Weaknesses- Less high frequency sustain (noted in cymbal decay), less focused detail than ML, not as precise of staging as ML. The stereo- Technics SL1500C turntable w/ KAB damper, Graham Slee Era Gold V preamp, Yamaha A-S801 amp, JBL L82 speakers, Rythmik L12 sub. Strength- Wholesome delivery, tons of heart, presents mid-bass (toms, bass guitar, male vocals) with authoritative swagger and punch, excellent harmonics, lush emotion, rich tonal beauty. I am also loving the SH and my experience with it ( had it about 4 months now ) pretty much matches yours.

AT-VM95ML or similar?!- Vinyl Engine AT-VM95ML or similar?!- Vinyl Engine

AT themselves never marketed any upgraded styli for the AT95 leaving other companies to take on the task including LP Gear, Jico and The Audio Files, who’s 95P Paratrace is considered by many the best of the bunch. The VM95 Range I asked myself: but why has the Grado Reference Platinum Wood MI no problems with capacity? An engineer explained it to me. What I have understand so far it's due to different coil windig. But that's another story... How many people will notice that the capacity of the modern amps / receivers phonosstage is too high? 1%? 5%?Weaknesses- Transparent to the point of seeming thin, dry character, some higher frequencies are brilliant to the point of glaring, analytically sterile presence. Is this overt crispness an anti-skate issue? I have my anti-skate set to match VTF as per AT's rec.

Audio Technica AT-VM95ML/H Headshell/Dual Moving Magnet

I measured each stylus in turn using the same body. I first wanted to identify the cause of the slightly higher output voltage of the conical and elliptical verses the other three profiles. AT quote a difference of 0.5MV. My tests showed The VM95C and VM95E output around 3.8MV, while the other still in the range were indeed on or slightly lower than the 3.5MV mark. It is my theory that the small variances in compliance and tip mass are responsible for this, and in reality such a minor difference isn’t going to be of any consequence as the difference is minor, and the output voltage is well within the margin for most if not all moving magnet preamplifiers. Planning to get an ML stylus at some point as its a bit cheaper and it might be nice for extracting a bit more drive out of records that are somewhat constricted in dynamic range and sound compressed by default.I prefer a balanced sound with nice low (tight and deep) and realistic/clean detail at the top. (lol... so I want everything in one hehehhe). If your system already tends to sound a bit bright then using the SH would be better than the ML, to even things out a bit. The EMI regulationss is one point that most modern amps / receivers have such high capacity in the phono section. Instead of me giving you my opinion, why not listen for yourself? I digitized at 96/24 a selection (Gigout's "Grand Chorus in Dialogue") from Music For Organ, Brass and Percussion (Columbia M 31193) featuring E. Power Biggs and The Columbia Brass and Percussion Ensemble recorded at St. George's Church, in NYC. Edward T. Grham and Larry Keyes engineered the 1972 release, which, with its generous bottom end extension, wide dynamics and spacious ambiance seemed like a good choice to help you decide which you prefer. Of course you will have to listen "blind" and please state your preferences in the comments section. I'll reveal which is which within the week.

Audio-Technica AT-VMN95ML VM95 Series Microlinear replacement Audio-Technica AT-VMN95ML VM95 Series Microlinear replacement

Characteristics shared between all styli are a warm, full-bodied sound that is also quite punchy. There’s a lot of drive here, though the VM95 is not voiced such that standout bumps in frequency make it an unpleasant listen. Rather it has a bit of ‘oomf’ to use a technical term that makes it, if anything, great fun above all else. It sounds much like the predecessor, though with more evenhandedness and control than the AT95, which tends to sound dry and a bit dull in comparison. VM95C

The VM95 Range

I have read and practiced over the years that you do want to turn on that last bit, which is above the -6db threshold (6 x the bit rate is the dynamic range). One engineer I read said that there is no reason to go above -5db, but I think that leaving 3db of loudness disregarded as not a good practice and it lowers the rest of the music as well. I generally do not go over -2db in my own work, but overs in digital are bad, so I avoid them at all costs. I noticed in these two files I had clearance at the top of the wave forms by going to -1db. I would love to hear some of these multi thousand pound TT set ups to hear what a really top notch set up sounds like. The albums- PJ Harvey- Dry, George Benson- the Shape of Things to Come, Sonic Youth- Dirty, Nina Simone- Sings the Blues.