Three Phono Cartridges: Grado Platinum, Shure V15VxMR, and Clearaudio Aurum Beta.

Manufacturer: Grado Labs, 4614 Seventh Ave., Brooklyn, NY 11220, www.gradolabs.com; Shure Brothers, Inc., 222 Hartrey Ave., Evanston, IL 60202, www.shure.com; Clearaudio, distributed by Musical Surroundings, Inc., 2625 Alcatraz Ave., Ste 501, Berkeley, CA 94705, www.musicalsurroundings.com.

Price: $400 for Shure and Clearaudio, $300 for Grado

Source: Manufacturer/Distributor loan

Reviewer: James T. Frane

I was unlucky enough to require emergency abdominal surgery, but lucky enough to survive, just prior to the planned delivery of a pair of speakers for review. My post-op condition and projected recovery period precluded dealing with the speakers. I discussed what size equipment I might logically review in the near term with John Horan, our esteemed publisher, and he suggested I select some phono cartridges. I have a fairly extensive record collection, many of which date back to the '50s and are not available in another medium. Besides which, I thoroughly enjoy playing vinyl and do so quite often. The idea of trying out some new (to me) cartridges was ideal, for both their light weights and the prospective enjoyment they could provide.

Much research led to a selection of cartridges in the reasonable price-performance range of around $400: not the least expensive, but very far from the most expensive available. My intention was to weigh each on its own merits, as well as comparing the three. My selections were: Grado Platinum, Shure V15VxMR, and Clearaudio Aurum Beta, all high-output devices that most phono preamps should handle without a problem. Specifications for all three cartridges are shown in Table 1.

Shure V15VxMR: The first to arrive was the Shure, packaged in a sturdy hinged box with a velvet-like exterior and similar insert with depressions to hold the cartridge, a Phillips-head screwdriver, and stylus cleaning brush. Unique to Shure, the dynamic stabilizer is a damped carbon fiber brush integral with the removable stylus. In its recommended position, it rides on the record surface and provides vertical damping that can help the stylus navigate warded records. The stabilizer can be secured in two other positions: so it does not touch the record and latched farther down as a stylus guard (should be used when the cartridge is not mounted on the tonearm). Beneath the insert in the packing box were a plasticized cartridge alignment protractor, two rubber wedges to hold the record player (turntable) platter stationary during alignment, and mounting hardware. Detailed installation instructions and a User's Guide in multiple languages were included.

I often install cartridges with the nuts on top of the tonearm headshell because it can otherwise be hard to start the screws and then hold the nuts for tightening. To make installation easier, Shure has thoughtfully designed recesses in the cartridge body to keep the nuts from turning. Functionally, I don't believe there is any difference whether the nuts are mounted on top or bottom of the headshell, but some may consider the bottom location visually preferable. I'm no stranger to Shure cartridges, having owned one in the '60s (I don't recall which model), as well as a V15 Type IV, and two V15 Type V-MR.

I found the Shure installation instructions to be clear and complete. They list the following steps:

* Remove stylus assembly (details are provided)

* Mount cartridge

* Make the electrical connections (the pins are color-coded to match the appropriate wires--this color coding of wires is standard, no matter what turntable, arm and headshell you have)

* Replace stylus assembly

* Place provided rubber wedges under edge of platter to hold it stationary

* Put a record on and place alignment protractor over platter spindle. Balance the arm and apply a 1g tracking force by adjusting the tonearm weight. Position the stylus over the inner marking and then the outer marking. Make adjustments as required so the cartridge body is parallel to reference lines on the protractor. These steps are repeated as needed. If the cartridge can be made parallel at only one point, it should be at the inner point.

* Lower the dynamic stabilizer brush and set the tracking force at 1-1/2 g.

In addition to damping the cartridge so that it can better track warped records, the brush is quite effective at cleaning that last little bit of dust out of the grooves. Even though I use a carbon fiber brush before each playing, the stabilizer brush was sometimes able to remove more dust. The Shure warranty is two years and the cartridge can be returned to dealer or an authorized service center for repair.

