• About
    • About HFA
    • HFA Awards
    • Associated Equipment
    • Banners on HFA
    • HFA Analytics Data
    • HFA Audio Setup History
    • HFA Audio Setup Snapshots
    • Sitemap
    • Contact
  • HFA Awards
  • Reviews
    • All Reviews
    • Amplifier
      • All Amplifier Reviews
      • Integrated Amplifier
      • Preamplifier
      • Power Amplifier
      • Phono Preamp
    • Loudspeaker
      • All Loudspeaker Reviews
      • Passive Speaker
      • Active Analog Speaker
      • Active Digital Speaker
    • Digital
      • All Digital Reviews
      • CD Player
      • SPDIF DAC
      • USB DAC
      • Music Server
      • Network Player
      • Digital Recorder
      • Digital Interface
      • Audio Software
    • Turntable and Accessories
      • All Turntable and Accessories Reviews
      • Turntable
      • Tonearm
      • Phono Cartridge
      • Turntable Accessories
    • Cable
      • All Cable Reviews
      • Analog Interlink
      • Phono Interlink
      • Speaker Cable
      • Power Cable
      • Digital Cable
    • Accessories
      • All Accessories Reviews
      • Racks / Stands / Feet
      • Tuning / Tweaks
      • Power Connector
    • Industry Update
  • Insights
    • All Insights
    • Analog Insights
    • Cable Insights
    • Connector Insights
    • Digital Insights
    • Extensionblocks / Filters Insights
    • Generic Insights
    • System Synergy Q&A
  • Specials
  • Show Reports
    • All Show Reports
    • Alkmaar Audio Show
    • Chattelin Audio Systems
    • Dutch Audio Event
    • Enosound
    • HifiDeluxe
    • HifiLive
    • Munich High End
    • XFi
  • Classics
    • All Classics
    • Analog Classics
    • Digital Classics
  • Links
  • About
    • About HFA
    • HFA Awards
    • Associated Equipment
    • Banners on HFA
    • HFA Analytics Data
    • HFA Audio Setup History
    • HFA Audio Setup Snapshots
    • Sitemap
    • Contact
  • HFA Awards
  • Reviews
    • All Reviews
    • Amplifier
      • All Amplifier Reviews
      • Integrated Amplifier
      • Preamplifier
      • Power Amplifier
      • Phono Preamp
    • Loudspeaker
      • All Loudspeaker Reviews
      • Passive Speaker
      • Active Analog Speaker
      • Active Digital Speaker
    • Digital
      • All Digital Reviews
      • CD Player
      • SPDIF DAC
      • USB DAC
      • Music Server
      • Network Player
      • Digital Recorder
      • Digital Interface
      • Audio Software
    • Turntable and Accessories
      • All Turntable and Accessories Reviews
      • Turntable
      • Tonearm
      • Phono Cartridge
      • Turntable Accessories
    • Cable
      • All Cable Reviews
      • Analog Interlink
      • Phono Interlink
      • Speaker Cable
      • Power Cable
      • Digital Cable
    • Accessories
      • All Accessories Reviews
      • Racks / Stands / Feet
      • Tuning / Tweaks
      • Power Connector
    • Industry Update
  • Insights
    • All Insights
    • Analog Insights
    • Cable Insights
    • Connector Insights
    • Digital Insights
    • Extensionblocks / Filters Insights
    • Generic Insights
    • System Synergy Q&A
  • Specials
  • Show Reports
    • All Show Reports
    • Alkmaar Audio Show
    • Chattelin Audio Systems
    • Dutch Audio Event
    • Enosound
    • HifiDeluxe
    • HifiLive
    • Munich High End
    • XFi
  • Classics
    • All Classics
    • Analog Classics
    • Digital Classics
  • Links
scroll down for more
Phono Cartridge Reviews

Dynavector 10X5 MkII and DV20X2

Christiaan Punter 30 May 2021 4 Comments
  • Facebook
  • Twitter
  • LinkedIn
  • Pinterest
  • Email

Review samples supplied by Hexagon Audio
Retail prices incl. VAT:
10X5 MkII: 700 euro
DV20X2: 945 euro

In this article, I will compare two cartridges by the same maker that, on the surface, seem to differ only in terms of coil windings and stylus shape: the Dynavector 10X5 MkII and DV20X2.

