Soundsmith Zephyr MIMC cartridge
One of the key aspects of vinyl replay is mating the cartridge to the most complementary arm (and turntable) in order to get the best out of the grooves which that poor stylus is asked to follow faithfully. It’s also interesting to note that in the various on-line forums there are many debates about which is the best-sounding cartridge’ at such-and-such a price.
As with amplifier/speaker (/room) combinations, the pairing has to be regarded as a team effort. Someone far more wise than me said that a team is a group of players who work together best in a particular context, and not necessarily a group of the best individuals. So it is with cartridges, arms and turntables.
My benchmark turntable is an SME Model 20, I have found it to be pretty even-handed, and it enables me to identify differences between arms and cartridges in a reasonably consistent way. I suppose it’s a bit like a crossword setter for me – once you know how it works you can work out how different things work on it, and as a reviewer that consistency is important.
Soundsmith
Made in the USA, Soundsmith cartridges have been used on some of the world’s finest turntables for some while, garnering plaudits as they go. On trial here is the venerable Zephyr MIMC, a low-output fixed- coil (MIMC is moving iron for moving coil inputs) sitting roughly in the middle of the range.
It has (if you’re unlucky enough to damage the cantilever assembly) a modest rebuild cost, something many moving coil cartridge owners worry about as styli are rarely easily replaceable with an MC. Mounting hole and output configurations are industry-standard, so connection to arm wiring is straightforward, and loading is recommended between 470 and 1000 Ohms. There is a helpful cautionary note that loading of less than 470 Ohms can roll off the top end. The cartridge is also shielded on all six sides, which Soundsmith say makes the Zephyr MIMC one of the world’s most hum-free and RF-free cartridges.
To minimise hum and eliminate ground loops the Zephyr MIMC has slots in the top of the cartridge where you can insert slivers of alumina (a composite like aluminium but non-conductive) to electrically decouple the cartridge from the headshell (if it is electrically connected to the arm wiring in some way) and eliminate any opportunity for a ground loop to be created. The alumina slivers are supplied with the cartridge.
In addition, the central groove can be fitted with a cylindrical alumina rod to very slightly decouple the cartridge top surface from the headshell. By tightening and loosening the mounting screws minor adjustments can be made to the stylus azimuth by rotating’ the cartridge body using the rod as a pivot point. Although I didn’t need to, I tried this, and it works well without compromising sound quality. Perhaps something like this could be an aftermarket option for those who struggle with a fixed headshell and a cantilever assembly which is slightly off.
With my Helius arm this was in fact the case, and the slivers worked magically in eliminating (very minor) background hum. Tracking force is quoted as 1.8-2.2grams, and optimally 2g, the Zephyr MIMC weighs a shade under 10.3grams, and its output quoted as 0.4mV, and best suited to phono preamps with a gain of around 63dB.
Interestingly, (and probably with good reason) much is made of stylus cleaning, Soundsmith recommend either a soft brush, but say that Blu-stick (Blu-tack in the UK) is a much better bet. I tried both, and while the Blu-tack method did leave the stylus clean I was never quite sure if a bit would remain stuck to that miniscule jewel on the end of the cantilever, so I always checked after cleaning just to make sure. Also, helpfully, there are copious notes on setting azimuth, stylus rake and alignment.
There is a nice comment about (I paraphrase) not driving a car with the wheels not balanced, so why use a cartridge not set up properly. My sentiments exactly. I went through that set-up process several times as I wanted to try the cartridge in a variety of settings. The consistent part was that the turntable remained my venerable SME Model 20.
Sound quality
Striking in blue and gold, mounted initially on the Supatrac Blackbird arm the combination looked quite stunning. Set-up was actually very easy, with Soundsmith’s guides followed to the letter. (I did later try it slightly off-kilter to see what would happen – more of that later), and with everything in place the listening began.
