Review: Shure M97xE Cartridge

Category: Analog

It’s always refreshing when a manufacturer or dealer recommends you spend LESS than you’d planned to. Especially when the two items you’re comparing – in this case, Shure Brothers’ V15VxMR and M97xE cartridges – bear a striking resemblance. In fact, their styli are even interchangeable.

Don’t get your hopes up thinking the $140 M97xE is basically a $400 V15VxMR with the exception of its stylus (elliptical vs. MicroRidge). Shure claims major internal differences between the two siblings. You can indeed pop a V15 stylus on your M97 though, as Shure is quick to point out, this is tantamount to pairing a black sport jacket with a pair of black pants and calling it a suit. It ain’t.

But ask Shure Brothers (via e-mail) for advice on which cartridge to choose and, unless you tell them you have a VERY high-end system and turntable, they’ll recommend the M97xE. Not only that, but you’ll get a sensible, lucid answer from people who seem quite knowledgeable about analog – a rarity to be sure, and thrilling in an age when dealers and even manufacturers who purportedly specialize in analog can barely answer most phono-related questions.

Shure even advises owners of older V15 models to buy a new M97 instead of replacing their worn styli, even though (a) the V15 styli cost more than the M97 body and stylus together, and (b) they still stock the parts in most cases, and would probably be happy to get rid of dead stock. Refreshingly honest, don’t you think? And a big vote of confidence for a very modestly priced cartridge.

Even more refreshing is the lack of bullshit in Shure’s lineup. Unlike the Grado Prestige series with no less than SIX variations on the same basic architecture, each one offering only minor (barely noticeable, I say) improvements as you move up the line, Shure offers only three distinctly different hi-fi cartridges. Want the best? Get a V15. Need audiophile quality on a budget? Try the M97. Strapped for cash, or not that picky? Order the M93E. Simple.


Shure now packages the M97 in the same stylish metal box as the V15. Some people may think it’s overkill but to me, it’s perfect. While I applaud Rega’s minimalist box, their unpretentiousness about ‘putting all the money into the product’ is sort of pretentious in itself. For $225 (what I paid for my Elys), I expected at least some instructions other than a slip of paper that says ‘consult your dealer’ because we all know that’s often useless.

Shure, by contrast, pulls out all the stops, including clear instructions, a stylus brush, screwdriver, mounting hardware (which was merely adequate) and even –
HALLELUIAH! – a proper overhang gauge! It’s hard to believe so many manufacturers omit this simple, ten-cent piece of cardboard from the packages. I only wish Shure provided some instruction on how to use it for the uninitiated. That, and better mounting hardware, would make the M97xE a complete and perfect package.


Setting the overhang on an M97 is less fun than cleaning the gutters. With only one straight edge on the cartridge body (in front), there’s no easy way to ‘rough in’ the alignment before refining it. I actually used three different gauges, starting with the Rega single-point device to ballpark the cantilever’s alignment. I then used a two-point device with both horizontal and vertical hash marks to get the headshell and straight edge of the stylus guard approximately parallel, and finally, I used a third (with bold hash marks under the cantilever) to fine tune the cantilever’s position. Then I went back and re-checked all the parameters.

It took me about two hours. If you’re new to analog, you’ll want to block out most of your afternoon. During that time, try to resist depressants (you’ll just end up saying “that’s close enough” when it really isn’t) and stimulants (because you may end up kicking the cat or freaking out). A combination of the two, however, might ease any setup anxiety and frustration you’re likely to experience. (Mountain Dew and Everclear, anyone?)

Whatever minor frustrations I suffered are partly allayed by how easy it is to replace the stylus. No special tools are required. A gentle tug is all it takes, and provided you’ve fitted the cartridge body tightly to the headshell, it shouldn’t disturb the geometry. That means, once you get it right, you shouldn’t have to do it again until you change cartridges entirely.

Another plus: the M97’s top-notch construction. Retailing for $140 but generally sold for about $90, it’s encased in a light but extremely rigid die-cast housing that could be improved only by the addition of threaded screw holes. The cantilever appears high-end, with a thin profile that promises above-average detail retrieval and great tracking. Thoughtful touches, including positive-feeling detents for the stylus guard and a handy cueing stripe, add to the impression that I got more than I paid for. The M97 is backed by a full one-year warranty and the added assurance provided by Shure’s obviously excellent quality control.


