Miyajima Labs 1.0 mil Infinity Mono

[Vinylshadow]

I had both the Miyajima ETR-Mono and ETR-Stereo SUTs. I think both are very good. I used it with a mono arm cable, the four pins connected to two channels and a single RCA - for the Miyajimas there's no benefit to that except you don't need to worry about how the headshell is wired, you just set it up as for a normal stereo cartridge. This went into the ETR-Mono and had a 'stereo' interconnect coming out. This way avoided any risk of a ground loop. You could achieve the same simply by connecting one channel of a stereo arm cable.

I sold the ETR-Mono (and later the ETR-Stereo) because I was getting better performance out of an Allnic H5000 head amp, which I went on to purchase. It wasn't a step I took lightly though as the head amp's gain is fixed at 29db, while loading options are fairly limited (50, 100, 200 and 500 ohm). By contrast the ETR-Stereo has step-up ratios from 1:5 to 1:100 as well as other useful options to trim the sound. So there was a loss of flexibility to some extent.

The Allnic head amp incidentally has no trace of hum whatsoever when using a normal stereo arm cable and both sets of pins on the mono Miyajimas connected, which is pretty convenient if (like me) you like to swap headshells around - no need for a dedicated arm for mono which is what I had when using SUTs. It was also a lovely match for the MSL Eminent Solo - which for me had the edge on my two Miyajima Zeros (as per my write-up in the link above). I would really love to put the MSL up against an Infinity though.

If I could emphasise one thing though is not to be uptight about using some kind of channel bridging arrangement (be it a mono button, Y-connector or hard wiring a single SUT to two outputs, as in the ETR-Mono) ultimately it's unavoidable that it happens somewhere in the chain if you are taking one channel and outputting to two speakers.

All of your posts have been very helpful. Thank you. If I understand the bolded part correctly, all channel bridging is relatively the same sonicwise.

What I also understand is even with the mono LP's I have now, some mono, most fold downs, it doesn't matter, the Infinity 0.7mm is the best mono cartridge to get.

Robin advised me that due to(the limitations) my Rega RB900 tonearm and middle of the road KLOTZ cable, that the Spirit or Zero is what he'd recommend. Not the Infinity. So, I'll need to cross my fingers that Audiomods Series Six tonearm will fit on my Basis t.t.. so I can ascend to the Infinity.

If I may ask a question, and I apologize if I am hijacking the thread, but I sure could use some advice....
I currently have a NIB Vertere Acoustics Phono-1 phono drive for my MG-1 stereo only turntable. It is a decent stereo pre with one input.

I was considering the ETR-Mono through the Phono-1 and changing it's settings to moving magnet and swapping out interconnects from mono to stereo play. The Vertere dealer who sold me the Phono-1 advised me to go a different route due to the annoyance of swapping interconnects. Plus the Phono-1 is designed for stereo only and thought there were better options.

The dealer would take it back in exchange for a Luxman EQ-500 which has 2 inputs and a mono mode. That seems like a good option in that it gives me a better phono stage and simplifies my system. He slso suggested the Thoress Phono Enhancer but it is a bit more expensive.

For my situation, 2 turntables, one for mono and one for stereo would that seem to be the best path for me to go?

Thanks so much.

 

[matakana]

I did a lot of experimentation with wiring, SUTs and head amps during my time with the Miyajima Zeros.

I still have an arm cable I had made up (in silver litz) taking two-pin output from the cartridge, which went into a single RCA at the SUT, and out to a y-cable. This cured hum 100%. For a while I ran this in (to one RCA plug) and out of Miyajima's own ETR-Mono SUT (no Y cable needed as the doubling to two channels happens inside the box - there is only a single SUT inside) this also worked perfectly.

Head amps have the benefit of curing hum altogether even with a normal stereo arm cable into both channels (at least, mine did - I'm running the Allnic HA5000 into Allnic H7000V).

Hello Monty,
As you are running your Head amp into your MM input of your 7000, is there a resistor in the path? thankyou.