Let’s start by comparing the two cartridges on a point-by-point basis. The 10×5 MkII is a 2.8mV High-Output MC and the DV20x2 is a 0.3mV Low-Output MC. The design and suspension seem to be the same (Flux Damper with Softened Magnetism), the cantilever is specified as being made from the same hardened aluminum, the compliance is the same 12 mm/N, and the internal resistance is the same 150 Ohms. Both cartridges require between 1.8 and 2.2 grams of VTF.

The cartridges do differ in weight. At 9.2 grams, the DV20x2 metal body is heavier than the 10×5’s plastic body at 7.5 grams. Ultimately, besides the 10×5’s higher output, the main difference is that the 10×5 has a Nude Shibata III stylus while the DV20x2 has a Nude Micro Ridge stylus.

10×5 MkII

As part of the AVID turntable review, I listened to the Dynavector 10×5 MkII and although this cartridge is considered by many to be a class leader and it does indeed perform very well under the right circumstances, I found that its ultimate success was highly dependent on the tonearm in which it was used. Most notably, pairing it with the AVID TA-1 and TA-3 (OEM Rega RB220 and RB330) resulted in an overly tight, flat, and gray sound while the pairing with the AVID Sequel turntable and Audio Origami PU-7 tonearm (12-gram effective mass version with Cardas 33ga internal wiring and super OFC external cable) worked wonderfully well, yielding superbly articulate and robust bass with excellent neutrality, impressive dynamics, and great PRaT. The cartridge also has a remarkable purity and realistic timbre. In this setting, ultimately, I settled on a 47kOhm loading with 50dB of gain for this cartridge. While the 10×5 MkII has a crystal-clear delivery, it is not bright at all. In fact, both the Audio Technica ATN150mlx and AT33Sa are considerably airier on top. But then again, both these carts could also be said to have more treble air than is strictly neutral.

I found that the match with the phono stage was also quite critical. For instance, while the 10×5 MkII worked fabulously with the CH Precision P1 phono stage, the match was not at all successful with the otherwise superb and top-of-the-range AVID Pulsare II phono stage where the result was in many ways similar to the pairing with the TA-3 tonearm. Remarkably, the 10×2 MkII worked much more synergistically with the slightly smooth and warm-sounding, and thus forgiving, AVID Pellar which is the brand’s entry-level phono stage.

Obtaining an MM-like high output from an MC cartridge involves winding much greater lengths of copper onto the coils which in turn negates some of the inherent advantages of an MC design: low weight. As I suspect that the main culprit in the observed critical matching could be this very factor, I wondered how a low-output Dynavector cartridge would behave. As chance would have it, Marco Oudheusden of Hexagon Audio also had the DV20x2 in his inventory and was happy to lend it to me for this comparison.

Thanks to the Acoustical Systems SMARTractor, swapping the cartridges was a breeze. Incidentally, the 10×5 MkII sounded best at 2,0 grams while the DV20x2 sounded better when set to 1,8 grams.

DV20x2

Mounted in the Audio Origami PU-7 tonearm on the AVID Sequel and with the VTF set the same as for the 10×5 MkII (2.0 grams), the DV20x2 sounded not at all similar to its high-output cousin. Instead, it sounded a little restrained and uninspiring. Mostly, in comparison to the 10X5, it lacked expression and dynamic impact. On the upside, I could immediately hear the combined benefits of the lighter coils and the Micro Ridge stylus which resulted in better low-level detail and nuance and more evident and longer-lingering decays and reverbs.

What the two cartridges do have in common is linearity and utter neutrality of timbre. Both sound absolutely uncolored and exceedingly neutral. I had hoped that the Low-Output DV20x2 would have more treble air but in this area, it performs on par with the 10×5 MkII. On balance, this was not what I had hoped for. In terms of dynamic impact, incisiveness, and PRaT, the high output cartridge was clearly more proficient and the listening panel (I and three friends) had a clear preference for the 10×5 MkII.

