Shure VST II Phono cartridge Review

Shure Brothers has introduced a line of moving-magnet phono cartridges that brings the essential features and performance of the company’s widely acclaimed V15 series to a more affordable price range. The VST (for V15 Series Technology) Special Edition Series consists of three models: the VST V, whose performance is equivalent to that of the top-ranking V15 Type V-MR; the VST III, which features Shure’s distortion-reducing hyperelliptical stylus shape as well as the multipurpose Dynamic Stabilizer that is used in the V15 series; and, finally, the VST III-P, a P-mount version of the VST III that lacks the Dynamic Stabilizer.

Both the VST III and the VST III-P have Shure’s Microwall/Be stylus shank, a telescoped thin-wall beryllium cantilever that combines high rigidity with low effective tip mass, and Side-Guard stylus-protection system, which causes the stylus to move up and out of the groove if the cartridge is accidentally scraped across the record surface. And all the VST cartridges feature a fully encapsulated molded-plastic body that permanently locks in place the internal components (the coils and magnets).

The Dynamic Stabilizer, long a feature of Shure’s audiophile-grade cartridges, looks like a small record-cleaning brush attached to the replaceable stylus assembly. Removing surface dust from a record, which it does very well, is perhaps the least of its benefits, however. The brush consists of a large number of microscopically fine synthetic fibers that can penetrate well into the groove. The fibers are also electrically conductive and are connected to the system’s ground through the cartridge terminals, enabling the Stabilizer to drain off the electrostatic charges that normally accumulate on a record as it is being played or when it is removed from its jacket.

In addition, the pivots of the Dynamic Stabilizer’s brush assembly are viscous damped, which enables it to reduce the amplitude of the low-frequency resonance between the stylus-cantilever compliance and the total effective mass of the tonearm and cartridge. Ideally, this resonance occurs at about 10 Hz, where it is unlikely to interfere with record tracking. In a moderately massive tone arm, however, the resonance can be much lower, sometimes in the range of 5 to 7 Hz. An undamped resonance at those frequencies can exaggerate the effects of record warps, causing the tone-arm to lose contact with the record and actually bounce into the air when playing a moderately warped record. Since virtually every vinyl record is warped to some degree, this can be a serious problem.

The damping afforded by the Dynamic Stabilizer makes a dramatic improvement in how well the cartridge tracks warped discs. Since the Stabilizer assembly can be swung up and locked out of position, away from the record, the actual tracking of a warped record can be compared with and without the Stabilizer in action. The viscous damping also provides added protection if the tonearm is dropped, since the brush will absorb much of the impact that might otherwise damage the stylus. And when the Stabilizer assembly is swung fully down, it becomes an excellent stylus guard.

The VST III has a rated frequency response of 20 to 20,000 Hz, with channel levels balanced within ±2 dB, and an output of 3 millivolts at a recorded velocity of 5 centimeters per second (lateral), equivalent to 3.54 cm/s in one channel. Its channel separation is specified as 25 dB at 1,000 Hz and 13 dB at 10,000 Hz. The recommended stylus tracking force is 1.25 grams, but an added 0.5 gram is needed to compensate for the Dynamic Stabilizer if it is used. The Shure VST III comes with a small screwdriver for installation adjustments and a stylus-cleaning brush. Price: $100.

Lab Tests

We installed the Shure VST III in the tonearm of a JVC QL-F6 record player. The QL-F6’s arm mass of about 16 grams is a typical one, and it is compatible with cartridges having a moderate compliance. The recommended cartridge load is 47.000 ohms in parallel with a capacitance of 200 to 300 picofarads (pF). We used a termination of 47.000 ohms and 300 pF. We used the Dynamic Stabilizer throughout our tests, so we set the tracking force to 1.75 grams.

Several different test records were used to measure frequency response and channel separation. As usual, there were considerable differences between the channel-separation curves we obtained, although the frequency-response curves were very similar. The best frequency-response curves were obtained with the new CBS CTC 300 test record. The response curves from the two channels matched almost perfectly from 20 to 20,000 Hz. The overall variation was less than 1 dB up to 17,500 Hz, and the output was down 2 dB at 20,000 Hz. The average channel separation was 26 dB from about 300 to 2,500 Hz, 22 dB at 10.000 Hz, and 12 dB at 20,000 Hz. The Bruel & Kjaer QR-2009 test record gave a generally similar frequency response. The channel separation with the QR-2009 measured about 28 dB through the midrange and was still a strong 25 dB at 15.000 Hz.

The 1,000-Hz cartridge output was 2.65 millivolts (mv) at a 3.54-cm/s velocity, with the channel levels matched to within 0.1 dB. Vertical tracking angle measured 20 degrees, the industry standard. The tracking ability of the VST III— which Shure calls “trackability”— was very good, though not quite the equal of the V15 Type V-MR, whose trackability is probably the highest available from any cartridge. The VST III was able to play the 80-micrometer amplitude level of the 31 5-Hz test tones on the DIN 45549 test record. It also had no problems with the high-level 32-hz tones of the Cook Series 60 record and the 30-cm/s 1,000-Hz tones of the Fairchild 101 record.

The output of the VST III from the 1,000-Hz square waves on the CBS CTC 310 distortion test record was as close to perfect as we have seen from any cartridge, with only a single small overshoot on its flat top. Third-order intermodulation distortion, also measured with the CTC 310 record, varied from 5 percent at 0 dB to 20 percent at + 12 dB.

Comments

In listening tests, the Shure VST III lived up to the promise of its measurements. Its flat frequency response, freedom from resonant peaks in the audible frequency range, and excellent trackability gave it the same effortless, silky sound and, quiet background that have characterized the V15 Type V-MR, V15 Type V and other top-ranking Shure cartridges for some years.

When playing a good, quiet pressing, this cartridge made it clear that the phonograph record is far from obsolete as a means of storing music for high-quality home reproduction. Judging from the almost daily announcements of new CD players and the infrequent appearance of new turntables or cartridges, one might think that LP’s and the components needed to play them are passe, like consumer-model open-reel tape decks.

Without getting involved in the CD-vs.-LP controversy, I think that the untold millions of existing LP’s justify—and actually require—the inclusion of phono equipment in any reasonably complete music system. For most people, however, the considerable investment for a premium-grade cartridge may not be warranted, and Shure’s VST series appears to offer a highly cost-effective alternative. Not only is the VST III arguably the finest-performing cartridge available at its price, but it would be difficult to find another cartridge that could significantly outperform it even for several times that price.

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