 

[montesquieu]

All of your posts have been very helpful. Thank you. If I understand the bolded part correctly, all channel bridging is relatively the same sonicwise.

What I also understand is even with the mono LP's I have now, some mono, most fold downs, it doesn't matter, the Infinity 0.7mm is the best mono cartridge to get.

Robin advised me that due to(the limitations) my Rega RB900 tonearm and middle of the road KLOTZ cable, that the Spirit or Zero is what he'd recommend. Not the Infinity. So, I'll need to cross my fingers that Audiomods Series Six tonearm will fit on my Basis t.t.. so I can ascend to the Infinity.

If I may ask a question, and I apologize if I am hijacking the thread, but I sure could use some advice....
I currently have a NIB Vertere Acoustics Phono-1 phono drive for my MG-1 stereo only turntable. It is a decent stereo pre with one input.

I was considering the ETR-Mono through the Phono-1 and changing it's settings to moving magnet and swapping out interconnects from mono to stereo play. The Vertere dealer who sold me the Phono-1 advised me to go a different route due to the annoyance of swapping interconnects. Plus the Phono-1 is designed for stereo only and thought there were better options.

The dealer would take it back in exchange for a Luxman EQ-500 which has 2 inputs and a mono mode. That seems like a good option in that it gives me a better phono stage and simplifies my system. He slso suggested the Thoress Phono Enhancer but it is a bit more expensive.

For my situation, 2 turntables, one for mono and one for stereo would that seem to be the best path for me to go?

Thanks so much.

I don't know any of these phono stages so can't really comment. I prefer tube phono stages generally, used with either SUTs or a head amp, over all-solid state but that's just my preference, obviously there are some very good solid state ones around. All else being equal a mono button is certainly a useful feature.

With regards to arms and turntables, again I know it's a point of divergence for many but I prefer in general to have tonearms with removable headshells (I currently have two Glanz tonearms, MH-104S and MH124S) and to run multiple arms on the same deck) - see pic below of my TD124.

On the specifics I would be concerned that most Rega-type/Rega-derived arms may have insufficient effective mass to really work well with the Miyajimas which from my experience prefer something at least 18g-20g effective mass or upwards. Obviously this is much more easily controllable in a removable headshell arm where headshells from below 10g to over 20g can be selected depending on how you prefer to trim things.

Hello Monty,
As you are running your Head amp into your MM input of your 7000, is there a resistor in the path? thankyou.

Yes, into the MM side, no resistor. The H7000V has two MM inputs, two MC inputs. There are two versions, one (mine) where the MC inputs both go through the SUT section, and another one that has one MC input into the SUT and another into an internal head amp - like the HA5000 this cures any hum issue (I checked it out) but had insufficient gain for my favoured lowish output, lowish-impedance cartridge choices. The twin SUT version has a variable loading option on the output which can help matching with some preamps, not available on the head amp version, I assume for space reasons. Overall I would recommend the twin internal SUT version for practical purposes (you can always add an external head amp). HA5000 has two MC inputs, the overall combination is incredibly flexible.

 

[matakana]

I don't know any of these phono stages so can't really comment. I prefer tube phono stages generally, used with either SUTs or a head amp, over all-solid state but that's just my preference, obviously there are some very good solid state ones around. All else being equal a mono button is certainly a useful feature.

With regards to arms and turntables, again I know it's a point of divergence for many but I prefer in general to have tonearms with removable headshells (I currently have two Glanz tonearms, MH-104S and MH124S) and to run multiple arms on the same deck) - see pic below of my TD124.

On the specifics I would be concerned that most Rega-type/Rega-derived arms may have insufficient effective mass to really work well with the Miyajimas which from my experience prefer something at least 18g-20g effective mass or upwards. Obviously this is much more easily controllable in a removable headshell arm where headshells from below 10g to over 20g can be selected depending on how you prefer to trim things.

