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Introducing the Phono Cartridge Measurement Library

This is what was relayed to me by a distributor who asked Nagaoka about the mesurements:

"I have to say, the dip at 10kHz is the character of MP-700.

It comes from the damper, we use the softest one ( even softer than MP-500) on MP-700 to get the sound performance, but also brings the dip around 10kHz.

This is the only reason."

What gets me is that they call it a dip. Doesn't seem like a dip to me but maybe I'm wrong.

And how the hell is that the "sound performance" (FR?) that they want when they explicitly mention in their marketing that they worked the damper to produce the excellent FR for the JT-80 Black (hence my last post).
 
I was thinking of this kind of test

Thanks. That seems to be a single-blinded discrimination test of the perception of static ticks in musical samples. Are you suggesting a discrimination test or a blinded preference test on musical content with lots of cymbals and sibilants?
 
Nagaoka customers have a high tolerance for product defects. ;)
Or they prefer an otherwise flat frequency response ±1 dB from 20-14,000 Hz, excellent channel separation from 200-9,000 Hz and harmonic distortion below -40 dB from 60-5,000 Hz.
 
What gets me is that they call it a dip. Doesn't seem like a dip to me but maybe I'm wrong.

And how the hell is that the "sound performance" (FR?) that they want when they explicitly mention in their marketing that they worked the damper to produce the excellent FR for the JT-80 Black (hence my last post).
The JT-80 Black has harmonic distortion below -40 dB from 120-600 Hz.
 
Thanks. That seems to be a single-blinded discrimination test of the perception of static ticks in musical samples. Are you suggesting a discrimination test or a blinded preference test on musical content with lots of cymbals and sibilants?
If there is track with another cartridge one can always measure it:


This could be a single exception issue though. That is why I asked in tye first place.
 
With respect to the glitch of the MP700 its there in design for sure and not an single issue. I would be hesitant to hear it due to its Q. The raise above 10 can be audible though but may be adjuated with some loading adjustment.

i am more worried about the tracking/tracing of HF as shown earlier. Is it a one-unit issue or also in design?
 
With respect to the glitch of the MP700 its there in design for sure and not an single issue. I would be hesitant to hear it due to its Q. The raise above 10 can be audible though but may be adjuated with some loading adjustment.

i am more worried about the tracking/tracing of HF as shown earlier. Is it a one-unit issue or also in design?
In the case of fricatives and sibilants, they cover a range from around 2.5-12 kHz, with the loudest portion most often between 5-7 kHz Shadle et al (2023) J Acoust Soc Am. 154:1932–1944. It is unlikely that anyone will pick a high Q ±2 dB variation between 9-12 kHz out of a sound that is is 0-10 dB louder at 5-7 kHz.
 
In the case of fricatives and sibilants, they cover a range from around 2.5-12 kHz, with the loudest portion most often between 5-7 kHz Shadle et al (2023) J Acoust Soc Am. 154:1932–1944. It is unlikely that anyone will pick a high Q ±2 dB variation between 9-12 kHz out of a sound that is is 0-10 dB louder at 5-7 kHz.
Sure but I am not referring to the glitch in this particular case. What has been found is not related that but tracking or tracing issues. Mostly with MP500 but it seems to be also with MP700. Trying to rule out individual cartridge issues or some other issue but so far no luck. That’s the reason for my question. See eg

MP500:



MP700:
 
If a stylus is inaudibly thrashing about the grooves, is the record damage real? We can also discuss trees.
It is surely not a positive thing having that 10 kHz resonance. Adding the tracking/tracing issues from 2 kHz and up is even worse, IMO. Stylus is going wild.
 
NAGAOKA MP-700

MiniDSP ADEPT GAIN (M)
Nagaoka MP-700_Subsonic On_1.4g_~170pF_50 kΩ_CA-TRS-1007 Side A Track 1 & 2 (MED GAIN).png


MiniDSP ADEPT Settings
Source: XLR
Equalization: OFF
Gain: M

Classic Audio MM Pro Settings:
LF XFEED: OFF
Mode: STEREO
Gain: 42 dB

MiniDSP ADEPT GAIN (H)
Nagaoka MP-700_Subsonic On_1.4g_~170pF_50 kΩ_CA-TRS-1007 Side A Track 1 & 2 (HI GAIN).png



MiniDSP ADEPT Settings
Source: XLR
Equalization: OFF
Gain: H

Classic Audio MM Pro Settings:
LF XFEED: OFF
Mode: STEREO
Gain: 42 dB


Comments:
Cartridge was aligned and calibrated by myself. Capacitive load is an approximation, not a measured value.

