Best Phono Cartridges- Looking for Expert Reviews and Comparison

[moedansol]

I researched the best Phono Cartridge as I recently got back into vinyl listening and wanted to upgrade the sound quality of my turntable without spending too much. i have been experiencing a lot of surface noise, dull audio, and weak bass from my current setup, which kind of ruins the whole vintage music experience. i went through reviews from trusted sources like What Hi-Fi, Audiogon, and Amazon customer feedback and after comparing many options these two kept coming up as the top choices:

Sumiko Blue Point No. 3 High Output MC Moving Coil Phono Cartridge​

https://www.amazon.com/Sumiko-Point...6067d8f18426a&language=en_US&ref_=as_li_ss_tl

Ortofon 2M Bronze Moving Magnet Phono Cartridge​

https://www.amazon.com/Ortofon-2M-B...c5a37831293ed&language=en_US&ref_=as_li_ss_tl


however, i am having trouble deciding which one would be better for me and i would love to get your expert advice and hoping maybe some audiophiles, vinyl experts, or experienced users on this forum can also share their advice.

i usually listen to classic rock, jazz, and old pop records, and I prefer something that gives warm tones with clear vocals and decent bass. Any suggestions would be appreciated.

Thanks in advance

 

[RPoitou]

"surface noise, dull audio, and weak bass" may not be the fault of the cartridge at all - it may be that you just need a good phono preamp but it's difficult for us to advise upgrades without knowing what you have at present.
Please ignore What Hi-Fi and Amazon reviews, look for proper measurements from people who know what they're talking about
Nothing wrong with that Ortofon but it's a big investment if your turntable/arm are not truly compatible with it.

 

[DVDdoug]

i have been experiencing a lot of surface noise, dull audio, and weak bass from my current setup,

Surface noise is from the surface of the record. Some records are quieter than others but none have a silent background like a CD or other digital source. But a "modern" or different stylus shape may may ride on a non-worn part of the groove.

Some hum or hiss may come from the phono preamp and preamp noise will be present when the stylus isn't in the groove, or when the record isn't moving.

Weak bass usually isn't the cartridge. The deep-bass (below 40Hz) is usually filtered-out for the vinyl, but most music doesn't have much bass below 40Hz anyway.

Or it could be your phono preamp (the RIAA equalization) but that's just a possibility.

The cartridge will affect the highs, but the capacitance load (wires and preamp) will also affect the highs. And a lot of older records were simply "dull sounding". I don't have any modern records. I'd expect them to be better but I've read otherwise, so I don't know...

You can always adjust the bass & treble with tone controls or EQ.

There is a Phono Cartridge Measurement Thread but it seem rather overwhelming.

which kind of ruins the whole vintage music experience.

Well, it never was as good as digital, and personally I wouldn't go too crazy trying to perfect it.

 

[Timcognito]

When it comes to surface noise. I bought this ultrasonic cleaner. Found that that there are many home brew cleaning bath formulas with key ingredient Kodak Photoflow wetting agent. Five records at a time on first bath maybe 2-3 batches and then a new second bath, which will become a first bath for next 2-3 batches.

VEVOR Ultrasonic Record Cleaner — 6L with Drying Rack

Discover the VEVOR ultrasonic record cleaner with 6L capacity and drying rack for deep, safe cleaning of vinyl records. Premium quality and affordable.

www.vevor.com

Rarely play LPs anymore and traded my 2M Bronze for a Nakamichi 610 Preamp and 2M Blue, but loved the Bronze while I had it. Buy a Sheffield Labs LP of your liking to hear what your system can do and/or take it to a HiFi shop to benchmark it. Read about about arm and cartridge adjustment, some free upgrades that make a big difference.

 

[Bland_username42069]

What’s your set up currently as none of the things you describe should be happening

 

[dr0ss]

Probably too late to be helpful, but: I had a Sumiko Blue Point high output MC cartridge, and I loved it, but the cantilever broke, and the thing about MC cartridges is that you can't replace the stylus. Never buying a MC cartridge again.

Nowadays I have what I think is a contrarian POV on cartridges. Records are a very imperfect way of reproducing sound, for a thousand reasons familiar to most people on this forum. I therefore don't see a reason to buy a very expensive cartridge. There is a surprising selection of 'good enough' cartridges available for under $200. (I replaced my Sumiko with a Grado Green that cost me under $70, and playback with it makes me smile.)