At some point, I noticed from the low-riding polepiece that the DV20x2’s cantilever suspension caved in more than with the 10×5 MkII when set to the same VTF. Lowering the force just by looking at how much the suspension gave in and settling on what seemed to be visually more ideal, the resulting sound was indeed airier and became more light-footed, if arguably still lacking visceral impact. Checking the weight with the digital scale, it turned out I had set it to only 1.30 grams. Raising the VTF to the minimum specified 1.80 grams yielded tonally a good balance between solidity and agility. But no matter the adjustment, and no matter the loading and gain settings on the preamp, the DV20x2 does not come close to sounding as solid and impactful as the 10×5 MkII. Do note that this is not a matter of quality but something that is actually common when comparing high-output carts to low-output carts.

Although 30 Ohms is specified as a minimum, ultimately, with the CH P1, it sounded good at a setting of 200-325 Ohms and arguably best with a much higher loading of 10K and 60dB of gain. This relatively high loading (for MC) obtained the speediest sound with the most nimble bass and most communicative midrange in this setup. After having listened to a couple of LP sides, 1.80 grams did indeed seem to be perfect. So, maybe its suspension is slightly different indeed, even if the specs don’t indicate this.

It should also be noted that the PU7 tonearm has a relaxed nature itself and I think this gentle nature is working against the DV20x2. This is probably also part of the reason why the high-output and extra robust 10×5 MkII works so well here. That would also explain why I find the AT33Sa to be lacking a little in incisiveness and body with this turntable and arm. Thus, a pairing with a different arm could yield different results.

Second system

To reduce the chance of the DV20x2 being listened to only in non-synergistic circumstances I also listened to it using the Thorens TD1601 turntable in the context of the Xavian Perla Esclusiva speakers, Ayon Spirit III KT-150 tube amplifier, and AVID Pulsare III phono stage. In this very different system, set to 300 Ohms and the gain on MC Mid, the AT33Sa works highly synergistically.

It has superb tracking and great soundstaging abilities, and superbly refined and airy treble. What’s less well-developed with the AT33Sa is the bass. It’s not that it’s lacking, it’s actually much more robust than with the ATN150mlx, but compared to both Dynavectors and the Aidas Rainbow, it’s slightly round. It’s not only the bass, though. Although the AT33Sa provides a highly detailed rendition across the frequency range, it also has a slightly sweet, slightly romantic touch.

After mounting the Dynavector DV20x2 in the Thorens while retaining the settings on the phono stage, the sound does indeed become more neutral. The bass gains articulation and is just slightly more incisive while the midrange becomes less romantic but also purer and more direct. Although some may see this as a disadvantage, I’m all for neutrality and I like the DV20x2 for it.

As one would suspect when moving from a Shibata stylus to a Micro Ridge stylus, the tracking is superb but compared to the AT33Sa, and apart from the more articulate bass, I don’t hear any further increases in resolution or accuracy.

In terms of soundstaging, there’s a notable difference between the AT33Sa and the DV20x2. Whereas the former is wide and deep, the latter tends to sound concentrated between the speakers. With its high output 10×5 MkII cousin (and with the AVID Sequel), this aspect goes hand in hand with superlative robustness, dynamics, and impact but with the DV20x2 (with either the AVID or the Thorens), alas, it does not. In either setting, the overwhelming feeling is that the cartridge sounds dynamically withheld and therefore not very exciting and ultimately not very involving. It certainly has its qualities but it doesn’t blossom under the given circumstances. I tried adjusting the gain and the loading but found that the initial setting remained ideal. Apparently, this phono stage or this system as a whole responds differently than the CH/Magico setup.

Could it have something to do with the “Flux Damper with Softened Magnetism”? Whatever it means, the 10×5 MkII seems to overcome this problem with its very high output, although this cartridge also seems to be particular about the tonearm match.

Conclusion

Despite my best efforts of extracting the best from it using two different setups, the DV20x2 sounded dynamically restrained and less involving than I had hoped. This cartridge may require yet another tonearm or turntable to sound its best. Maybe something along the lines of a Rega or Funk Firm or something entirely different, as long as it is inherently spicy and exciting and can benefit from the DV20x2’s total lack of editorializing.

The 10×5 MkII’s performance is also highly dependent on the tonearm and turntable pairing, but I found it relatively easy to find a synergistic marriage here. And when the match is right, this cartridge performs extremely well indeed. It has great tracking and produces a superbly articulate and robust bass with impressive dynamics and great PRaT, along with remarkable purity and spot-on perfect timbre, topped off with utter linearity and neutrality.

