Ortofon Quintet Mono MC Cartridge


Ortofon Quintet Mono MC Cartridge

Badge All Black

$647.10 $719.00

Available in

Online & Store

In stock

Product Enquiry
Add to Wishlist
Add to Wishlist
own it from $10/wklearn more »

The MC Quintet Mono features a Nude Elliptical r/R 8/18µm stylus that is a good solution for playing mono microgroove vinyl records. The Quintet Mono will track perfectly through even worn and damaged records and ensure the surface noise control.

Quintet Mono uses a strapped output to deliver the same output signal from both sets of pole pins. This effectively eliminates the need for mono-specific equipment, making it possible to enjoy true mono reproduction on any stereo playback system.

MC Quintet Mono is for playing mono microgroove vinyl records.

The ST-7 transformer will be a perfect match for the MC Quintet Mono cartridge.

The Quintet series

Nothing demonstrates Ortofon’s long-standing resilience more than its commitment to the refinement of analogue sound quality and its continued development of new cartridge models. Since 1948 Ortofon has introduced about 100 different Moving Coil models. We believe the cartridges in this new series are more than worthy successors to the long line of models that has made Ortofon the global leader in the manufacture and supply of phono cartridges.

The MC Quintet Series is a direct result of Ortofon’s continued research and innovation

The MC Quintet Series is congruent with Ortofon’s unrelenting commitment to providing the most precise and accurate reproduction possible without colouration:

  • A special ABS (Acrylonitrile/Butadiene/Styrene) thermoplastic material is used for manufacturing of the body. This light-weight, impact resistant material is very suitable for injection-moulding and provides a very durable scratch resistant surface.
  • Neodymium magnets are implemented to achieve an optimal output.
  • Low internal impedance makes the cartridge less sensitive to load and therefore ensures compatibility with the widest range of preamps and transformers.

It is Ortofon’s aim to bring their customers many hours of new and surprising experiences in listening to their precious vinyl collection.

Each of the five Quintet Series cartridges has its own individual sonic expression, and all five models together represent the ensemble of five classic variations:

  • MC Quintet Mono is a true mono cartridge for playing mono microgroove vinyl records
  • MC Quintet Red is an all-purpose cartridge that delivers open, dynamic sound with a slight touch of warmth
  • MC Quintet Blue adds more dynamics and resolution, sounds more open and reproduces more details
  • MC Quintet Bronze adds even more details and resolution but in a very evenhanded way that pays respect to all elements
  • MC Quintet Black is the best of everything, true to the groove with resolution and accurate insight into each recording

Ease of use

Top-mounting of the Quintet cartridges is easy and secure using the screws supplied. The aluminium frame has threaded mounting holes and is fitted easily with the 5mm or 7mm screws depending on the thickness of the headshell.

The Quintet series’ right angles, straight lines, stylus visibility and ample distance between the record surface and the cartridge’s bottom will make it easy to mount and align the cartridge and tonearm correctly. The Quintet Series gives excellent results with most common tonearms.


The history of recorded music on phonograph records spans well over a century.  But just over a half century ago, beginning in the 1940s, modern vinyl began to take shape and to resemble what we know today.


The history of recorded music on phonograph records spans well over a century.  But just over a half century ago, beginning in the 1940s, modern vinyl began to take shape and to resemble what we know today. The tape machine had arrived in studios, cutting was made on a cellulose nitrate lacquer with a sapphire cutter, and the V-shaped groove became standard using a lateral cut mono signal.

Ortofon also greatly influenced this process by developing and producing a new and improved cutterhead in 1946. This cutterhead made it possible to achieve an upper frequency limit of 14kHz, which was far beyond the former limit of 8kHz.  This gave way to the era of high fidelity sound reproduction.

The records of the early 1940s were coarse-groove shellacs, and playback was made with both mechanical and electronic “cartridges” using an extremely high tracking force. Many cartridges now used a diamond stylus, and for the records produced in this era, a spherical stylus with a 65µm radius was considered state of the art.

Ortofon vintage carts.png


The process of launching this new record type was very time consuming: It required a new and better material (which became known as what we now call vinyl), new cutterheads, new recordings that lasted an entire record side, and new turntables that could spin at 33rpm.

Even more notably, new lightweight tonearms and cartridges were required to significantly lower the 100+ grams tracking forces that were common for use with 78rpm shellacs.

Ortofon took part in this new technology with both the development of cutterheads and also high quality cartridges.


SPU A 25

The three models: A, AD and C were built around the same generator, which is still used in their SPU CG cartridges today.

The A-type was a rugged standard cartridge with low compliance and high tracking force: up to 15 grams on coarse groove 78s and 7 grams on microgroove 33s.
The AD was made solely for the Ortofon A 212 tonearm, and it had a twistable collar to make the change between 78 and 33 rpm easy. This was also a rugged design capable of up to 10 grams on 33s.
The last cartridge in the series, the C-type, was designed for professional use and could run at 3 grams VTF on 33s. For all types, there was a choice of styli ranging from spherical 95um for old 78s, down to a spherical 25µm for microgroove records. The C-type with 25µm stylus has the same unit as the SPU CG 25 which is still produced today.


