iz_thewiz

Due to a recent upgrade, I am listing my Nagaoka MP-200 cartridge with JN-P200 stylus for sale. Both cartridge and stylus are used, and the stylus specifically has exceeded the recommended playback time of 150-200 hours. The stylus can either be replaced for new or re-tipped. I am essentially listing the sale price for the cartridge only, as the stylus would need to be replaced or re-tipped regardless. Condition on both the cartridge and stylus is great, no damage or noticeable flaws. The Nagaoka MP-200 is an excellent entry level to mid-range Hi-Fi cartridge. It has superb playback characteristics in its field with a well balanced full range and almost effortless performance. Tight bottom end, smooth mid range, and airy high end detail. Great channel separation, great tracking, and with the manufacturing choice of the boron cantilever, the MP-200 should be considered to be the sweet spot of the MP range. Very happy to have started my Hi-Fi journey with this beautiful piece of Hi-Fi history. Type: Moving magnet (Permalloy) Cantilever: High-strength Boron Stylus type: Superfine elliptical diamond Weight: 6.5 g Output voltage @ 1kHz,5cm/sec: 4mV Frequency response: 20Hz-23kHz Channel balance @ 1kHz: > 1.5dB Channel separation @ 1kHz: > 25dB Channel separation @ 1kHz: > 25dB Dynamic compliance: 7.2 x 10-6 cm/dyne Static compliance: 20 x 10-6 cm/dyne Tracking force range: 1.5 - 2.0 g Break-in period: 30 hours Stylus replacement: Nagaoka JN-P200

Thanks for the advice all. Listed yesterday!

Due to a recent upgrade, I am listing my Nagaoka MP-200 cartridge with JN-P200 stylus for sale. Both cartridge and stylus are used, and the stylus specifically has exceeded the recommended playback time of 150-200 hours. The stylus can either be replaced for new or re-tipped. I am essentially listing the sale price for the cartridge only, as the stylus would need to be replaced or re-tipped regardless. Condition on both the cartridge and stylus is great, no damage or noticeable flaws. The Nagaoka MP-200 is an excellent entry level to mid-range Hi-Fi cartridge. It has superb playback characteristics in its field with a well balanced full range and almost effortless performance. Tight bottom end, smooth mid range, and airy high end detail. Great channel separation, great tracking, and with the manufacturing choice of the boron cantilever, the MP-200 should be considered to be the sweet spot of the MP range. Very happy to have started my Hi-Fi journey with this beautiful piece of Hi-Fi history. Type: Moving magnet (Permalloy) Cantilever: High-strength Boron Stylus type: Superfine elliptical diamond Weight: 6.5 g Output voltage @ 1kHz,5cm/sec: 4mV Frequency response: 20Hz-23kHz Channel balance @ 1kHz: > 1.5dB Channel separation @ 1kHz: > 25dB Channel separation @ 1kHz: > 25dB Dynamic compliance: 7.2 x 10-6 cm/dyne Static compliance: 20 x 10-6 cm/dyne Tracking force range: 1.5 - 2.0 g Break-in period: 30 hours Stylus replacement: Nagaoka JN-P200

Hi all, I recently upgraded my stellar Nagaoka MP-200 to the MP-500. Both are beautiful systems, and the MP-200 is a fantastic option to anybody looking to upgrade from their current option. I have owned the MP-200 for at least 5+ years, this means that the stylus would either need to be replaced altogether or re-tipped. I unfortunately do not have the original stylus guard that came with the MP-200, therefore I'm reluctant to sell the MP-200 with the stylus body attached, as there is no way to protect the stylus in transit. Currently in the process of finding a replacement stylus guard, but just curious would the community if interested prefer the option of the stylus included for re-tipping purposes, or would the cartridge being sold alone be acceptable? Let me know your opinions so I can draft a sale listing. Cheers!

Hey mate! Thanks for the reply. I did reference the Korf Audio calculator amongst other options on-line, including ChatGPT. I'm pretty confident I am compliant. Korf Audio has great blogs, highly recommend to anyone really.

