I love you Paul. I've been watching you for years. You are great. We are almost the same age. But when it comes to audio? I haven't always been right. But I've never been wrong. Yeah Paul, well you've left out of the equation,, a 3rd type of phono cartridge. You obviously know nothing about? It wasn't around very long. Therefore it is little-known. But it existed, nevertheless. As I found it substantially and fundamentally, different. And delivered precisely the way in which they said it would. I was duly impressed. I was delighted! Oh yeah baby! This is it! This is the bees knees! You will be cutting a rug with this one! You will get down to get up! I was blown away by it. I worked for Owned & Operated, Flagship, NBC Radio Facilities. Maintaining, designing, building, evaluating, Audio Superiority. We had a Superiority Complex. We were #1 in the Market. You know how it is, Paul? You build some stuff also. Great stuff! I think we all had some of your stuff. I can't remember when I last did or what it was called? But I have owned virtually anything worth owning. Some for a long long time. Others were just a kiss and a quick, hurrah! In this unfortunately is one of those items. I never wanted to part with. And when one has to consider, certain intrinsic risks with said devices? Walk away remembering the good times we had together. And how we shall dearly miss them forever. Be it inanimate or flesh and blood. The flesh and blood ones are the hardest. Phono cartridges not so much. But your video brought back a memory and a tear to my eye.. Over spilled milk and cookies. But I digress. This cartridge was around, 40 years ago. When I was working for NBC Radio, in Washington, DC. This phono cartridge came from a company, if memory serves me correctly, still? At 68. I think they were called Micro Acoustics? They came up with something different. A very novel lightweight, high-performance, new concept, old technology Phono Needle Cartridge Thingy. With no need for, Compensation Capacitor! That causes an abomination to, square wave reproduction. At no compensation resonant capacitor made an enormous difference of smoothness. I mean this was slick sounding. Everything else is sickening sounding. Unlike a moving magnet or a moving coil. All with relatively high mass. An electret, permanently polarized, capacitive transducer was used. Similar to a karma condenser microphone element. Not moving magnets. Not moving coils. The moving magnet and moving coil types. Worse still, inductive. And would require a, capacitive load. Such as a, .047 µF or was that a .0047? I forget right now off the top of my head. It's something like that. To resonate the circuit in the cartridge. Because you need to resonate in inductive load with a capacitor or a magnetic load with induction. But a capacitive transducer works differently with even less mass. Come And so this cartridge required no, .047 or .0047 µF capacitor resonator. No need for that. This is a purely capacitive load. Not inductive, not magnetic. This cartridge also had a, elliptical stylus. Within a even lighter weight and stiffer, Beryllium cantilever. Lighter than the other aluminum-based alloys. One of the first things, one would notice. Splattering sibilance, no longer heard! Nothing is resonating around that frequency. It's gone! It's smooth. It sounds clean and unmolested. This cartridge, sounded unique.. It was free from the nasty resonant frequencies. The moving magnet and moving coil types, had. It was a breath of fresh air in, sound. It was also lighter weight and more fragile. Than, the standard, old, fare. And not really designed for heavy broadcast industrial grade work. This was ultra hi-fi. And we didn't equip with it at NBC radio. And I was able to take it home for myself. I absolutely loved the way this cartridge sounded. Hands down. It had none of the negative qualities the moving magnet or moving coil types had//have. And they recommended. Any turntable, with integrated tone arm. Might already feature the, .047 or, .0047 µF capacitor's. They recommended those to be removed. As they are no longer needed. And they will upset the response from flat. Causing a high-frequency shunt. Across the output of the cartridge. No longer needed. I was in love with the sound of this cartridge. Regardless of the preamps, I checked it out on. And I checked it out on numerous, high-end preamps. These were largely custom preamps. It's so more vacuum tube. Others transistor. Integrated circuit chip, hybrid types. Could be compared with this unique Back Electret Cartridge. And I fell in love with its sound quality. Compared to the other types which sounded like filters. This was beautiful and open sweet and flat. Then came the day of dark and gloom. They went out of business. I couldn't obtain a replacement stylus. And after a few years. Mine crapped out. And that was the end of that. Having to go back to the other original, moving magnet and moving coil, types. Blah! So you guys with those really fancy expensive turntables and tone arms. The joke is on you! With your esoteric, gobbledygook, bullshit! Of flawed and old-fashioned. For old-fashioned and flawed. Great! We have really made great inroads here for you, Vinyl Junkies. That has now been lost to History. And everybody wanders around. Needing a haircut. With a lot of Wool. Over your ears. Of garbled and splattering, sound. Due to moving magnets and moving coils that, weighs a lot. And have a lot of mass to them. You don't want a lot of mass to move. It causes distortions of all types. Not all of which can be rendered, in audible. But when you hear it without? From a back electret type. It's a Game Changer! And because we evaluated these. With proper, high-end, test equipment. Of all types of different, Distortion Analyzers. All types! Not just Total THD. But even the Intermodulation, Distortion. The, 3rd, auto order harmonics. And the 2nd, even order harmonics. Separately! And with a bunch of engineers. Doing listening tests. Not just Betty and Frank, Barney and Wilma. And then there is Fat Freddie. Who can barely hear after doing 40 years of heavy construction. Or, Bobby. Who has been playing Electric Guitar with, 4 Martial Stacks behind him! And cat here worth a damn, either anymore. Without his hearing aids! I had a colleague who was, an ex-military, trombone band member. Who over time. Became profoundly deaf. And had some of the first rather expensive, computer adjustable, hearing aids. And he loved Pro Audio and was an, Engineer wannabe. And was taken on. By the Studio Owner. Who was a colleague of mine. And I said to Bruce, what are you doing? Frank is deaf and has hearing aids! How can he be a Recording Engineer?! He's deaf! But Frank would go off on the computer control of his hearing aids. I didn't care! He was deaf! What the hell kind of recording engineer is a deaf recording engineer!?!? I mean give me a break! Some people have a genetic loss of hearing. It's not their fault. But you're also not going to become an, Audio Engineer. In your mid-50s while you are deaf now. I mean give me a break! (More Real Life Audio in following post)
The SONIC differences between Moving Magnet & Moving Coil? There could be some very expensive moving magnet cartridges out there that could refute the following, but what follows is generally the case with cartridges not priced in the stratosphere. Moving Coil:...More energy in the uppermost treble. combined with truly superior transient response gives moving coil a very effortless sound. Moving magnet cartridges generally sound slow and mechanical in comparison. Moving coils have more depth and space between instruments, like a good tube amp. But unlike many tube amps (especially vintage ones), moving coils are very lively sounding and they aren't softer sounding like tube amps. More detail, more open, more transparent is what good moving coil cartridges are all about also. "Only moving coil cartridges have real transparency" said the late HP of The Absolute Sound magazine. They simply sound more real, in ways that in addition to the above are hard to describe. Of course if you find a moving coil cartridge which has a peaky response; then look for a different model or brand. Like anything, there are good and less good. The differences and degree of improvement with good moving coils is worth any extra trouble or expense. You simply won't like your moving magnet cartridge anymore after listening to a good moving coil cartridge. They need higher gain from the phono stage because of their lower output. They also need more attention to just what tonearm you are going to use with it. But the extra effort (and expense) pays big dividends in sound quality, and in my experience, has always been well worth the effort.
