Phono Cartridge Reviews

Anthony H. Cordesman wrote about the Shure V15 VMR January 1985 (Vol.7 No.8):

This cartridge ($275) seems to divide high-end reviewers more than any other, and largely along class lines. If you are a card-carrying highender, it is definitely declasse. If you bemoan the fact that high end audio now consumes more of the GNP than nuclear weapons, and are frightened of Carl Sagan's warning that cumulative emissions of upper-octave music can cause an "audio winter," then fans of expensive moving coils are effete snobs.

My own general impression—which is formed from a position of godlike wisdom and objectivity—is that the newest Shure is good value for money at the $130 it generally discounts for. It is justly famous as an excellent tracker, and it is important to note that it tracks music, not just test tones. It sounds slightly rolled off in the upper three octaves, does not resolve low level detail as well as its higher priced competition, and lacks upper-octave sweetness and life. Its dynamics are less natural than those of the better high priced competition. The latest MR stylus is, however, considerably better in providing natural highs than its predecessor if you tweak and adjust the cartridge body to get the best sound.

Unfortunately, Shure seems to have given up on the full range of precise setup jigs and gauges it issued with the first V15 Vs, and there is no way you can visually align this cartridge because of its irregular shape. Playing with VTA and azimuth—particularly azimuth—can make a real difference.

In fact, setup is surprisingly critical. The fact that the Shure V15 VMR works adequately in most tonearms in no way means that it works its best in most tonearms. It needs Litz wire in the headshell—if possible—and fast, extended interconnects. The Straightwire, Livewire, and Petersen are advised. The bass is loose in medium to high mass tonearms; low to medium mass combinations are advised. In the right tonearm, however, the bass can be quite good if less than fully dynamic, and slightly less tight than the best competition.

The V15 VMR also benefits from a hard platter mat and clamp combination like the Goldmund or SOTA, or standard VPI. This gives it a little more life without sacrificing its smoothness and tracking. I do not advocate removing the stylus brush from contact with the record. This will give the V15 VMR more life, but it also means a slightly rougher and less detailed upper octave performance, and more problematic bass in medium mass arms.

The end result, however, is close enough to a good open reel tape to be recommended. Imaging and soundstage are quite natural if the setup is good. The cartridge's excellent upper octave separation means you must adjust your speakers, have good electronics, and adjust your balance control carefully to avoid a hole in the middle.

The apparent rolloff in the high end complements most medium priced transistor electronics. Demanding, complex passages of music come through with exceptional clarity—although always with some loss of upper midrange and treble detail. The bass is as natural as anything in the price range. Reliability is excellent.

Neither a god nor a goat, but simply good value for money. (Only an idiot, however, would pay list!)—Anthony H. Cordesman

Anthony H. Cordesman returned to the Shure V15 V-MR in August 1987 (Vol.10 No.5):

Shure doesn't always have an easy time of it from high-end reviewers, and I suppose they won't get the best of times from me. I included the Shure V15 V-MR ($220) in this survey because so many of the reference cartridges I've discussed are expensive—often more expensive than most audiophiles can afford. The Shure V15 V-MR commonly discounts at mail-order houses for $125–$140. Most of the other cartridges discussed here do not discount heavily, if at all.

What you get for your $125–$140 is a relatively colorless cartridge that works well in medium-quality and even mediocre arms. "Colorless" is, in this case, a blessing. I've heard many reviewers praise other cheap or moderately priced magnetics, but when I tried them, I found that they accentuate some performance characteristics that a particular reviewer may like, but which comes at the cost of overall balance.

The Shure V15 V-MR does a good job of letting all the music through. It has flat, extended frequency response, good detail, good dynamics, and a stable and realistic soundstage. It does slightly veil virtually every aspect of performance, but does less damage in the process, without calling attention to itself. If you want a budget "reference" cartridge, I believe that the Shure V15 V-MR is it.

That said, I can no longer get excited about the Ultra series—and I have contained my joy from the start. The top-of-the-line Shure Ultra 500 is better than the V15 V-MR, but not more than $20 or $30 worth in terms of percentage of total cost for percentage of improvement in detail, life, and air. I'd much rather have an Adcom or Grado at $200–$325 than a $400 Ultra 500.—Anthony H. Cordesman