Phono Cartridge Reviews

If you have read my reviews of the Ortofon M-15, the Shure V15-III, and the Decca Mark V, you have probably formed a pretty firm impression of which of the three contenders for the title "Best Pickup" is the winner. In case you haven't, though, here's a capsule wrap-up of our reactions to the three phono cartridges reviewed in May 1974.

The Decca Mark V is the latest version of that English firm's unique "tip-sensing" stereo-matrix-ing pickups. The "matrixing" apellation refers to the fact that the Decca pickups do not use 45°–45° sensing coils, but use instead a combination of vertical and lateral-sensing coils. There is a single coil for lateral sensing, with its pole pieces brought down next to the tip. This is the tip-sensing feature, whose major attribute is that the stylus motions don't have to be conveyed along the length of an armature before reaching the transducing pole pieces. Thus there is virtually no possibility of the stylus vibrations being modified through flexing of the armature prior to their transduction into audio signals.

This low-output moving-coil cartridge can be fitted with different styli. The basic DL-103 has a 0.5-mil spherical tip, the DL-103S a Shibata tip. As of the spring of 1975, the '103S is being imported by American Audioport, Inc., in Columbia, MO. the '103 is being brought in directly from Japan by a few dealers. Our '103 was loaned by Music & Sound of California, the '103S came from Audioport.

They are not too similar in sound. The DL-103S is incredibly clean-tracking, with a light, airy high end, a subtle zizz on string tone, and a very slightly withdrawn quality similar to the sound of the Supex 900E, but not as overly rich-sounding as the Supex.

The Shure V15-III is the latest of Shure's top-of-the-line "Super-track" pickups, earlier versions of which we scorned because of their dished-down response in the 6kHz range and their consequent "dead" sound. (We were unimpressed with Shure's suggestion that the pickup cable capacitance be increased to a total of around 300pF, since few audiophiles are equipped to measure either cable capacitance or frequency response).

This is one of Shure's new generation of pickups with "trackability" that grew out of research on the Type II V-15 pickup.

At first glance, the V-15-II and the M75E are physically identical. They're the same size, the same shape, and almost the same weight (the M75E weighs 0.8 grams less); and both of them have the same neat little hinged cover that flips down to protect the stylus when the pickup's not in use.

I'm a progressive who enjoys the company of his conservative friends, a Catholic who's thankful for his atheist friends, and a carnivore who cherishes his vegetarian friends. I'm also a vintage-audio enthusiast who loves his audiophile friends who aren't so inclined—so I was doubly happy to see, in the September 2016 edition of Michael Fremer's "Analog Corner," a hearty endorsement of Ortofon's latest SPU: a 58-year-old phono-cartridge design that, like the coelacanth, continues to thrive despite expectations.

Mikey is a longtime friend who harbors no love for vintage phonography—yet after playing his first record with the new SPU #1E ($659), he wrote: "I immediately, and much to my surprise, got what the SPU cult is all about."

Which record player has achieved international acclaim as a musical instrument in its own right?

Which turntable is revered for its near-indestructible build quality?

Which disc spinner has played more records—and made more people drink, drug, dance, and make out—than any other?

Which turntable has sold over three million units?

Hint: It is not made in the US, the UK, China, or Switzerland.