The mono microgroove geometry is fairly easy to understand, as it only has to contain one signal. That signal is cut in the lateral dimension only, meaning that the V-shaped groove will have constant width and depth. The groove angle of the V-shape will vary a bit from record to record but will always be close to 90 degrees. The top width of the groove will, according to the different standards, have a minimum dimension in order to ensure that the replay stylus can sit comfortably inside the groove.  Over the years, this minimum width has varied due to changing standards but has always been close to 50µm until the mid 1960s. The latest standards from the 1980s were revised for a minimum width down to around 30µm. This offered a unified standard, congruent to the minimum width of stereo records.

Regarding the bottom groove radius, old microgrooves from around 1950 could approach 15µm, or even larger if the record stamper was used for too long.  Records like that need to be played only by a cartridge with a spherical 25µm stylus, otherwise there is a risk of the stylus bottoming out and causing poor fidelity.  From around the mid 1950s, the bottom radius was reduced to around 8µm, which corresponds to the IEC98 standard from 1958 where 7.5µm is stated as maximum radius. Later on, up to the stereo age, this was further reduced down to 4µm.  The bottom radius is one of the important factors determining which styli will replay the record satisfactorily as can be seen by the drawings below.


A stereo record contains the left-right information on the two opposing groove-walls that are angled at +/-45 degrees, as is seen in the figure. Cutting the groove this way leaves us with a complicated shape with both lateral and vertical information which a stereo cartridge is able to read.

A mono record contains only one signal corresponding to left+right which is cut in the lateral direction, so there is no vertical information.


If you play a mono record with a stereo cartridge you will not achieve the same signal in the two channels due to imperfections such as crosstalk, noise, phase errors, tracking error, antiskating and distortion. This difference between the channels will result in an unstable and partially fuzzy image. A mono switch, to some extent, can improve this.

Playing the same record with a mono cartridge will have none of the aforementioned problems, as this cartridge only produces one signal, which afterwards is directed to both channels in the system. This will provide a much more forceful and stable image with a fuller sound.

Another significant advantage of using a mono cartridge to play mono records is the absence of response to vertical movement. This means that a mono cartridge is essentially impervious to the pinching effect which comes into action when the stylus is pushed vertically upward in very narrow grooves. In addition, the response to dust, dirt and wear will be reduced substantially as the vertical component will not be heard. The final result will be a much more clean and noiseless reproduction of the mono record. These effects simply cannot be achieved merely by the use of a mono switch.


Spherical styli were the most commonly used geometry up to the beginning of the 1960s. Consequently, most records from the first 15 years of microgroove records have been played with a spherical stylus. This will not, however, mean that mono has to be played with a spherical stylus.

In fact, elliptical types as well as line contact types can be highly beneficial for mono records from the mid 1950s and upwards (see figures on the left). The line contact types, specifically, will ensure an improved high frequency response due to the slim shape. Also the distortion from the pinching effect, which occurs when the stylus is pushed upwards due narrow high frequency grooves, will be reduced substantially.

25µm spherical stylus used in SPU Mono and SPU CG25 Di MkII.

Replaying an old mono record, which probably has been played only with a 25µm spherical stylus can be replayed in a different unworn location of the groove by using an 18µm spherical stylus or, even better, an elliptical or line contact stylus. Choosing one of these diamond profiles will dramatically increase the stylus’ ability to reproduce the inscription with detail and accuracy.

Lastly, a mono record cut with a properly aligned stereo cutterhead will be no different to using a mono head, as long as the signal supplied is the exact same for both channels. The cutting stylus chosen should also ensure the production of sufficiently deep and wide grooves in order to accommodate those users wanting to replay mono with a traditional spherical 25µm stylus.

18µm spherical stylus used in 2M Mono.

Technical Data

  • Output voltage at 1 kHz 5 cm/sec – 0.3 mV
  • Frequency range at -3 dB – 20-25.000 Hz
  • Frequency response 20 Hz – 20 kHz – +/-2.0 dB
  • Tracking ability at 315 Hz at recommended tracking force *) – 70 μm
  • Compliance, dynamic, lateral – 15 μm/mN
  • Stylus type – Nude Elliptical
  • Stylus tip radius – r/R 8/18 μm
  • Tracking force range – 2.1-2.5 g (21-25 mN)
  • Tracking force recommended – 2.3 g (23 mN)
  • Tracking angle – 20º
  • Internal impedance, DC resistance – 5 Ohm
  • Recommended load impedance – >20 Ohm
  • Cartridge body material – ABS/Aluminium
  • Coil wire material – Pure 4-nines silver/Ag
  • Cartridge colour – White
  • Cartridge weight – 9 g

*) Typical value

1.0000 kg



Online, Store


Ortofon Quintet Mono MC Cartridge


Moving Coil

Brand Logo
Ortofon manufactures electronic audio equipment, including cartridges.