Interconnects used: Blue Jeans LC-2 (12pF/ft @ 2FT) = 24pF
Software Used: Audacity (Recorded @ 24 Bit/ 192 kHz, Exported to WAV @ 24 Bit/ 96kHz)
 
Thanks - looks fairly consistent with the others, except that the peak and dip maybe aren't as sharply parallel in L and R channels. Its frequency obvioulsy varies too.
 
The (most probably) tie wire resonance is there though. A bit surprising; Jico SAS stylii have a wire but they do show this.
 
This is the Sommerfeld effect in action, it's a non-linear change in a system with multiple degrees of freedom, described by Armold Sommerfeld in 1902, where the work of a "non-ideal" motor is converted into vibrational energy rather than torque near a resonance frequency, leading to a capture of performance until increasing power leads to escape. I did some background research and sketched out a hypothesis with the help of Gemini AI yesterday.

Q: Can there be a Sommerfeld effect in a system with two jointed rods, rod A driven and rod B fixed at the other end?

A: Yes, a Sommerfeld effect can occur in a system of two jointed rods where one is driven and the other is fixed at its far end. This phenomenon is a hallmark of non-ideal vibration systems, where the energy source (the motor) and the mechanical structure it drives are mutually coupled.
How the Effect Manifests in This System
In your specific setup (rod A driven, rod B fixed at the other end), the Sommerfeld effect would appear during the "coast-up" phase as the motor attempts to increase the reciprocating speed of rod A.
Resonance Capture: As the driving frequency approaches the natural frequency of the two-rod assembly, energy from the motor is diverted into increasing the vibration amplitude of the rods rather than increasing the motor's speed.
Speed Stagnation: Even if you increase the power supply to the motor, the rotational speed of rod A may remain "stuck" or caught near the resonance point for a significant range of input power.
Jump Phenomenon: Once the input power exceeds a critical threshold, the system suddenly "escapes" resonance. This results in an abrupt jump in motor speed and a simultaneous, sharp decrease in the vibration amplitude of the rods.

Key Requirements for the Effect
For this effect to be observable in your two-rod system, three conditions must typically be met:
Non-Ideal Source: The motor must have limited power. An "ideal" source (infinitely powerful) would simply force the system through resonance without slowing down.
Coupling: There must be a physical interaction where the rods' motion creates a back-torque on the motor, especially near resonance.
Flexibility/Mounting: The fixed end of rod B or the foundation of the motor must have some degree of flexibility (like being mounted on elastic supports) to allow for the structural vibrations that consume the energy.

Similar effects have been studied in reciprocating mechanisms like slider-cranks and double-Cardan joint drivelines, which share the jointed-linkage characteristics of your two-rod system.

Q: Compare the effect when the resonant frequency of rod A is higher than rod B and then when the resonant frequency of rod B is higher than rod A.

A: In a system of two jointed rods, the order of their resonant frequencies significantly alters the power requirements and vibration severity during a coast-up. Because rod A is directly driven and rod B is "downstream," the system behaves as a multi-degree-of-freedom (MDOF) oscillator where the driven rod acts as the primary transmission path.

Case 1: Resonant Frequency of Rod A > Rod B
In this scenario, the system's "weakest" point (rod B) resonates first as the motor speeds up.
Early Capture: The motor speed will likely get "captured" at a lower RPM. Because rod B is fixed at one end, its resonance creates a significant reactive torque that rod A must overcome.
High Vibration in Rod B: Rod B will exhibit large-amplitude oscillations while rod A may remain relatively stable (my italics).
Easier Escape: Since the driving rod (A) is not yet in its own resonance, it can more efficiently transfer torque to push the system past rod B's critical speed, provided the motor has a small power reserve.