Yes, into the MM side, no resistor. The H7000V has two MM inputs, two MC inputs. There are two versions, one (mine) where the MC inputs both go through the SUT section, and another one that has one MC input into the SUT and another into an internal head amp - like the HA5000 this cures any hum issue (I checked it out) but had insufficient gain for my favoured lowish output, lowish-impedance cartridge choices. The twin SUT version has a variable loading option on the output which can help matching with some preamps, not available on the head amp version, I assume for space reasons. Overall I would recommend the twin internal SUT version for practical purposes (you can always add an external head amp). HA5000 has two MC inputs, the overall combination is incredibly flexible.

So the 7000 MM INPUT has adjustable 10k 20k 33k which have resisters in the path and when you set it to the 47 k for the head amp input there is no resister ? thankyou.

 

[montesquieu]

So the 7000 MM INPUT has adjustable 10k 20k 33k which have resisters in the path and when you set it to the 47 k for the head amp input there is no resister ? thankyou.

I have that knob set on 47k which is no resitor.

 

[DetroitVinylRob]

I’m sorry guys, I misinterpreted what Mike wrote. I thought I recalled earlier that Mike suggested that the gold, even though it was stereo, was more revealing than his best mono‘s. I’m traveling, was distracted, and misunderstood. What I said though possibly true in some other context wasn’t on point at all.

My apologies.

I do love my Miyajima Zero and it brings something very special to a mono recording that the pricier stereo carts do not. I agree

 

[jespera]

Also got the Beatles Mono box after reading MF review. I have been a bit disappointed with it until today - after seeing the $1k per set going rate =) I much prefer the original mono pressing, more natural and more pleasant ambience in my opinion. On the Miyajima, I have never been able to get rid of hum from my Zero completely. It sounds best when using only one channel and connect with Y cable in my set up. Even so, the hum is there, but the tone is oh so beautiful. Cannot imagine how much better the Infinity can be!

Much agree with this. I find the reissue mono box hard and flat sounding. Sounds like it has been through a computer at some stage in the process.

When they launched the box they swore the remastering had been done fully analog. But then they demo’ed for the press through a mcintosh system with digital room correction...

This was reported in the uk hifi world magazine.

But happy to hear that i can now sell the box for usd 1k.

 

[Solypsa]

I setup a Miyajima Spirit on an RP6 for a client that wanted to dip his toes into mono. While it works, imho it's not an particularly awesome match. Not trying to be a downer. In this case I had advised doing what it would take to get a second arm on his one-arm Raven but this was how it went...

It will allow you to get started which is awesome ....

 

[Vinylshadow]

If I could emphasise one thing though is not to be uptight about using some kind of channel bridging arrangement (be it a mono button, Y-connector or hard wiring a single SUT to two outputs, as in the ETR-Mono) ultimately it's unavoidable that it happens somewhere in the chain if you are taking one channel and outputting to two speakers.

I've been ruminating that statement all day. In your opinion, which option do you think would sound better:

A turntable with a tonearm with an effective tonearm mass of 20g and an Infinity run though the ETR-Mono to my modest but good solid state stereo phono drive that has its settings changed to moving magnet(47k ohm 100uF, 40dB gain) when mono is played.
or
Same turntable/Infinity sans ETR-Mono but using a Vacuum Tube Luxman EQ-500 with a mono switch.

Downside is no ETR-Mono. Upside is convenience in that I don't have to swap the interconnects with the Phono stage and back again etc and my stereo turntable sonics will likely be a lot better than with the solid state phono drive.

I don't understand the different technologies but does taking the ETR-Mono out of the equation make for an appreciable loss of mono quality? Does the Miyajima bring additional benefits in terms of musical dynamics, colour and sheer enjoyment. Or does the Luxman's mono mode essentially come close to the ETR?

 

[montesquieu]

Well my solution for many years now has been one turntable / two arms, or at a push one arm with removable headshell. The mono button means you can wire normally without having to swap things in and out.

