J.A. Michell Engineering is one of England’s most respected turntable manufacturers. Thankfully, Michell has remained a family-owned concern that doesn’t need to answer to overseas conglomerates, venture capitalists, or outside investors. The managing director, Jonathan Nye, is married to the granddaughter of founder John Michell. Recently, the company has rebranded and released a swathe of new products, including the all-new Gyro and Revolv turntables, plus the exquisite Apollo phono preamplifier I reviewed for this site in January.
Around five years ago, Michell announced a new line of phono cartridges. I have been slated to review one of them for years, but for various reasons (including the COVID‑19 pandemic), that hasn’t happened until now.
Michell’s cartridge lineup starts with the Cusis E (US$1299, CA$1499, £800, €920), which is equipped with an elliptical stylus and aluminum cantilever. The Cusis E is offered in two variants: the E, which offers standard MC output, and the E/H, a high-output version compatible with moving-magnet phono inputs. Above that is the Cusis S (US$1999, CA$2999, £1500, €1725), which features a Shibata stylus and acetyl body. The subject of this review is Michell’s flagship cartridge, the Cusis M (US$3799, CA$4699, £2500, €2875).
Description
The first thing that impressed me about the Cusis M was the packaging. A black-card outer cover is inscribed with the Michell logo, which I find reminiscent of the artwork from 2001: A Space Odyssey. (John Michell built many of the models used in the film.) Slip the cover off and a large metal box is revealed, again inscribed with the logo. Open the lid and the cartridge, with its stylus cover fitted, is well packaged in a clear acrylic box. A neat screwdriver, screws, and stylus brush are also provided, along with a small one-page leaflet providing basic specs and a little design background. It’s some of the best cartridge packaging I have ever seen.
The Cusis M features a carbon-loaded acrylic body on a one-piece, machined-aluminum chassis. The chassis is precisely engineered to absorb unwanted vibration, and provides a rigid platform for the other parts. The origin of the generator assembly is not specified, but I suspect it is Benz Micro. The coils use 30µ copper wire, which is wound on an ultra-lightweight armature. The assembly is mounted on a damper designed to ensure optimal support, and hence precise stylus tracking. The samarium-cobalt magnet is combined with iron to create a stable magnetic field. Throughout the Cusis line, the number of coils, body material, and output are optimized to the stylus assembly of each model. The Cusis M has a boron cantilever and microline stylus tip for optimal information retrieval.
If anything can be said to let the presentation down, it’s the fact that the Cusis name is printed on a sticker applied to the front of the cartridge. The sticker on my review sample was creased, which may be an isolated case—review samples lead a hard life. But I would rather see the model name screen-printed directly onto the cartridge body.
Recommended tracking force for the Cusis M is 2g, and recommended loading is 100 ohms. The output voltage is low, at just 0.25mV, so the cartridge requires a very quiet phono preamplifier offering gain of 68dB or more. The body weight is 8.1g, and channel balance is quoted as accurate to within 1dB. Internal impedance is 3 ohms, and the specified frequency response is 15Hz–45kHz (deviation not specified).
Michell says that the cartridge requires a run-in time of 40 hours. Fortunately, my review sample was already well run in, which meant I could get straight to listening after installing it on the SME Series IV tonearm fitted to my GyroDec. I used both my PS Audio Stellar phono stage and the Trichord Dino Mk 3 with Never Connected power supply, and I found the optimum loading to be 100 ohms.
Sound quality
I did much of my listening over the Christmas holidays, when I was knee-deep in new vinyl to explore. But first, I wanted to hear some familiar favorites in order to assess the sonic signature. Onto the GyroDec went my original pressing of Phil Collins’s No Jacket Required (Virgin Records V2345). On “Long Long Way to Go,” the Cusis M immediately set a very high bar, with the gated drum effects from the extreme left and right of the soundstage demonstrating an expansiveness and a real sense of space. Collins’s voice was center-stage and sounded clear, detailed, and articulate, with that slightly hollow timbre that characterizes his vocals. I could already see this was a cartridge that favors detail and dynamics over ultimate bass extension.
Up next was Now Then: The Very Best of Richard Hawley (BMG BMGCAT843DLPX). Hawley is regarded as one of the finest songwriters in the UK, and I have been keen to explore his catalog for some time, so this seemed as good a place to start as any. These are nicely recorded tracks, with an even tonal balance and smooth presentation. The Cusis M conveyed this well, but had enough bite at the top end to ensure the guitars and vocals remained incisive. Subtle details, such as the scrape of Hawley’s fingers on the strings during the gloriously melodic electric-guitar riff at the beginning of “Coming Home,” were revealed beautifully. Hawley’s vocal delivery is relaxed and languorous; slightly reminiscent of a 1950s crooner. The Cusis M was excellent here, fully conveying the mood and atmosphere of the music and delivering percussion and plucked guitars with excellent pace and timing.
