Best MM?

Let us put things in their proper perspective; this stuff was a lot cheaper in 1960, and it was what the average person played music on; that's why jukeboxes pulled in so many quarters.


    https://www.vinylengine.com/turntable_forum/viewtopic.php?t=40994


    https://www.turntableneedles.com/Record_Player_Phono_Cartridges-Ceramic


This was the high end in 1960, and few people owned Fisher; my rig was Emerson.


      http://www.fisherconsoles.com/brochures,%20catalogs/1960%20Fisher%20Catalog.pdf


    https://en.wikipedia.org/wiki/Fisher_Electronics


This was a lot of money at that time, and you got a lot of audio for your money.


  http://www.fisherconsoles.com/president%20IV.html


I read some comments on "consoles" and most of them had no idea what they were talking about; Magnavox was good while Fisher and Grundig were very good.

Some "brandless" consoles were just beautiful furniture.



      https://www.google.com/search?q=magnavox+console+1960&oq=magnavox+console+1960&aqs=chrome..6...


Grundig Majestic from Germany was tops;


        https://en.wikipedia.org/wiki/Grundig



            https://www.google.com/search?q=Grundig+majestic+console&tbm=isch&source=iu&ictx=1&f...:



These consoles produced some of the most beautiful music; it soothed me to sleep and I had sweet dreams. I believe the cabinet and the wood played a big part in the sound.


While all that equipment sounded good at the time, the only thing that comes remotely close to my moderate "high end rig" is the jukebox, and we are talking strictly "mono"


"So much for the good old days"


   

Raul, I've got a question for you; it's not that I doubt the validity of your evaluation of cartridges, but I wonder what music you use to evaluate.

For example; what differences would you find when evaluating this music with different cartridges; in the same price range of course, let's try over 1K but less than 2K.


        https://www.youtube.com/watch?v=NHold6ylvEM

@orpheus10  

this stuff was a lot cheaper in 1960, and it was what the average person played music on; that's why jukeboxes pulled in so many quarters.

I like music recorded and pressed in the 60s and 70s, some of those original records cost more than high-end euipment today. I have some very rare 45s, not all of them recorded quite good, some musicians recorded and released only 1 x 45 sigle and nothing else, not even LP, nothing. Some private press 45s only reached 300 copies. You can imagine how rare some of them today. But i don't play them on 60s equipment, i think from mid 70s to mid 80s some of the best cartridges were born and they are still unbeatable by most of th modern carts.  

Dear Chakster,  I was reading a very interesting white paper on static electricity and vinyl reproduction, published by Shure in 1978, when I came across this very interesting comment on the use of exotic metals in cantilever construction.  Of course, Shure is here defending their own choice of using a "special" alloy of aluminum in what was then their latest flagship cartridge, the V15 Type IV.  I think you can consult the referenced article at the bottom, if you want to see some data in support of what they wrote here:

"What material is used to make the shank? Why? Why not use Beryllium or Boron, etc.?
Answer:
Normally it is not our policy to divulge the material and proprietary processes that are used to fabricate our products. In this case, however, a departure from that policy is warranted, because of the great deal of confusion that seems to exist in the marketplace as to the pros and cons of certain exotic materials, such as Beryllium, Boron, Titanium, etc. It seems that by the sheer sound of these exotic and strange names, tremendous performance advantages are implied. Since these materials were developed for space age applications, it is easy to understand that there is a connotation of super strength and other advantages.

Shure has made use of and studied a variety of these materials for quite a while. In the early days, Beryllium Copper was used, then Magnesium, Aluminum, and special Aluminum alloys. Aluminum and Beryllium combinations were used for example, in the V15 Type II stylus as early as 1967. A special heat treated Aluminum alloy is used in the V15 Type IV telescopic stylus assembly. This coupled with its shape and structure determines the performance criteria."

The method of analysis is outlined in L. Happ’s paper, "Design Considerations of the V15 Type IV Phonograph Stylus."

Dear @orpheus10 : I really like R.Charles and Milt. The Bag's Groove by MJ is a great composition. I listen him with Dizzy, C.Bassie, Coltrane and obviously with the M. Jazz Quartet.

I can't remember that recording, maybe I own who knows because with over 7K LP's is not easy to remember all.

Anyway, my evaluation whole proccess is not exactly to listen to all one side LP or even one complete LP track.
Over several years I choosed some LP tracks of every kind of MUSIC that over the time I up-dated if I found out something especiall to evaluate with.
What I do is to listen small parts of a LP tracks with very special instrument sounds, distortions, special noices and even clicks/pops that even thiese clicks are performed by diferent cartridges with diferent tones.

I'm looking not only for very special kind of every kind sound but very dificult to listen it in precise and clear/transparent way. Example: a tinny really tinned triangle sound in a " tutti " high SPL of an orchestra.
I have tracks for every kind of " audiophile " quality sound: brigthness, agrseviness, mistraking, detail, power, dynamics, rythm, bass foundation , high frequency definition, bass overhang, tigthness, tracking abilities, saturation, etc, etc, etc.

After all those very precise and individual characteristics then I follow with complete tracks/side lp as a overall evaluation where I'm looking for the sound of a live event.
My evaluation always is at near field seat position and some times when I have doubts I try headphones.
Normally I try to even SPL in between the items under evaluation and I listen at: 75db, 84dbs, 90dbs and 95dbs continuous SPL with peaks at 6db-7db SPL over the continuous SPL listening.
Under that evaluation I use too some CDs to confirm mainly in the bass range .

My proccess is very personal simple for me but could be complex for other gentlemans and always use the same tracks and same LPs. TYhrough my evaluation proccess I can evaluate in no more than an hour any single home audio system with almost no mistakes in the conclutions, the proccess is almost bullet proof not because I say so but some audiophiles in the USA that I was at their places can confirm about and of course my audio friends here in México.

The foundations of my whole proccess was and is developed to know how away/near I'm of my main home room/system main target: truer to the recording.

Regards and enjoy the MUSIC NOT DISTORTIONS,
R.