Case 2: Resonant Frequency of Rod B > Rod A
This is generally considered more "dangerous" or difficult for the motor to navigate.
Direct Path Blockage: As the motor approaches rod A’s resonant frequency, the very component doing the "driving" begins to vibrate violently.
Severe Power Saturation: The energy from the motor is "sucked" into rod A's vibrations before it even reaches rod B. This often leads to a more stubborn speed stagnation where the motor cannot provide enough torque to "jump" to the next speed level.
Sequential Resonance: If the motor successfully escapes rod A’s resonance, it immediately faces a second Sommerfeld "trap" when it hits rod B’s higher frequency. This can lead to a double-jump phenomenon.


Summary Comparison Table
Feature / Rod A Frequency > Rod B / Rod B Frequency > Rod A
First Trap / Occurs at lower RPM (Rod B resonance) / Occurs at lower RPM (Rod A resonance)
Capture Severity / Moderate; Rod A can still "push" / High; the drive path itself is vibrating
Jump Magnitude / Usually a single, smaller jump / Potentially larger or multiple jumps
Primary Risk / Fatigue at the fixed end of Rod B / Motor stalling or "stuck" at low RPM

Q: Can you apply the Sommerfeld effect to a phono cartridge with a cantilever (rod A) and tie-wire (Rod B; tension wire), where the resonant frequency of the tie-wire is lower than the cantilever, as it is driven by a frequency sweep on a test LP?

A: Applying the "Two-Rod" Model to a Phono Cartridge

Rod A (Driven): The cantilever assembly. It is driven by the stylus tracing the high-frequency modulations of a test LP.

The "motor" is non-ideal, because the stylus can escape VTF and friction by riding up the grooves or jumping (my insertion in italics).

Rod B (Fixed at Other End): The tie wire (tension wire). It is anchored at the cartridge body and provides the restoring "spring" force for the cantilever.

Behavior When Cantilever Resonance (A) > Tie Wire Resonance (B)

In modern high-performance cartridges (especially those using boron or sapphire cantilevers), the cantilever is designed to be extremely stiff, pushing its own natural resonance (Rod A) into the ultrasonic range (25kHz–50kHz).

The tie-wire and its surrounding elastomer damper (Rod B) have a much lower fundamental resonance, typically in the mid-band or low-treble (approx. 1kHz–9kHz).

When a frequency sweep passes through these points:

Low-Frequency "Capture" (Rod B): As the sweep reaches the tie wire/damper resonance (e.g., ~9kHz), the system enters a "transitional phase"*. In a Sommerfeld context, energy from the groove is diverted into vibrating the tie-wire and elastomer rather than purely generating electrical output (clearly wrong).
Increased Mechanical Load: At this point, the stylus experiences higher "drag" because it is fighting the mechanical resonance of the tie wire. If the turntable motor were weak (a "non-ideal source"), you might even see a microscopic slowing of the platter—the classic Sommerfeld speed stagnation—though modern heavy platters usually "brute force" through this. No, the stylus would escape.

Damping as the "Escape" Mechanism: Because the cantilever (Rod A) is still rigid and well above its own resonance, it effectively "pushes" the system through the tie wire's resonance. High-quality dampers (like the "donut" rings used by Audio-Technica) prevent the "jump phenomenon" from becoming an audible distortion spike.

Summary

In a sine wave sweep, there is a capture of the stylus/cantilever energy as it reaches the resonant frequency of the tie-wire (9-12 kHz in the recorded sweeps, *Gemini cites my post here for the 9 kHz figure, so there is a risk of circular reasoning). The increasing groove velocity (with increasing frequency) gets stuck in driving the amplitude of the stylus and volume (the 1-2 dB peak), instead of the frequency of oscillation and playback frequency. As the energy from the grooves increases, there is an escape from the resonant frequency of the tie-wire and a transient drop in amplitude (the dip). The size of the jump needs to be limited (tie-wire tension, elastomer, electromechanical damping) so that it is not sufficient to cause mistracking.

At least that's the hypothesis. There are some experiments that might help to test it. I've posted one piece of experimental data on the Fun With Vinyl Measurements thread here.
 