 

[DSJR]

I wasn't a fan of the original Blue Point, which from memory was a T4-P type, but the BP2 was better I recall. I loved the raw-as-heck sounding Blue Point Special, but we always had to order two in at a time, one to sell and the other to sell again after the first got broken due to its skeletal construction and exposed workings being damaged usually very quickly!!! Sumiko prices have shot up since 2008, so a BP3 at £500 or so, is now nearly three times the price as I remember its predecessor being in my final days in HiFi retail.

I have to say I'm hugely fond of the 2M Bronze and it takes the previous generation laid back tones of the OM30 Super and jazzes it all up a bit - just what it needed. It's lively but not unrestrained or 'raw' in tone, just 'funky' for want of a different term, this in a Rega RB330 tonearm, for which Ortofon now do a slimmer version of the 2Ms...

PLEASE be aware of the hierarchy ideals for vinyl reproduction. Deck first, then tonearm, then cartridge and then phpno stage, losses at the front not being made up for by superior pickup or phono stage in my personal experience. No point putting a cartridge such as discussed in a low rent deck (that's what the VM95ML is for )

Looking at prices, I'd get the 2M Bronze I think, but ONLY if the deck and tonearm is up to it. I'd add the VMx745 as well to that list as the metallic mount may put less hf disturbance into the arm structure...

 

[waofner]

Audio Technica is a safe bet at any price point.

the most expensive MM cartridges ( boron cantilever) can compete with similar priced MC cartridges with aluminium cantilever.

Have Fun!

(perfection tends to be boring)

even the cheapest Rega or Project turntable will be more than good enough for cartridges up to about 1000€. The tonearm bearings are critical! (no unwanted movement acceptable -easy to test: grab the headshell- if you can feel any!!! bearing clearence the tonearm is crap.)

preamp: rega, project, minidsp, look for Amirm`s tests.

 

[sergeauckland]

PLEASE be aware of the hierarchy ideals for vinyl reproduction. Deck first, then tonearm, then cartridge and then phpno stage, losses at the front not being made up for by superior pickup or phono stage in my personal experience. No point putting a cartridge such as discussed in a low rent deck (that's what the VM95ML is for )

I've never understood this hierarchy. To me it was invented by Linn to justify their turntable. As far as I can tell, all a turntable has to do is to go round at the right speed with minimal rumble, and half-decent isolation. If there's a hierarchy, it's cartridge first, as that's what tracks the record, and has a frequency response. The arm just! needs to be rigid enough with low friction, and I assume even the cheapest phono stage can manage accurate enough RIAA equalisation, and adequately low noise and distortion although I've measured some pretty poor ones, which at least to their credit were expensive.

S

 

[Joe Smith]

For my money, the Audio-Technica AT-VM95ML gives high value.

 

[DSJR]

I've never understood this hierarchy. To me it was invented by Linn to justify their turntable. As far as I can tell, all a turntable has to do is to go round at the right speed with minimal rumble, and half-decent isolation. If there's a hierarchy, it's cartridge first, as that's what tracks the record, and has a frequency response. The arm just! needs to be rigid enough with low friction, and I assume even the cheapest phono stage can manage accurate enough RIAA equalisation, and adequately low noise and distortion although I've measured some pretty poor ones, which at least to their credit were expensive.

S

Serge, I spent many many hours demonstrating what I said above and over many years. I agree that some totally unlikely turntable/arm combinations can work well (an AT120E in my Garrard AP76, all manner of various 'grade' MM types in the flimsy-arm 86SB [which actually has very low drive noise transmitted into the pickup] and a 1.5g tracking Grado F1+ in an otherwise tractor-like clunky but serviced old Lab 80mk2 I'm hugely fond of for some reason - I just need an SL95B to complete the set - cough ), but the thing is, a lower grade deck and arm, in my experience, simply cannot do full justice to a better quality cartridge.

The one thing we over here, were ahead of the international game on, was in proper siting and isolation of the turntable itself. Many internationally popular models are 'box-plinth designs, using rudimentary rubbery feet as 'isolation.' Simply plonking these things on a cabinet, shelf or worst of all, directly on top of an amplifier's case, puts all manner of bass to midrange colourations in long before howl-round comes into it.

Having said all the above, I now feel that I owe Linn Products a lot, as much of their recommended spiel actually helped ALL turntables to work and 'sound' better. I was amazed how, for example, a humble AT95E cartridge could sound more refined and clear when set up in a higher end deck (mid level today) such as a Systemdek III and Mission 774 arm (see how far back I go?). Maybe the better VM95ML can short circuit this a little and lift a cheaper more resonant turntable type?