Although there have been some moving coil cartridges that have been made to have a slightly tilted frequency response to show off their amazing clarity, the trend in recent years has been toward more honest sounding transducers. I personally don't think anyone with "ears" would think slower, more veiled, less open, less depth, less transparency is the superior cartridge. Moving magnet cartridges don't hold the exclusive patent for accuracy. In fact, any well designed moving coil cartridge sounds much more real than moving magnet.
@@sidesup8286 You'd be surprised, there's a definitely a market for old (mostly MM) cartridges. Check out the prices many are paying for the Shure M3D or the General Electric VR1000, ridiculous. I myself admit, I'm currently enjoying a 1958 Bang Olufsen cartridge
@@crodoc69 I love to listen to music too. I certainly don't agree with you. There are some great moving magnet cartridges out there but as in general statement moving coil cartridges off our superior to retrieving the information on vinyl.
I think that the electrical resonance of a low output MC is higher than a high output one. Also, the effective moving mass might be lower on a low output MC
Paul, I think the question may have been about Low Output and High Output moving coil cartridges as well as the difference between moving magnet and moving coil. The other implementation, of course is moving iron, where the mass of the cantilever is even lower. Soundsmith and Grado are two manufacturers of moving iron cartridges. Then there’s strain gauge …
Probably mere marketing. A lot of people see "Moving Coil" and they automatically assume it's better than Moving Magnet or Moving Iron. In reality, High output MC's don't have either the electrical (higher frequency resonance) or mechanical (less effective moving mass) advantages over MM or MI
Too bad Shure got out of the cartridge business. They're losing out big time on the vinyl resurgence. I can only imagine what they could of come up with.
I agree! I was a big fan of the V15 series and it was only after Shure quite making them that I moved on to a MC. I can't even find a stylus for the V15 that I still have.
@@stephensams709There are styli for the V15 from LP Gear, Jico and other suppliers. I am using a Jico SAS Zirconia on a V15-IV, which I bought from LP Gear. It’s a great combination.
So, my question after watching the video is why can you properly terminate a balanced input with an MC cartridge but not a MM cartridge? Are the leads in both cases not attached to a set of coils?
The same for Stanton. The 680/681 series was very good. Still good enough for me. I don't understand why the moving iron induced magnet system wasn't mentioned. Especially considering how many radio broadcast stations had them sitting at the end of tone arms in their studios.
Would someone please explain why the "induced magnetic " design (ala ADC) did not become more used and/or appreciated ? I always loved the XLM series and I wonder why this system was not used more often . It seems to me that it somewhat solved many problems, and allowed lower mass cantilevers but with higher output .... or does anyone still use this system without my being aware ? Or why not ? Thanks
The Ortofon OM and 2M range are Moving Iron / Induced Magnet designs. Also Grado keeps using it in all of their carts, and Soundsmith uses a variation of it that they bought from Bang & Olufsen called Moving Micro Cross
Nagaoka uses this system too. I'm still using the Stanton 680/681 series those are also an induced magnetic moving iron cartridge . It's the only Stanton series that is and they were very popular...many DJs used the in radio broadcast and continued to use them afterwards at the hip-hop and rave events. Yeah all of us in the late seventies and eighties had one. Had a couple of Shure carts then an Empire ( also induced magnet) but all my friends were switched over Stanton 681 . I liked what I heard so I made the switch have been pleased with it ever since. That Steriohedron stylus tip was so good. Too bad Gibson bought them out and slowly dropped the entire line. That EL.4×.7 stylus was nice too. Especially in a heavier S - shape tone arm tracking at 3.5 grams it really could give an old worn piece of vinyl a breath of fresh air. Yeah as soon as I can afford one of those nude mounted Jico stylus I should. But I going to have to get something a little less expensive for now. I've only got one D680ee stylus left and need to keep it as a reference.
I wish Paul would discuss high output moving coil cartridges. Many people are so negative about them. They would seem to have the lower moving mass of MC while requiring less electronics in the signal pass.
You know when it comes to Photograph Cartridges. I really don't have a single favorite. When I have been a SHURE fan of just about everything they have ever made. For almost as many decades as my age like yours. Well over 5. There are other lovely, very low mass, cartridges. All beautiful works of art in their own right. To play back, classic works of art. To get that Full On Immersive Experience. Of that loud click and scratch you now find on your record! Who the hell did this! Who! Just you wait till I get my hands on you, Alice! POW ZOOM! We only need to transfer those, out-of-print, old grooved platters we got to digital. And so which digital? Begs the question. Right. There is only one logical answer for that. It's DSD. And what happened to it? Where did it go? It is so heads and shoulders better and beyond anything PCM at any bit depth at any sample rate. Beyond any PCM ever. It seems to have died a cold cruel death. Because nobody can write, crazy whizbang real-time software of effects for that kind of a, bitstream. Without conversion back to PCM. And then converting back to DSD. After effects are added. But when everything has effects. Then everything has been converted to PCM. So that's all bullshit! Unless you keep it within the original DSD, unadulterated, bitstream and file storage. With no transcoding conversions to add effects. And so real-time convenient cheap play toys now rule the digital landscape. As long as it's PCM! It's okay! Yeah no it's not. And then likely the reason. Old people want to listen to their old scratchy records. To take them back to their youth. Of scratchy records. Those at the radio stations. The DJs lost their job at. When they darted outside to smoke a joint. And the record stuck. You come back 3 minutes later. And it's 3 minutes Past Your Job. 72° at the airport. The cartridges I like best. Are the ones that can play the records. With grace and precision. At not be looking all wonky. It has to look right also. I don't like real, froufrou style pickups. That only fit on one brand of tone arm. Or one brand of tone arm. Can only accommodate one brand of cartridge. Screw that! So I like what I want. The way I like it.. Coupled with the equipment I want to use, with it. It's like introducing a new cat into your family. When you already have one. And the drama which that ensues. And then they jump on your stereo. And break it. God damn cats! Thankfully they never broke anything in my household. Or in my home recording studio control room. Because if they pissed-on, That. It would be off to the taxidermist! Come here kitty kitty. And they were lucky that did not happen! You don't have to tell me your box Is full! I can see that! Damned cats! So? Later I took one of my cats. And I stuck her on the end of my shotgun microphone. And I just tell everybody. It's just my dead cat. They don't know it's a microphone. As I want Virtual Hyper Realism that is Immersive! And so you can save your old cats in jars of formaldehyde. Just so you know. Until you want to use them on your microphones. But you must let them dry out completely first. Oh and wash your hands after touching it. RemyRAD