While the M97 was loosening up (it was definitely “tight” out of the box), I experimented with various tracking forces before settling on 1.35g. Shure recommends 1.25g as optimum, with the maximum specified as 1.5g. (Shure recommends goosing the tracking force a half-gram when the Dynamic Stabilizer brush is in the down position; more on that later.)

True to its reputation, the Shure is a commendably athletic tracker. It aced all but the torture track on the HiFi News & Record Review test LP. Channel separation was tight – not as sharply defined as my departed Denon DL-160, but better than many others I’ve owned.

Hum was nonexistent – a pleasant surprise, since even Rega’s own Elys hummed a bit on my P2. Plus, the Shure’s rejection of electromagnetic interference was also impressive, the best I’ve ever experienced from a moving magnet cartridge. With its healthy 4.0mV output, the Shure had no trouble feeding the MM section of my NAD amp’s built-in MM/MC phono stage.

About the only complaint I could levy against the Shure during the first few hours was how intrusive record surface noise was. It didn’t detract from my enjoyment, because the M97 was pleasant-sounding from minute one. And it should be noted, on a very positive note, that the M97 dug noticeably deeper into the grooves than my previous cartridge, an Ortofon X1-MC, allowing me to play some LPs that I’d normally avoid. Still, the Ortofon (and the Denon that preceded it) both pushed surface noise deeper into the background. If that’s your priority, plan to spend more.

That said, break-in was far from the shrill experience you might expect in this price range. Again, Shure isn’t lying when they promise a fatigue-free listening experience for hours on end. While I normally find myself using LPs for background music during break-in, I actually sat down and listened to the Shure.


Shure seems to be telling the truth when they tout their cartridges’ flat frequency responses. The M97 sounds very balanced across the entire spectrum, lacking only the highest highs and lowest lows that more expensive MMs and MCs offer. Fine with me, as I’d rather they be absent than poorly represented. Don’t take that to mean the M97 can’t rock. It does, pumping out everything from bass-heavy pop music (like No Doubt’s “Rock Steady”) to guitar-heavy punk (The Get Up Kids’ “Eudora”).

Better still, the Shure passed my sibilance test with flying colors, allowing me to again enjoy Peter Gabriel’s “Us.” On the first track, “Red Rain,” I usually run for the cueing lever when I hear Peter Gabriel sing, “Red rain ISSSSSSSS coming down…” Only my Denon DL-160 seemed fully able to tame it. But the Shure, in combination with the overachieving NAD phono section, got the job done. For some people, this may not matter, but for those of us who equate sibilance with fingers on a chalkboard, it’s a significant achievement.

The Shure is also superbly dynamic, handling quick transitions with aplomb. When guitarist Michael Hedges slaps his fret board, the Shure stops on a dime. And when a well-recorded orchestra crescendos (on the Telarc LP of Carl Orff conducting “Carmina Burana,” for example, and the Classic Records 180-gram reissue of Sibelius’ Symphony No.5 with Alexander Gibson conducting the London Symphony Orchestra), the Shure plays it louder AND bigger, rather than significantly shrinking the music.

Soundstaging isn’t quite as 3-D as I’d like. Unlike the Denon DL-160, the under-$200 champ in this area, the Shure can’t quite telegraph the spaciousness of larger venues (as on the Steinberg/Boston Symphony Orchestra recording of Holst’s “The Planets” on Deutsche Grammaphon), nor the air around a solo performer alone on a big stage (Keith Jarrett’s “Sun Bear Sessions” box set). As a result, some of the electricity is missing, but that’s partially made up for by the Shure’s dynamism.

Imaging, on the other hand, is fairly solid, making it easy to follow complex musical lines and multiple instruments. The Shure does tend to push everyone to the foreground a bit, but at least it doesn’t do so selectively; all performers are bumped up a few feet from where you’d expect them to be. I got used to it.

Cymbals didn’t sound as crisp as I’d like. In fact, on “Lonesome Day,” the opening track to Bruce Springsteen’s “The Rising,” they were lightweight and a bit sizzly. That wasn’t always the case, though. Had I not come from a moving coil, I might not have noted this at all. Electronic bass was deep and well-defined, but orchestral bass could sound somewhat light and occasionally loose. Again, I don’t want to overstate the issue because I’m comparing the Shure with an MC.

