The Ortofon Cadenza Black model uses 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. The coil wire is the famous Ortofon Aucurum wire, which is a gold plated 6NX copper wire.
It also uses the Wide Range Damping (WRD) system, (also applied for the MC Winfield, MC Ago, MC Anna, and Xpression cartridges) controlling the high and low frequency damping separately. The Cadenza Black is optimized for an amazing tonal neutrality, dynamics and purity of sound producing high performance on areas like detail, consistency and sound staging.
Ortofon constantly look for new technology to be used in their products and push the performance of existing technology, thus assuring the highest level of performance and quality. The Kontrapunkt models and MC Jubilee became market standards and are among Ortofon’s most popular cartridges. Nevertheless, Ortofon decided to develop 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, they 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 customers who have an extended interest in micro groove mono records.
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.