) and subjectively, it offered a very smooth and probably the most extended treble response in this group. Even if this cartridge seems to already be shying away from a tonal balance that emphasizes the midrange, the tinge of midrange warmth was still most welcome!

Empire 888

Bass quality is very much in keeping with the overall character of this cartridge which is clean and well defined. In spite of this cartridge's very refined character, it lacks dynamic contrasts especially at micro and macro levels. I find myself cranking the volume control up for it to boogie but I still end up wanting more. Resolution of detail is at par with others in this survey while the slow transient response across the audio band, keeps it behind the others in this survey. 

Pickering/Stanton 371 and 380 

Based on this ca. 1960 catalog pages, the 371 and 380 were marketed simultaneously by Pickering/Stanton. Despite both being Stereo Flux-valve (moving iron) designs, these stablemates sound diametrically opposed.

Stanton 371 + gray mono LP stylus
see reader comment below

 Except for the 4 gram minimum VTF, I thought I found a cartridge from the dawn of the stereo era in the 371 that would appeal to 21st century standards of neutrality, transparency, detail and resolution. There was a striking presence and immediacy from this cartridge. However, as I went through my favorite LPs, I detected peakiness from the upper midrange to lower treble which gave that fake analytically transparent vibe. Soon the upper midrange glare became very fatiguing, especially with  female vocals. Further listening also confirmed a rapid roll off in response above that peak, which prevents the listener from getting a true sense of air and space. 

Stanton 371 + red stereo stylus
see reader comment below

A reader below called my attention to the fact that the gray stylus I used in my original evaluation was intended for mono LPs. So I ordered the red stylus from Gary at V-M. However, the same tonal shape I noted above remains with slightly reduced glare and peakiness. 

Pickering 380

My long time hamfest/radio show buddy, Larry R. clued me in to the 380 after reading my original article eons ago. This cartridge is not easy to set up due to its weird body shape. Fortunately, I had some threaded spacers and screws, which came with my Stanton 500. This facilitated installation on a modern IEC/SME type head-shell. Using an original red stylus tracking at 3.5 grams, this sounded warmer, smoother and sweeter than the M3D/M7D. The midrange is spacious, airy and the 3-dimensional presentation is quite beguiling, even more SPU-like! Mid to upper bass definition is at par with the two Shures. However, it rolls off earlier and doesn't possess as much heft and weight. In spite of its excellent handling of micro and macro dynamics, transient response is a tad slower. 

Coda

The Pickering 380's 3-D midrange and refinement were definitely alluring. But if I were forced to choose between the 380 and the M3D/M7D, I'd sacrifice a bit of midrange refinement in favor of the better bass extension and dynamics offered by the two Shures. Although the Stanton 371 tried to leap far ahead of its time, to my ears, it had fatal flaws. On the other hand, the Empire 888 was forecasting what was to come, for better or worse.

On another note, I'm happy to report that even after 20 + years, not one stereo LP from my collection has been harmed by the 2.5 to 4 gram VTF 😱 by my favorite stereo cartridges! 😁