Ortofon Cadenza Blue
Ortofon and suddenly I feel at home.
Every time I get and hold on an Ortofon product, I recall all the Ortofon's products that I have possessed in 40 years of audiophile disease. I still have the old MC20 Super that is still working, even if I do not use it a lot. On a vintage turntable, the Pioneer PL550, I have the Vivo Red that, with the LPs of the 70s and the 80s and with many of my old jazz LPs, sounds really well.
Now it’s time to review the Cadenza Blue, but before I start I want to remind to those of you that may be interested, that there is online a review I wrote about the Ortofon Kontrapunkt B. Here is the link:
http://hifimusica.blogspot.it/2011/06/ortofon-kontrapunkt-b.html
That review is only in Italian, you may try and use google translator … well good luck!
Cadenza Blue and Kontrapunkt B have both a ruby cantilever and are both in the middle of the Ortofon line, therefore a comparison may be interesting. Moreover, my system has not changed since that test and this makes things even more interesting.
Ortofon is a brand that needs no introduction, we all remember the pioneer role in MC cartridges of the SPU Series.
Every time I get and hold on an Ortofon product, I recall all the Ortofon's products that I have possessed in 40 years of audiophile disease. I still have the old MC20 Super that is still working, even if I do not use it a lot. On a vintage turntable, the Pioneer PL550, I have the Vivo Red that, with the LPs of the 70s and the 80s and with many of my old jazz LPs, sounds really well.
Now it’s time to review the Cadenza Blue, but before I start I want to remind to those of you that may be interested, that there is online a review I wrote about the Ortofon Kontrapunkt B. Here is the link:
http://hifimusica.blogspot.it/2011/06/ortofon-kontrapunkt-b.html
That review is only in Italian, you may try and use google translator … well good luck!
Cadenza Blue and Kontrapunkt B have both a ruby cantilever and are both in the middle of the Ortofon line, therefore a comparison may be interesting. Moreover, my system has not changed since that test and this makes things even more interesting.
Ortofon is a brand that needs no introduction, we all remember the pioneer role in MC cartridges of the SPU Series.
The Italian MSRP price of the Ortofon Cadenza Blue: 1,550.00
euros. It’s not cheap and for many people represent a big economic effort.
Anyway, Ortofon is a name that means reliability. All the products that come
out of the production line are perfect unlike other products that come from
Japan and often are not properly assembled. I remember that once I received a
cartridge with the diamond that was not properly mounted and it could not read
any record. I do not want to remember all the polemics that I had to face
before I could have it replaced. But when the same thing happened with a
Ortofon Mc30 Super II, the seller immediately replaced the cartridge when I
went back to the shop; this means a serious brand.
When people ask me which cartridge they should buy ,I always suggest to take a look at the Ortofon catalogue in the first place - and then to Audiotechnica or Denon - because there is no risk to go wrong and the price is cheaper if compared to that of other products that may be more exoteric but that create problems with the electronic or mechanics coupling or with the ultimate sound of the system.
Someone told me that in this way I kill the audiophile dreams. This is not true, I only like to spend my money for thing that are worth it.
The Cadenza Blue has been tested in the following system:
Bauer Audio DPS 2 turntable, Mørch DP6 tonearm, Transfigurationa Aria and Denon DL 103 cartridges, Pioneer PL 550 turntable with Ortofon MC 15 Super II cartridge, American Hybrid Technology –P e Lehmann Black Cube phono preamplifiers, Olimpia Audio Guglielmo II and Spectral DMC12 preamplifiers, Spectral DMA50 and Wyred4Sound ST 250 power amplifiers, Audio Note AN-E SPx loudspeakers, Systems & Magic, Kimber Kable, Audio Note, YBA and other cables.
When people ask me which cartridge they should buy ,I always suggest to take a look at the Ortofon catalogue in the first place - and then to Audiotechnica or Denon - because there is no risk to go wrong and the price is cheaper if compared to that of other products that may be more exoteric but that create problems with the electronic or mechanics coupling or with the ultimate sound of the system.
Someone told me that in this way I kill the audiophile dreams. This is not true, I only like to spend my money for thing that are worth it.
The Cadenza Blue has been tested in the following system:
Bauer Audio DPS 2 turntable, Mørch DP6 tonearm, Transfigurationa Aria and Denon DL 103 cartridges, Pioneer PL 550 turntable with Ortofon MC 15 Super II cartridge, American Hybrid Technology –P e Lehmann Black Cube phono preamplifiers, Olimpia Audio Guglielmo II and Spectral DMC12 preamplifiers, Spectral DMA50 and Wyred4Sound ST 250 power amplifiers, Audio Note AN-E SPx loudspeakers, Systems & Magic, Kimber Kable, Audio Note, YBA and other cables.