As there are additional philosophies involved here. One of them I contend with all the time. Bass Drum, microphone phase. Normal or inverted? Well that depends on your point of view there. And I follow 2 philosophies. Is it Rock or Jazz? If it's Jazz. I do not invert the phase. If it's Rock. I will generally invert the phase. As with Jazz. It'll be bigger, fatter, sloppier, rounder, sounding. Combined with the, in phase, overhead MIC's and those overtop, drum heads. And those low frequencies will all combine and build. But with Rock. That, Bass Drum microphone. Is, inside the Bass Drum. Which is like the microphone. Under the snare drum. Which must be phase inverted. Because it's under the snare drum. Making it phase inverted to the other microphones. Because it is pointing in the opposite direction. And for Rock. You want that Bass Drum. To feel like, CPR upon your chest. And that's how you get that sound. By inverting the phase of the Bass Drum, microphone inside that drum. When combined with the other microphones. Overtop that Bass Drum. That has its microphone facing in the opposite direction. And so there. Is when we play with and express, phase. But then there is also phase timing between microphones. Where you want to follow the, 6 to 1, rule. Otherwise you will get, Nast Comb Filtering. When you have microphones, too close, together. And not far enough apart. By about 6 feet. As that causes other phase timing errors that will be heard as tubby sounding, comb filtering. And will present a cloudy hazy sound. And of course. A lot of these microphones on a drum set. They are not 6 feet apart. Therefore. When all turned on together. The drums might sound kind of, cloudy and sloppy, jazzy, not tight, loose as a goose. And that's why, God created. Dynamic range limiters, equalizers and downward expander, noise gates. And so I typically will have a limiter each and every drum. I will have an EQ of filtering. On each drum. Each drum will be fed into a dynamic range limiter. And each limiter will be fed into a dynamic range, downward expander gate. Or just gate. But sometimes. I will not let them turn down all the way. For various reasons. To stop at, minus six, nine, 10, 15 DB only. That is not a gate. That is downward expansion to that preset level of turning down not all the way. And I use that on vocals mostly. I use gates on drums. I will use an expander on a Bass guitar, may be a 6 string guitar. Maybe on an acoustic grand piano. Because I don't want it to gate and shut completely off. That would sound horrible! And that comes under recording technique. That has nothing to do with the Absolute Polarity. Of your, Monitor Speakers. That's at the end of the line. Where it must move the air in your room toward or away from you. Pick one. Pick the right one. And you do. But your speakers are not doing what you think they are doing. They are doing the opposite in fact. I mean this is truly a funny one. A funny one 99% of everybody has gotten wrong. And I believe it to be the biggest Technical Faux pas in Provo Audio History. And has nothing to do with what Utah. That I Taw. But has to do with Absolute Positive Speaker Polarity. And how everybody has gotten it wrong. With an innocent mistake. That everybody has gotten wrong. It's so funny. This just makes me want to study, Sociology. As I feel this has to do with Sociology. And is a socioeconomic phenomena. Because it's not whether you have purchased cheap or expensive good or bad, speakers. Which really doesn't matter. They come in varying qualities. But it does matter. Which direction. They toss the concept in, first. And how to verify your accuracy. With that battery test on the woofer. As when the wolf removes out toward you. With positive the battery on positive of the woofer. You will know. To use your DC theory 101. Connecting from your audio power amplifier. To the speaker terminals. As positive gets connected to negative and negative gets connected to positive. In order to make the flashlight work with 2 batteries in it. Right? You can't connect the positive terminals of the battery together. And use the negative terminals to connect to the lightbulb. It won't work that way. DC cannot flow. Positive needs to be connected to negative. So why would these audio power amplifier companies. Tell you to connect the positive going terminal of their audio amplifier output. To the positive terminal on your speakers? It needs to be connected to the negative terminal on your speaker. To stick with DC theory 101. Right? So why does everybody design the circuit with DC theory 101 throughout. And then at the output. Connect the speaker wrong? Ouch! This is one of those Ouch, moments. This is a full hand on face,, moment. This is a scratch your baldhead, moment. And wonder how this came to be? It comes down to those guys that said they didn't want any out of phase anything LOL. Everybody was saying they wanted to listen to speakers in negative absolute polarity because they would be in phase! When people don't understand the difference between phase timing and polarity. Because phase is just not strictly polarity. It involves minutia of timing differentials. That creates its own unique, room nodal induced, comb cancellations. And even the acoustic engineers are getting this wrong. How can they? What the hell is going on? I find this all very queer very abnormal. That everyone could dismiss thinking about this factor? I find hysterical. It's like a 3 Stooges comedy short. Like the one with the plumbing in the bathroom. One of my favorite! That's what this issue is! And how all of the acoustic engineers and electrical engineers are trying to handle it. It's so unnecessary. But it's only necessary. To keep these companies going and operational, in business. Keep everybody confused and changing out their equipment, every couple of years! It's better than Detroit! Better than computers! It's cockamamie audio! And everybody chasing their tails! They want the best sound! And they are convinced their speakers are wired correctly. That's the pathetic part. I mean this is really the mission I have been on since the past 46 years! I just want everybody to get on board with this. I'm tired of listening to all of these industrial sound systems that sound potentially great. But only if the speakers were protruding out toward the audience! Nobody has figured this out! It's just a simple mistake everybody made. It's innocent. It's also mindless. A simple wiring error. Anybody can fix themselves, for free. And I am simply on this mission. Of Audio Education. And so everybody could enjoy what they are listening to. On what they spent their money on. To hear it in the way. The artists and creators. Heard it in their heads. And not from a couple of speakers. You will discover. An interesting, Psycho Acoustic Phenomenon. When you are in, positive absolute polarity. And you are listening to your favorite recordings of all time. You will notice a new and interesting phenomena. The sound is not really coming from your speakers. It's coming from slightly out in front of your speakers. Not from your speakers. It sounded like it was coming from your speakers. When they were in negative absolute polarity. Because it wasn't directing the sound toward you. It was pushing the sound. Toward the back of the speaker.. To go out it's poop shoot. Which it does not have. It has no holes on the back. Do not cut any holes in the back of your speakers! But that, is what they are trying to do. That's why the sound seems to be coming from the speakers. Because the sound is running away from you in place. But when you are in Positive Absolute Polarity. The reason why the sound seems to come from in front of the speaker. Instead of from the speaker. Is because it has pushed the sound off the front of the speaker. Like throwing a ball. It goes straight until it loses momentum. And comes toward you quickly. Before it falls. War gets stopped by a wall. And audio is pretty much the same. But you can't see the sound. I can. (More Real Life Audio in following post)
Paul has been in hifi long enough to have shoved those out of working memory, though he did speak "ceramic" as a magnet. Much higher output than MM and MC. Much lower quality, with high tracking force needed and with acoustic distortion into the room at reasonable listening levels.