10×5 mkII specifications

Type High output moving coil cartridge with flux damper and softened magnetism
Output Voltage 2.8mV (at 1KHz, 5cm/sec.)
Channel Separation 25 dB (at 1KHz)
Channel balance 1.0 dB (at 1KHz)
Frequency response 20 – 20,000Hz (± 2dB)
Compliance 12 mm/N
Tracking force 1.8 – 2.2 g
Impedance 150 ohms
Recommended load impedance > 1000 ohms
Cantilever 6mm length hardened alumium pipe
Stylus tip Nude Diamond “Shibata III” Line Contact
Weight 7.5 g

DV20x2 specifications High/Low output

Type High/Low output moving coil cartridge with flux damper and softened magnetism
Output Voltage 2.8mV / 0.3mV (at 1KHz, 5cm/sec.)
Channel Separation 25 dB (at 1KHz)
Channel balance 1.0 dB (at 1KHz)
Frequency response 20 – 20,000Hz (± 1dB)
Compliance 12 mm/N
Tracking force 1.8 – 2.2 g
Impedance 150 ohms / 5 ohms
Recommended load impedance > 1,000 ohms / > 30 ohms
Cantilever 6mm length, hard aluminum pipe
Stylus tip Micro Ridge Nude diamond
Weight 9.2 g

 

Associated Equipment

Dynavector Distributor for the Benelux: Latham Audio
Manufacturer’s website: Dynavector
Avid Distributor for the Benelux: Hexagon Audio
Acoustical Systems Distributor for NL/Belgium: Actual Hifi

Related Posts
Benz MC Gold, ACE L and ACE LH – Mini Review
Audio Technica AT-HS10 and Ortofon LH 2000 Turntable Headshells
Audio Technica ATN150MLX and Shure M97xE MM Phono Cartridges
Aidas Panzerholz MC Cartridge
Aidas Rainbow MC Cartridge
Holbo Airbearing Turntable and Acoustical Systems Aiwon and Palladian MC cartridges
Aidas Gala Gold LE MC Cartridge
Nagaoka MP-150
Aidas Audio Technica AVID Dynavector
  • Share This:
  • Facebook
  • Twitter
  • LinkedIn
  • Pinterest
  • Email
Christiaan Punter Owner of Hifi-Advice.com

4 Comments

  1. Barry Delin says:
    30 May 2021 at 22:46

    The recommended loading for the low output version of the DV20-2L is 30 0hms. The >1000 ohm recommendation is for the high output version of the cartridge. Using the much higher loading probably impacted what you heard.

    Reply
    1. Christiaan Punter says:
      30 May 2021 at 23:26

      You’re right, the manual states 1000 Ohms as well as 30 Ohms, for the HO and LO versions respectively, which I copied to the review incorrectly (now corrected). Nevertheless, naturally, I did listen to the cartridge using a low loading as well. I just preferred it at 10K Ohms in the main system with the CH phono stage. As it is mentioned in the second section of the review, I used the 300 Ohm setting with the AVID phono stage and Thorens turntable in the second setup.

      Reply
  2. DusanV says:
    12 January 2023 at 20:25

    I have a DV20X2 high output in SME3009R mounted on Technics SL110, using phono built in Luxman C02 pre-amp. Though it is a high-output MC, most of the time I actually keep it on the MC-High setting on the C02.
    One thing it definitely is not – dull or lacking dynamics (you might at times evan say it tends to some attractivnes in the extremes).

    Reply
    1. Christiaan Punter says:
      13 January 2023 at 12:54

      That’s good to hear! But please note that I have reviewed the high-output 10X5 to the low-output version of the DV20X2. Nevertheless, it surely is a matter of synergy, and evidently, my tonearms were not a synergetic match.

      Reply

Your comment Cancel reply

All comments are welcome but I regret that I no longer have the time to respond to all questions. To increase the likelihood of a response, please make sure that your question is on topic and referring to the product that was reviewed. First-time comments need to be manually approved which incurs a short delay. After the initial approval, successive comments will appear right away. Do not use links as these will automatically mark the message as spam. Your email address is required but it will not be made public.