Finally (I'll shut up after this now), once I heard a CD player I could live with and use for hours without fatigue (Meridian MCD Pro did it for me over the basic Philips players machines it was based on), the above became all but gaslight in comparison as all the 'LP12 tweaks' I'd supposedly learned counted for very little in comparison...

Here's a bit of fun regarding the tractor-Garrard I adore so much - mine actually 'sounds' half decent too despite the agricultural nature of the arm and build of the deck... His cueing device has llost all its damping though as it should be gentler than that... All this way off the ops question, so apologies...

 

[teched58]

Serge, I spent many many hours demonstrating what I said above and over many years. I agree that some totally unlikely turntable/arm combinations can work well (an AT120E in my Garrard AP76, all manner of various 'grade' MM types in the flimsy-arm 86SB [which actually has very low drive noise transmitted into the pickup] and a 1.5g tracking Grado F1+ in an otherwise tractor-like clunky but serviced old Lab 80mk2 I'm hugely fond of for some reason - I just need an SL95B to complete the set - cough ), but the thing is, a lower grade deck and arm, in my experience, simply cannot do full justice to a better quality cartridge.

The one thing we over here, were ahead of the international game on, was in proper siting and isolation of the turntable itself. Many internationally popular models are 'box-plinth designs, using rudimentary rubbery feet as 'isolation.' Simply plonking these things on a cabinet, shelf or worst of all, directly on top of an amplifier's case, puts all manner of bass to midrange colourations in long before howl-round comes into it.

Having said all the above, I now feel that I owe Linn Products a lot, as much of their recommended spiel actually helped ALL turntables to work and 'sound' better. I was amazed how, for example, a humble AT95E cartridge could sound more refined and clear when set up in a higher end deck (mid level today) such as a Systemdek III and Mission 774 arm (see how far back I go?). Maybe the better VM95ML can short circuit this a little and lift a cheaper more resonant turntable type?

Finally (I'll shut up after this now), once I heard a CD player I could live with and use for hours without fatigue (Meridian MCD Pro did it for me over the basic Philips players machines it was based on), the above became all but gaslight in comparison as all the 'LP12 tweaks' I'd supposedly learned counted for very little in comparison...

Here's a bit of fun regarding the tractor-Garrard I adore so much - mine actually 'sounds' half decent too despite the agricultural nature of the arm and build of the deck... His cueing device has llost all its damping though as it should be gentler than that... All this way off the ops question, so apologies...

Speaking of agricultural builds, I restored an SL-95B that had lost its cueing damping. I think @Frank Dernie has mentioned that the manufacturing cost of the cueing on the Garrards (65/72/95 orig and Bs, et al) was something like 7x that of competitors. Which rings true, because to fix the cueing, you have to strip the 95B down completely, removing the tonearm assembly to get to a horizontal-action dashpot on the underside of the chassis that holds the silicone damping fluid. I actually did this and it only took me 5/10/20 hours (who knows?) and reactivated the arthritis in my finger joints.

I see your Lab80 doesn't have as much herky-jerky action on the arm return as my 95B. Actually, I much prefer and use as my daily driver (on those rare days when I play a record) a Garrard SL-72B, which has a 10-inch one piece aluminum platter, which is more "honest" and less prone to issues than the two-piece monstrosity on the 95. So what if the 72 has a plastic headshell.

 

[sergeauckland]

Always liked the Lab 80 for looks, far nicer I think than the 301 or 401. Also like the Zero-100, but my favourite is the Transcriptors Fluid Reference. The only turntable I'd give up my AEG or EMT for.

S.

 

[Joe Smith]

Probably too late to be helpful, but: I had a Sumiko Blue Point high output MC cartridge, and I loved it, but the cantilever broke, and the thing about MC cartridges is that you can't replace the stylus. Never buying a MC cartridge again.

Nowadays I have what I think is a contrarian POV on cartridges. Records are a very imperfect way of reproducing sound, for a thousand reasons familiar to most people on this forum. I therefore don't see a reason to buy a very expensive cartridge. There is a surprising selection of 'good enough' cartridges available for under $200. (I replaced my Sumiko with a Grado Green that cost me under $70, and playback with it makes me smile.)

I've used (and I believe still have somewhere) a Grado Green, and it is quite good for the money.

 

[Ben Jenssen]

I've been digging out my old collection of records of storage in the last year or two, and got a turntable for the first time this side of the millennium, and I'm well into digitizing the couple of hundred albums.