Hi all, I'm looking to upgrade my current cartridge, the Nagaoka MP-200, due to stylus wear. I am happy to remain in the Nagaoka family, and while the MP-200 was fantastic in my system, I am tempted and most likely to jump up to the MP-500. I have been researching other options such as the Sumiko Amythest MM, Audio-Technica VM760SLC, and Goldring 1042, however I have been more than satisfied with the MP-200 & Nagaoka sound. However, I did want to check my compliance arithmetic with the community before moving forward. System: Technics SL-1200MK2 Turntable Effective length = 230mm or 9” Effective mass = 12g Jelco TS-850S Tonearm Effective length = 232mm or 9” Effective mass = 13.5g Overhang = 18mm Tonearm height adjustment = +38-60mm Suitable cartridge weight = 17-35g Nagaoka MP-200 Current cartridge/stylus Output voltage = 4mV Load resistance = 47K ohm Load capacitance = 100pF Dynamic compliance = 7.2 x 10-6 cm/dyne Weight = 6.5g Tracking force range = +1.5-2.0g Nagaoka MP-500 New cartridge/stylus potential Output voltage = 3mV Load resistance = 47K ohm Load capacitance = 100pF Dynamic compliance = 8.5 x 10-6 cm/dyne Weight = 7.8g Tracking force range = +1.3-1.8g Jelco HS-25 Headshell Mass = 12.5g Azimuth adjustable Magnesium alloy Graham Slee - Reflex M Phono stage Input sensitivity range = 1.6-9.2mV Input impedance = 47K ohm With these specs, and using the following formula: F = 1000 : (2 x π x √ (M x C)) π = 3.14159265359 C = 7.2 M= 34.5 The resonant frequency for the MP-200 = 10.10 Hz Using the same formula to determine the resonant frequency of the MP-500: F = 1000 : (2 x π x √ (M x C)) π = 3.14159265359 C = 8.5 M= 34.5 The resonant frequency for the MP-500 = 9.28 Hz Since it's 2024, I even got ChatGPT to calculate! So with these figures, can anyone confirm compliance and compatibility between cartridge and tonearm? I am aware that the MP-500 is a line-contact type of stylus, so obviously more attention to SRA/VTA will be required. Thanks for the read and hoping for clarity!

Thanks for the reply. Subtle yet beneficial is the audiophile way!

Hi all, Apologies if this has been discussed before. I have just pulled the trigger on purchasing the Funk Firm APM platter mat from a local dealer to use with my Technics SL-1200 MK2, and I was curious if using my record weight (Master Sounds 40gm) with the Funk Firm would have any negative effects? I reached out to Funk Firm direct for clarity but they refused to give their opinion on record weights and use with their products. Any users of the Achromat who also use a record weight or clamp, any issues or theories for pros/cons? Cheers.

Thanks for the advice. Still looking at options, but glad to see the community praise for Nagaoka in general. Heard nothing but good things about Garrot Brothers also.

Just out of curiosity, where can you source the boron/micro ridge variation? Stock is aluminium/elliptical. Before I purchased the Nagaoka, the Hi-Fi community not only praised Nagaoka but specifically the boron cantilever. Surprisingly, apart from Nagaoka only higher end manufacturers or products are offering the boron option. My understanding is that boron is stiffer and more rigid than aluminium, and in theory reduces resonances from the stylus head to the cantilever. Another question: high output moving coil cartridges. Seems more manufacturers are making these MM alternatives with a high output MC. If these manufacturers are luring in MM owners like myself, is there any compromise on quality to achieve the boost in output level? Still looking around, cheers for the feedback.

Hi all, I’m looking into options & recommendations for upgrading my current cartridge/stylus; the Nagaoka MP-200 / JN-P200. This was and has been my first dedicated hi-fi cartridge/stylus since transitioning from a purely DJ based system (Shure M44-7), and focusing on sourcing and evolving quality hi-fi components. The Nagaoka was and is an excellent moving magnet system, however I have owned it since 2018 and the manuals recommended replacement interval is 150-200 hours which I’ve surely surpassed. Adding to this, I have also been using the Onzow Zerodust stylus cleaner which has been now widely reported to have a negative effect on both the stylus & cantilever. The Nagaoka is mounted on Jelco HS-25 head shell which is paired with the Jelco TS-850S tonearm, and the turntable is the classic Technics SL-1200MK2. Phono stage is currently the Graham Slee Reflex M. Below are the general specs for each component: Technics SL-1200MK2 Effective length - 230mm or 9” Effective mass - 12g Overhang - 15mm Tonearm height adjustment - +6mm Jelco TS-850S Effective length - 232mm or 9” Effective mass - 13.5g Overhang - 18mm Tonearm height adjustment - +38-60mm Suitable cartridge weight - 17-35g Jelco HS-25 12.1g Azimuth adjustable Nagaoka MP-200 Weight - 6.5g Tracking force range - +1.5-2.0g Output voltage - 4mV GS Reflex M Input sensitivity range - 1.6mV to 9.2mV So, as much as I really enjoyed the Nagaoka I’m sure there are many other options on the market that can reveal even more detail. I have no real budget in mind, but up to $1000 (Australian) is reasonable and I believe the Nagaoka MP-200 was purchased for around $700 (Australian). I am only tied to moving magnet options due to the phono stage. I’m interested in Sumiko and I’ve heard nothing but good things. Same for Hana. Ortofon and Audio-Technica are also reputable brands. But I’m also aware of compatibility with my current system, and the potential shift to a different stylus shape/construction and how that would affect reassessing SRA. Hoping to get some recommendations from the community. Cheers all!