@@aamiddel8646 In my experience "ceramic" cartridges are the ones that come on kiddie players. They're acoustically loud and give a tinny but strong signal. They're basically a piezo element with a pointy bit glued on.
It is hard to compare between particular models of pickups . A lot depends on mass of canterliver itself and its resonance frequency. That moving mass is represented in tech data by so called effective canteliver mass (ETC) but only few are passing that information Exceptional MM cartriges also may have it extremly low and it accounts to longer durability if needle and untouched condition of groove. . I see modern MM are somehow bulky while 40 years earlier the best producers could do them much smaller, lighter ...and expensive.
I agree in part with what is said, but not entirely. When direct comparisons were made with master tapes with an equalized level, some moving magnets like the Shure V15 type 4, type 5 for example were closer to the original tape than some moving coils.
@@stimpy1226 Hello I'm European, so this is an English translation. This comparison test was carried out in France in June 1980 by the magazine l'Audiophile. there was a Dynavector Dv karat- a Denon Dl 103- a Nagaoka MP 50- a Shure V15 /4 Conclusion for the Shure V15/4 With this cartridge, the reproduction of the record would be close to perfection (i.e. the original soundtrack) if it weren't for the drag in the bass! the skin of a large drum seems less taut). There's an impression of limpidity and fluidity that the other cells didn't provide. Let me add that at the head of the Audiophile magazine, there was a gentleman called Jean Hiraga, who was very well known in Japan, at least in Europe.
@@stimpy1226 Hello, one more test: Shure V15 V l'Audiophile n° 25 review September 1982 First listeners are immediately reminded of a top-of-the-range moving-coil cartridge, so dynamic and fast are the attacks. The high-midrange is remarkable, and the extreme treble fine and loose. The bottom end is very clean, held in such a way that the whole may tend at times to become unbalanced towards the top. Compared to very high-end moving-coil transducers, West is still a little below its best, whether in terms of dynamics, low-frequency attack, richness of harmonics or reproduction of low-level echoes. But the V-15V still outperforms many moving-coil cartridges, with one or two exceptions. The cell carrier should be selected with care, and a too-light arm/carrier assembly tends to rebalance the V-15v upwards. Cells tested in comparison: Accuphase AC-2 - ADC MC - 1.5 - Audio Technica AT-33E - Audio Technica AT-1000 - Denon Dl 1000 - Denon DL-55 - Denon DL-207 - Fidelity Research PMC-3 - Glanz GMC-55E - JVC MC-5E - Ortofon MC10MK II - Ortofon MC-200 - Yamaha MC 9 - Sony XL-50 - Sony XL-55 II - Technics EPC 305MC MK II - Yamaha MC-3 - Supex SDX 1100 R - Satin M21
That cartridge was no longer being made over 10 years ago. Berrylium, used for it's cantilver, or more exactly berrylium dust had become considered a hazardoius material in the workplace. The Shure V15 V was a nice cartridge; but nothing can touch it under $500? Have you heard 400 different cartridges, all perfecty set up? Shure made a cartridge with a metal body called the Ultra 500 which was a better cartridge and not way more expensive than the V. Employees at Shure thought a model called the Shure VST also outperformed the V,, and they liked the sound of it even better. I once called an audio store, whose employees had good ears and always told you right, and I inquired about the top of the line Shure cartridge which I knew they carried. The employee told me "As good as the Shure is, I think you'd be surprised how much better the Supex moving coil cartridge is".He was right! The designer of the Supex cartridge had the last name (still not famous) of Sugano. A Japanese master sword maker who a few years later became famous for his own brand of phono cartridges called Koetsu.
I have a Shure V-15 V cartridge. Haven’t found a replacement stylus for it. So I’m using Ortofon 2m blue and 2m red. I have a Shure SC35C I use for 45rpm singles and a Shure M97xe I hardly use that one.
The top Shure cartridges like the V15 series were consistent, good trackers and had an even frequency response. You could have done a lot worse. But there are other cartridges which sound like they have way more space between the instruments, have more detail, speed and excitement; although the transient speed on the V15 Vmr wasn't bad. Moving iron cartridges and moving coil cartridges generally have better transient precision. I had Sonus and AKG moving iron cartridges which were very good. I think Grado cartridges are moving iron also. The rest of the ones I had were mostly moving magnet or moving coil. I haven't used moving magnet since I discovered moving coil, except for one vintage Fidelity Research cartridge, which I used for a very short while.
@0:47 -- "A needle." No, it is not a needle. It is a stylus. Our host knows that it is a stylus. Our host knows that it is not a needle. But since the public-at-large calls it a needle (because they really think it is a needle), our host affirms their misunderstanding, by calling it a needle. It is ironic that our host uses his channel to educate the public, and yet insists on misinforming them that a stylus is a needle. He helps the public learn all-things-audio, except with his obsession of calling a stylus a needle. He does this in many of his videos -- so it is not an accident. Our host replies to comments. Ergo, our host reads the comments. I have written a comment each time he calls a stylus a needle. So he does it intentionally. This is an example of someone that is set in his ways. He would rather dig his heels in, at the expense of misinforming the public, than simply call a stylus a stylus. I wonder, if when our host is meeting with other industry experts, if he would call a stylus a needle in their company? Even if industry experts are kind enough to not correct him, they still form an opinion of someone in his position talking like a novice.
Another comment, commented on Shure getting out of the pickup cartridge business ... Shure it was a mistake Shure getting out of the business, but Shure were Shure there was no future in pickup cartridges, but now they're not so Shure any more! ... Shure they didn't think it through, but we all make mistakes when we're un-Shure, I'm Shure about that! 🤣
These devices are simple in principle and ingenious in design and produce exquisite sounds. Pure miracle
I love you Paul. I've been watching you for years. You are great. We are almost the same age.
But when it comes to audio? I haven't always been right. But I've never been wrong.
Yeah Paul, well you've left out of the equation,, a 3rd type of phono cartridge. You obviously know nothing about? It wasn't around very long. Therefore it is little-known. But it existed, nevertheless. As I found it substantially and fundamentally, different. And delivered precisely the way in which they said it would. I was duly impressed. I was delighted! Oh yeah baby! This is it! This is the bees knees! You will be cutting a rug with this one! You will get down to get up! I was blown away by it. I worked for Owned & Operated, Flagship, NBC Radio Facilities. Maintaining, designing, building, evaluating, Audio Superiority. We had a Superiority Complex. We were #1 in the Market. You know how it is, Paul? You build some stuff also. Great stuff! I think we all had some of your stuff. I can't remember when I last did or what it was called? But I have owned virtually anything worth owning. Some for a long long time. Others were just a kiss and a quick, hurrah!
In this unfortunately is one of those items. I never wanted to part with. And when one has to consider, certain intrinsic risks with said devices? Walk away remembering the good times we had together. And how we shall dearly miss them forever. Be it inanimate or flesh and blood. The flesh and blood ones are the hardest. Phono cartridges not so much. But your video brought back a memory and a tear to my eye.. Over spilled milk and cookies. But I digress.