But, man…that midrange! This is where the Shure really shines, and in my opinion, that’s make or break. Vocals were well presented, though a bit scratchy until the 20-hour mark during break-in. Solo piano and guitar were syrupy sweet, and might have been more so if not for the my Rega P2’s slightly brusque tendencies (compounded, possibly, by the fact that it MAY run a bit fast). I bet the Shure would melt hearts on an old Thorens TD125 with a nice low-mass SME arm, or even my good old TD115.

Harder to describe is how pleasant-sounding the Shure is. It’s surprisingly free of blatant rough edges until, like me, you go listening for them. As such, it’s capable of painting a credibly detailed musical picture without overt peaks, valleys or distracting sonic disturbances. In a word, the M97 is mature, a real grown-up that clearly illustrates the benefits of experience. Plus, it accomplishes this without being flaccid or dull-sounding (like my Rega Elys—the conspiracy theorist in me says it was engineered to downplay the P2 and P3’s built-in faults and ended up plain-sounding in the bargain).

A final note: Shure has often been criticized for stating that their cartridges are “warm” and “neutral” at the same time. I’d counter that, in this case, it’s a fair description. Neutrality, to me, describes a lack of exaggeration in any aspect of performance. With the Shure, that’s true. Similarly, I take “warmth” to mean that a cartridge is non-fatiguing, that being the case because it’s not unnecessarily harsh or shrill. Again, the Shure fits the bill. Now, if you define warmth as deliberately rolled-off highs, then you’ll surely want to get in on this semantic argument. I’ll sidestep the issue entirely by simply saying that, in my system and to my ears, the Shure M97 is accurate, easy to listen to and involving.


Shure’s Dymamic Stabilizer brush isn’t merely a dust collector, though it does a good job of it. Rather, according to the manufacturer, it’s designed to “maintain a uniform distance between the cartridge and the record under difficult playing conditions, such as those caused by warped records, or mismatched tonearm mass.”

If mismatched tonearm mass is the problem, you should probably change your arm or cartridge. But as far as warped LPs go, well, we all own a few of those. I have a recent German pressing of Van Morrison’s “Moondance” that arrived badly warped, and also a copy of Mark Knopfler’s sublime score for the movie “Local Hero,” both of which I don’t often play because of the warps. A shame, of course, so I increased tracking force by 0.5g per Shure’s recommendations, lowered the stabilizer, and let ‘er rip.

Guess what? I couldn’t discern any improvement with the brush in use. None. As in zero. Yeah, I know, it surprised me, too. But the fact is, the Shure tracked both LPs the same with the brush up or down. That’s not so much a knock against the brush as it is a validation of the Shure’s excellent tracking in concert with the Rega RB250 arm.

I wish I had a slush fund, because the real test of the brush’s effectiveness would be to take a copy of the HiFi News test record, bake it in the sun for a few hours, then try the brush up/brush down comparison again. Maybe somebody with money to burn can try it. (If your speaker cables cost more than your dog’s hip replacement surgery, then I’m talkin’ to you.)

Maybe on VERY badly warped LPs the brush is effective, but I’m not nuts enough to risk the stylus in order to find out. Probably on inferior arms it may have some beneficial damping effect. I also suppose you could decide to use it solely as a dust collector. While I didn’t notice any ill sonic effects from using the brush, I think I preferred the sound when not in use. I wouldn’t swear to it, though.


There are many choices at or near the M97’s price, none of which are quite as sweet-sounding. The Audio-Technica 440ML, widely available for $100, offers a finer stylus and slightly better tracing ability. Grado’s Black, Green and Silver, although very good, can’t equal the Shure’s trackability and in my experience, can sound a bit brittle. Ditto the Stanton and Goldring models below $100.

The Ortofon X1-MC (discounted to about $110) may equal the Shure’s neutrality, but I found it to be ultimately less satisfying. The Ortofon OM10, sale priced at $60 these days, might give the Shure a run for its money in some respects, but I didn’t have mine long enough to say for sure. Denon’s DL-110 ($140) likely shares the DL-160’s bigger-than life-presentation and incredible speed, but it can also be an acquired taste. The Benz Micro MC20E2 ($175) is a rock star, with great bass and lots of life. Finally, there’s Rega’s Elys ($225), which I found to be disappointingly flat-sounding.


