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Hi Mickey,

You wrote:

/"//The problem is the mid-range frequencies - a cantilever assembly 
will flex slightly, not reaching the full amplitude of the wave form. In 
the case of a tuba, you will tend to hear the fundamental of the note 
which will overpower the overtones which give the sound more character."/

Perhaps you were referring only to the cartridges mentioned in your post 
and I don't know the composition of the cantilevers in the cartridges 
mentioned. However, cantilevers are made from a number of materials 
(Aluminum, Boron & Ruby, to name a few) and the designs are as varied as 
the materials used. Some are solid, some are hollow and tubular and some 
are hollow and tapered. So, the resonance will vary with the design. 
And,there are other factors involved as well: Tracking force, Dampening, 
even the electrical resistance (Termination), etc.

My $0.02

It certainly is a jungle out there, isn't it,

Corey

PS: Another problem with vinyl is the composition of the vinyl itself.

CB

Corey Bailey Audio Engineering
www.baileyzone.net

On 4/15/2018 12:44 PM, Mickey Clark wrote:
> The problem with vinyl is cartridge inadequacies
>
> One major reason for my preference for 78s is the presence.
>
> I can only achieve the quality that I strive for by playing a 78 slow.
>
> What I hear when playing a stereo record is a sense of lack of 
> mid-range texture. I use a Shure M97  cartridge for slow dub 78s only. 
> I find that the sound is compressed when I play a 78 at full speed. 
> This is due, I believe to the flexing of the cantilever assembly in 
> the cartridge. Less so  than an M44 which has a thicker and thus more 
> rigid cantilever. On a 33 1/3 I hear sibilants popping out at you with 
> a washed-out quality of mid-range.  The location of the pick-up in 
> many stereo cartridges is inside the body of the cartridge. The 
> vibrations relayed by the cantilever are accurate for bass - i.e. the 
> stylus can reach the peak of a wave form without flexing because there 
> is adequate time for it to achieve this. high frequencies are far 
> smaller and can be tracked adequately as well.
>
> The problem is the mid-range frequencies - a cantilever assembly will 
> flex slightly, not reaching the full amplitude of the wave form. In 
> the case of a tuba, you will tend to hear the fundamental of the note 
> which will overpower the overtones which give the sound more character.
>
> The General Electric VR22 - Golden Classic - variable reluctance 
> cartridges address this issue by working in an entirely different 
> manner. The magnet is on the very tip of the cantilever . The 
> relationship of the magnet with the two metal nodes that protrude from 
> the cartridge induces magnetic fluctuations which are picked up by two 
> coils within the body of the cartridge. The cantilever in this design 
> is only a ground in the circuit and does not need to be rigid in order 
> to perform it's function.
>
> As I was curious about this cartridge, I found a new-old stock 1960 
> Golden Classic which I have mounted on a ca. 1935 Micro transcription 
> turntable with a professional Audax tone arm.
>
> The following link is to comparative samples of Renata Tebaldi singing 
> Un Bel Di from London issue of Madame Butterfly. Original sample rate 
> 96,000/24 resampled to 44,100/16. I ran a very low dehum filter to 
> both and maximized the levels for comparison (so at least the peaks 
> are in line with each other. As I expected, the GE golden classic 
> retains more of the breath of the voice and the strings have more 
> presence.
>
> https://www.dropbox.com/s/rih2ao2scmx9w01/Un%20Bel%20di%20Comparison.zip?dl=0 
>
>
> I prefer the 58 year old cartridge on the 85 year old Micro(later 
> McCurdy) to the Shure on a Technics SP-15 -Mickey