This cartridge was around, 40 years ago. When I was working for NBC Radio, in Washington, DC.
This phono cartridge came from a company, if memory serves me correctly, still? At 68. I think they were called Micro Acoustics? They came up with something different. A very novel lightweight, high-performance, new concept, old technology Phono Needle Cartridge Thingy. With no need for, Compensation Capacitor! That causes an abomination to, square wave reproduction. At no compensation resonant capacitor made an enormous difference of smoothness. I mean this was slick sounding. Everything else is sickening sounding.
Unlike a moving magnet or a moving coil. All with relatively high mass. An electret, permanently polarized, capacitive transducer was used. Similar to a karma condenser microphone element. Not moving magnets. Not moving coils.
The moving magnet and moving coil types. Worse still, inductive. And would require a, capacitive load. Such as a, .047 µF or was that a .0047? I forget right now off the top of my head. It's something like that. To resonate the circuit in the cartridge. Because you need to resonate in inductive load with a capacitor or a magnetic load with induction. But a capacitive transducer works differently with even less mass. Come
And so this cartridge required no, .047 or .0047 µF capacitor resonator. No need for that. This is a purely capacitive load. Not inductive, not magnetic.
This cartridge also had a, elliptical stylus. Within a even lighter weight and stiffer, Beryllium cantilever. Lighter than the other aluminum-based alloys.
One of the first things, one would notice. Splattering sibilance, no longer heard! Nothing is resonating around that frequency. It's gone! It's smooth. It sounds clean and unmolested.
This cartridge, sounded unique.. It was free from the nasty resonant frequencies. The moving magnet and moving coil types, had. It was a breath of fresh air in, sound.
It was also lighter weight and more fragile. Than, the standard, old, fare. And not really designed for heavy broadcast industrial grade work. This was ultra hi-fi. And we didn't equip with it at NBC radio. And I was able to take it home for myself.
I absolutely loved the way this cartridge sounded. Hands down. It had none of the negative qualities the moving magnet or moving coil types had//have. And they recommended. Any turntable, with integrated tone arm. Might already feature the, .047 or, .0047 µF capacitor's. They recommended those to be removed. As they are no longer needed. And they will upset the response from flat. Causing a high-frequency shunt. Across the output of the cartridge. No longer needed.
I was in love with the sound of this cartridge. Regardless of the preamps, I checked it out on. And I checked it out on numerous, high-end preamps. These were largely custom preamps. It's so more vacuum tube. Others transistor. Integrated circuit chip, hybrid types. Could be compared with this unique Back Electret Cartridge. And I fell in love with its sound quality. Compared to the other types which sounded like filters. This was beautiful and open sweet and flat.
Then came the day of dark and gloom. They went out of business. I couldn't obtain a replacement stylus. And after a few years. Mine crapped out. And that was the end of that. Having to go back to the other original, moving magnet and moving coil, types. Blah!
So you guys with those really fancy expensive turntables and tone arms. The joke is on you! With your esoteric, gobbledygook, bullshit! Of flawed and old-fashioned. For old-fashioned and flawed. Great! We have really made great inroads here for you, Vinyl Junkies. That has now been lost to History. And everybody wanders around. Needing a haircut. With a lot of Wool. Over your ears. Of garbled and splattering, sound. Due to moving magnets and moving coils that, weighs a lot. And have a lot of mass to them. You don't want a lot of mass to move. It causes distortions of all types. Not all of which can be rendered, in audible. But when you hear it without? From a back electret type. It's a Game Changer!
And because we evaluated these. With proper, high-end, test equipment. Of all types of different, Distortion Analyzers. All types! Not just Total THD. But even the Intermodulation, Distortion. The, 3rd, auto order harmonics. And the 2nd, even order harmonics. Separately! And with a bunch of engineers. Doing listening tests. Not just Betty and Frank, Barney and Wilma. And then there is Fat Freddie. Who can barely hear after doing 40 years of heavy construction. Or, Bobby. Who has been playing Electric Guitar with, 4 Martial Stacks behind him! And cat here worth a damn, either anymore. Without his hearing aids!
I had a colleague who was, an ex-military, trombone band member. Who over time. Became profoundly deaf. And had some of the first rather expensive, computer adjustable, hearing aids. And he loved Pro Audio and was an, Engineer wannabe. And was taken on. By the Studio Owner. Who was a colleague of mine. And I said to Bruce, what are you doing? Frank is deaf and has hearing aids! How can he be a Recording Engineer?! He's deaf!
But Frank would go off on the computer control of his hearing aids. I didn't care! He was deaf! What the hell kind of recording engineer is a deaf recording engineer!?!? I mean give me a break! Some people have a genetic loss of hearing. It's not their fault. But you're also not going to become an, Audio Engineer. In your mid-50s while you are deaf now. I mean give me a break!
(More Real Life Audio in following post)
The SONIC differences between Moving Magnet & Moving Coil? There could be some very expensive moving magnet cartridges out there that could refute the following, but what follows is generally the case with cartridges not priced in the stratosphere.
Moving Coil:...More energy in the uppermost treble. combined with truly superior transient response gives moving coil a very effortless sound. Moving magnet cartridges generally sound slow and mechanical in comparison.
Moving coils have more depth and space between instruments, like a good tube amp. But unlike many tube amps (especially vintage ones), moving coils are very lively sounding and they aren't softer sounding like tube amps.
More detail, more open, more transparent is what good moving coil cartridges are all about also. "Only moving coil cartridges have real transparency" said the late HP of The Absolute Sound magazine. They simply sound more real, in ways that in addition to the above are hard to describe. Of course if you find a moving coil cartridge which has a peaky response; then look for a different model or brand. Like anything, there are good and less good.
The differences and degree of improvement with good moving coils is worth any extra trouble or expense. You simply won't like your moving magnet cartridge anymore after listening to a good moving coil cartridge. They need higher gain from the phono stage because of their lower output. They also need more attention to just what tonearm you are going to use with it. But the extra effort (and expense) pays big dividends in sound quality, and in my experience, has always been well worth the effort.
Actually I like my MM cartrige after hearing MC becaue I listen music, not a cartridge. Simple as that.
Although there have been some moving coil cartridges that have been made to have a slightly tilted frequency response to show off their amazing clarity, the trend in recent years has been toward more honest sounding transducers. I personally don't think anyone with "ears" would think slower, more veiled, less open, less depth, less transparency is the superior cartridge. Moving magnet cartridges don't hold the exclusive patent for accuracy. In fact, any well designed moving coil cartridge sounds much more real than moving magnet.