The Shure M97xE may or may not be a baby V15. I’ll leave it to those who have heard both recently to answer that. Taken on its own terms, the M97 offers way above average detail retrieval, good imaging, decent soundstaging, excellent tracking and dynamics, and terrific build quality. More importantly, and harder to adequately describe, is its remarkable listenability and marked lack of harshness. I can easily imagine someone living happily with this cartridge for a decade or more, instead of ceaselessly clamoring for something better. (There’s a word for people like that: “sane.”)

I’ve stayed up late on numerous occasions with this cartridge because it ‘gets out of the way’ (as they say in the magazines) and allows the music to shine. I suspect the few affectations it exhibits are more the doing of my turntable than the cartridge itself. True, surface noise can be slightly intrusive if you’re used to moving coils or more expensive moving magnets. I also wish the Shure had slightly tighter-sounding lows on some recordings, and improved soundstaging on others. Maybe you’ll find those qualities in the V15. Then again, maybe not. One thing’s for sure: the M97xE needn’t stand in its big brother’s shadow. It’s a wonderful little cartridge that deserves an audition in nearly any sub-$1000 analog playback system.

Associated gear
NAD Monitor Series 3400 integrated amplifier with MM/MC phono section
NAD C521i CD player
Rega P2 turntable (with P3 glass platter)
Shure M97xE phono cartridge
ProAc Tablette 2000 loudspeakers
MonsterCable Z-Series 10’ speaker cable
Audioquest Diamondback interconnect
MonsterPower HTS2500 Power Center
AudioQuest MC cartridge demagnetizer
Record Doctor II record cleaning machine
Sennheiser HD580 Precision headphones
Sony ProAudio MDR-7506 studio monitor headphones
StudioTech racks

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Thanks for the great review. As a budget concious planar 3 owner it's looking more and more like a Denon dl160 is in my future.
I would never warn a Rega owner away from the Denon DL-160. I've owned two and both were superb. (I've also used them on Denon and Luxman tables.) They're a very unique and wonderful cartridge and as a bonus, easy to setup and completely un-fussy. Brad at Sounds & Images in Linwood, NJ introduced me to them (on a Denon DP-47F turntable, which I also bought) and I've been hooked ever since. I just ordered a new turntable, with an arm that is probably better suited to an MM, so that's why I got the Shure. But I definetely see a third DL-160 in my future at some point. Cheers!
Based on your very thoughrow review of the M97xE cart, and my suffering with a very harsh and shrilly Goldring 1012GX cart on my MH mmf-5 TT, I decided to buy one of these little Shure carts.

I recieved it yesterday in the mail and set it up on my TT last night. I put around 5 hours on it last night, and so far, about 6 or 7 hours today.

All I can say is that I am very impressed and happy with the M97 cart so far. I am hoping it will open up just a tad bit more on the top end though. It sounds excellent and has all the qualities that you described in your review. Don't get me wrong, I can easily live with the treble the way it is, but it would be nice to be just a little more open.

What kind of changes did you hear once the cart broke in more? Anything?

Anyway, here's a quick run-down of my system, just so you know it is capable of reproducing the fine details.....

Integrated Amp: Consonance M100SE / 6550 output tubes
Phono Preamp: Audio Alchemy VIB / set at 47k & 270pF
Turntable: Music Hall mmf-5
Cartridge: Shure M97xE
Loudspeakers: Triangle Zephyr
IC: MagWire Naked
Spkr. Cables: Signal Cable / Stout
I bought a Shure M97xE for my SME Series III (the lightweight one) on a home made deck based around the old Goldring Lenco GL75, and I've found that two things have made huge improvements.

First cleaning the records made for a much smoother sound (I used the Gnosti Disco antistat - manual, but effective).

Second, cleaning the stylus with LAST stylus cleaning fluid all but eliminated surface noise on many of my records, even the old ones, and also improved tracking on some more troublesome tracks toward the centre of the record.

