Nagaoka MP 110 Hi-Fi turntable cartridge systems

Product Information

Conicals and cheap ellipticals are fine for old jazz records, tamely cut music from the 50s and 60s, even audiophile reissues of such.

The cheaper, next-level-down Nagaoka MP-100 gets such glowing reviews that it makes think the 110 must be pretty dang good. the most interesting aspect of the hi-fi world review for me was the green frequency plot line in the graph of the mp11. I remember your post of OM10 as well, which is essentially the reason why I was able to widdle down my options. I'm puzzled by your comments on the MP11, in my system i found just the opposite to what your comments were.The MP-110 reveals a sweet midrange, although we'd like some more bass weight to support its light and breezy character. I read an article on how to translate the Nagoaka compliancy specs, but I'll have to dig up that article. For AT, well, I like the VM95SH just a bit more than the ML, but neither are a pimple on a Nag to my ears. I listen to a lot of different records and I am extremely sensitive to inner groove distortion and sibilance. And if you really want a Nagaoka, I'd suggest to consider the Nagaoka/Tonar (JT-)555, which LPGear and Turntableneedles still offer for ca.

Sometimes, after an initial cleaning, if the record still has some noise, I run it through the cleaner again, let it "soak" a little to loosen the grime, and clean again as usual. I have been reading a lot of posts on this great forum since then, never dared posting as I could find most of the answers here, and was not knowledgeable enough to help I think. Jacking up the capacitance because you prefer it that way from a subjective standpoint isn't going to hurt anything.I've noticed the more careful I try to be with nice things, the more likely I am to get nervous and accidentally somehow break them. It somehow manages to stay engaging despite it's mellow ways, this is through the detail it provides. One aspect of the MP-110 excels, however, regardless of the form of the AT: reduction in surface noise. If you listen to a lot of worn records that have surface noise, the MP-110 will give you a more enjoyable listen. For jazz and classical I could easily live the MP-200 and never feel the need to hear anything better.

the AT 440mlb , I tried one of those for a while and didn't really like the sound, I found it a bit 'bright' and tiring to listen to . But your brain keeps playing tricks on you, and what made you happy on Monday may sound "boomy" on Tuesday, and nice again on Wednesday.TT is a Denon DP23-F that I got a few months ago "almost new" for €40 in replacement of my AT-LP5 that I never really liked. It will indeed pick up flaws, mainly due to the high output, flattish frequency response, extreme stylus profile, and other design factors.

Just noticed----that HiFi World review used the older (tan) MP-11, rather than the newer MP-110 (yellow). That Hi-Fi World article definitely was interesting, especially the way it put the 2 brands on completely opposite ends of the spectrum. The sound which pleases our ears is something personal to each one of us and manufacturers know that. I don't know if his calculator takes into account resistor damping or not, which may change that value. top end and high midrange was noticably restricted,high treble in particular sounded muffled and generally absent.

OK, back to the question : after a year using AT440MLB, I was never really happy with it being a bit too "bright" for my ears. And part of it is, sometimes I can be a clumsy person, and I hate to spend a chunk of change on something, and ruin it. And the notion that this can't be true as a result of the AT having a microline stylus is fundamental misunderstanding of the complexities involved in sonic reproduction from groove walls. In the end I got rid of the 1042, mainly because the 95ML was more neutral, tracked better, and traced tough inner grooves better.