@@sidesup8286 You'd be surprised, there's a definitely a market for old (mostly MM) cartridges. Check out the prices many are paying for the Shure M3D or the General Electric VR1000, ridiculous. I myself admit, I'm currently enjoying a 1958 Bang Olufsen cartridge
That's right call I proper reply. Thank you for posting it
@@crodoc69 I love to listen to music too. I certainly don't agree with you. There are some great moving magnet cartridges out there but as in general statement moving coil cartridges off our superior to retrieving the information on vinyl.
Could you please explain the merits and uses og high output MC and low output MC also?
I think that the electrical resonance of a low output MC is higher than a high output one. Also, the effective moving mass might be lower on a low output MC
Paul, I think the question may have been about Low Output and High Output moving coil cartridges as well as the difference between moving magnet and moving coil. The other implementation, of course is moving iron, where the mass of the cantilever is even lower. Soundsmith and Grado are two manufacturers of moving iron cartridges.
Then there’s strain gauge …
That's what I was thinking, Hana offer this with their Moving Coil cartridges
Paul. Please explain why there is high output MC and Low output MC
Probably mere marketing. A lot of people see "Moving Coil" and they automatically assume it's better than Moving Magnet or Moving Iron. In reality, High output MC's don't have either the electrical (higher frequency resonance) or mechanical (less effective moving mass) advantages over MM or MI
High output moving coil need less amplification than low output, so less expensive phono stages can be used.
Too bad Shure got out of the cartridge business. They're losing out big time on the vinyl resurgence. I can only imagine what they could of come up with.
I agree! I was a big fan of the V15 series and it was only after Shure quite making them that I moved on to a MC. I can't even find a stylus for the V15 that I still have.
Jico makes stylus for every Shure cartridge. I have them on my V15 III,IV,VMR, & M97XE. From LP Gear.@@stephensams709
@@stephensams709Google SAS JICO replacement stylus. That’s where I got mine. They are very good.
@mr.george7687: You’re right. I was surprised when SHURE left the business.
@@stephensams709There are styli for the V15 from LP Gear, Jico and other suppliers. I am using a Jico SAS Zirconia on a V15-IV, which I bought from LP Gear. It’s a great combination.
So, my question after watching the video is why can you properly terminate a balanced input with an MC cartridge but not a MM cartridge? Are the leads in both cases not attached to a set of coils?
The same for Stanton. The 680/681 series was very good. Still good enough for me. I don't understand why the moving iron induced magnet system wasn't mentioned. Especially considering how many radio broadcast stations had them sitting at the end of tone arms in their studios.
Would someone please explain why the "induced magnetic " design (ala ADC) did not become more used and/or appreciated ? I always loved the XLM series and I wonder why this system was not used more often . It seems to me that it somewhat solved many problems, and allowed lower mass cantilevers but with higher output .... or does anyone still use this system without my being aware ? Or why not ? Thanks
The Ortofon OM and 2M range are Moving Iron / Induced Magnet designs. Also Grado keeps using it in all of their carts, and Soundsmith uses a variation of it that they bought from Bang & Olufsen called Moving Micro Cross
Nagaoka uses this system too. I'm still using the Stanton 680/681 series those are also an induced magnetic moving iron cartridge . It's the only Stanton series that is and they were very popular...many DJs used the in radio broadcast and continued to use them afterwards at the hip-hop and rave events. Yeah all of us in the late seventies and eighties had one. Had a couple of Shure carts then an Empire ( also induced magnet) but all my friends were switched over Stanton 681 . I liked what I heard so I made the switch have been pleased with it ever since. That Steriohedron stylus tip was so good. Too bad Gibson bought them out and slowly dropped the entire line. That EL.4×.7 stylus was nice too. Especially in a heavier S - shape tone arm tracking at 3.5 grams it really could give an old worn piece of vinyl a breath of fresh air. Yeah as soon as I can afford one of those nude mounted Jico stylus I should. But I going to have to get something a little less expensive for now. I've only got one D680ee stylus left and need to keep it as a reference.
We should also look at stylus design as it affects information extraction and wear characteristics of the groove.
I wish Paul would discuss high output moving coil cartridges. Many people are so negative about them. They would seem to have the lower moving mass of MC while requiring less electronics in the signal pass.
You know when it comes to Photograph Cartridges. I really don't have a single favorite. When I have been a SHURE fan of just about everything they have ever made. For almost as many decades as my age like yours. Well over 5. There are other lovely, very low mass, cartridges. All beautiful works of art in their own right. To play back, classic works of art. To get that Full On Immersive Experience. Of that loud click and scratch you now find on your record! Who the hell did this! Who! Just you wait till I get my hands on you, Alice! POW ZOOM!
We only need to transfer those, out-of-print, old grooved platters we got to digital. And so which digital? Begs the question. Right. There is only one logical answer for that.
It's DSD. And what happened to it? Where did it go? It is so heads and shoulders better and beyond anything PCM at any bit depth at any sample rate. Beyond any PCM ever.
It seems to have died a cold cruel death. Because nobody can write, crazy whizbang real-time software of effects for that kind of a, bitstream. Without conversion back to PCM. And then converting back to DSD. After effects are added. But when everything has effects. Then everything has been converted to PCM. So that's all bullshit! Unless you keep it within the original DSD, unadulterated, bitstream and file storage. With no transcoding conversions to add effects.
And so real-time convenient cheap play toys now rule the digital landscape. As long as it's PCM! It's okay! Yeah no it's not. And then likely the reason. Old people want to listen to their old scratchy records. To take them back to their youth. Of scratchy records. Those at the radio stations. The DJs lost their job at. When they darted outside to smoke a joint. And the record stuck. You come back 3 minutes later. And it's 3 minutes Past Your Job. 72° at the airport.
The cartridges I like best. Are the ones that can play the records. With grace and precision. At not be looking all wonky. It has to look right also. I don't like real, froufrou style pickups. That only fit on one brand of tone arm. Or one brand of tone arm. Can only accommodate one brand of cartridge. Screw that!
So I like what I want. The way I like it.. Coupled with the equipment I want to use, with it. It's like introducing a new cat into your family. When you already have one. And the drama which that ensues. And then they jump on your stereo. And break it. God damn cats!
Thankfully they never broke anything in my household. Or in my home recording studio control room. Because if they pissed-on, That. It would be off to the taxidermist! Come here kitty kitty. And they were lucky that did not happen! You don't have to tell me your box Is full! I can see that! Damned cats!
So? Later I took one of my cats. And I stuck her on the end of my shotgun microphone. And I just tell everybody. It's just my dead cat. They don't know it's a microphone. As I want Virtual Hyper Realism that is Immersive! And so you can save your old cats in jars of formaldehyde. Just so you know. Until you want to use them on your microphones. But you must let them dry out completely first.
Oh and wash your hands after touching it.
RemyRAD
There are high output moving coils as well. I’ve read that the low output ones are better though.
What justify the cost of the addition of a step transformer to a low output MC v.s. A high output MC cartrige? It’s sounds nicer?