Absolutely. I'm planning on updating the near fields first then look into a dedicated hi-fi system (amp + speakers). The idea was to A/B each system which I can with the Coleman Audio unit.

Haha. Not great, not terrible would be my review. They had poor manufacturing delivery on the overall construction of the boxes which led to an increase in power related noise over time. That was only the G2 series, I believe 3 and beyond fixed the issues.

What do you mean by PFG? If it was in my budget I would strongly consider Neumann or Dynaudio, but im now leaning towards Kali Audio. These are all studio monitors. Hi-Fi bookshelf I haven’t even started to consider the options, I guess it would depend on the stereo amp and it’s electrical compatibility.

I think you misunderstood my intended signal flow: Phono stage output (stereo) - splitter input - splitter output 1 (dual mono) to RME input (stereo) - splitter output 2 (dual mono) to Coleman input (stereo). The RME interface is essential for recording and playback purposes.

Thanks for your reply. Yes, signal is fixed from the phono pre direct to the AD/DA interface via a 1/4" line input, then 1/4" line output out to a stereo XLR input on an available input on the Coleman unit. Just to clarify, the Coleman unit is a passive balanced XLR I/O system. The interconnect from the phono stage to the 1/4" line input of the AD/DA is 1 metre (capacitance = 55pf per metre), the rest of the cabling (audio) is Mogami Gold with various terminations (capacitance = 65pf per metre). I think the solution here in my case is to source another cable with a RCA to 1/4" TS termination. The cable manufacturer I'm currently using for interconnecting the phono stage to the AD/DA system has confirmed with me that they can perform this termination (RCA to 1/4") to order, which should in theory resolve the capacitive coupling issue I was experiencing with the RCA-TRS termination. Keep the cable single ended and un-balanced, pass it through the isolation transformer and let the splitter units perform the balanced conversion internally. Do you agree?

Hi all, I am considering expanding my current system to include a stereo power amplifier and compatible bookshelf hi-fi speakers. My current system is essentially a mix of hi-fi & digital components both of which are monitored from the digital output stage. System components: Technics SL-1200 MK2 turntable Jelco TK-850S tonearm Nagaoka MP-200 phono cartridge/stylus Graham Slee Reflex M phono pre-amplifier RME Fireface 800 Coleman Audio M3PH MK2 monitor controller Dorrough 40-C2 loudness monitors Studio monitors (KRK Rokit 8 G2) The Coleman Audio unit is capable of hosting 4x stereo XLR inputs, and can be switched to 3x stereo outputs. It has a 47 position stepped level control that tracks to ±.05dB, and is completely passive in its design. Ideally, I was hoping to split the output stage from the phono pre-amplifier and split one stereo output direct into the RME unit, and the second stereo output direct into an available Coleman audio input, then switch outputs between the digital and analogue systems. I have access to two Radial LX-3 units, which are line level splitters; 1x mono input (balanced or un-balanced) to 3x mono outputs (2x Jensen transformer isolated, 1x direct output). I have utilised these in the past to perform similar duties with my system and it worked flawlessly. However, upon recent testing I ran into a capacitive coupling issue, which was confirmed by both the manufacturer of the phono stage and the Radial units. It was due to the cable termination on the TRS connector and the interfacing with the LX-3 unit. The phono stage outputs are RCA connectors, so unless I attempt to re-solder the cables TRS connector so this signal flow can be achieved, I’m somewhat at a loss as to how I can split the signal of the phono stage while avoiding the capacitive coupling issue. Follow up question; as the Coleman Audio unit utilises balanced I/O connections and if I was to incorporate a stereo power amplifier with balanced XLR inputs, would the monitor controller be sufficient to drive signal into the stereo power amplifier? Thanks for the read.

Really wish the TK series had simplified the VTA adjustment. Adjusting tonearm via a single bolt is not ideal.

