JE Labs

Wednesday, June 17, 2020

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.

Wednesday, June 3, 2020

Garrard 401 + Alfred Bokrand AB309 tonearm

Garrard 401

Fine Engineering from Swindon, UK

I have a couple of very good friends whose ears I trust that are Garrard 401 users - Ben and Joey. Joey is the head honcho of Harana Audio and one a partner in G.I.P. Labs, Philippines. Another was my dearly departed buddy, Brian "monofantastico" Clark, who actually believed the 401 was superior to the 301.

So there's been no doubt in my mind that the 401 is at least at par with its older brother. Although I've always wanted one, I wasn't dying to own one.

Manufactured on the 23rd week of 1968

That was until one dreary Sunday evening, when I put a modest bid for a 401. Much to my surprise, within a couple of hours, I received an email notice that I won!

This is one of, if not the best, transaction I ever made at the auction site. The packing was bullet-proof and the unit was pristine! Best of all the seller was a kindred soul. Thanks so much FJ!

Open Plinth

Garrard 401 + Audio-Technica AT1501 MkII + Denon DL103

The 401 was pretty much plug and play except for the dead strobe light, which I didn't mind since it's a 50Hz UK model anyway. The square chassis made it a natural for open plinth mounting. With a few scrap pieces of wood + clamps I gathered from the garage + an Audio-Technica AT1501 MKII, it was making music in no time.

I was transported back to the late 80s with my first Thorens TD124 MkII and Garrard 301, which I acquired in the mid 90s. These idler driven turntables had to acquit themselves on their own merits without the aid of heavy damped plinths.

Garrard 401 + Audio Technica AT1501 MkII + Nagaoka MP11

I have Flickr and Instagram contacts who use their 401s and other idler drives sans plinth. They probably hear the same open, effortless and airy sound I heard. The experience is akin to open baffle mounted drivers.

But just like open baffle speakers, bass extension is rather limited in my temporary set up. I think this can be significantly improved by the use of a heavy tonearm pod and massive support columns.

Moldavian Plinth

While I was scouting my area for a machine shop that can fabricate a heavy tonearm pod and support columns, a friend who knew I'm a sucker for light colored mid-century modern wood finish, offered his surplus Moldavian-built Garrard 401 plinth.

Garrard 401 + Grace G565 + Denon DL103

After a few hours with a hole saw, chisel, lots of saw dust and wood chips, I pretty much confirmed the assertion of my aforementioned friends with regards to the merits of the Garrard 401. Indeed, it has all the great qualities of the 301, except the snob appeal.

All it needs now is a tonearm that befits its stature.

Wanted: transcription length tonearm

longer = less tacking distortion

Audio Technica AT1501-II
spindle to pivot mounting distance = 270mm

Although the Audio-Technica AT1501-II and Grace G565 are excellent 11" tonearms, both lack the gravitas of the Ortofon RMG309 and SME 3012. The 1" (25.4mm) shorter length shared by the AT1501-II and Grace G565 vis a vis their European counterparts is a factor.

Grace G565
spindle to pivot mounting distance = 270mm

Other contributing elements are the design, quality and type of bearings, tonearm material and mass. All of these can make or break the performance of a tonearm.

Ortofon RMG309
spindle to pivot mounting distance = 309mm

After over two decades of Ortofon RMG309 and SME 3012 ownership, I'm convinced that the RMG309 extracts more musical information from the SPU cartridge than the SME 3012. However, the RMG309's counterweight/tracking force arrangement limits its use to the SPU or a head shell/cartridge combination = 30 grams.

SME 3012 Series II (early version)
spindle to pivot mounting distance = 295mm

The versatility of SME 3012 makes it a great partner for the Denon DL103 series and other cartridges in my stash. Perhaps the original stainless steel SME 3012 gives the RMG309 a run for the money? But good luck finding one.

Alfred Bokrand AB309 Tonearm

With my limited budget, hunting for another RMG309 or SME 3012 is out of the question in this day and age. It was just timely that Alfred Bokrand was running an auction for a few of his bespoke creations based on the Ortofon AS212.

I've always lusted after the EMT 997 "Banana" reissue and Groovemaster II. So I chose to bid on an AB309 instead of the more conventional AS309. After putting a winning bid, I waited patiently for over a month.

Due to the slow sailing galleon from Spain, I had time to search for my original RMG309/TD124 tonearm board and cut a tonearm board for the 401/Moldavian plinth.

To facilitate moving the tonearm between the 401 and TD124, I also ordered an extra Ortofon AS212 tonearm base from Serge at Karmadon Audio. Highly recommended for tonearm swappers!

As I took the AB309 out of its foam-lined wooden presentation case, it exuded with quality workmanship. If Alfred didn't disclose it, I wouldn't have known that this tonearm was built on the main bearing tower of a vintage Ortofon tonearm.

Thorens TD124 + AB309 + Pickering 380

Since I already had the RMG/TD124 tonearm board prepared, set up was a breeze on the Thorens TD124. Tracking force is set by sliding the counter weight until proper vertical tracking force (VTF) is reflected on a tracking force gauge.

It's only necessary to use the large + small counterweight when using the SPU, which weigh a little over 30 grams. My other cartridge/head shell combinations within the 14-26 gram range only required the single large counterweight.

Compared to the SME 3012, the AB309 is even simpler to use and the split counterweight arrangement makes it truly a versatile tonearm. Bravo, Herr Bokrand!

AB309 tonearm
spindle to pivot mounting distance = 309mm

After several months of listening to my favorite LPs with the AB309 mounted on the TD124 or 401, I still could not get into A/B testing/reviewer mode. I'm always drawn to enjoying the music LP after LP.

Suffice it to say, I've known my hifi system for many decades. When a new component is inserted I can immediately detect whether it is detracting or enhancing my musical experience.

There may be some subtle differences between the 301/RMG309/SPU#1s vs. 401/AB309/SPU#1s but that would be splitting hairs, which I'm loathe to do. So from here on, I will share my thoughts as to why I've held the Ortofon RMG309, SME3012 and more recently, the AB309 in such high esteem.

Thorens TD124 + AB309 + Teac TC15 aka FR1 MKII

Just like the Ortofon SPU cartridge, a transcription length tonearm is an acquired taste. For the uninitiated, the sonic virtues of the SME 3012, RMG309 and AB309 may come across like the volume control was taken down a couple of notches. To put it another way, due to the larger scale presentation, the added details become more subtle.

However, once you get past this threshold, you will notice a more expansive soundstage with a blacker background. From there you'll start hearing better lower level detail retrieval, improved micro and macro dynamic contrasts, greater dynamic range and more extended frequency extremes.