Mark Knopfler’s Sailing to Philadelphia (Vertigo / Mercury 783 642‑4) is another recent acquisition, and like everything Dire Straits or Knopfler ever put out, it’s a superb recording. Also, it’s probably Knopfler’s most consistent solo album, and closer to sounding like Dire Straits than many of his others. “Wanderlust” opens with Knopfler’s signature fingerpicked electric guitar with heavy tremolo. The Cusis M fully captured the beautiful richness of his playing, while interjections on acoustic cut through with good dynamics and attack, despite the fact that Knopfler rarely uses a pick. As ever, Knopfler’s voice was rich and smooth, but the Cusis pulled out enough subtle details to make him a believable presence in the room.
A record that blew my socks off when it came out in 1991 was Enigma’s MCMXC a.D. (Virgin LP VIR1). The combination of hypnotic dance beats and Gregorian chants makes for a mesmerizing listen. Mine is an original and much-played pressing, but the Cusis M tracked through surface imperfections with ease. The opening female vocals on “The Voice of Enigma” sounded smooth and luxurious, and the Gregorian chants were beautifully rendered, with the Cusis M conveying the artificial reverb that makes it feel as if the chants are being performed in a mighty cathedral. Throughout my listening, recreating atmosphere and rendering subtle details of decay were key strengths of the Cusis M, which only added to my enjoyment of records like this early-1990s masterpiece. The electronic drums had impressive dynamics and plenty of leading-edge definition, as did the ringing, bell-like synth effects. In many ways, the Cusis M rendered this record in a more cohesive manner than any other cartridge I have tried. It pulled together the whole ensemble of diverse sounds and made it sound more whole than I am used to.
The drumming on “Principles of Lust” had excellent speed and punch, though a little less depth and slam than the very best cartridges can offer. The Cusis M’s facility with vocals more than made up for this—it truly is a fabulous performer in the midrange and high frequencies. With this track, I again savored the Michell cartridge’s ability to deliver a smooth and natural presentation without harshness, while retaining all the details in the recording.
This quality is highly beneficial across all genres, but it’s particularly rewarding with classical and acoustic music. I selected my favorite recording of Handel’s Water Music, Christopher Hogwood’s 1981 performance with the Academy of Ancient Music (L’Oiseau-Lyre DSLO 595). This ensemble plays on period instruments, which make for a better balanced, more authentic tonality. And all of AAM’s records benefit from the painstaking care of Decca’s engineers.
Played on the Michell GyroDec and Cusis M, the antique strings in the opening suite in F major had a lovely shimmering quality that sounded entirely natural within the acoustic space of the Walthamstow Town Hall. Likewise, the Cusis M beautifully conveyed the distinctive sound of the valveless horns in the second movement. These instruments rely on specialized playing techniques, such as embouchure (lip tension), changing the speed of the air, and placing the hand inside the bell to lower the pitch. This produces a sound that is less defined than that of modern instruments.
The Cusis M demonstrated a real facility for capturing the essence of the Academy’s performance—never spotlighting instruments, but revealing subtle details as part of a cohesive whole. So it was possible to clearly hear, for example, the harpsichord without it ever drawing attention to itself. Time and again I found myself listening to complete works rather than just individual tracks, because I was getting lost in the music.
My wife—who is Irish—gave me Eleanor McEvoy’s latest album, Gimme Some Wine (Blue Dandelion BDM 001LP), for Christmas. In my opinion, this is the best album McEvoy has released in well over a decade. The songs owe much to the recent end of her long-term relationship with sound designer Mick O’Gorman, and as is so often the case, artists like McEvoy seem to produce their best work in times of emotional pain.
“South Anne Street” finds McEvoy bumping into an old flame in the street. Through the Cusis M, the subtle percussion with its cross-stick rim clicks was detailed and incisive, and the electric bass was melodic, with all of the bass notes easy to hear. There was absolutely no sign of one-note bass or lack of definition to the pitch of the notes. McEvoy’s lilting, Celtic-toned vocals delivered every line with relish, and the singer felt like a very real and physical presence in the room. This is deeply affecting and beautifully recorded music, which was beautifully reproduced by the Michell front end.