As for sound, I can't say which you would prefer, combination of tubes and SUT, tubes and head amp, or all solid state, only your taste can answer that one. Personally I have a strong preference for tubes and indeed my head amp and phono stage are both tubed - if no tubed head amp then my preference has generally been an SUT into a tubed phono pre. From my perspective, given the choices you set out, I would be likely to go Luxman/SUT.

My diet though is 75-80% classical (actually mainly renaissance, baroque and classical/romantic chamber music / Lieder and solo keyboard of various sorts), 20-25% jazz/other .... someone more into electronica or rock might make a very different judgment.

 

[Vinylshadow]

My Vertere dealer has complained to Touraj Moghaddan, who is Vertere's founder and designer and was the designer of Roksan turntables, that his some of his clients want a table with 2 arms.

Touraj did not understand why and told the dealer, "tell them to buy 2 tables." Uh. Ok.

I would have loved the option for a 2 arm table. But alas, no. I was hoping the headshell was removeable as I saw 2 set screws but it was for other reasons...

Actually the ETR was not in the option with the tubed Luxman (which would replace the solid state phono drive in the 2nd option). Just the Luxman with its mono switch.

Although I could look into the SUT if funds allow.

My diet is 60% 60's-90's Rock and Blues and 40% jazz. Maybe that would make a difference in the advice.

I did buy a lot of Classic 45 rpm Classical sets way back for sonics. I am looking forward to playing them soon.

However, I recently listened to Eugene Ormandy/Philadelphia Orchestra Sheherazade/Russian Easter/Cappriccio Espagnol and I really liked it. Esp Sheherazade.

 

[Solypsa]

I don't wish to complicate matters but it is often possible to use a second arm in a free standing arm pod with one arm tables Just saying

 

[montesquieu]

I don't wish to complicate matters but it is often possible to use a second arm in a free standing arm pod with one arm tables Just saying

Or swap the arm for a different one.

The specs given are a bit confusing but if effective length is 240mm ('horizontal' - whatever that means - as stated), then spindle to pivot is 222.5mm - give or take a mm or two for whatever alignment system you want to use - so a fairly mainstream 9in arm.

There are therefore quite a few possible removable headshell arms: new production include Glanz MH-104S, Ikeda IT-345 (both of which I've owned and can recommend), SME M2-9R, Orotofon AS-212S or the cheaper TA-110, Groovemaster II 9 inch, or any number of vintage options - Fidelity Research FR64S or FR64fX, SME 3009 of various generations, SAEC WE-407, or equivalents from several other Japanese makers.

 

[Vinylshadow]

Or swap the arm for a different one.

The specs given are a bit confusing but if effective length is 240mm ('horizontal' - whatever that means - as stated), then spindle to pivot is 222.5mm - give or take a mm or two for whatever alignment system you want to use - so a fairly mainstream 9in arm.

There are therefore quite a few possible removable headshell arms: new production include Glanz MH-104S, Ikeda IT-345 (both of which I've owned and can recommend), SME M2-9R, Orotofon AS-212S or the cheaper TA-110, Groovemaster II 9 inch, or any number of vintage options - Fidelity Research FR64S or FR64fX, SME 3009 of various generations, SAEC WE-407, or equivalents from several other Japanese makers.

If you were talking about my situation to replace the Rega RB900, then yes, spindle to pivot is 222mm. Effective length is 239mm...And I am trying to change the tonearm but Basis did not design the acrylic sub chassis in a way that there are many arms that will work besides a Vector 4, which I do not want. The mounting hole is 1.007". It is a Rega tonearm but Basis modified the Rega mounting pole to be the same size as the Vector 4's to fit Basis turntables.

I am hoping I can use Audiomods Series Six Rega replacement tonearm and I'm in correspondence with Jeff Spall about it. There is a 22g mounting plate for his headshells so that is good for the Infinity. But it doesn't sound like his arm will drop in to the 1.007" hole straight away. He may need to fabricate a mounting adapter for successful mounting or I may have to send my table back to Basis to enlarge the hole. Or maybe hire someone locally to widen the hole. I'll know more soon.

