Moving coil with a bit less leading edge

Many of the sounds I hear at a live orchestral concert seem
to speak with an effortless and supple voice. There is a
more complex and complete sense of richness and ambient
tonality. I often hear a more fluid, freer kind of
presentation with violins. With higher pitched wind
instruments like piccolos, their pungent or piercing sounds
come across as somewhat more listenable, not quite as sharp
than they might with reproduced music. Both hard and soft
sounds from the piano also seem to present more information
in more listenable and enjoyable fashion. Perhaps what I'm
trying to say is when I hear live orchestral instruments
being expressed either individually or collectively, it is
that combination of complex tonalities radiating outward in
different directions so freely that gives me the
impression of fuller, more complete sound that I have a
tendency to describe as rounded. Maybe too it's the less
than pinpoint presentation compared with reproduced music
that further reinforces my impression. Though it doesn't
seem so to me, some might feel I would be misusing the word
rounded here. Otherwise, I may have become somewhat
suspicious the term crisp, since I've fairly often seen it
used in association with sounds I would interpret as brittle
or stiff rather than firm. Perhaps differences in hearing
are playing a part here.

Wrm57: I think you say it very well!

Opus, you know what you're hearing and you describe it admirably. And you have a very fine system that should produce excellent sonic textures. I agree that the soundwave from an orchestra in a concert hall or a jazz ensemble in a well-designed acoustical space is far richer than anything I've heard reproduced anywhere. And a lot of high-end cartridge/arm combos err on the side of detail at the expense of that live fullness--at least the ones I'm familiar with. The closest I've gotten at home to that full, rich soundwave has been with the Kansui on a Tri-Planar VIIuii, and to a lesser extent, an SPU Royal GMII on an SME M2-12R. I also have a Benz Ebony S-L and A90 on other arms and they're great in their own ways, but they don't generate that soundwave as well. FWIW.

Al: I'm not a technically oriented person, but your point of
possible loading mismatch is well taken. Internally, the EAR
88PB has two different settings via a switch: 4 and 40. With
the transformer's input, 4 is applicable for cartridges
indicating up to 100 ohms; 40 for those up to 1000 ohms.
Indeed, I have encountered situations where one or the other
loading is clearly desirable for a particular cartridge.
Yes, at times, there can certainly be a mismatch.

Wrm57: Thanks very much for your kind comments. I had
previously used a Benz Micro LP. A wonderful sounding
cartridge until I accidentally (or stupidly) blew out one of
its channels. Wanted to get it fixed, but Benz discontinued
its policy of repairing at an inexpensive cost. I have been
quite interested in trying one of the Miyajimas, and might
eventually do so.

Actually sometimes very simple things when analyzed too deep seem really complex. Hifi is littered with equipments which do detail for the sake of detail, transparency at the expense of presence, soundstage at the expense of body etc etc...obviously there is market for such products. One may say, after all this is what hifi brings to the table compared to lo-fi. The point is even the cartridge world such examples are in plenty..why is it so difficult to accept that ? Why do we need to get into deep analysis of live music ? Just to defend such cartridges ? Thats not really important to someone who doesnt want to get into the hyper-detailed hifi world. Why has no one spoken about Miyabi 47 till now in this thread ?

Some really excellent and insightful comments above. But, no one is trying to defend unrealistically bright and aggressive cartridges. Lew, they certainly do exist; way too many of them. I think that the point that Doug, Pete, myself and others are making is that contrary to what appears to be the OP's goal (based on the original post), adding a cartridge that, by design, blunts the leading edge and tames the high frequencies is usually a recipe for failure. Better to think about the system as a whole and go for as much realism as possible every step of the way, particulary in those components closest to the source.