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LAB
REPORT

CARTRIDGE HANA UMAMI RED

Manufactured by the Excel Corp. in Japan, this new fl agship
MC of the Hana range performs exactly as specified on the tin

RIGHT: The square-cut permalloy (or the box in this instance). Output is slightly more generous
armature with its 30μm copper wire
than expected at 0.46mV (re. 1kHz/5cm/sec) into a 100ohm
coils, extending into a boron cantilever, load and the channel balance is impressively tight at 0.14dB.
is visible here in the exposed generator Stereo separation also meets the 30dB spec. through bass and
assembly. Output pins are clearly marked midrange while the ‘Nude Microline’ stylus is well polished and
precisely mounted on its boron cantilever to achieve a VTA that’s
impressively close to the ideal 22 . Compliance is low at 9cu and
o
low stuff, particularly with electronic this, combined with the 10.5g bodyweight, renders the Umami
music. Allward’s ‘Slowburst’ from Red compatible with today’s higher (10-16g) effective mass
Cromatophore’s Volume 1 EP tonearms. The subsonic arm/cartridge resonance is suitably well
[Chromatophore CHR 001] boasts damped at ~+10dB by the Umami Red’s advanced mechanism
but its tracking prowess is just slightly below the very best MM/
some deliciously deep synthesiser MCs at its recommended 2.0g, achieving ~70-75μm via the
action and, while the Umami Red right/left channels, respectively, and keeping hold of a high
never sounded out of its depth, my +15dB groove modulation (re. 315Hz/5cm/sec) at ~1% THD.
Distortion is generally low, the unequalised figure amounting
regular Clearaudio MC Essence [HFN to 1.8% at 1kHz/5cm/sec (0dB) and RIAA equalised from 0.4-12%
Aug ’17] was just a little bit tighter (lateral) and 1.2-8.5% (vertical) across 20Hz-20kHz at –8dB [see
and more controlled in this area. Graph 2]. However, the Umami Red is not alone in exhibiting
However, what was in no doubt a slight generator asymmetry [see HFN Oct ’20], the right
was the precision and clarity the channel having a hotter treble – a kick above 8-9kHz reaching
+4dB/18kHz on lateral (L+R) cuts and +2dB/18kHz with vertical
Umami Red imparted on the rest (L-R) traces [solid lines, Graph 1, below]. The left channel [dashed
of the track. Those deep bass notes traces] has a milder +1.6dB/18kHz (lateral) and +2.0dB/18kHz
are overlaid with some seriously drum work. The slight break in singer (vertical) response. Either way, any extra ‘bite’ or revelation of
manic electronic percussion and this James Dean Bradfield’s voice was surface noise will likely reduce as the Umami Red ages. PM

cartridge gripped hold of them with spot on, and the electric guitar had
impressive tenacity. Aided by a good just the right amount of edge to it
level of air and a pleasing lightness during the solo. All rip-roaring stuff.
of touch at the top end, the Umami Yet it is with acoustic material
Red was as crisp and open as I could that the cartridge really comes into
have wished for, but without any its own. ‘Tarantella’ from Antonio

artificial sense of upper treble boost. Forcione’s Touch Wood LP [Naim
Records LP 097] was a delight,
RIP-ROARING STUFF the interplay of acoustic guitars
One result of this presentation and cello a masterclass in how the
was that during my time with the textures of instruments and their
Umami Red I found myself drawn to positioning should be conveyed.
recordings featuring more natural And one thing I kept coming back ABOVE: Freq. resp. curves (–8dB re. 5cm/sec) lateral
instruments. The unwavering level to on a wide variety of tracks that (L+R, black) vs. vertical (L–R, red). L channel dashed
of detail it offers just seemed to suit featured an acoustic guitar was the
acoustic music perfectly. Now, don’t way in which, when the instrument
get me wrong, this pick-up can rock was strummed, the Umami Red
out with the best of them, as proven managed to capture each string’s
by a blast of ‘Motorcycle Emptiness’, individual note, no matter how
a 12in single by The Manic Street quickly the pick passed over it. I’ve
Preachers [Columbia 658083 6]. heard very few cartridges manage
This track thunders along, driven by this level of insight before, and it
a solid bass line and some punchy never loses its appeal.
HI-FI NEWS VERDICT
ABOVE: Lateral (L+R, black infill) and vertical (L–R, red)

The Hana Umami Red has an
ease and effortlessness to the tracing and generator distortion (2nd-4th harmonics)
way it approaches music-making vs. frequency from 20Hz-20kHz (–8dB re. 5cm/sec)
that deserves to be heard. It is
beautifully detailed and can be HI-FI NEWS SPECIFICATIONS
particularly enthralling when it Generator type/weight Moving-coil / 10.5g
comes to acoustic fare, which
Recommended tracking force 18-22mN (20mN)
only serves to make it all the
more compelling as a musical Sensitivity/balance (re. 5cm/sec) 465μV / 0.14dB
companion. And it will rock out Compliance (vertical/lateral) 9cu / 10cu
too. Umami? Most defi nitely. Vertical tracking angle 22 degrees
At times I was even tempted to
ABOVE: The Umami Red comes L/R Tracking ability 75μm / 70μm
describe it as Saiko (stunning).
packaged in what has, for decades, L/R Distortion (–8dB, 20Hz-20kHz) 0.41–12.0% / 0.45–11.8%
become the default accessory for high- Sound Quality: 84% L/R Frequency resp. (20Hz-20kHz) –0.25 to +1.5dB / –1.1 to +4.4dB
end Japanese MCs – the simple, but 0 - - - - - - - - 100 Stereo separation (1kHz / 20kHz) 31dB / 20dB

elegant, interference-fit wooden box

DECEMBER 2020 | www.hifi news.co.uk | 53