You had mentioned the Luxman/SUT combo and I found a review of the Luxman where it sounds like that is the correct path to take. The reviewer used a Bob's Devices SUT(Sky30 not mono Sky20) and they both were blown away by it. Bob's SUT is half the price of the ETR-Mono but only has one switch. So not very adjustable like the Miyajima. I like simplicity but I assume there is a difference besides adjustability.

Step Up Transformers | Bobs Devices

Explore the selection of step up transformers at Bob's Devices.

www.bobsdevices.com

Luxman EQ-500 Phono Stage

The reviewer used a Zero and was thrilled.

 

[montesquieu]

I don't understand the difficulty here - armboards can always be fabricated, marked up at spindle to pivot distance and drilled. Is the issue one of clearance underneath the arm?

But I said, I doubt very much whether any of these Rega-derived arms will have sufficient effective mass to sound optimal with a Zero and in any case they don't have swappable headshells (unless I'm misunderstanding again). Honestly I would look elsewhere.

The Bob's devices SUTs are reasonable quality for the money, I've had a couple of them over the years. They use (or at least used to - I haven't looked in a long while) off-the-shelf Cinemag transformers and are properly constructed. The foolproof way to use a one with a single coil mono cartridge is to feed in just one channel and have a y cable coming out of the respective output. (So you will only be using one transformer, but outputting two matching mono signals). Maybe Bob could make you one dedicated to mono (one RCA input, two RCA outputs).

 

[groovemaster]

From a lover of the Miayiima BE I got this message last week.

He means in context One Channel, Ortofon's new A MONO system should definitely be counted among the top mono pickups when it comes to true mono, i.e. purely single-channel.

A single coil with a very special, sharply cut diamond. It extracts even the smallest micro details from the groove, which have remained hidden until now. This -TRUE MONO-, One Channel technology, has also been consistently implemented by the German manufacturer Audiospecials.de with its AS Monophonic -TRUE MONO-. The combination of Ortofon A MONO and AS Monophonic -TRUE MONO- in interaction has been described very convincingly by Audiocirc.com in a detailed report.

No. 11

having enjoyed the replicant No. 100 in the MC Century very much in the last year this very special diamond I do rate as one of the best in the High End phono industry. After having implemented the…

audiocirc.com

The -TRUE MONO- One Channel, Phonopre AS Monophonic was connected to the Ortofon A Mono


Monophonic Details info@audiospecials.de
groovemaster

 

[montesquieu]

From a lover of the Miayiima BE I got this message last week.

He means in context One Channel, Ortofon's new A MONO system should definitely be counted among the top mono pickups when it comes to true mono, i.e. purely single-channel.

A single coil with a very special, sharply cut diamond. It extracts even the smallest micro details from the groove, which have remained hidden until now. This -TRUE MONO-, One Channel technology, has also been consistently implemented by the German manufacturer Audiospecials.de with its AS Monophonic -TRUE MONO-. The combination of Ortofon A MONO and AS Monophonic -TRUE MONO- in interaction has been described very convincingly by Audiocirc.com in a detailed report.

No. 11

having enjoyed the replicant No. 100 in the MC Century very much in the last year this very special diamond I do rate as one of the best in the High End phono industry. After having implemented the…

audiocirc.com

The -TRUE MONO- One Channel, Phonopre AS Monophonic was connected to the Ortofon A Mono
View attachment 76948

Monophonic Details info@audiospecials.de
groovemaster

I recall putting a straight-through mono system together - modded Lenco, SME 3009 tonearm, Ortofon mono cartridge, passive pre, Leak TL12 monoblock, Quad ESL 63. For the phono stage, Nick Gorham of Longdog Audio in the UK built me a mono phono stage with variable EQ. It was quite fun though I concuded in the end that I prefer my mono coming through two speakers - the space in the middle allows more lattitude for the mind to sort out the various stands of the signal, and in particular to allow image depth to develop.