I got a cheap used Rega RP1 and the Rega Fono MC, and an Ortofon MC x-10. AD conversion thru the Topping 2x2. The Ortofon sounds fantastic.

 

[DSJR]

Speaking of agricultural builds, I restored an SL-95B that had lost its cueing damping. I think @Frank Dernie has mentioned that the manufacturing cost of the cueing on the Garrards (65/72/95 orig and Bs, et al) was something like 7x that of competitors. Which rings true, because to fix the cueing, you have to strip the 95B down completely, removing the tonearm assembly to get to a horizontal-action dashpot on the underside of the chassis that holds the silicone damping fluid. I actually did this and it only took me 5/10/20 hours (who knows?) and reactivated the arthritis in my finger joints.

I see your Lab80 doesn't have as much herky-jerky action on the arm return as my 95B. Actually, I much prefer and use as my daily driver (on those rare days when I play a record) a Garrard SL-72B, which has a 10-inch one piece aluminum platter, which is more "honest" and less prone to issues than the two-piece monstrosity on the 95. So what if the 72 has a plastic headshell.

I should probably take this to PM, or VE's Garrard room, but I'll keep it short and as sharp as possible. Apologies to the OP and most others for this extensive diversion

The Lab 80 series had thick solidly sprung mech plates that power their way through all adversity, hence the smoother gentler action. Just don't run the mech backwards!!!

The 72/75/76/95 and onwards mechs were much finer in build (still chunky though) and suffer 'Garrard Glue' syndrome (congealed oils and grease seizing and all but jamming mech parts from rotating/pivoting and sliding cleanly). There's a large major delrin based rotating part around the tonearm bearing casting that can be jerky (as on my 86SB) or smooth (as on my AP76 and Zero 100). I use them so rarely it's not an issue really. The tonearms on these mechs do get 'all but thrown' back to the rest though, but not until the stylus is clear of the record...

Last Aspergic gasp here - How NOT to set the tonearm max-height adjustment (the tonearm 'bounces' alarmingly which it shouldn't if adjusted correctly and the cushion ring, which quietens the mech down when cycling, looks to be missing as well I'd never use a V15T2 or III in one of these, although mine (a well built late example from ~1994) which I had for a year or so in the mid 70s, performed great with a Stanton 681EEE at ~1.25g-

 

[egellings]

Probably too late to be helpful, but: I had a Sumiko Blue Point high output MC cartridge, and I loved it, but the cantilever broke, and the thing about MC cartridges is that you can't replace the stylus. Never buying a MC cartridge again.

Nowadays I have what I think is a contrarian POV on cartridges. Records are a very imperfect way of reproducing sound, for a thousand reasons familiar to most people on this forum. I therefore don't see a reason to buy a very expensive cartridge. There is a surprising selection of 'good enough' cartridges available for under $200. (I replaced my Sumiko with a Grado Green that cost me under $70, and playback with it makes me smile.)

I can't recall the name, but wasn't there a company that could re-tip a worn out MC cart so long as the cantilever was not damaged?

 

[sergeauckland]

I can't recall the name, but wasn't there a company that could re-tip a worn out MC cart so long as the cantilever was not damaged?

The Expert Stylus Company in Ashtead Surrey UK has retipped three of my MC cartridges. They can also replace damaged cantilevers provided the coils aren't damaged.

S

 

[Multicore]

The Amazon links in OP have linkId params which I believe indicate affiliate links. I think it's spam.

And the author's other post on the same day looks similar.

 

[Frank Dernie]

As far as I can tell, all a turntable has to do is to go round at the right speed with minimal rumble, and half-decent isolation.

This is true, the problem is that very few don't do other things as well, and half decent isolation is, in output from the cartidge being only what is on the disc, not good enough and, in any case, rare.
When evaluating our own and competitors record players back at Garrard in the mid 1970s the only way to get consistent data was to put the whole thing on a big isolator (isolated at 5Hz) otherwise one could see the effect of a bus driving by the premises and the employee car park was between the building and the road and we were on the 4th floor.

This highlights the need for excellent isolation IMO and the importance of a high pass filter in the RIAA stage - not for rumble but everything below 2x the Fn of the arm/cartidge on the suspension which is all inaccurate/overblown anyway.

The discussing of rigid arm closed loop for a while now in fashion is also static thinking applied to a dynamic system, and is wrong, but making lots of money for several companies