First up was the Big Band Spectacular on the Chasing the Dragon label produced by Mike Valentine. Always one for amazing soundscapes, the impact and verve of this set is amazing. The Zephyr’s ability to convey sudden dynamic contrasts and yet still retain a focus on the layout of the orchestra was something which many other cartridges at far higher price points would do well to match. The warmth of the lower brass and the shrill of the trumpets offer a real challenge which the Zephyr met with aplomb. There was a real fullness to how the sound was presented as well, which added to the feeling of listening to a live event. This was one of those occasions where you really could crank up the volume and enjoy the raw splendour of a big band.
Next, an oldie from Phillips: Heinz Holliger playing Handel, Vivaldi and Bach oboe sonatas (SAL3772). This is perhaps a dated rendition, but very much of its time, and showing very clearly how performances can vary depending on the era in which they were recorded (think back to the Victorians playing early music with full orchestras, and then David Munrow showing everyone another way’).
The plaintive sound of the oboe is very difficult to reproduce, and being a double-reed instrument the timbral quality is often lost in some replay systems. The Zephyr carefully but musically picked a sure-footed path through the various minefields of an older pressing (1968) with very different performance techniques, and yet still revealing the utmost musicality and engagement in Holliger’s playing with the sensitive accompaniment of the ensemble. This really was an unbridled joy to listen to.
Desert Winds (Illinois Jacquet) was next, with Kenny Burrell on Alto AA014. If anything, this was almost a vehicle for Willie Rodriguez to show off his prowess with the latin drums, but again the whole album is an exemplary example of what fun music can be, and the Zephyr certainly allowed the fun and games to shine through. Blues for the Early Bird really caught the ear, and You’re My Thrill was totally engaging in a way that some other cartridges haven’t been able to match. Perhaps an acquired taste for listening, but then this isn’t (in some ways) about the music, and more about whether the cartridge retrieves the essential qualities of what’s in the grooves. And believe me, the Zephyr absolutely does.
Another old pressing, in this case Paul Simon’s Graceland. A generally well-recorded commercial pressing, with the inevitable feelgood track Diamonds on the Soles of her Shoes which simply buzzes. It’s very difficult not to start foot-tapping, the beat is infectious, and for a live stage performance back in 1986, it’s very well recorded. Simon’s voice comes through in complete contrast to the backing vocals which support it, and the drumming, and deft guitar-work are revealed in all their glory. The Zephyr really lets the listener into this recording, and with a bit of imagination (and the heating on full) you could really imagine yourself at the live event.
Lastly, from the Linn label, Claire Martin’s Devil May Care. Sultry, edgy, warm, and in some ways tender yet unforgiving, Martin’s vocal expressions traverse a whole spectrum of emotions which the Zephyr manages to guide you through effortlessly. What’s nice about this album is the elements of snap, and sudden silence, followed by a rapid transient, and then the pathos or dynamic of Martin’s voice. The Zephyr does not leave you short-changed in any regard, and as a small ensemble with a formidable vocal talent, this is a real show-stopper of an album for me. Without the Zephyr at the helm I think my enjoyment would be sadly diminished.
Conclusion
As I mentioned, other arms were used during this review. As well as the Blackbird there was an SME 3012, Helius Aurum and an Avid Altus. The Zephyr is a consistent performer, and although there were some differences in the presentation as the arms were changed, essentially the Zephyr is very neutral, and will perform well as long as the set-up is done carefully.
I did try the 3012 quite a long way out of kilter just to see what would happen. Imaging suffered, as did some of the transparency, but the sonic character of the Zephyr (which is essentially neutral, perhaps very slightly cool) was unchanged. It conveyed sound quality exceptionally well, but overall was utterly engaging, and even my wife commented that it was one of the most natural-sounding cartridges I’ve had the opportunity to audition.
At its price point it’s a more than capable performer, and should be on everyone’s want list. The fact that the rebuild is relatively inexpensive is also something to bear in mind if the unthinkable happens and the cantilever or diamond get damaged. Sound for pound it has to be one of audio’s bargains, and given my experience is definitely on my hit list. Thoroughly recommended.