Ortofon gives us all the technical details so it’s easier to
choose considering the tonearm, at first. Many times we obtain the right resonance
only through reading the characteristics. The test LP will tell us if we got it
right or not.
Ortofon specifications are the following: a compliance of 12 μm/mN and a weight of 10,7 gr. which suggests to
use a medium mass tonearm; in fact the Red armtube of my Mørch (8 grams) turned
out to be the right choice. The shape of the stylus is a Fritz Geyger 70 and is
mounted on a long ruby cantilever.
The electrical data are: output voltage 0,5 mV, a value that is quite high and is alright with active phono pre amplifier with a gain of 60 dBs or less. With my AHT I had to lower the input gain of the Spectral preamplifier, otherwise the volume knob would not have been usable. Internal impedance is 5 Ohm. There are no dramatic differences between 100, 200 or 500 Ohm load and I can confirm that the 200 Ohm that Ortofon indicates as a maximum load is that which gave the best results with my system. At 500 Ohm the sound is opened in the high range and is a bit excessive in the low range. This is a pity because the low range of the Cadenza Blue is correct if it is loaded correctly.
As for the tracking force, Ortofon gives a range of values but recommends 2.5 gr. The cartridge was not new so it has not been necessary to use a bigger tracking force, like I always do with all the cartridges in their first week of use.The package of this Cadenza Blue is complete: the cartridge comes with a set of screws, a metallic non-magnetic screwdriver, a small brush to clean the stylus and a set of quality headshell leads that are useful for those that use a tonearm that allows the replacing of the original ones.
My compliments to all those that make cartridges that need no screw and nut to fix it; in this way it is easier to mount it and the protection shell of the cantilever can be left at its place and there’s no risk to damage the cantilever before it is positioned.
How does it sound? Well. It’s a Ortofon and with this brand ,things are serious.
The tracking ability is great and always easy. One of the best I have ever had in my house. The shape of the stylus extracts many informations from the groove. No sound is pushed forward, everything is well integrated from the singer’s voice to the small noises of the musicians. The vinyl must be very quiet because the accuracy of the tracking conveys also all the noises that come from the grooves.
The cartridge has a correct timbral resolution, maybe a bit dark and with the medium range put in evidence. There’s no use in changing the pre phono load, since at 500 Ohm something changes for the high range but there are changes - for bad - also in the low range. In fact the low range becomes less controlled, while with the right load the bass is very correct.
Dynamics? Is not a problem.
Sound stage? If it is present, the Cadenza reveals it, the cartridge does not show a non existent soundstage.
Few examples now. Listening to Stravinski ‘s Petrouchka directed by Abbado on DGG (an 80’s Digital), you have the sensation of a big, dynamic orchestra that respects all instrumental sections and is very attractive as for the woods and the winds. The piccolo may result a bit harsh in the high range but only if you take as a reference the new and modern theatres.
In Stravinski’s Oiseau de Feu directed by Antal Dorati on Decca (Digital anni 80), the definition of woods and winds is once again very beautiful, the strings finally have a real wooden body. A small shade on bass and double bass underline a characteristics of the recording.
To conclude, le Sacre du printemps by Stravinski, directed by Lorin Maazel on Telarc, is controlled by this Cadenza Blue and this is positive; in fact it tames some passages that are excessive in this Telarc recording. The big percussions though are not limited and remain great and powerful but controlled. Woodwinds and winds are once again impressive.
With this cartridge there is no confusion, even with the performance of the biggest orchestras.
In my system this is an upgrade from the performance that the Kontrapunkt B had. The euphonia in the high range remains but unlike the Kontrapunkt this cartridge has a good definition in the low range.
The accuracy of the stylus’ shape puts in evidence also the flaws of the vinyl, for an instance there is a certain noise in the recording of the LP Still Life (Talking) by Paul Metheny and in the low range I hear a toc-toc on the A side that with my Denon is less evident.
This is the price to pay! The high quality cartridges evidence both good and bad things. But I must say that in the LP above mentioned, when my favourite song starts - Last Train Home -, the noise is not present and remains only a beautiful recording with the persistence of the cymbals, the powerful, swift and deep bass and Paul Metheny’ guitar that has an unusual dynamics.
I decided to listen to other old records, to those records that I do not listen often. So I played the Weather Report’s Tale Spinning and the song Badia, listened to at a very high volume - that day I was at home alone with no neighbours around - revealed a bass that was real-like and deep and the soundstage was well recreated and convincing.
Well, all in all what else can I say? 1,550.00 euros are not a small price but if compared with the competitors is more than honest. This Cadenza Blue is a cartridge that should aspire to a higher position since it has a very neutral sound.