Comparison
I played a few of these tracks using my reference Lyra Kleos SL cartridge (£3095). On “Long Long Way to Go” from No Jacket Required, the Lyra presented the underlying bass synths with a fraction more gravitas and power than the Cusis M.
The Michell cartridge delivered plenty of atmosphere from the dense and busy mix on the Enigma album, but it did not separate musical strands quite as precisely as the Lyra. Where the Cusis Scored over the Kleos was in its gorgeously creamy top end—this is a cartridge that is very forgiving of bright pressings. Where the Lyra occasionally veered into a hint of stridence, there was none of that with the Cusis M.
Conclusion
For over 25 years, there has been a Michell GyroDec at the head of my system, and it has always been a faithful music maker; one that outperforms many decks that cost significantly more. It’s so good that despite recently adding the astonishing SME Model 35 as my ultimate reference turntable, I am keeping the GyroDec and will continue to enjoy it.
I am pleased to report that the Cusis M is an impressive addition to the Michell line. For the asking price of £2500, one is rewarded with a low-output moving-coil cartridge that has superb balance across the entire audioband, is excellent at revealing all the subtle nuances of a recording, and is particularly adept at communicating emotionally with the listener. As noted, it doesn’t major on slam or sonic fireworks, but instead offers a well-judged balance of virtues across the frequency spectrum.
My main criticism is that I’d like to see the low-rent sticker on the front replaced by either a small plastic badge or physical printing of text on the cartridge body itself.
Nitpicking aside, the Michell Cusis M is a cartridge that never sounds edgy or harsh. It makes the best of all records, not just those that are sublimely recorded. I love hi-fi kit that does this. Fans of glassy-sounding ’80s rock like Duran Duran, Pet Shop Boys, Lloyd Cole and the Commotions, and even INXS should particularly enjoy Michell’s flagship cartridge. Meanwhile, classical-music lovers will delight in the Cusis M’s ability to render instruments with accurate timbre, and to portray performers realistically in an acoustic space that is both deep and wide.
. . . Jonathan Gorse
jonathan@soundstage.com
Associated Equipment
- Turntables: SME Series 35 with SME Series Vi tonearm; Michell GyroDec with SME Series IV tonearm, mounted on a Townshend Audio Seismic Platform
- Phono cartridge: Lyra Kleos SL
- Phono preamplifiers: Trichord Research Dino Mk 3 with Never Connected Dino+ power supply, PS Audio Stellar, Michell Apollo with Muse power supply
- Streaming DAC: Naim Audio NDX 2
- CD player: Naim Audio CDI
- Preamplifier: Naim Audio NAC 82
- Power amplifier: Naim Audio NAP 250
- Power supply: Naim Audio HiCap
- Loudspeakers: ATC SCM40
- Headphones: Sennheiser HD 800S, Beyerdynamic DT 880 Professional, AKG K701 Studio Reference
- Headphone amplifier: Beyerdynamic A20
- Equipment supports: Ash Designs Cosmic 5 and Cosmic 7 stands, both suspended on Townshend Audio Seismic Isolation Bars with load cells calibrated for individual rack weight; CD player and turntables mounted on Townshend Audio Seismic Platforms; speakers mounted on Townshend Audio Seismic Podiums
- Power: Dedicated 100A mains spur feeding two Grahams medical-grade, six-gang power blocks, Naim Hydra, Naim Power-Line Lites
- Cabling: Chord Company Sarum T loudspeaker cables, Naim NAC A5 loudspeaker cables, Naim interconnects on most Naim amplification; Chord Co. Sarum T Super ARAY XLR, Chord Co. SignatureX Tuned ARAY DIN-RCA, Chord Co. SignatureX RCA-XLR, Chord Co. EpicX ARAY RCA; Chord Co. EpicX ARAY interconnects for phono stages, Vertere Redline RCA-XLR between HiCap and NAP 250, QED interconnects for secondary sources
- Setup tools: AVID high-precision level with 45‑rpm adapter, Suaoki laser level, Rega Atlas digital stylus-force gauge, SME strobe disc, Ogeto laser measure
Michell Cusis M moving-coil phono cartridge
Price: US$3799, CA$4699, £2500, €2875
Warranty: Five years
J.A. Michell Engineering Ltd.
Unit B, Gateway 1000
Arlington Business Park
Whittle Way
Stevenage SG1 2FP
United Kingdom
Email: info@michellaudio.com
Website: www.michellaudio.com
