Review of Clearaudio Maestro Moving Magnet Cartridge
Associated Equipment
--------------------
Thorens TD-125mkII with custom plinth
SME 3009 II non-improved
McIntosh C220 tube pre-amp w/ tube phono stage
McIntosh MC252 SS power amp
Sonus Faber Cremona Auditors
Richard Gray Power Company 400Pro
Dedicated AC line
This is my second Clearaudio cartridge. My previous one, a $400 Aurum Beta Wood, which I liked, but not loved, was destroyed in a CD vs. vinyl accident (a bunch of CDs fell on top of my turntable and turned the Aurum’s cantilever into a pretzel – how’s that for an inanimate version of the analog vs. digital war). When I learned that it would cost be north of $250 to “re-tip” I was so disgusted with the whole thing and with my klutziness that I swore off expensive cartridges and found happiness with a $90 Audio-Technical AT440mla for a year or so.
The AT440mla spoiled me with its apparent immunity to surface noise and inner-groove distortion. It sounded very good and consistent from the first track to the last. Although I was probably a little biased by the $250 Aurum re-tip, I reached the conclusion that the $400 Aurum Beta Wood did not have much over the AT440mla and in some areas the 440mla was more to my liking. I became the poster boy for the wonders of the AT440mla – and I still recommend it highly.
But after making some additions and tweaks to my system (e.g. new Sonus Faber Cremona Auditor speakers, power conditioner and a dedicated power line) I could not help thinking and hearing that the poor 440mla was a bit outclassed by the rest of the system. The bottom octave was a bit shy, the midrange not as clean as I knew it could be, and a bit too much “hash” on cymbals and other high-frequency sounds.
Reasons for going with the Maestro:
- I would get a nice credit for my pretzeled Aurum Beta from my favorite audio dealer (the Maestro ended up costing me $680 after trading in the Beta).
- I read good reviews of the Clearaudio Virtuoso, and the Maestro is a step up, has a boron cantilever, one-piece construction (wood of course), and a stylus shape borrowed from Clearaudio’s more expensive MCs – which I had hoped would give me the same relief from inner-track gremlins as the 440mla.
- I don’t have to get a new phono stage or a step-up transformer and, besides, I’ve always preferred the slightly warmer sound of MMs and I was very curious to see what a top-of-the-line MM could do. Listening fatigue is a major concern with me and I’ve found that many MCs are fatiguing. Getting a MM with the virtues of a MC but without the drawbacks would be great.
OK, on to the review.
I set the cart with a VTF of 2.1 gm, and almost dead-flat VTA. I used the HiFi News Test LP to make sure everything was in order and she passed with flying colors – including the torture test tracks. Vertical and horizontal resonance both came in at about 9Hz.
I let the cart break-in for 40+ hours, but I could already tell I was going to really like it.
My main concerns: surface noise and inner-grove distortions were not an issue at all – huge sigh or relief. While it was breaking in, however, the tracking hiccupped a couple of times. Once in a really “hot” part of the new Joni Mitchell’s “Blue” - remastered by S.Hoffman. Joni hit and sustained a loud high note and the cart went nuts for a second or so. Pretty scary. The good news is that since settling in I’ve had ZERO, and I mean ZERO tracking issues even on that track – trust me I played it several times since.
The main reasons I decided to upgrade from the 440mla were: more beef in the lower octaves, cleaner mids, and less hash at the top. The Maestro gave me exactly what I was looking for – along with an all-around “classier” sound and a wider soundstage.
I listen to jazz, classical, and rock (in that order) and the Maestro performed great on all of them. On jazz recordings, it gave me the warmth and tone I was looking for – especially on vocals. On classical recordings, it gave me a very wide and realistic soundstage; it made strings sound like strings, put a nice “bite” into the brass, and triangles sparkled and shimmered, as you’d expect. On rock, it gave me the bottom octave excitement I craved.
I made this purchase with some trepidation because – even though the 440mla was having a hard time keeping up with the rest of my system – it did not do anything wrong and never called attention to itself. And I did not have to worry about destroying it – for $90 I could get a brand-new one. After my accident, the long exposed cantilever of the Maestro is a bit of a concern, but it’s a great reminder to be extra careful.
By now I must have listened to well over 150 sides on the Maestro (my wife thinks I am glued to the listening chair) and I am VERY satisfied with my purchase. Coupled with my suspended vintage Thorens+SME, the always smooth sounding McIntosh amps, and the oh-so-musical Sonus Faber speakers, I am getting exactly the sound I want out of my system: the right amount of speed and detail, a wide soundstage, and no listening fatigue. I can’t ask for more than that.
The Mestro might not offer the last word in detail, speed, resolution, etc. when compared to a top MC, but if you value musicality, some warmth, and low listening fatigue, I believe that this MM would be worthy of your consideration.