Both definitely recommended (for the record, I have no relation with either product - just a satisfied customer).
Several readers might shudder at this, but I have an old Pioneer PL-L800 linear tracking TT upon which I've mounted a V15. This setup has worked very well for archiving my favorite vinyl on cd. The stabilizer brush may not do much on a traditional J or S tonearm, but on my aging linear machine, it really has made a difference.

I bent the stylus cleaning the stabilizer brush last week and was trying to figure out what to do (it needed replacing anyway) and glad I found this review of the M97xE. Based on Shure's recommendation and now the good review, I will try the M97xE.

Thanks for the thorough and honest review!
I have to say it--congratulations! You have practically written the textbook on entry-level cartridges in this one review. Anyone considering buying a new or used analog source in the Rega P2-P3 quality range would be happy to read it. I used to own a V15 but would never have considered an M97 until now. Thanks for sharing.
Thank you Ed, a perfect review and fair assessment of the bargain priced Shure M97xE cartridge.

I was shocked at how good the Shure V15 was on my Lenco, and now after reading your review, suspect the M97 is equally stunning for the dollar.

This review, much like your review of the Technics turntable, is wonderful. Providing a push for those interested in analog but with limited budget (or unwilling to spend big bucks to experiment) to join in.

Your nod of approval to another affordable analog product is a positive contribution. You have not forgotten the importance of having fun with great, reasonable priced gear and the joy of music it brings.
I had an earlier version of this cart about two years ago mounted in my PE 3048. Your rerview is very accurate although I disagree with the surface noise statement. I found this nice Shure to be extremely quiet but slightly lacking in the highs. Then again...I only gave it a two hour test before passing it on to a friend. Most impressive is the striking appearance of this little guy! Out of the appears to be quite an expensive masterpiece and with the "blue" stylus assembly against a chrome-like seductive before you actually even hear the doggone thing! Back then...I paid $72 but now with your review and the even lower price...I'm most tempted to try this baby in my restored Pio PL-518. Thanks for a clear concise review!...Peter
Hello everybody,

I have just bought this marvellous cartridge. I'm very satisfied about the musical performance because it's a very good match with my HIFI system. I use it on my Technics SL-1200 with a Rega RB600 arm. My amplifier is a Rega Mira and my speakers are JMLab Chorus 715. In my system, the musical personnality of this cartridge is warm and dynamic without agressivity. The stereo image is pretty good. I hear some details that I have never heard before! The tracking is very good with a medium mass arm as my Rega RB600. The bass frequencies arm round and firm at the same time but sometimes overloaded with warm recording. The medium frequencies are rich. Finally, the treble frequencies are clear and detailed with no harshness.

If you have a turntable which sounds bright with a warm and vigorous amplifier with neutral and firm speakers, this cartridge is for you!
Can anyone can tell me if a Shure M97xE is as good as an original new old stock V15III with VN35E? is it realy that good? Will it be as good on SME 3009II fixed headshel?
Hello, Vinylvalve! I can comment on your question, having lots of "vinyl-time" with both cartridges, used in identical systems.

The M97XE is "voiced" rather differently than the V15III with VN35E! The top end is both more accurate and neutral. Improperly matched with inappropriate phono preamps, the V15III can frequently offer superficial brightness which might get tiring on high resolution systems. The M97XE playing through the SAME cheap and overly bright preamp will sound less edgy and brittle, although both cartridges are decent performers in every way.

The MX97E actually can be used with some really dreadful tonearms, if you are willing to lower the stabilizer brush.
Just for the heck of it, I briefly played the MX97E mounted in a really low-performance Garrard RC 65 changer from the 60's, with astonishing results. That table could NO way successfully track with a V15III. (Yes, I tried once)

The "wallowing suspension" problem familiar to all users of the earlier Shure V15 models is simply GONE in the MX97E!

You can also use the V15VXMR stylus assembly if you want really superior tracing ability. This isn't a way to get a "cheap" V15VXMR, according to Shure, but we got results when using this swap which left me wondering. I didn't notice much of any difference from my "genuine" V15VXMR!

Either the MX97E or the V15VXMR are a pretty substantial upgrade from the V15II, which I've recently retired after
many many hours of enjoyable vinyl. The V15III was my "reference" cartridge for transferring vinyl to (eek!) red book CD format.

