ADC Integra XLM II (c. 1970s–1980s?)

One flick of the needle and the music sounds clear and present, in a way few cartridges ever managed.

Overview

The ADC Integra XLM II is a half-inch mount carbon fiber headshell fused with the ADC XLM II phono cartridge. It was built for precision, not convenience. Owners report it as a reference standard, with a three-dimensional soundstage, deep bass and natural highs. Peter Pritchard, the mind behind Audio Dynamics Corporation, designed it. The XLM II was part of a lineage that Harry Pearson and other early Absolute Sound luminaries held up as the benchmark. One seller put it plainly: “This is one of my favorite cartridges, definitely a reference standard… It sounds great, it is adjustable and can fit on practically anything and it is a great price.” It might have been reasonably priced back in the day. Finding one now is like spotting a unicorn in traffic.

The XLM II is the second generation of the XLM series. Some audiophiles see it as a step down from the original, because it was tuned for broader compatibility. The original XLM was an ultra-high-compliance cartridge, so fragile and demanding that only a handful of tonearms could handle it. The Mk II softened that edge and made it more usable. It's still high-compliance and low-tracking-force, and still capable of the “remarkable, realistic and natural” reproduction people raved about. The integrated carbon fiber headshell means it wasn't just a cartridge slapped onto a plastic shell. It was engineered as one system.

Specifications

Manufacturer	ADC (Audio Dynamics Corporation)
Output voltage @ 1kHz, 5cm/sec.	5.6mV
Output balance	1.5dB
Channel separation @ 1kHz	26dB
Frequency response	1Hz-24kHz +/-2dB
Stylus type	0.03 x 0.07 mil nude elliptical
Tracking force recommended	1.2 g +/- 0.3 g
Load resistance	47k ohms
Load capacitance	275pF
Weight	12 g
Color	Silver/Black
Stylus replacement	RXM-II
Mounting	Half-inch mount

Key Features

Integrated Carbon Fiber Headshell

The XLM II is a cartridge fused to a half-inch mount carbon fiber headshell. ADC claimed this setup offered “up to 50% less mass than conventional headshell/cartridge combinations.” Less mass means less inertia, which means better tracking, tighter bass and fewer resonances muddying the signal. The carbon fiber shell also “virtually eliminates low frequency signal loss, resonance and flexing,” and adds “an increase of shielding from external electrical fields.” In practice, the cartridge becomes part of the tonearm, a rigid, stable platform that lets the stylus do its job without interference.

Patented Induced Magnet Design

The XLM II uses ADC's patented Induced Magnet design. It's a derivative of the old GE variable reluctance cartridges, but refined. The big claim is “Only one moving element.” Fewer moving parts mean less energy loss, less distortion and a more direct translation of groove motion into electrical signal. It's a moving magnet system in spirit, but with a unique magnetic architecture that ADC said delivered higher output and better linearity. The 5.6mV output is hot enough to drive most MM inputs without issue. The 26dB channel separation at 1kHz ensures a solid stereo image. That's not groundbreaking by modern standards, but it was excellent for its era.

Omni-Pivot Suspension System

The suspension is where the XLM II gets surgical. ADC called it the Omni-Pivot System. It's built around a micro-machined armature that locks into a “high definition suspension block” with tolerances “within 1/4 the thickness of human hair.” There are no wires, no adhesives and no governors, just unimpeded movement. This is what enables the high compliance and low tracking force (1.2g ±0.3g) without sacrificing stability. It's a delicate balance, and it demands a well-set-up tonearm.

Adjustable Tracking Geometry

One of the XLM II's most underrated features is its adjustability. You can fine-tune the Vertical Tracking Angle to match your tonearm's height, set the Offset Angle at two groove radii, and dial in the Overhang Dimension. When set correctly, the cartridge “eliminates audible tracking angle distortion throughout the record's play.” One source claims that with precise adjustment, tracking angle error can be “less than 1 degree at any point,” a level of accuracy that even high-end modern cartridges struggle to match. Nearly all records are cut at a 20° tracking angle, and the XLM II was designed around that.

Historical Context

Audio Dynamics Corporation was founded by Peter Pritchard in the early 1960s, and the XLM series was his magnum opus. The original XLM became a reference for early high-end audio pioneers, including Harry Pearson, who helped define what “high fidelity” meant in the formative years of The Absolute Sound. When the XLM arrived, it had serious competition: the Shure V15, the top-tier Empire models, Joe Grado's high-end offerings, and later, a controversial design from Micro Acoustics. There were at least three generations: the original, the Mk II (this model), and the Mk III. The XLM II was a refinement, more user-friendly and more compatible. After ADC was sold in the 1970s, Pritchard went on to form Sonus. The XLM's reputation endured, and it's still mentioned among the all-time super cartridges.