Grado Platinum: The wood-bodied Grado Platinum came in an attractive wood box nested inside a cardboard box that was in a larger cardboard box. A beautifully crafted wood stylus guard fits neatly over the stylus and is held in place with two brass pins. No tools were included.

Grado calls their stylus/cantilever assembly an OTL, for Optimized Transmission Line. Rather than being one piece, the cantilever is made of damped and bonded together sections of different alloys. The design is said to improve the height, width, detail and depth of the music by eliminating unwanted resonances.

The Grado's installation instructions were briefer than the Shure's:

* Make the electrical connections in accordance with the supplied illustration (as the pins were not color coded as on the Shure). It is assumed you'll mount the cartridge to the headshell. Mounting is by two screws (supplied) that thread into holes in the cartridge body.

* Adjust the vertical tracking angle so that the cartridge front surface is either at a 90[degrees] angle to the record or tilted back as much as 92[degrees].

* Balance the tonearm and set the tracking force at 1.5g.

Grado's warranty is one year from date of purchase or 18 months from factory shipping date. Shipping for repair is at customer expense with return paid by the company.

Clearaudio Aurum Beta: The metal-and-plastic-bodied Clearaudio Aurum Beta came packaged in a transparent plastic box with a screwdriver and two plastic screws. There was no stylus guard and the stylus protrudes forward of the sloped front. This arrangement leaves the stylus unprotected, but very easy to place in the desired groove. I would opt for better protection.

I installed the Clearaudio and aligned the cartridge body parallel to the front and sides of the headshell. I confirmed stylus orientation with the Shure template. I would like to see a similar alignment tool furnished with the Clearaudio.

The installation instructions were:

* Mount the cartridge loosely.

* Connect the wiring in accordance with the supplied chart (no color coding).

* Before adjusting the cartridge, please follow the procedure recommended by the turntable or tonearm manufacturer.

* Set the tracking force.

* When the stylus overhang and anti-skating is (sic) is precisely adjusted, the cartridge can be finally fixed.

I compared the three cartridges using a wide variety of music as well as the Shure Era IV TTR 115 test record (Shure 29A1158 QK--published in 1977). I have used this record over the years because of its usefulness in objective comparisons. It has a number of tracks of single instruments and instrumental combinations playing a portion of "Greensleeves" at increasingly higher levels. The test tracks have five levels: No. 2 is 6 dB louder than 1, and Levels 3, 4, and 5 are each 2 dB louder than the preceding level. Using the Shure-suggested symbols shown, the Table 2 shows a comparison of the cartridges at each of the levels. Where the results sounded to be between performance designations, I showed both symbols, such as 0-S. All three cartridges were set to their respective recommended tracking forces, which were 2 grams for the Clearaudio and 1.5 grams for both the Shure and Grado. The effective force of the Shure stylus is decreased by 0.5 gram by the stabilizer / brush. Anti-skate was set at 1.5 for the Clearaudio, 1.2 for the Grado and 1 for the Shure. The test cuts are followed by the full Greensleeves melody with cello, harp, bells and flute.

I placed a Radio Shack digital sound level meter (SLM) one foot in front of the left tweeter/ midrange and used the Soundcraftsman test record (ITR-3292) to measure frequency response with only the left speaker on to minimize room effects. I matched levels between cartridges for all listening and measurements to within the accuracy of the SLM. I found no more than 2 dB difference between cartridges, and less than that at most frequencies.

I used the cartridge-tonearm resonant frequency test from the Shure Era IV TTR 115 and identified the resonance points as follows: Grado was about 10 Hz (10-12 Hz is listed as ideal), the Shure between 10 and 12 Hz, and the Clearaudio at a slightly lower 8 Hz. All resonance points are outside the audio band.

Associated Equipment: My system comprises a Bryston BP25 preamp, Parasound HCA-1000A power amplifier, Thiel CS2.4 speakers, WireWorld and Vampire interconnect cables, Mach 1 twisted pair speaker cables, and Thorens TD-320 Mark III turntable with Parasound P/PH-100 phono preamp.

