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Ortofon Cadenza Black

Ortofon Cadenza Black

wkładka gramofonowa MC

cena: 8965

Wkładki można posłuchać w naszym głównym pokoju odsłuchowym, za pośrednictwem gramofonu RPM 10 Carbon.

Seria wkładek w obudowie aluminiowej wykorzystujących technologie tworzenia biegunów z mieszanki kobaltu i żelaza. Te i inne innowacyjne technologie zastosowane powodują że wkładki te odzwierciedlają prawdziwy dźwięk.

Parametry Techniczne

Napięcie wyjściowe przy 1000 Hz, 5cm/sec. : 0,33 mV
Balans kanałów przy 1 kHz: <0,8 dB
Separacja kanałów przy 1 kHz: >27 dB
Separacja kanałów przy 15 kHz: >20 dB
Zakres pasma – 3dB: 20-60.000 Hz
Pasmo przenoszenia: 20-20.000 Hz + 1,5 / – 0 dB
Zdolność trackingu przy 315Hz przy zalecanej sile nacisku igły: 90 µm
Zgodność dynamiczna, boczna: 16 µm/mN
Typ igły: Nude Shibata on Boron catilever
Rozmiar promienia końcówki igły: r/R 6/50 µm
Zakres siły nacisku igły: 2,0-2,5g (20-25 mN)
Zalecana siła nacisku igły: 2,3 g (23 mN)
Kąt nachylenia igły: 20°
Impendancja wewnętrzna, rezystancja DC5 Ohm
Zalecana rezystancja cyklu ładunkowego: >10 Ohm
Kolor wkładki, obudowa/igła: Black/Black
Waga: 10,7 g



Cadenza Black is optimized for an amazing tonal neutrality, dynamics and purity of sound.

The Cadenza Black model is using a Nude Shibata stylus with a boron cantilever. The effective mass of the stylus/cantilever system is extremely low due to the use of a very thin boron rod. This material is extremely stiff and even more lightweight than aluminium.
It also uses the WRD/Wide Range Damping-system applied for MC WindfeldMC A90MC AnnaXpression and MC A95 cartridges, controlling the high and low frequency damping separately.
The coil wire is the famous Ortofon Aucurum wire, which is a gold plated 6NX copper wire.

Cadenza Black is high performing on areas like detail, consistency and sound staging.

MC Cadenza Black Technical data

Output voltage at 1000 Hz, 5cm/sec. – 0,33 mV;
Channel balance at 1 kHz – < 0,8 dB;
Channel separation at 1 kHz – > 27 dB;
Channel separation at 15 kHz – > 20 dB;
Frequency range at – 3dB – 20 – 60.000 Hz;
Frequency response 20 kHz – 20 kHz – +1,5/0;
Tracking ability at 315Hz at recommended tracking force ) – 90 µm;
Compliance, dynamic, lateral – 16 µm/mN;
Stylus type – Nude Shibata on Boron cantilever;
Stylus tip radius – r/R 6/50 µm;
Tracking force range – 2,0-2,5 g (20-25 mN);
Tracking force, recommended – 2,3 g (23 mN);
Tracking angle – 20°;
Internal impedance, DC resistance – 5 Ohm;
Recommended load impedance – > 10 Ohm;
Cartridge body material – Stainless steel Aluminium;
Cartridge colour – Black/Black;
Cartridge weight – 10,7 gram.

The Cadenza series

At Ortofon we constantly look for new technology to be used in our products and push the performance of existing technology. Thus we assure the highest level of performance and quality. The Kontrapunkt models and MC Jubilee became market standards and are among our most popular cartridges. Nevertheless Ortofon decided to develope a new cartridge series that is even more ambitious.

By carefully implementing cobalt-iron pole pieces, new improved winding process on the armature, using extruded aluminium housing in the models as well as other changes, we have been able to reveal new possibilities in performing the analogue information. It was also decided to make a more complete range of cartridges, which meant an introduction of a moving coil Cadenza Mono model to support our customers, who have an extended interest in micro groove mono records.

The story about Cadenza

Cadenza (from Italian: meaning cadence) refers to a portion of a concert in which the orchestra stops playing, leaving the soloist to play alone in free time, without a strict, regular pulse. A cadenza can be written or improvised. It’s usually the most elaborate and virtuosic part the solo instrument plays during the whole piece. At the end of the cadenza, the orchestra re-enters, and generally finishes off the movement.

During the 19th century, composers began to write cadenzas out in full. Others wrote cadenzas for works, where the composer had intended for the solo to be improvised, in order for the soloist to have a well formed solo that they could practice in advance. Some of these have become so widely played and sung that they are effectively a part of the standard repertoire.


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