Forza Roma
Associated Equipment
--------------------
Thorens TD-125mkII with custom plinth
SME 3009 II non-improved
McIntosh C220 tube pre-amp w/ tube phono stage
McIntosh MC252 SS power amp
Sonus Faber Cremona Auditors
Richard Gray Power Company 400Pro
Dedicated AC line
This is my second Clearaudio cartridge. My previous one, a $400 Aurum Beta Wood, which I liked, but not loved, was destroyed in a CD vs. vinyl accident (a bunch of CDs fell on top of my turntable and turned the Aurum’s cantilever into a pretzel – how’s that for an inanimate version of the analog vs. digital war). When I learned that it would cost be north of $250 to “re-tip” I was so disgusted with the whole thing and with my klutziness that I swore off expensive cartridges and found happiness with a $90 Audio-Technical AT440mla for a year or so.
The AT440mla spoiled me with its apparent immunity to surface noise and inner-groove distortion. It sounded very good and consistent from the first track to the last. Although I was probably a little biased by the $250 Aurum re-tip, I reached the conclusion that the $400 Aurum Beta Wood did not have much over the AT440mla and in some areas the 440mla was more to my liking. I became the poster boy for the wonders of the AT440mla – and I still recommend it highly.
But after making some additions and tweaks to my system (e.g. new Sonus Faber Cremona Auditor speakers, power conditioner and a dedicated power line) I could not help thinking and hearing that the poor 440mla was a bit outclassed by the rest of the system. The bottom octave was a bit shy, the midrange not as clean as I knew it could be, and a bit too much “hash” on cymbals and other high-frequency sounds.
Reasons for going with the Maestro:
- I would get a nice credit for my pretzeled Aurum Beta from my favorite audio dealer (the Maestro ended up costing me $680 after trading in the Beta).
- I read good reviews of the Clearaudio Virtuoso, and the Maestro is a step up, has a boron cantilever, one-piece construction (wood of course), and a stylus shape borrowed from Clearaudio’s more expensive MCs – which I had hoped would give me the same relief from inner-track gremlins as the 440mla.
- I don’t have to get a new phono stage or a step-up transformer and, besides, I’ve always preferred the slightly warmer sound of MMs and I was very curious to see what a top-of-the-line MM could do. Listening fatigue is a major concern with me and I’ve found that many MCs are fatiguing. Getting a MM with the virtues of a MC but without the drawbacks would be great.
OK, on to the review.
I set the cart with a VTF of 2.1 gm, and almost dead-flat VTA. I used the HiFi News Test LP to make sure everything was in order and she passed with flying colors – including the torture test tracks. Vertical and horizontal resonance both came in at about 9Hz.
I let the cart break-in for 40+ hours, but I could already tell I was going to really like it.
My main concerns: surface noise and inner-grove distortions were not an issue at all – huge sigh or relief. While it was breaking in, however, the tracking hiccupped a couple of times. Once in a really “hot” part of the new Joni Mitchell’s “Blue” - remastered by S.Hoffman. Joni hit and sustained a loud high note and the cart went nuts for a second or so. Pretty scary. The good news is that since settling in I’ve had ZERO, and I mean ZERO tracking issues even on that track – trust me I played it several times since.
The main reasons I decided to upgrade from the 440mla were: more beef in the lower octaves, cleaner mids, and less hash at the top. The Maestro gave me exactly what I was looking for – along with an all-around “classier” sound and a wider soundstage.
I listen to jazz, classical, and rock (in that order) and the Maestro performed great on all of them. On jazz recordings, it gave me the warmth and tone I was looking for – especially on vocals. On classical recordings, it gave me a very wide and realistic soundstage; it made strings sound like strings, put a nice “bite” into the brass, and triangles sparkled and shimmered, as you’d expect. On rock, it gave me the bottom octave excitement I craved.
I made this purchase with some trepidation because – even though the 440mla was having a hard time keeping up with the rest of my system – it did not do anything wrong and never called attention to itself. And I did not have to worry about destroying it – for $90 I could get a brand-new one. After my accident, the long exposed cantilever of the Maestro is a bit of a concern, but it’s a great reminder to be extra careful.
By now I must have listened to well over 150 sides on the Maestro (my wife thinks I am glued to the listening chair) and I am VERY satisfied with my purchase. Coupled with my suspended vintage Thorens+SME, the always smooth sounding McIntosh amps, and the oh-so-musical Sonus Faber speakers, I am getting exactly the sound I want out of my system: the right amount of speed and detail, a wide soundstage, and no listening fatigue. I can’t ask for more than that.
The Mestro might not offer the last word in detail, speed, resolution, etc. when compared to a top MC, but if you value musicality, some warmth, and low listening fatigue, I believe that this MM would be worthy of your consideration.
Forza Roma