Listening: Enough for tests--how did they sound? "Windy" from the Association's Insight Out (Warner Bros. WS1696) had almost a surround-sound effect on the Grado with good separation of voices. The Shure had good detail, but the voices did not extend as far beyond the confines of the speakers. Voices on the Shure seemed a bit louder in relation to the instruments. The Clearaudio soundstage was beyond the width of the speakers with excellent detail and the instruments and voices were at about the same loudness.

With "Wasn't It a Bit Like Now?," the Grado portrayed sparkly cymbals, clear vocals and a sense of space. The Shure had the male voices a little more toward center stage, the music did not extend as far outside the speakers and the voices were a little louder. The Clearaudio sounded so close to the same as the Grado that I was unable to define whatever small differences existed.

On "Corner Pocket" from The King James Version by Harry James and Orchestra (Sheffield Lab Direct to Disc, Lab 3 SL21/SL22), the Shure had good depth, the sound extended the width of the speakers, and highs were extended and smooth. The Grado had a wider spread beyond the speakers, was slightly more spacious with a little more brassiness. The Clearaudio did not have as deep a soundstage as the other cartridges--as if I was hearing a live orchestra from 100 feet away instead of 50 feet.

"Lara's Theme" was more open and spacious with the Grado than with the Shure. The latter had a little more sparkle to the cymbals with a wide and uniform spread of the orchestra, good dynamics and a very realistic Harry James at the left speaker Stage depth was moderate. The Clearaudio had good ambiance and a spacious, open sound. It had the instrument tones and bite of the horns just right.

The Grado had good bass, centered piano, and appropriate depth on Vince Guaraldi's "Cast Your Fate to the Winds" from Jazz Impressions of Black Orpheus (Fantasy 8089--stereo version). The Shure had a good, perhaps even stronger low end with very detailed double bass string resonance. The Clearaudio also had an extended lower register and was a little more spacious sounding than the others.

With "Samba de Orpheus", the Grado had full upright bass with distinct string plucks, and the piano was clear and detailed with a spacious overall sound. The Shure had the piano a little to the right of center and good detail, but was less spacious. The Clearaudio had good bass and the most three-dimensional sound of the three, but by a small margin.

Julie London's "Love Letters" from the album of the same name (Liberty LST-7231) had Julie centered with the orchestra behind the right speaker on the Shure. The Grado was more spacious with a wider spread of sound. The Clearaudio was almost as three dimensional as the Grado. Julie's voice was right on all three, with correct-sounding texture and sibilance.

On "I Love You Porgy", the Grado's bass seemed a little deeper than with the Shure, with good, intimate detail. Julie was a little closer to the listener and the music was more to the outside of the speakers. The Shure, while less 3D, had more of the subtle nuances and sibilance of her voice. The Clearaudio had good bass and detail, intimate voice, spaciousness. The performance was a little recessed compared to the Grado, but similar to the Shure.

Yo Yo Ma, playing Bach's "Cello Suite No. 1" from The Unaccompanied Cello Suites (CBS Masterworks Digital IM39345) was full, detailed and warm on the Grado--a broad sound, as if in a more reflective space than with the Shure. The Shure was not quite as full or warm, but had great bowing detail. The cello was closer and not as broad. The Clearaudio had the cello farther away, but had super detail. My reference on this piece is my daughter playing the same music on her cello in my listening room, which, or course, was better than my system with any of the cartridges.

