EMT JSD PURE BLACK CARTRIDGE AND STX-5/10 STEP-UP TRANSFORMER

As to matching… that 2 x12Ω impedance and 200Ω load (as well as the 1.05mV gain) are perfectly handled by the step-up transformer also made by the company. This too is an exercise in old-school charm; the STX 5/10 has roughly the same dimensions as a petty-cash tin (albeit one that’s well filled with coins… it’s weight isn’t listed but it’s just under 1.9kg). It’s finished in a pewter-grey Hammerite-like finish that looks classic and truly doesn’t draw any attention to itself (which is ideally what a step-up should do). The business end  (is it the front or the rear… it’s hard to decide) has left and right inputs, with outputs for open (+20dB) and EMT specific (+14dB), accessed via toggle switch. There’s also a toggle switch to determine the choice of grounding options, and there is a traditional turntable grounding terminal and a supplied grounding lead.

If you decide to eschew EMT’s step-up design (I can understand that, given its price compared to that of the cartridge itself… although its performance lends itself to being used wherever feasible), remember that 0.5mV is a high output for a moving coil design. As in, it’s at the upper end of a typical moving coil output. However, unlike something like a high-output Dynavector or Ortofon, 0.5mV is also a little on the low side for all bar the lowest noise moving magnet phono stage designs. I had no trouble whatsoever partnering it with the RCM Audio TheRIAA and similarly no problems with the outstanding Primare R35 phono stage. However, simply plugging into the phono stage of an integrated amplifier with limited options for gain setting may result in either something approaching clipping on dynamic passages (on the ‘MC’ setting), or a too-quiet signal barely rising above the noise floor (on ‘MM’). But, somehow I don’t think anyone uses more than £4,000 of cartridge (if you include the silver coil option) with the sort of amp that has a simple built-in ‘MM/MC’ phono stage.

Installation is easy so long as you aren’t too shaky-handy over that exposed cantilever. The gold line on the front of the body tends to act as excellent sight-lining for horizontal alignment within the headshell itself and rake angle is easy to eyeball too thanks to the absence of body. It tracks at around 2.4g, although I found a little lighter was best.

I was extremely impressed by the performance of the EMT design. It cuts its own distinct sonic path, perhaps with a few sonic nods to the best in Audio Technica in terms of transient speed and directness of musical attack, but also with more body and texture.  It’s arguably more about musical drive than about air and spaciousness; it puts out a good soundstage, but there are better image resolvers than the Pure Black. However, none of those soundstage makers at anything close to the Pure Black’s price have the same direct connection with musics dynamism or energy. And none can match it for speed and attack.

If this makes the EMT cartridge sound over-confident or somehow ‘wild’ that was not the intention at all. This is a stellar cartridge, one that gets under the skin of music with outstanding coherence and energy and it does have that encompassing, beguiling warmth of vinyl replay. But, this is also a cartridge that stems from a broadcast heritage and that comes through, too. It’s about as honest as it gets, and that is perhaps even more beguiling than the warmth inherent to vinyl, because it reminds you why so many feel LP remains a better source of ‘high-res’ than high-resolution digital audio. There is so much information being extracted from the groove, the sound is uncanny. Add to this superb tracking and an ability to listen through pops and crackle well and this makes for a real star performer. For example, my worn-but-wonderful first pressing of Somethin’ Else [Blue Note] sounds almost crisp and new again!