 

Categories

  • Accessories Reviews
  • Active Analog Speakers Reviews
  • Active Digital Speakers Reviews
  • Alkmaar Audio Show
  • Amplifier Reviews
  • Analog Classics
  • Analog Insights
  • Analog Interlink Reviews
  • Analogy Records
  • Apogee Acoustics Company Special
  • Audio Software Reviews
  • Audiophile Insights
  • Cables Insights
  • CD Player Reviews
  • Chattelin Audio Systems
  • Connectors Insights
  • Digital Cable Reviews
  • Digital Classics
  • Digital Insights
  • Digital Interface Reviews
  • Digital Recorder Reviews
  • Digital Reviews
  • Dutch Audio Event
  • Enosound
  • Extensionblocks / Filters Insights
  • Generic Insights
  • HFA Audio Setup History
  • HFA Audio Setup Snapshots
  • HifiDeluxe
  • HifiLive
  • Industry Update
  • Integrated Amplifier Reviews
  • Marantz & Philips Classics
  • Munich High End
  • Music Server Reviews
  • Network Player Reviews
  • Passive Speakers Reviews
  • Phono Cartridge Reviews
  • Phono Interlink Reviews
  • Phono Preamp Reviews
  • Power Amplifier Reviews
  • Power Cable Reviews
  • Power Connector Reviews
  • Preamplifier Reviews
  • Racks / Stands / Feet Reviews
  • Rhapsody
  • Show Reports
  • SPDIF DAC Reviews
  • Speaker Cable Reviews
  • Specials
  • System Synergy Q&A
  • Tonearm Reviews
  • Tuning / Tweaks Reviews
  • Turntable Accessories Reviews
  • Turntable Reviews
  • Uncategorized
  • USB DAC Reviews
  • XFi

