If you listen to a lot of worn records that have surface noise, the MP-110 will give you a more enjoyable listen. Look at the KAB gain calculator to get an idea of how much gain you need and try to guesstimate where your mixer settings need to be. Hopefully someone will be able to compare the compliance ratings since they use dfifferent methods of reporting. I've aligned it to the best of my ability, so even if it's not perfect, it shouldn't be causing this much popping/sounds.

I've aligned it with a Stevenson Protractor, the Technics overhang gauge, set the tracking force from 1. 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. The MP110 might also need a bit of a run-in of maybe 40 hours - see how it sounds after that, you may need to bring the capacitance back down but at the end of the day - if it sounds good, it is good!but admittedly i was trying to get the best out of it in a Dual cs 505/II with a ultra low mass arm. So, if advanced stylus would pick up more flaws I'd never try that Goldring with a better stylus (1012-1042) but to throw it out the window. I don't know if his calculator takes into account resistor damping or not, which may change that value. The cheaper, next-level-down Nagaoka MP-100 gets such glowing reviews that it makes think the 110 must be pretty dang good.

It somehow manages to stay engaging despite it's mellow ways, this is through the detail it provides. For jazz and classical I could easily live the MP-200 and never feel the need to hear anything better. In any case, in all my objective and subjective tests, the 95ML either matched or won out entirely against the Goldring 1042. I'm puzzled by your comments on the MP11, in my system i found just the opposite to what your comments were.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 . An old record collector trick (one that I don't recommend) is to turn the treble down to mask noise. Just noticed----that HiFi World review used the older (tan) MP-11, rather than the newer MP-110 (yellow).

pk: Actually, I'd suggest neither the 2M Red, nor the MP110 or MP11 for the light arm of your T45C (nice table by the way - would also fit nicely to my hk825/hk870 pre-/power-amp combo. G'day all, I have no experience with the Nagaoka, but I have some experience with the Ortofon 2M Red and my feeling is that the inner groove tracking performance of the Ortofon 2M Red is slightly suspect. I read an article on how to translate the Nagoaka compliancy specs, but I'll have to dig up that article. I've had varied results with the MP-110 in different turntable/pre-amp combinations, ranging from bright and breezy to thick and heavy.I did exchange the ML because I thought I was at about 500hrs with the ML and I wanted something to compare. I was able to get a fairly flat response by loading down to 39K and using 100pf at the phono preamp and low capacitance cables.

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 if you really want a Nagaoka, I'd suggest to consider the Nagaoka/Tonar (JT-)555, which LPGear and Turntableneedles still offer for ca. One aspect of the MP-110 excels, however, regardless of the form of the AT: reduction in surface noise. A cheap record cleaner (Studebaker in my case) is one of the best investments I've made to raise my vinyl enjoyment. The MP-110 reveals a sweet midrange, although we'd like some more bass weight to support its light and breezy character.If I was forced to use a conical or elliptical (particular crappy bonded ones) for all of my records, I would have chucked my turntable out the window 6 months after trying to get back into vinyl 7-8 years ago and gone back to CD + digital only. While I don't own an MP-110 myself I've spent a great many hours listening to one, without hearing any undue amount of surface noise from new or well maintained records.