The fancy moving coils proved too problematic for this application, with a mixed bag of results. The Shures do find favor with those trying to get vinyl into the digital domain, and my "new" standard has become the V15VXMR. It can trace grooves about as nicely as anything I have ever auditioned, but its minor shortcomings are probably better documented by more experienced reviewers. It is an amazing performer in my system, and an amazing DUD when played in a friend's system!

It doesn't "do its thing" with just any phono stage, but would likely be a pretty happy surprise for those who plug it into some large Japanese receiver!

I found the M97XE to be a close second to the V15VXMR, demoted only by the inner groove performance, where the line-contact stylus of the V15VXMR makes its presence known.

Similar sonics, but slightly different presentation. (Every other reviewer says "warm", whatever that means). I say, "pretty accurate groove tracing, up with the very best. Sonics are limited mostly by the design and geometry of the generator assembly."

Both old and new Shures are among the FEW cartridges I'd ever track near their recommended stylus pressure. They really can track!

Maybe when I've had more experience of the V15VXMR I'll give a shot at writing a review. Both of the top Shures are at the top of my short list for "maximum bang for the buck" vinyl playing. My comments about the top two Shure models are almost interchangeable, except for the superior tracing ability of the V15VMXR stylus.

Both of Shure's newer top-line models definitely stomp the V15III, in pretty much all audible parameters, but few reviewers have paid much attention to how "different" they might sound depending on what kind of phono stage they are matched with. I find them very enjoyable with both tube and solid state preamps.

You would likely spend ten times the price of the Shures for significantly better sonics, but don't overlook some of the other good Audiogon reviews of alternative lower-end cartridges. We have some amazingly good ones now!~

(NO, I have no plans to stop using my V15III, it has simply migrated to another turntable and system!) Maybe you might like to have BOTH old and new Shures! Once in a while, I find a record which will actually sound nicer on the OLD cartridge.

Best regards,
After restoring a Micro Seiki BL-51 w/out tone arm, we went with the Rega RB 300 arm. Contacted EK to see if he had any phono cartridges laying around at the time. He did not. So the client was running a little low on funds after the arm purchase. He wanted the Denon DL 160 or 110 but could not afford either. So I remember this review by ED and we went with the Shure M97xE. Found that Ed and I share similiar ideas on phono cartridges. Found this one locally and the dealer was getting out of analog and got the Shure M97xE for $60.00 new in box. He had two left and I bought both, kept one for myself as a back up.

I am not going to go into a long review. But everything Ed says about the M97xE is spot on. And at the $60.00 we paid is little more than an outright steal. For price/performance value I know of nothing but the Sumiko Pearl that offers this level of performance in a MM phono cartridge.

It has been some 20 years or more since I last experienced a Shure and it was the V15 Type IV, that was to my ears total dreck compared to the V15 Type III. Make no mistake Shure has come a long way indeed and the M97xE is a stellar performer, that in vinyls golden age would have cost an easy $200.00 or more.

I could see the grimace on the clients face, when we bought these, wasn't what he really wanted, but was what he could afford at the time. But once installed and spun some vinyl the grimace left in a hurry. And it is amazing to see how much micro dust is picked up by the brush. the V15 Tvpe IV had this as well, but had forgotton how well it picked up fine dust particles in the LP groove.

For the vast majority of us the Shure M97xE will be all the phono cartridge one will need. Considering the fact that most of the vinyl today is used from garage sales and the like, and the new vinyl pressings are nowhere near what they were in vinyls golden age, the Shure M97xE is welcome relief to todays analog audiophile.