Due to an upgrade I am selling my Graham Slee - Era Gold V MM Phono Preamp. Unit is used and owned by me only for roughly four years. Condition is near excellent minus a few scratches near the rear ground binding post. Excellent MM phono preamp for entry level audiophiles or buyers looking to upgrade their system. Comes with original box, manual and basic 240v power supply. Input range - 2mV to 10mV Output (for input range) - 252mV to 1,260mV (1.26V) Maximum input - 39mV rms Maximum output - 4.914V rms Gain - 42dB (126) at 1kHz Input impedance - 47k Ohms plus 100pf Output (driving/source) impedance - 910 Ohm Recommended load impedance - 10k Ohm or greater Noise at output - -65dB CCIR Q-pk Distortion - 0.02% RIAA accuracy - < 0.5dB Channel balance - 0.2dB Channel separation - 64dB Size (approx.) W: 107 x H: 50 x D 180 (mm) inc. jacks

Hi all, I own have used a Technics SL-1200MK2 for more than 10 years. It is essentially the heart of my system. A few years ago I decided to replace the stock tonearm and install a Jelco TK-850S tonearm along with a custom and compatible armboard. After the install I encountered ground noise from the turntable/tonearm into my system. Unlike the stock tonearm, there was no grounding points for the Jelco tonearm, so the solution was to utilise the pitch fader screws on the internal chassis and ground out to my phono pre amp and a second ground out to one of the three armboard bolts/nuts. This worked perfectly. Zero noise. Recently, I have been making minor yet beneficial upgrades to my current system. Mostly cables amongst other things. I purchased a new set of grounding cables with good specifications, essentially a step up from the thin black unshielded copper ground cables that were used previously. Now unfortunately these new grounding cables are thick braided flat wire terminated to larger spades connectors that slightly lope upwards. With these new cables I cannot follow the same grounding path as was performed with the cheaper grounding cables. The thick plastic (?) backing plate prevents a clean path for the cables to seat and travel. I did manage to install one of the new cables but instead of forcing the cable under and out the thick plastic backing plate it is currently just sitting between that and the rubber backing plate. I'm concerned that it may be too tight and cause damage to the cable overall. While installing the new cables however, I was testing continuity with my digital multimeter and ground was passing from say the pitch fader screw to the armboard bolt. Technically, if ground is passing to the armboard bolt it should pass to all three armboard bolts and therefore I could run the new ground cable from one the two remaining armboard bolts. In this scenario, the pitch fader screw is the turntable chassis ground, which is then grounded to the tonearm armboard via one of three bolts (serated washer). I would prefer running out the new ground cable between phono pre and turntable chassis direct as opposed to the armboard. Anyway, let me know if grounding/continuity will pass fine in this scenario.

Selling my 1877 Phono Zavfino 'The Cove' OFHC Tonearm Cable. Termination is 90 degrees DIN to RCA at 1.2m. Used and owned by me only for roughly four years. Excellent condition of the cable and fantastic quality in terms of build & sound. Perfect entry level tonearm cable for new audiophiles or upgrade paths. Comes with original ziplock bag. Conductor: Oxygen Free High Conductivity Copper Conductors, Insulations: PE dielectric, PTFE dielectric, ­Nylon sleeve, 80C PVC jacket Shield: Aluminium mylar with silver coated copper tight pitch spiral Ground: 50cm OFC ground wire with 24k gold plated ground clip Connector Female (DIN): 1877 ZAV-or TAD-3R right angle DIN, 24k gold plated high purity copper insulated in PTFE/Tef utilising 1877 anti-stress pin construction. Connector Male (RCA): 1877 ZSP4 with OCC copper pin assembly in 24k gold, Sleeve 1: Polyethylene terephthalate(PET) monofilament sleeve combined Length: 1.2m

Selling my Graham Slee - CuSat50 Stereo "Dual‑Mono" Pairs RCA-TRS 0.6m. Used by me only for roughly two years. Cables are in excellent condition. Fantastic build quality and excellent audio reproduction. Coax stock cable diameter6.5mm Single cable sheathed diameter10mm Stereo cable sheathed cross section16mm x 10mm Inner conductor1mm diameter solid soft annealed copper; DC resistance: 0.026 Ohms per metre ShieldAnnealed copper braid over 100% copper foil wrap; DC resistance: 0.015 Ohms per metre JacketPVC Dielectric5 cell semi air-spaced Dielectric constant1.49 Velocity ratio0.82 (82%) Capacitance55pf per metre Characteristic impedance75 Ohms Shielding efficiencyBetter than 65dB Lay-up "dual-mono"Seperated stereo pair overall flexible PVC braided with welded ends DirectionMarked as "run of the mill" Min safe bend diameter150mm (6 in) Phono terminationsLocking phono (RCA) plugs with gold plated contacts