BRANDS

  • A&B Systems
  • A10 Audio
  • Aavik
  • Acapella
  • Accuphase
  • AcousticMatters
  • Acustica Applicata
  • Aequo Audio
  • Aidas
  • Akiko Audio
  • Analog Domain
  • Analogy Records
  • Analysis Audio
  • Analysis Plus
  • Ansuz
  • Anthem
  • Anti-Cables
  • Antipodes
  • APL
  • Apogee
  • Apogee Acoustics
  • Aqua
  • Arcam
  • Aries Cerat
  • Artesania
  • ASI
  • Astin Trew
  • atm audio
  • A Tube High Fidelity
  • AudioAanZee
  • Audio Aero
  • Audio Club Premier
  • Audio GD
  • Audiolab
  • Audiolympic
  • Audiomeca
  • Audio Note
  • Audionote
  • Audio Origami
  • Audio Physic
  • AudioQuest
  • Audio Research
  • Audio Synthesis
  • Audio Technica
  • Auralic
  • Aurender
  • Aurum Cantus
  • Avalon
  • AvantGarde
  • AVID
  • AVIDHIFI
  • Ayon
  • Ayre Acoustics
  • B&W
  • Bals
  • Bang & Olufsen
  • Behringer
  • Belden
  • Benz
  • Bergmann
  • Black Rhodium
  • Boenicke Audio
  • Bowers & Wilkins
  • Bricasti
  • Bryston
  • Burmester
  • Børresen
  • CAD
  • Cardas
  • Care Orchestra
  • CAT
  • CEC
  • CH Precision
  • Classé
  • Clearaudio
  • Concert Fidelity
  • Conrad Johnson
  • Consonance
  • COS
  • Curious Cables
  • D'Agostino
  • DAD
  • Dali
  • Daniël Hertz
  • Daudio
  • dCS
  • Degritter
  • Denafrips
  • Denon
  • Devialet
  • Devore
  • Diptyque
  • Doepke
  • Driade
  • DS Audio
  • Dynavector
  • Dynavox
  • E&T
  • EC-Designs
  • Echole
  • Elac
  • Electrocompaniet
  • Elijah Audio
  • EMAG
  • EMMLabs
  • Emotiva
  • EMU
  • Enosound
  • Esoteric
  • Euphony
  • Exogal
  • Fadel Art
  • Fezz Audio
  • FIM Gold
  • Final
  • Final Touch Audio
  • Finite Elemente
  • FoilFlex
  • Franco Serblin
  • Furutech
  • Fusion Audio
  • Gauder Akustik
  • Genelec
  • Gigawatt
  • GiK
  • Goldmund
  • Graham Audio
  • Grandinote
  • Grimm Audio
  • Gryphon
  • Gustavson Audio
  • Hanze Hifi
  • Harman/Kardon
  • Harmonic Technology
  • Harmonix
  • Heaven's Gate
  • Hifi-Tuning
  • HiFi.nl
  • High Fidelity Cables
  • Hofa
  • Holo Audio
  • Home Audio Fidelity
  • IeGO
  • Ikigai
  • IMF
  • Isotek
  • Jadis
  • Jay's Audio
  • Jeff Rowland
  • Jena Labs
  • JMF Audio
  • Jorma Design
  • Joseph Audio
  • JPLAY
  • JVC
  • Kemp
  • Kharma
  • Kimber
  • KingRex
  • Kinki Studio
  • KlinktBeter
  • Kora
  • Krell
  • Kroma Audio
  • Kupp
  • Lapp
  • LAST
  • Lector
  • Leema
  • Lejonklou
  • LessLoss
  • Line Magnetic
  • Linn
  • Logitech
  • LOK
  • Loudness War
  • Luxman
  • M2Tech
  • Mad Scientist
  • Magico
  • Magnan
  • Magnepan
  • Mamba Audio
  • Manley Labs
  • Marantz
  • Mark Levinson
  • Marten
  • Martin Logan
  • Matrix
  • MBL
  • McIntosh
  • Melco
  • Melody
  • Meridian
  • Metrum Acoustics
  • Michell
  • MIT
  • MJ Acoustics
  • Mogami
  • Mola-Mola
  • Monitor Audio
  • Monrio
  • Moon
  • Musical Fidelity
  • Mytek
  • Nagaoka
  • Naim
  • Naiu Laboratory
  • Nakamichi
  • NBS
  • Niels Setup
  • Nordost
  • NuPrime
  • Ohm Audio
  • Olive
  • Onkyo
  • Onzow
  • Origin Live
  • Ortofon
  • Oyaide
  • Panasonic
  • Paradigm
  • Parasound
  • Pass Labs
  • Philips
  • Pink Faun
  • Pioneer
  • Playback Designs
  • Precision Audio
  • PrimaLuna
  • Proceed
  • PS Audio
  • PUUR AVD
  • Pylon Audio
  • Qln
  • Qobuz
  • Quad
  • R.T.F.S.
  • Raidho
  • Reference Sounds
  • Reference Tweaks
  • Rega
  • Rein Audio
  • REL
  • Resonator Stockholm
  • Revel
  • Ricable
  • Roon
  • RTFS
  • SAT
  • Schiit
  • Shakti
  • Shuguang
  • Shunyata
  • Shure
  • Signal Projects
  • Siltech
  • SME
  • SolidSteel
  • Solid Tech
  • Sonic Frontiers
  • Sonos
  • Sonus Faber
  • Sony
  • Sooloos
  • SOtM
  • Soulution
  • Sound Anchor
  • Sound Lab
  • Spectral
  • Spotify
  • Stealth
  • Stillpoints
  • Straight Wire
  • Sw1x
  • Symo
  • Synergistic Research
  • Synology
  • Synthese
  • T+A
  • Taiko Audio
  • Tascam
  • Teac
  • TechDAS
  • Technics
  • The Chord Company
  • Thorens
  • Transparent Audio
  • Trends
  • Tung Sol
  • Unison Research
  • UpTone Audio
  • VAIC
  • van Damme
  • van den Hul
  • van Medevoort
  • Vermeer Audio
  • Vermouth Audio
  • Vibex
  • Vifa
  • Vincent
  • ViRa High End
  • Viva
  • Vivid Audio
  • VTL
  • Wadia
  • Wattgate
  • Way Cables
  • Weiss
  • Western Electric
  • Widealab
  • Wilson Audio
  • Wilson Benesch
  • Winyl
  • Wires 4 Music
  • Wireworld
  • Wolf von Langa
  • Wooden Bull
  • Xavian
  • xFyro
  • Xindak
  • XLO
  • Yamaha
  • Zanden
  • Zesto
  • ZYX

Visit HFA on Social Media

Instagram
Facebook
Twitter
YouTube

LEGAL

Privacy Policy

This site is protected by reCAPTCHA. Google Privacy Policy and Terms of Service apply. All rights reserved © 2021 - hifi-advice.com.
  • Contact
  • Home