It does not change the sound and and allows you to explore the grooves of the vinyl, gives back a natural sound that reminds a live concert sound. Keeping all this in mind the price is really competitive.
Domenico Pizzamiglio
Manufacturer: Ortofon
Translation: Francesca Rubino
The electrical data are: output voltage 0,5 mV, a value that is quite high and is alright with active phono pre amplifier with a gain of 60 dBs or less. With my AHT I had to lower the input gain of the Spectral preamplifier, otherwise the volume knob would not have been usable. Internal impedance is 5 Ohm. There are no dramatic differences between 100, 200 or 500 Ohm load and I can confirm that the 200 Ohm that Ortofon indicates as a maximum load is that which gave the best results with my system. At 500 Ohm the sound is opened in the high range and is a bit excessive in the low range. This is a pity because the low range of the Cadenza Blue is correct if it is loaded correctly.
As for the tracking force, Ortofon gives a range of values but recommends 2.5 gr. The cartridge was not new so it has not been necessary to use a bigger tracking force, like I always do with all the cartridges in their first week of use.The package of this Cadenza Blue is complete: the cartridge comes with a set of screws, a metallic non-magnetic screwdriver, a small brush to clean the stylus and a set of quality headshell leads that are useful for those that use a tonearm that allows the replacing of the original ones.
My compliments to all those that make cartridges that need no screw and nut to fix it; in this way it is easier to mount it and the protection shell of the cantilever can be left at its place and there’s no risk to damage the cantilever before it is positioned.
How does it sound? Well. It’s a Ortofon and with this brand ,things are serious.
The tracking ability is great and always easy. One of the best I have ever had in my house. The shape of the stylus extracts many informations from the groove. No sound is pushed forward, everything is well integrated from the singer’s voice to the small noises of the musicians. The vinyl must be very quiet because the accuracy of the tracking conveys also all the noises that come from the grooves.
The cartridge has a correct timbral resolution, maybe a bit dark and with the medium range put in evidence. There’s no use in changing the pre phono load, since at 500 Ohm something changes for the high range but there are changes - for bad - also in the low range. In fact the low range becomes less controlled, while with the right load the bass is very correct.
Dynamics? Is not a problem.
Sound stage? If it is present, the Cadenza reveals it, the cartridge does not show a non existent soundstage.
Few examples now. Listening to Stravinski ‘s Petrouchka directed by Abbado on DGG (an 80’s Digital), you have the sensation of a big, dynamic orchestra that respects all instrumental sections and is very attractive as for the woods and the winds. The piccolo may result a bit harsh in the high range but only if you take as a reference the new and modern theatres.
In Stravinski’s Oiseau de Feu directed by Antal Dorati on Decca (Digital anni 80), the definition of woods and winds is once again very beautiful, the strings finally have a real wooden body. A small shade on bass and double bass underline a characteristics of the recording.
To conclude, le Sacre du printemps by Stravinski, directed by Lorin Maazel on Telarc, is controlled by this Cadenza Blue and this is positive; in fact it tames some passages that are excessive in this Telarc recording. The big percussions though are not limited and remain great and powerful but controlled. Woodwinds and winds are once again impressive.
With this cartridge there is no confusion, even with the performance of the biggest orchestras.
In my system this is an upgrade from the performance that the Kontrapunkt B had. The euphonia in the high range remains but unlike the Kontrapunkt this cartridge has a good definition in the low range.
The accuracy of the stylus’ shape puts in evidence also the flaws of the vinyl, for an instance there is a certain noise in the recording of the LP Still Life (Talking) by Paul Metheny and in the low range I hear a toc-toc on the A side that with my Denon is less evident.
This is the price to pay! The high quality cartridges evidence both good and bad things. But I must say that in the LP above mentioned, when my favourite song starts - Last Train Home -, the noise is not present and remains only a beautiful recording with the persistence of the cymbals, the powerful, swift and deep bass and Paul Metheny’ guitar that has an unusual dynamics.
I decided to listen to other old records, to those records that I do not listen often. So I played the Weather Report’s Tale Spinning and the song Badia, listened to at a very high volume - that day I was at home alone with no neighbours around - revealed a bass that was real-like and deep and the soundstage was well recreated and convincing.
Well, all in all what else can I say? 1,550.00 euros are not a small price but if compared with the competitors is more than honest. This Cadenza Blue is a cartridge that should aspire to a higher position since it has a very neutral sound.
It does not change the sound and and allows you to explore the grooves of the vinyl, gives back a natural sound that reminds a live concert sound. Keeping all this in mind the price is really competitive.
Domenico Pizzamiglio
Manufacturer: Ortofon
Translation: Francesca Rubino
