Best cartridge for very old worn vinyl

#edgewear, hi again !
In the end I went down a slightly different path and bought a SMARTtractor as I’m a big admirer of Acoustical Systems work in analogue.
I spent some time setting up my favourite FR7 (fc) and other “conventional” cartridges (as precisely as my ageing eyes and paesano fingers allowed) to the UNI DIN curve exclusive to that device, rationale  being that this is specifically aimed at the 1960s Decca vinyl I tend to listen to (and hence the raison d’etre of this thread !)
The results were amazing - I ran all my newly aligned cartridges through a particularly nasty early Argo pressing of a choral service at Westminster Abbey. I suspect that even when totally new it would challenge any decent cartridge let alone the agricultural crap that no doubt ploughed through it for the 50+ years before I got hold of it...
Result: everything sounded good, every cartridge (from Denon 103r to Koetsu Jade d/c) produced texture where there had been glass and tamed all but the most extreme garbage caused by damaged vinyl (nothing on earth can surely repair vinyl ...).
All in all this was the solution I was seeking when I posed the title to this thread. Now I have realigned as above, all of the cartridges realigned now do a good job of playing early Argo worn vinyl. Some are better than others but that’s the same difference I get on pristine vinyl.
This may not be conforming to everybody’s way of doing things, but for me, in my system , it’s worked very well indeed...:)

@Howard, good to hear you found a method that works for you. Dieter Brakemeier of Acoustical Systems used to be one of the experts who strongly advised to change the P2S distance of the FR64/66 to facilitate the use of the Baerwald geometry (you can search this forum for his contributions under the moniker dertonarm). Apparently he has now created his own UNI DIN curve, probably a refinement of the Baerwald. Judging from your enthousiasm I might give this geometry a try, as I also have many of those 60's Decca's. Thanks for sharing your experience.

None!!

#edgewear... I tried my newly aligned London Reference this eve on some Monteverdi - a digital recording that just begs to irritate - and literally for the first time ever the great choral crescendos towards the end of the side actually held as music.
Of course these challenging records cause imprecisely aligned, or otherwise just poor, equipment to damage the grooves -which then becomes part of the listening experience even with good kit.
What I appear to get with the UNI DIN on that sort of damaged record is a clear differentiation between what was on the recording and the junk that’s been etched on it over the years.
i maybe haven’t expressed that very well, but what I’m feeling is that the cartridge is now tracking well , but you can’t repair what’s been done.
Before the whole lot was a haze of grain and noise .
So a big thumbs up to the UNI DIN from this Audiogonite ...:)

#chakster #edgewear. tinkering (obviously) continues here in audio OCD land...:)
Essentially I’ve gone with your advice and set the FR66 s2p at 295mm and simply run the fixed headshell carts with that (which is hardly news given they can’t be adjusted).
I’m now going through the process of trying them out. So far the FR7fc sounds really really good. This far into the audio lunacy I didn’t expect to hear stuff on familiar records I hadn’t heard before, but that’s actually the case with the FR7 , not subtle things either.