Best MM?

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.

Raul, the question I asked was a very difficult one to answer; it involved different characteristics of the same high quality cartridges.

For example: let's compare cartridges rated "B" by "Stereophile"; we already know they're good cartridges, we're simply concerned with the differences in these cartridges.

The question I asked pertained to the subtle nuances in that particular tune; how those nuances are delivered make a lot of difference; all of the difference to me.

I'll post the tune again and point them out to you. While the entire tune is a composite of nuances, they are most critical beginning with the bass at 5:55 and then the guitar at 6:52 all the way to the end.

This was a 45 RPM mono; only the best rigs can capture all the nuances; maybe only the best ears can hear them.


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


Possibly, a 15K cartridge does everything perfectly, but not a 1K cartridge; that's why it's necessary for me to isolate what's most important to my musical enjoyment and go with that.

Dear @orpheus10 : That recording can works for some kind of evaluation but nuances is not per se what defines the overall differences. In that recording those nuances could be way obvious and what I do through my proccess is more " tigth " " less tolerant " and way lower nuances.
As I said the first part of my test/evaluation proccess is with very special " isolated " music information. Inside my proccess I have parts of LP tracks for those tiny nuances but additional to nuances due that the item under evaluation gives you more information/pick-up a little more information for better tracking abilities.

The true is that an overall proccess as the one I devloped over the years is really complex but gives you many things if you are well self trained on it and the high advantage is thta trhough it I or you know exactly and in specific what to look for. It’s more than all a true whole proccess to evaluate quality performance level not what I or you like it but if performs as should be.

I use between other recordings Disco music from the 60’s-70’s where was really strident in almost any system well any not well roo/system set up. In the same way I use, classical, jazz, blues, pop, female, orchestras, solo intruments as piano or trumpet, etc, etc,

"" 
Possibly, a 15K cartridge does everything perfectly, but not a 1K cartridge .."""

Through my process sometimes is the other way around like with my ADC 26/27 cartridge review.

R.

@orpheus10

Possibly, a 15K cartridge does everything perfectly, but not a 1K cartridge

Are you hypnotized by reviewers or manufacturers ?
Prices means nothing in the modern world of High-End, if you don’t have a reference among classic High-End cartridges you have no idea where do you going even with 15k budget, don’t let them fool you, there is NOTHING is the cartridge that cost $15k! The logic behind $15k pricing is not about fidelity at all and they are not better than many $1k cartridges. Also this thread is about MM cartridges, they are always cheaper than MC. The stylus is the most expensive part of MM cartidge. Some of the very best styli with exotic cantilevers cost under $1k max.