MANUFACTURER'S SPECIFICATIONS:
Frequency Response: 10 to 25,000 Hz.
Typical Trackability: In SME tonearm at 1-gram tip tracking force, in cm/sec peak recorded velocity, 400 Hz, 29 cm/ sec; 1000 Hz, 42 cm/sec; 5000 Hz, 47 cm/sec; 10,000 Hz, 37 cm/sec.
Output Voltage at 1 kHz: 5 cm/sec peak recorded velocity, 4.0 mV per channel.
Channel Balance: Within 2 dB.
Channel Separation (minimum): 25 dB at 1000 Hz and 15 dB at 10,000 Hz.
Optimum Load: 47,000 ohms resistance in parallel with 200 to 300 pF capacitance per channel.
Inductance: 500 mH.
D.C. Resistance: 1380 ohms.
Tracking Force: 0.75 to 1.25 grams (plus 0.5 g for Dynamic Stabilizer).
Force Exerted by Dynamic Stabilizer: 0.5 grams.
Net Weight: 6.4 grams.
Styli Available: VN45HE (Hyperelliptical Nude Diamond Tip), VN4G (Spherical Nude Diamond Tip, 0.6 mil radius), and VN478E (Biradial Nude Diamond Tip for 78 rpm Records, 0.5 x 2.5 mils).
Price: $150.00.
With progress being inevitable in the area of phono cartridges as it is in the entire audio field, there was no doubt in anyone's mind that Shure Brothers would eventually bring forth a new cartridge. However, we were not prepared for the stabilized, static-free, super-trackability, cartridge-stylus sys tem that is the V15 Type IV cartridge. Our first impression was that now we could most of today's records without further thought to the degree of warp present. After playing numerous warped records and along the way deliberately creating a washboard-ripple warp in a record, we were surprised how easily the V15 Type IV tracked warped records and, in particular, the washboard-ripple warped record. The viscous-damped Dynamic Stabilizer appears to have eliminated many of the problems associated with playing warped records. The warped record is undoubtedly here to stay inasmuch as the record manufacturers are apparently unable or unwilling to eliminate it. Another problem the Dynamic Stabilizer appears to have solved is the low frequency arm-cartridge resonance. With the Audio-Technica AT-1009 arm and V15 Type IV cartridge, and without using the Dynamic Stabilizer, the arm-cartridge resonance shows two peaks, the first at 5.5 Hz (+3.5 dB) and the second at 8.5 Hz (+2 dB). With the Dynamic Stabilizer in use, both resonance peaks are reduced to +1 dB at 5.5 Hz and 0 dB at 8.5 Hz, with a new peak of +0.5 dB at 7.8 Hz being visible. The Dynamic Stabilizer is a damping device that, in many ways, is similar to that presented by Rangabe (England) at a 1975 AES meeting and more recently the DiscTracker marketed by Discwasher, Inc. The Shure damping is performed by the "hinge" that attaches the brush to the cartridge. The brush itself consists of 10,000 ultra-fine conductive carbon-fiber bristles that fit down into the record groove to both pick up the static electricity and discharge it to ground and, also, to remove dust by sweeping the record clean just slightly ahead of the stylus, without grinding the dust into the groove wall. When using the viscous-damped Dynamic Stabilizer, the tracking force must be increased by 0.5 grams to compensate for the additional weight. When positioned all the way down, the Dynamic Stabilizer acts as a stylus guard.
Other important changes in the V15 Type IV in contrast to the V15 Type III are a lower stylus effective mass, a new type cantilever bearing system, a new stylus shape called "hyperelliptical," a new magnet that is lighter in weight but higher in energy, and an improved tracking ability at both high and low frequencies.
The Dynamic Stabilizer has an important inclusion--a vertical white line that is in line with the stylus so that cueing is quite easily accomplished. The vertical white line is quite useful when centering the cartridge on the shell. It would be nice if all cartridge and shell manufacturers would put a vertical line on the front of their cartridges and shells.
The optimum load for the V15 Type IV is still 47 kilohms per channel, but the parallel capacitance has been lowered to between 200 and 300 pF per channel for a flat frequency response. The total capacitance includes the tonearm wires, connecting cable and preamplifier input capacitance. To ascertain that the total capacitance was not beyond the maxi mum recommended 300 pF, we measured the total capacitance with a relatively inexpensive capacitance meter avail able from Berkshire Audio Products, P.O. Box 35, Great Neck, NY 11021. Aside from measuring cable capacitance, we understand that it is probably the only capacitance meter currently available that is able to measure the preamplifier pho no input capacitance.
