Ortofon 2M 78 Phono Cartridge
Why does vinyl have such a strong hold on audiophiles? Perhaps it’s the ritual of the LP, the ‘warm’ sound of the grooves, the quality of the sound, that one can play around with cartridges, speakers, cables and preamps not to mention turntables. A little over two years ago I started getting more serious about vinyl, wanting more from my music. Spending years collecting records was not just a hobby, but a way to experience sound. Collecting LPs of favorite composers and conductors as well as researching great recorded performances is a passionate activity for those of us who are immersed in music and its sound.
The listener or audiophile researches how to get the best sound out of their vinyl. Reading, watching videos, visiting chatrooms, all information about LPs pressings, labels, mono, stereo, types of grooves, cartridges, have but one goal—the clarity of sound and the experience of it. Having some experience with the LPs, I decided to start my journey into the oldest type of mass produced records, the 78rpm shellac. With a very introductory setup (Pro-Ject Debut Carbon Esprit SB Turntable, a Pro-Ject Phono Box MM preamp and Edifier R1280DB Loudspeakers) and acute curiosity, I dove head first into this new world of the 78rpm.
While playing some vinyl recordings of my favorite composer, Gustav Mahler, it occurred to me that there must me some 78 records of his masterpiece Das Lied von Der Erde (1908). Mahler’s song-symphony for orchestra is based on a book of poems, 'Die Chinesische Flote' (The Chinese Flute, written by Hans Bethge in 1907). Many consider this work his greatest. Recorded for the first time, live, in May 1936 with Bruno Walter at the baton, Charles Kullmann and Kerstin Thorborg with the Vienna Philharmonic Orchestra. A concert commemorating the 25th anniversary of Mahler's death. A close friend and student of Mahler, Walter actually premiered Das Lied in 1911. There are many great recordings, however, some easily miss the mark. Sometimes, conductors emphasize the brass section when the woodwinds should carry a song, also tempi is key in Das Lied and getting each song just right is difficult to interpret. Because of its complexity (some songs require more of a chamber sound), using an entire orchestra can over saturate the sound of the voice of the alto and tenor.
While Walter’s vinyl version is wonderful (published in 1937 and already on my shelf), I was intrigued by the 78 version. Not owning any shellac records, the possibility of a new experience from a 78 was impossible to resist. After months of hunting for the 1936 recording (it’s a very rare), I finally found it and was able to purchase this historical gem.
When the record arrived, only one thing stopped me from immediately listening to it. My cartridge. My Ortofon 2M Red would not be able to play Walter’s Das Lied the way it should be played. My wish to experience Mahler now rested on my research for a proper 78 cart. The stylus for the shellac has to work with wider grooves, so tracking is of utmost importance. After careful consideration, reading several reviews, and taking into account how well my 2M Red served me, I decided on the Ortofon 2M 78 Phono Cartridge.
From the Shure website:
Vintage records from the early 1900's are different to the familiar vinyl records used today. They are made from a brittle material which uses a shellac resin and typically play at a speed of around 78 RPM. While it may be tempting to play a little bit of history using the standard cartridge/stylus on your home turntable, the audio reproduced will not be satisfactory, and here's why:
The microscopic stylus tip will ride in the bottom of the 78 RPM groove, and not on the groove side walls where the desired signal resides. A 78 RPM record has a groove about 3 to 4 times wider than a conventional 33 1/3 RPM record. Thus, the stylus tip must also be 3 to 4 times wider to reproduce a 78 RPM record adequately.
From past experience listening to 78s, I expected many things—audible noise, scratchy sound, low volume, just to name a few of my worries. Also, the possibility that the record would crush my already hyped-up Mahlerite expectation. This was the first time one of my favorite pieces of music was recorded; I was almost euphoric with anticipation. Mahler wrote Das Lied at a moment in his life filled with pain and suffering. His eldest daughter had died the year before, he’d been recently diagnosed with a heart condition, and he was being forced to resign from his ten-year post of conducting the Vienna Philharmonic [Not forgetting the numerous extra-marital affairs of his wife, Alma—Ed]. Because of these momentous events, his expressive artistic genius fills the listener’s experience with such dense emotional weight, one can feel drained and contemplative during and after listening to it. This was my experience; Mahler has this power with his entire oeuvre.
As soon as I changed the 2M Red for the 2M 78 my desire to listen to ‘Der Abschied’ (The Farewell) was at a breaking point. I cleaned it, put it on the acrylic platter and let the stylus go. What happened next was surreal. The sound of Thorborg’s voice just paralyzed me. In complete amazement, I listened to the first notes and lines of ‘Der Abschied’, ‘Die Sonne scheidet hinter dem Gebirge’ (The sun sinking behind the mountains) with such clarity and intensity, that they just blew me away! It’s crescendo towards the end ‘Allüberall und ewig blauen licht die Fernen! Ewig... ewig…’ (Everywhere and forever the distance shines bright and blue! Forever…forever) sounded like the dawn of human existence on earth. Kullman’s passion and personality were there, Walter’s brilliance showed in his adventurous tempi compared to his 1952 studio recording. This recording sounded like a concert and had live emotional expression, it was all coming out of the Ortofon 2M 78.
I’ve listened to many records of Das Lied, and can honestly say that, next to perhaps the finest recording ever (the Decca, Walter and Ferrier, with the Vienna Philharmonic from 1952) this is one of the best sounding and most engaging recordings of Das Lied I’ve heard. Considering the year it was recorded, the sound is magnificent [For those with an interest and no 78 cart, the recording is available on Tidal—Ed]
The Ortofon 2M 78 cart revealed high detail in the strings, a midrange that was dynamic, superb tracking (with its spherical stylus) that served for a well-rounded performance. The woodwinds were alive and present, the brass a little on the heavy side, but nothing to distract from Walter’s astute and masterful conducting that highlighted the singers.
Upgrading to the 2M 78 is a must to get the best out of shellacs recordings. As soon as I listened to the difference the cart was making, I looked for more music from the 1930s and ‘40s. I got my hands on more 78s and found the same results. Stokowski directing Wagner’s Tristan und Isolde, (from the late ‘30s) and Fritz Reiner with Mahler’s Songs of a Wayfarer, both were outstanding. Having this cart opens up a new catalog of enjoyment. I already have my eye on some Dvořák and Sibelius 78s. Perhaps some Duke Ellington and Robert Johnson’s recordings to compare other musical styles.
There’s a clear need for a cartridge that enhances the beautiful music in these recordings. Try it, compare for yourself and have fun while you listen—you won’t go wrong with this cart. The Ortofon 2M 78 is relatively inexpensive, but for what you are getting, it surpassed my expectations. Having that mono sound enriches listeners experience. I can only imagine what my setup would sound like with higher quality equipment; this cart left me wanting more, and for the audiophile, isn’t this really what we look for? The motivation to strive for better sound and experience?
As such, a review request for the Ortofon 2M Mono Cartridge was submitted. I expect it shortly and will report my findings to you.
Further information: Ortofon