The phono stage Nick did for me had the standard controls for the EQ curve, which are Turnover and Rolloff. (There is also a third element which varies bass shelving, shown by letter after the Turnover number - though I've never come across a phono stage that has a separate control for this).

See here for a reasonable selection of EQ curves, though this is far from complete:

CURVES OF OLD RECORDS

Dials for Rolloff and Turnover is how my current Allnic H7000V is configured, albeit it doesn't have the full range of a transcription phono stage (offering four options per setting rather than six). Nevertheless, it covers off pretty much all LP settings, as well as the majority of 78 curves with only a few (generally very early) left unavailable. I previously owned a Slee Jazz Club and an Esoteric Re-Equalizer and I'm not sure I actually used in practical listening any settings not available on the Allnic.

Anyway, strictly speaking a full transcription unit variable EQ phono stage should have something approximating the following available:

Turnover: Flat, 300, 400, 500 (RIAA), 600 ('LP'), 700
Rolloff: Flat, -5, -10.5, -12, -13.7 (RIAA), -16 (NAB)

Any reason why this AS phono stage has implemented something different to the industry standard? How do its two dials labelled 0-10 map to the above?

 

[groovemaster]

CURVES OF OLD RECORDS

Anyway, strictly speaking a full transcription unit variable EQ phono stage should have something approximating the following available:

Turnover: Flat, 300, 400, 500 (RIAA), 600 ('LP'), 700
Rolloff: Flat, -5, -10.5, -12, -13.7 (RIAA), -16 (NAB)

Any reason why this AS phono stage has implemented something different to the industry standard? How do its two dials labelled 0-10 map to the above?

montesquieu,

you have analysed the normal approach to correct equalisation very well!!!! Chapeau.

The advantage of setting the correct equalisation, by means of two numbers, called EQ CURVE on the AS Monophonic has quite practical reasons. Most mono listeners have no desire whatsoever to deal with technical questions of correct equalisation. They want to enjoy their mono records authentically, uncomplicatedly, but at a high-end level. Especially the mono clientele is characterised by a high level of repertoire competence.

That's why equalisation is done by means of two numbers on the front of the grille. The left knob stands for -Bass boost-, the right knob for -Roll off-.

Example RIAA Curve = 4.5/4.5
All twenty internationally known vinyl equalisations can be set according to this scheme. All twenty!
See the List.

Which device can do this in such a simple way?

An additional highlight is. It is stepless. So it is also possible to create an intermediate value.
On the list Mono EQ Curves you can see all international mono vinyl equalisations with the corresponding EQ code.

The same applies to shellac. Here, too, we have about twenty listed. Our reference list is the Midi magic. It's just a fantastic list. I love it.





Many users, btw. like the Miyajiima Carts for there tariffic dynamic.

groovemaster

 

[montesquieu]

The problem with using curves named after labels is that most labels changed the values they used over time, as many as twice or three times according to date, and on occasion they are different between the same labels pressed in the US, Europe and Japan.

Using a stepless arrangement to allow intermediate positions is useful (the custom one Nick Gorham did for me also had that facility) but I don't think it's a good idea in the least to invent your own scale and interpose it between the original well-established and documented values, and the user.

Also the notion that there is somehow a list of 'all 20' curves is misleading, as in fact there is no definitive list of 'named' curves, only particular values used by particular labels at particular locations at particuar times.

Whoever dreamed this approach up is no doubt enthusiastic, but I'd be prepared to bet he didn't run the idea past any long-standing mono collectors (or indeed archivists) before taking it to market.

 

[Solypsa]

Seems like this is an issue of identification. It may have been preferable to identify the numbers that relate to each degree turn of the pot with a numerical value versus a 'label', so the user can make a more specific decision, although this doesn't change functionality. Range of adjustabliity is really whats being discussed, no? In this case I am sure the chart can be adjusted to reflect this...