As there are additional philosophies involved here. One of them I contend with all the time. Bass Drum, microphone phase. Normal or inverted? Well that depends on your point of view there. And I follow 2 philosophies. Is it Rock or Jazz?
If it's Jazz. I do not invert the phase.
If it's Rock. I will generally invert the phase.
As with Jazz. It'll be bigger, fatter, sloppier, rounder, sounding. Combined with the, in phase, overhead MIC's and those overtop, drum heads. And those low frequencies will all combine and build.
But with Rock. That, Bass Drum microphone. Is, inside the Bass Drum. Which is like the microphone. Under the snare drum. Which must be phase inverted. Because it's under the snare drum. Making it phase inverted to the other microphones. Because it is pointing in the opposite direction. And for Rock. You want that Bass Drum. To feel like, CPR upon your chest. And that's how you get that sound. By inverting the phase of the Bass Drum, microphone inside that drum. When combined with the other microphones. Overtop that Bass Drum. That has its microphone facing in the opposite direction.
And so there. Is when we play with and express, phase. But then there is also phase timing between microphones. Where you want to follow the, 6 to 1, rule. Otherwise you will get, Nast Comb Filtering. When you have microphones, too close, together. And not far enough apart. By about 6 feet. As that causes other phase timing errors that will be heard as tubby sounding, comb filtering. And will present a cloudy hazy sound.
And of course. A lot of these microphones on a drum set. They are not 6 feet apart. Therefore. When all turned on together. The drums might sound kind of, cloudy and sloppy, jazzy, not tight, loose as a goose. And that's why, God created. Dynamic range limiters, equalizers and downward expander, noise gates.
And so I typically will have a limiter each and every drum. I will have an EQ of filtering. On each drum. Each drum will be fed into a dynamic range limiter. And each limiter will be fed into a dynamic range, downward expander gate. Or just gate. But sometimes. I will not let them turn down all the way. For various reasons. To stop at, minus six, nine, 10, 15 DB only. That is not a gate. That is downward expansion to that preset level of turning down not all the way. And I use that on vocals mostly. I use gates on drums. I will use an expander on a Bass guitar, may be a 6 string guitar. Maybe on an acoustic grand piano. Because I don't want it to gate and shut completely off. That would sound horrible!
And that comes under recording technique. That has nothing to do with the Absolute Polarity. Of your, Monitor Speakers. That's at the end of the line. Where it must move the air in your room toward or away from you. Pick one. Pick the right one. And you do. But your speakers are not doing what you think they are doing. They are doing the opposite in fact.
I mean this is truly a funny one. A funny one 99% of everybody has gotten wrong. And I believe it to be the biggest Technical Faux pas in Provo Audio History. And has nothing to do with what Utah. That I Taw. But has to do with Absolute Positive Speaker Polarity. And how everybody has gotten it wrong. With an innocent mistake. That everybody has gotten wrong. It's so funny.
This just makes me want to study, Sociology. As I feel this has to do with Sociology. And is a socioeconomic phenomena. Because it's not whether you have purchased cheap or expensive good or bad, speakers. Which really doesn't matter. They come in varying qualities. But it does matter. Which direction. They toss the concept in, first. And how to verify your accuracy. With that battery test on the woofer. As when the wolf removes out toward you. With positive the battery on positive of the woofer. You will know. To use your DC theory 101. Connecting from your audio power amplifier. To the speaker terminals. As positive gets connected to negative and negative gets connected to positive. In order to make the flashlight work with 2 batteries in it. Right? You can't connect the positive terminals of the battery together. And use the negative terminals to connect to the lightbulb. It won't work that way. DC cannot flow. Positive needs to be connected to negative.
So why would these audio power amplifier companies. Tell you to connect the positive going terminal of their audio amplifier output. To the positive terminal on your speakers? It needs to be connected to the negative terminal on your speaker. To stick with DC theory 101. Right?
So why does everybody design the circuit with DC theory 101 throughout. And then at the output. Connect the speaker wrong? Ouch!
This is one of those Ouch, moments. This is a full hand on face,, moment. This is a scratch your baldhead, moment. And wonder how this came to be?
It comes down to those guys that said they didn't want any out of phase anything LOL. Everybody was saying they wanted to listen to speakers in negative absolute polarity because they would be in phase! When people don't understand the difference between phase timing and polarity. Because phase is just not strictly polarity. It involves minutia of timing differentials. That creates its own unique, room nodal induced, comb cancellations. And even the acoustic engineers are getting this wrong. How can they? What the hell is going on?
I find this all very queer very abnormal. That everyone could dismiss thinking about this factor? I find hysterical. It's like a 3 Stooges comedy short. Like the one with the plumbing in the bathroom. One of my favorite! That's what this issue is! And how all of the acoustic engineers and electrical engineers are trying to handle it. It's so unnecessary. But it's only necessary. To keep these companies going and operational, in business. Keep everybody confused and changing out their equipment, every couple of years! It's better than Detroit! Better than computers! It's cockamamie audio! And everybody chasing their tails! They want the best sound! And they are convinced their speakers are wired correctly. That's the pathetic part.
I mean this is really the mission I have been on since the past 46 years! I just want everybody to get on board with this. I'm tired of listening to all of these industrial sound systems that sound potentially great. But only if the speakers were protruding out toward the audience! Nobody has figured this out!
It's just a simple mistake everybody made. It's innocent. It's also mindless. A simple wiring error. Anybody can fix themselves, for free. And I am simply on this mission. Of Audio Education. And so everybody could enjoy what they are listening to. On what they spent their money on. To hear it in the way. The artists and creators. Heard it in their heads. And not from a couple of speakers.
You will discover. An interesting, Psycho Acoustic Phenomenon. When you are in, positive absolute polarity. And you are listening to your favorite recordings of all time. You will notice a new and interesting phenomena. The sound is not really coming from your speakers. It's coming from slightly out in front of your speakers. Not from your speakers. It sounded like it was coming from your speakers. When they were in negative absolute polarity. Because it wasn't directing the sound toward you. It was pushing the sound. Toward the back of the speaker.. To go out it's poop shoot. Which it does not have. It has no holes on the back. Do not cut any holes in the back of your speakers! But that, is what they are trying to do. That's why the sound seems to be coming from the speakers. Because the sound is running away from you in place.
But when you are in Positive Absolute Polarity. The reason why the sound seems to come from in front of the speaker. Instead of from the speaker. Is because it has pushed the sound off the front of the speaker. Like throwing a ball. It goes straight until it loses momentum. And comes toward you quickly. Before it falls. War gets stopped by a wall. And audio is pretty much the same. But you can't see the sound. I can.
(More Real Life Audio in following post)
Whatever happened with the piezo element?
Paul has been in hifi long enough to have shoved those out of working memory, though he did speak "ceramic" as a magnet. Much higher output than MM and MC. Much lower quality, with high tracking force needed and with acoustic distortion into the room at reasonable listening levels.
@@tactileslut ??