I am totally with EK on this.
Have just installed M97xe to my Kenwood KD 500 ( Marble Chassis ) with van den Hul rewired Rega 300 arm. Bass is the first significant improvement with well defined articulate bass. Nice midrange and yes I did notice that the musicians lost a bit of ground but in a small room this is desirable. Recommend this cartridge. I like it.
You were dead on about mounting the cartridge and the surface noise. I'm hoping the surface noise goes away.
I have owned well over 50 Shure cartridges in my lifetime and can tell you quite honestly that the M97xE is without a shadow of a doubt better than the following: Shure M91E, M91ED M75ED T2, M95G, M95ED, M95HE, M97HE, M97EJ, ML-111HE, ML-120HE, ML-140HE, V-15 T2 Improved, V-15 T3, V-15 T3HE, V15-HRP, V-15RS. My M97xE is currently mating wonderfully with the nicely designed S-shaped tonearm of a Pio PL-518 that this gal sold me for $4.25 at an internet garage sale. I cleaned up the dirty pitch control and fixed the suspension. The unit now sounds glorious with this awesome low cost high performing Shure. P.S....Sorry for my horribly late timing and delayed response. I should be put into the Audiogon hi-fi Hall Of Shame!
"I bet the Shure would melt hearts on an old Thorens TD125 with a nice low-mass SME arm, or even my good old TD115...
to my ears, the Shure M97 is accurate, easy to listen to and involving." Ekobesky

Well...I think you are 100% K-rect! Thanks for getting me to purchase this guy again and try it in my Pio PL-518. By the way...I figured out Shure's new two-point stylus gauge that is now included with the unit and will explain it in my upcoming review. It actually is quite easy to use and dead accurate! Also...I may have to eat my earlier words about the cart "lacking emotion" as it is very dynamic indeed after ten or fifteen hours of break-in. My full report will be made soon...Peter
Bravo! A sane man with passion - a rare find indeed! My old Shure V15III/PE turntable brought a lot of praise and open mouths back in my barracks while in the Air Force. Too often honest criticism becomes an arrogant tirade on the soapbox letting us all know how intelligent the writer/speaker is (or how much he has spent). More reviews like this are in dire need to appeal to the many novice buyers considering their first choices in hi-fi gear. Of all the music retrieval products available, turntables and cartridges probably have to take first place as the least understood (and appreciated). Tired of the lack of interest most audio companies have about raising the standards of audio gear? Get more people educated and involved WITHOUT becoming a snob or a fanatic that turns them off from experiencing the joy of being an audiophile. If you enlighten them, they will come.
Has anyone tried the N97XE stylus in a V15VxMR cartridge?
Thanks, Andrew
Got an email from J&R Music World, that they were offering the Shure M97XE at $54.99 delivered. Although I still have one from 2006 nib can't pass up a bargain.

I remember back in 06 I installed one for a friend on a Micro Seiki with a Rega tonearm, that I help him refurbish.

So that prompted a call to Walt and see where we were some 5 years down the road. He really didn't want the Shure at the time, but that was all he could afford at the time.

He has a lot of vinyl and I mean a lot of vinyl from mint to dubious quality. And he listens some 25 to 30 hours per week. So the Shure certainly gets a work out. After talking a while we got around to discussing the turntable and ask him if he had changed the Shure. Nope, still in the rig and sounding fine. In fact his whole syatem hasn't changed in that time. Just kicking back and doing serious listening to his vinyl as he has always done. Conservatively I would say he has about 8,000 hours on the Shure and might be a good time to change the stylus or at least get a new M97XE and told him about the sale at J&R. So he ordered one. I find it hard to believe with that many hours the Shure is still working and sounding good, but stranger things have happen. At this point there can't be more than a nub of the stylus left on the cantilever, but I will see for myself in a few days when his new one gets delivered. He is reporting no issues with this orginial one I installed some five years ago. This will be quite interesting.

I never put on more than 2000 hours on a cartridge before it is changed. I have had a few that have shown no discernible wear even after 2000 hours, but that is rare indeed. But with at least 8000 hours, that I have to see. Either his hearing has gone to hell or the M97XE is the marathon champ of all time in phono cartridges.

More to follow in a few days.
Long time since this thread was active so let me chime in and say that, after about a year of off and on playing my Shure M97XE (along with a number of ready to go carts that I swap in and out of a Technics SL1200MkII) it has just started to open up on top. I noticed it the other day when suddenly I was hearing some very high percussives on a very familiar recording. So it will open up with patience and playing time, perhaps at about 100 hours, which may seem like a long time for cartridge break in, but I am now convinced that it well compares to my vintage V15 IV with Ed Saunders stylus. I would not hesitate to replace this with same and in fact now that it has opened up may get a spare to keep on hand when the time comes.

One of the best cartridge deals out there is the M97XE. Go Shure!