Summary: The Grado Platinum, the Shure V15-VxMR, and the Clearaudio Aurum Beta were fine cartridges that worked very well with my system. The Grado and Clearaudio were a bit more spacious-sounding than the Shure. Each provided a soundstage of different width and depth. The apparent distance from the performers varied with each of them on the best recordings. The heaviest of the three was the Clearaudio, which also has a slightly higher tracking force and a slightly lower resonant frequency with my tonearm, but none of these differences had negative consequences with my system. All handled dynamics and complex passages with no audible problems. The Shure has the lowest effective tracking force and the dynamic stabilizer, which should enable it to track warped records with assurance. Unfortunately (or not, depending on your viewpoint) I had no warped record on which to let the Shure dynamic stabilizer do its stuff. However, my experience with similar Shure cartridges showed the stabilizer to be quite effective on warped records. The Shure has the further advantage of a user-replaceable stylus--the other two have to be shipped to the factory for this task.

All three cartridges acquitted themselves well. Each had some specified attribute that outshone the others at some time, but they were all good performers. The test record cuts demonstrated that the differences between the cartridges were small when playing difficult recordings. I had a very slight preference for the added spaciousness of the Grado and the Clearaudio, but would be happy to live with any of these fine examples of affordable phono cartridges. The music from all three was most pleasurable. As long as the cartridge is suited to the rest of one's equipment in terms of weight, output and compliance, it would be hard to make a wrong choice among these cartridges. While not the least expensive around, I thought them to be well worth their prices. I found that each of the cartridges provided very enjoyable listening.

Table 1. Cartridge Specifications

Cartridge                 Shure V15VxMR           Grado Platinum
Type                      Moving magnet            OTL--seetext
Frequency response        10-25,000 Hz             10-60,000 Hz
Channel balance           Within 1.5 dB            Not provided
Channel separation         1 kHz-30 dB           1 kHz avg 40 dB
                          10 kHz-20 dB
Tracking force             0.75-1.25g                  1.5g
Output voltage         3 mV rms @ 5 cm/sec      4.8 mV @ 5 cm/sec
Cartridge weight              6.6 g                   6.5 g
Recommended load      47k ohms in parallel           47k ohms
                           with 250 pF
Resistance                1000 ohms dc               475 ohms
Cantilever              Beryllium tubular           Four-piece
Warranty                    One year              One year from
                                                purchase/18 months
                                                  from ship date
MSRP                          $400                     $300

Cartridge             Clearaudio Aurum Beta
Type                      Moving magnet
Frequency response        20-20,000 Hz
Channel balance              1.5 dB
Channel separation           >26 dB
Tracking force              1.8-2.2 g
Output voltage               3.4 mV
Cartridge weight              10 g
Recommended load            47k ohms
Resistance                  660 ohms
Cantilever                  Aluminum
Warranty                    One year
MSRP                          $400

Table 2. Performance on Shure Test Record (0 = tracks well, S =
mistracks slightly, X = mistracks, XX = gross distortion or skips
grooves.)

                                        harp &    flute &
Grado         bells    flute    harp    flute     bells

Level 1       0        0        0       0         0
Level 2       0        S        0       S         0-
Level 3       0-       S-       0       S-        S
Level 4       S        X        0       X         S-X
Level 5       X        XX       0-      XX        S-X

Greensleeves--The bow on the strings of the cello had the right
texture, but was slightly warmer than with the Shure. The harp, bells
and flute were all clear and sounded as they should. There was a bit
more air than with the Shure.

                                        harp &    flute &
Shure         bells    flute    harp    flute     bells

Level 1       0        0        0       0         0
Level 2       0        S        0       0-S       0-
Level 3       0        S        0       S         OS
Level 4       S        X        0       X         S
Level 5       S-       XX       S       XX        X

Greensleeves--Cello was detailed and distinct, but did not have the
full-bodied warmth characteristic of the instrument. The harp was
detailed, and the bells and flute were clear.

                                        harp &    flute &
Clearaudio    bells    flute    harp    flute     bells

Level 1       0        0        0       0         0
Level 2       0        S        0       S         0-
Level 3       0-       S-       0       S         0-
Level 4       O-S      X        0       X         O-S
Level 5       S        XX       0-      XX        S

Greensleeves--The sound was quite similar to the Grado. I can only
conclude that the lack of cello warmth was a characteristic of the
recording, as it was not full sounding with any of the cartridges.

--JTF