Measurements
As is our practice, measurements are made on both channels, but only the left is reported. During the test period the average room temperature was 71°F ±1" (21.67°C) and the relative humidity was 68 percent ±3 percent. All measurements were made without using the Dynamic Stabilizer except when measuring the arm-cartridge resonance where the measurements were made with and without the damping device.
Fig. 1--Frequency response.
Fig. 2--Response to 1-kHz square wave.
Frequency response of the Shure V15 Type IV cartridge, loaded with 47 kilohms and 275 pF, using the Columbia STR 100 test record and our reference tonearm, an Audio-Technica AT-1009, mounted on a Technics SP-10 turntable, is flat within-0.5 dB from 40 Hz to 10 kHz, descending to-1.5 dB from 12 to 14 kHz, then slowly rising to +0.25 dB at 20 kHz.
Accordingly, the frequency response was +0.25 dB,-1.5 dB, 40 Hz to 20 kHz. Separation over the audio range was quite good, being 37.5 dB at 1 kHz, 18.5 dB at 10 kHz, 14.5 dB at 15 kHz, and 12 dB at 20 kHz. The optimum tracking force for the cartridge we tested was 1.2 g and the optimum anti-skating force was 1.5 g. The square wave response is well damped and has a good wave shape. When using the Dynamic Stabilizer, we added 0.5 g to the tracking force to compensate for the weight of the device. With the reduction of the arm-cartridge resonance peaks with the Dynamic Stabilizer, it is apparent that the damping device is quite effective. Further, the effects of record edge warp are practically eliminated when copying a record onto tape.
The following test records were used in making the reported measurements: Micro-Acoustics TT-2002; Shure TTR-103, TTR-109, TTR-110, and TTR-115; Columbia STR-100, STR-112, STR-170, and SQT-1100; JVC TRS-1007; Deutsches HiFi No. 2, and Nippon Columbia Audio Technical Records (PCM) XL-7004.
Wt. 6.7 g; d.c. res. 1294 ohms; inductance 503 mH; opt. tracking force 1.2 g plus 0.5 g for the Dynamic Stabilizer; opt. anti-skating force w/stabilizer 2.0 g; output 1.05 mV/cm/sec; IM dist. (4:1) +9 dB lateral, 200/4000 1.7 percent, +6 dB vertical, 200/4000 5.2 percent; crosstalk (using Shure TTR-109) -40 dB; ch. bal. 0.25 dB; TTR-103 trackability: high freq. (10.8 kHz pulsed) 30 cm/sec, mid-freq. (1000+1500 Hz lateral cut) 40 cm/sec,(although some distortion was observed while playing the 40 cm/sec level band, it was determined that the distortion was cut into the record groove and not the result of cartridge mistracking), low freq. (400+4000 Hz lateral cut) 30 cm/sec; Deutsches HiFi No. 2 300-Hz test bands tracked to 95 microns (0.0095 cm) lateral at 17.90 cm/sec at +10.33 dB level and 43.1 microns (0.00431 cm) vertical at 8.12 cm/sec and a level of +3.64 dB. Arm-cartridge resonance +3.5 dB at 5.5 Hz and +2 dB at 8.5 Hz; with the Dynamic Stabilizer the resonance was less than 1 dB at 5.5 Hz and 0 dB at 8.5 Hz. A new resonant peak of 0.5 dB was seen at 7.8 Hz.
The Micro-Acoustics TT-2002 musical test record was used to check for tracking and transient ability. The Shure V15 Type IV encountered no difficulty in playing all trackability bands, including one with the highest level a modern stereo cutter head can record. Transient ability was excellent, with no problems in tracing computer-generated high, low, and high/low mixed frequencies.
The Shure Obstacle Course--Era Ill was no challenge to this cartridge inasmuch as it passed all bands without difficulty. With the new Shure Era IV Obstacle Course, the Type IV encountered no difficulties in playing all levels on the record at 1.2 g.
Listening & Use Tests
As usual, a rigorous listening evaluation was conducted utilizing the specific records listed below as well as many records listed in other reviews. Transient response and good bass reproduction were highly evident when playing the Fox and Fiedler recordings listed here, as well as the Switched On Bach recording of Walter Carlos on the Moog Synthesizer.
There is no question of the Type IV having good clarity-all across the entire audio spectrum, particularly in the bass region.