@@aamiddel8646 In my experience "ceramic" cartridges are the ones that come on kiddie players. They're acoustically loud and give a tinny but strong signal. They're basically a piezo element with a pointy bit glued on.
@@aamiddel8646It's not even worth talking about
Excellent presentation Paul.
So why does any one need a phono pre amp ?
Because of the RIAA equalization curve and to boost the level.
It is hard to compare between particular models of pickups . A lot depends on mass of canterliver itself and its resonance frequency. That moving mass is represented in tech data by so called effective canteliver mass (ETC) but only few are passing that information Exceptional MM cartriges also may have it extremly low and it accounts to longer durability if needle and untouched condition of groove. . I see modern MM are somehow bulky while 40 years earlier the best producers could do them much smaller, lighter ...and expensive.
Canterliver? Sounds scary. 😉 I'd go with cantilever.
@@Fastvoice Good for you 😄
Moving Iron and strain gauge and optical
And then You have Moving Iron, Optical and Strain gauge cartridges....
I agree in part with what is said, but not entirely.
When direct comparisons were made with master tapes with an equalized level, some moving magnets like the Shure V15 type 4, type 5 for example were closer to the original tape than some moving coils.
Could you please produce the factual information. It's easy to just say something. I'm from Missouri so I'd like you to show me
Legendary Doug Sax of The Mastering Lab and Sheffield Lab: "I like moving coils . . . in other people’s systems." 😄
@@stimpy1226 Hello I'm European, so this is an English translation.
This comparison test was carried out in France in June 1980 by the magazine l'Audiophile.
there was a Dynavector Dv karat- a Denon Dl 103- a Nagaoka MP 50- a Shure V15 /4
Conclusion for the Shure V15/4
With this cartridge, the reproduction of the record would be close to perfection (i.e. the original soundtrack) if it weren't for the drag in the bass! the skin of a large drum seems less taut).
There's an impression of limpidity and fluidity that the other cells didn't provide.
Let me add that at the head of the Audiophile magazine, there was a gentleman called Jean Hiraga, who was very well known in Japan, at least in Europe.
@@stimpy1226 Hello, one more test:
Shure V15 V l'Audiophile n° 25 review September 1982
First listeners are immediately reminded of a top-of-the-range moving-coil cartridge, so dynamic and fast are the attacks.
The high-midrange is remarkable, and the extreme treble fine and loose.
The bottom end is very clean, held in such a way that the whole may tend at times to become unbalanced towards the top.
Compared to very high-end moving-coil transducers, West is still a little below its best, whether in terms of dynamics, low-frequency attack, richness of harmonics or reproduction of low-level echoes.
But the V-15V still outperforms many moving-coil cartridges, with one or two exceptions.
The cell carrier should be selected with care, and a too-light arm/carrier assembly tends to rebalance the V-15v upwards.
Cells tested in comparison:
Accuphase AC-2 - ADC MC - 1.5 - Audio Technica AT-33E - Audio Technica AT-1000 - Denon Dl 1000 - Denon DL-55 - Denon DL-207 - Fidelity Research PMC-3 - Glanz GMC-55E - JVC MC-5E - Ortofon MC10MK II - Ortofon MC-200 - Yamaha MC 9 - Sony XL-50 - Sony XL-55 II - Technics EPC 305MC MK II - Yamaha MC-3 - Supex SDX 1100 R - Satin M21
@@thierrycombaz8546Interesting, Stereophile also had an identical conclusion when they tried the V-15 IV
I'm still using my old Shure V15-V with "aftermarket" stylus.
NO MM cart under $500 can match it.
That cartridge was no longer being made over 10 years ago. Berrylium, used for it's cantilver, or more exactly berrylium dust had become considered a hazardoius material in the workplace. The Shure V15 V was a nice cartridge; but nothing can touch it under $500? Have you heard 400 different cartridges, all perfecty set up? Shure made a cartridge with a metal body called the Ultra 500 which was a better cartridge and not way more expensive than the V. Employees at Shure thought a model called the Shure VST also outperformed the V,, and they liked the sound of it even better. I once called an audio store, whose employees had good ears and always told you right, and I inquired about the top of the line Shure cartridge which I knew they carried. The employee told me "As good as the Shure is, I think you'd be surprised how much better the Supex moving coil cartridge is".He was right! The designer of the Supex cartridge had the last name (still not famous) of Sugano. A Japanese master sword maker who a few years later became famous for his own brand of phono cartridges called Koetsu.
I have a Shure V-15 V cartridge. Haven’t found a replacement stylus for it. So I’m using Ortofon 2m blue and 2m red. I have a Shure SC35C I use for 45rpm singles and a Shure M97xe I hardly use that one.
The top Shure cartridges like the V15 series were consistent, good trackers and had an even frequency response. You could have done a lot worse. But there are other cartridges which sound like they have way more space between the instruments, have more detail, speed and excitement; although the transient speed on the V15 Vmr wasn't bad. Moving iron cartridges and moving coil cartridges generally have better transient precision. I had Sonus and AKG moving iron cartridges which were very good. I think Grado cartridges are moving iron also. The rest of the ones I had were mostly moving magnet or moving coil. I haven't used moving magnet since I discovered moving coil, except for one vintage Fidelity Research cartridge, which I used for a very short while.
I prefer to distinguish them as "Moving Coil" and "Fixed Coil" cartridges.
MC and MM are the official names for them - in every brand. Never saw "FC".
@@Fastvoice - Who made it "official"?
Moving Iron cartridges beat them both by a mile 💪
@0:47 -- "A needle."
No, it is not a needle. It is a stylus.
Our host knows that it is a stylus.
Our host knows that it is not a needle.
But since the public-at-large calls it a needle (because they really think it is a needle), our host affirms their misunderstanding, by calling it a needle.
It is ironic that our host uses his channel to educate the public, and yet insists on misinforming them that a stylus is a needle. He helps the public learn all-things-audio, except with his obsession of calling a stylus a needle.
He does this in many of his videos -- so it is not an accident.
Our host replies to comments. Ergo, our host reads the comments. I have written a comment each time he calls a stylus a needle. So he does it intentionally.
This is an example of someone that is set in his ways. He would rather dig his heels in, at the expense of misinforming the public, than simply call a stylus a stylus.
I wonder, if when our host is meeting with other industry experts, if he would call a stylus a needle in their company?
Even if industry experts are kind enough to not correct him, they still form an opinion of someone in his position talking like a novice.
Just go back to your room in your mother’s basement.
Vinyl is such a waste of money.
It really is - I found out the hard way. Still, it's fun to play around with cartridges and records that aren't available on CD, streaming or tape
Another comment, commented on Shure getting out of the pickup cartridge business ...
Shure it was a mistake Shure getting out of the business, but Shure were Shure there was no future in pickup cartridges, but now they're not so Shure any more! ... Shure they didn't think it through, but we all make mistakes when we're un-Shure, I'm Shure about that! 🤣