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Another MP-700 finding, following on from the last post. One concern about the unusual 9-12 kHz resonance is that the big changes in output without a change in frequency must mean the stylus is mistracking the groove. There must be vertical tracking error (L-R), because it can only have higher amplitude oscillations if it is not seated with both facets of the microridge still in contact with the groove walls.

To look at this I compared a TS-1007 frequency sweep between the MP-700 and a Clearaudio Maestro cartridge (see Fun with vinyl measurements for methods).

Here are the lateral tracking results.

Lateral Zoom.jpg


The rise in amplitude and then fall is seen at 9-9.6 kHz, consistent with resonance capture and the Sommerfeld effect. It is clearly absent for the Maestro cartridge.

Next are the vertical tracking results.

Vertical Zoom.jpg


Here there is no sudden rise in amplitude at 9 kHz, though there is a drop after. This was the case with musical output, see here and here, but it also seems to be the case with sine waves.

If the stylus isn't mistracking the groove, what else could cause the sudden peak and dip? Remember that the permalloy magnet that oscillates in the coils and generates the electrical output is not attached to the stylus end of the cantilever, but at the the tie-wire end. The resonance of the tie-wire at ~9kHz is causing higher amplitude oscillations in the magnet, but the cantilever is still sufficiently damped for this not to transmit fully to the lower mass stylus tip and cause vertical mistracking.

For people who've bought one (I put my hand up as a potential source of bias) - you might not be wasting your money and damaging your records with a stylus thrashing wildly in the woods after all. More than one data set needed though.
 
Tonar- DS-548 spherical replacement for Stanton 680.
..
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  • Test record , well used CA TRS-1007
  • Very poor tracker needed 2.5gram VTF (- without brush) to track Ortofon 50Um track!!!, 3.5 gram to do 60um with some buzz ,original VTF is 1.5 gram I think
    • With brush it cannot track at all, avoid the brush
  • Fisher 6330 , Cambridge RIAA CP2 , 47k & 345pF
  • No Azimuth adjustment, Stephenson alignment (sort of)
  • Channel matching is good
  • Updated with 96k file and -6degree VTA, Not optimizes for azimuth/cross talk, but crosstalk does respond to azimuth change, even if spherical
  • I bought this to have reference for sphericals and something less sensitive to set up, but the high VTF and poor tracking scares me...
Very steep VTA it seems, original sheadshell on Fisher 6330, 2.5g VTF. I measured SRA to be 100 degrees, and cantilever ange to 33.5 which means VTA is even more. possibly 35-40


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Last edited:
Another MP-700 finding, following on from the last post. One concern about the unusual 9-12 kHz resonance is that the big changes in output without a change in frequency must mean the stylus is mistracking the groove. There must be vertical tracking error (L-R), because it can only have higher amplitude oscillations if it is not seated with both facets of the microridge still in contact with the groove walls.

To look at this I compared a TS-1007 frequency sweep between the MP-700 and a Clearaudio Maestro cartridge (see Fun with vinyl measurements for methods).

Here are the lateral tracking results.

View attachment 515761

The rise in amplitude and then fall is seen at 9-9.6 kHz, consistent with resonance capture and the Sommerfeld effect. It is clearly absent for the Maestro cartridge.

Next are the vertical tracking results.

View attachment 515762

Here there is no sudden rise in amplitude at 9 kHz, though there is a drop after. This was the case with musical output, see here and here, but it also seems to be the case with sine waves.

If the stylus isn't mistracking the groove, what else could cause the sudden peak and dip? Remember that the permalloy magnet that oscillates in the coils and generates the electrical output is not attached to the stylus end of the cantilever, but at the the tie-wire end. The resonance of the tie-wire at ~9kHz is causing higher amplitude oscillations in the magnet, but the cantilever is still sufficiently damped for this not to transmit fully to the lower mass stylus tip and cause vertical mistracking.

For people who've bought one (I put my hand up as a potential source of bias) - you might not be wasting your money and damaging your records with a stylus thrashing wildly in the woods after all. More than one data set needed though.

Artifacts of mistracking are often easier to find, at least in a concrete sense, with simple approaches. This is from the peak of the initial amplitude rise. No sign of mistracking in the fundamental. The crosstalk is a different story.

Screenshot 2026-03-07 at 12.44.16 PM.png
 
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