As always, our listening tests are performed both before any laboratory testing is done and again after all laboratory tests have been completed. Upon prolonged listening we believe that the Shure V15 Type IV introduced no coloration of its own, as well as no audible distortion. Transient and tracking ability was excellent, especially while playing some of the high recorded levels present on many direct-to-disc recordings. Sonic clarity was first rate, and the bass response was more than adequate. However, the biggest gain from this cartridge is the fact that we were able to play so many of our unplayable records (because of bad warp!) without the usual noises that accompany warped records. All these great benefits make the Shure V15 Type IV one of the best cartridges available today.
--B. V. Pisha
Evaluation Equipment & Records
The equipment used for the listening evaluation included a Technics SP-10 turntable with the Audio-Technica AT-1009 arm, Technics SP-10 Mk II turntable with EPA-100 arm, Crown IC-150A preamplifier, a pair of Crown DC-300A amplifiers used in the monophonic mode, a pair of stacked Duntech DL-15B speakers in each channel, and a Columbia SQL-400A SQ decoder. A Platter Pad was used on one turn table and each pair of speakers was connected with Polk Audio SoundCables using an RC network.
The following records, along with many listed in other reviews, were used in auditioning the Shure V-15 Type IV. We highly recommend the two volumes of Check Your Sounds from RCA ( Japan), which are superb recordings and have a detailed brochure. Audiophiles may easily use these discs to check and adjust their audio equipment by ear, rather than with instruments.
Stereo
Nicolai: The Merry Wives of Windsor, Bavarian Symphony Orchestra, Kubelik-- London OSA 13127.
Berlioz: Romeo & Juliet, Vienna Philharmonic Orchestra, Maazel-- London CS7021
Verdi: Requiem, Vienna Philharmonic Orchestra and Vienna State Opera Chorus, Solti, with Sutherland, Horne, Pavarotti, and Talvela--London OSA 1275.
Giacomo Aragall: Italian Opera Arias--London OS 26499.
Montserrat Caballe: Dramatic Soprano Arias--London OS 26497.
Beethoven: Symphony No. 4 in B Flat Major, Chicago Symphony Orchestra, Solti--London CS 7050.
Beethoven: Symphony No. 7, Egmont Overture, New Philharmonia Orchestra, Stokowski--London Phase 4 SPC 21139.
Howard Geller: Plays for You, The Royal Philharmonic Orchestra--PYE NSPLX 41053.
Check Your Sounds, Vols. 1 & 2, Grand Symphonic Orchestra, Kumagaya; NHK Symphony Orchestra, Komatsu--RCA ( Japan) RVL 1, 2. (Both distributed by Audio-Technica.)
Direct to Disc
Jun Fukamachi at the Steinway--Toshiba/EMI LF-95001. Distributed by Audio-Technica.
Boyd Neel: Bach Program, Toronto Chamber Orchestra--Umbrella UMB-DD9, Vol. 2. Distributed by Audio-Technica.
David Montgomery: The Piano--Direct to Disk Records Lab Series No. 2. Distributed by Audio-Technica.
Rimsky-Korsakov: Capriccio espagnol; Tchaikovsky: Capriccio italien, The Boston Pops, Fiedler--Crystal Clear Records CCS-7003 ( 225 Kearney St., San Francisco, Calif. 94108).
Virgil Fox: The Fox Touch, Vol. 2--Crystal Clear Records CCS-7002.
K-H. Stockhausen: Zyklus pour en batteur; Noda: Eclogue for Flute & Percussion--RCA ( Japan) RDC-1. Distributed by Audio-Technica. (The audio system on which this is played must be very good in order to properly reproduce the percussion instruments on this recording by one of Japan's top percussionists.)
Pulse Code Modulation
Shubert: Death and the Maiden; Tchaikovsky: Andante Cantabile, Prague Quartet--Nippon Columbia OX-7009-N.
Satie: L'Oeuvre pour Piano, Y. Takahasi (Steinway)--Denon OX-7071-ND. (Both these PCM records are distributed by Audio-Technica.)
Quadraphonic-SQ
Wild Cherry: Electrified Funk--Epic PEQ 34462.
Walter Carlos: Switched-On Bach--Columbia MQ 31018.
Bach: Six Concerto/Sinfonias for Organ, E. Power Biggs--Columbia M34272.
(Audio magazine; Feb. 1979)
Also see:
Shure V15 Type IV Phono Cartridge and SME 3009 III Tonearm (May 1981)
Shure V-15 Type II (Improved) Stereo Phono Cartridge (Mar. 1970)
Shure M91E Stereo Phono Cartridge (Apr. 1973)
Shure V15 Type V Phono Cartridge (Nov. 1982)
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