MC-MM-MI CARTRIDGES . DO YOU KNOW WHICH HAS BETTER QUALITY PERFORMANCE? REALLY?

Surely tension/release is a neurological matter rather then one created by a skilled orchestra, a good venue or a fine cartridge? We talk of joyful music, sad music and so on, but we are simply describing the emotions it engenders in our minds, not in the music. It is interesting that we generally agree on the emotions that music causes: it gives a small insight into the way our brains work. One of the admirable qualities about Puccini was that he wrote in emotions as much as in melodies; he had the ability (was it conscious?) to reach straight into one's thalamus and manipulate the emotions. Probably heightened by all the excitement of a live performance, where travelling there, dressing up, the set, the costumes, and finally the music all contribute to the final effect of leaving me weeping.

I want my music reproduction to work at several levels:

—I want the detailed timbres of an intimate venue chamber recital or solo voice reproduced so I can hear them as if I were there, I want to hear how much rosin is on the horsehair

—I want my feet to tap from the musicality of it all, which is simply a physical manifestation of how successfully the music is dominating all other mental processes

—I want that emotional experience

But then, I'm easily satisfied...

Apparently.

You may find this interesting.  Basic, but to the point:

https://www.schoolofcomposition.com/what-is-tension-and-release-in-music/#:~:text='Tension%20and%20release'%20refers%20to,keeps%20the%20music%20moving%20forward.

OK I admit that in my sound room there is a piano and a set of drums and a lot of percussion instruments.  Sometimes these must inevitably influence my perception of sound as reproduced from my stereo system.  But, the influence is only subliminal and never due to direct comparison.  It does help me hear if the piano is in tune.  Especially live acoustic jazz recordings sometimes reveal out of tune pianos.  Also, Connie Kay, the great drummer of MJQ, had a bell tree with a very distinctive sound.  I have one of those bell trees and use it to verify that my overall system presentation and tonality are reasonably accurate in the upper midrange and highs. If the bells don't sound right a cartridge could be a no go.  This in my experience happens with cartridges with a rising high frequency response, which is  confirmed on an O-scope.  This is more common than you think and one of factors that led me to favor my Hyperion.

@rauliruegas , good to see you continuing the good fight in the audio wars my friend.  I'm a few days late in discovering this post.

Regarding a "true" answer, I don't believe that will ever be possible.  As you pointed out there are too many variables in playback systems.  But also significant variables in the sources, the recordings we listen to.  Then there is the equally wide variation in personal taste, based upon exposure and experience, plus individual hearing response profiles.

I agree with the importance for calibration of personal audible standards by listening to live performances.  Unfortunately that is challenged by the reduced number of unamplified performances now available.  But here I don't intend to say attending one or two a year is sufficient.  Repetition is needed to ingrain the unique sonics or each type of instrument and vocal range.  Again there is the likelihood for sonic variations from one live venue to another, one brand or design of a given instrument to another, and individual vocal characteristics.  So broad and aggregated experience becomes necessary.

BTW, I trust that frogman won't mind if I reveal that he is a professional musician of long standing who also enjoys home music reproduction.  So he has the benefit of  experience and musical knowledge as a bases for his perceptions.

As for me, I have MM, MI, and LOMC examples (thanks to Raul's earlier post) and find something to enjoy in each type.  But I started in this hobby in the mid-1960s and my ears no longer demand the precise playback they once did.  So I don't worry about the fine points as much as I used to. ;^)

I've myself attended many live performances, Choirs, Choristers, Orchestral, Acoustic, Rock.

Some of the Venues visited have been wonderful to listen to Music, with even the Albert Hall included, which has had extensive work carried out to enhance the Venue for live performance.

A HiFi System can't do it, it can't encapsulate an individual in the expanse of the sound.

The Sound at a Live Venue is usually omnidirectional and expands to envelope the listener.

A Rock Venue not so much, as this is expansive sound but directional.

A Sound produced from a Audio System is directional, it is here where all similarities are lost to a live performance.

I don't disagree with the idea, a particular instrument when heard on a Audio System, can create the perception there is an honesty to the sound being produced, bit the lag between a Instrument Heard in one location, the exposure to endless ambient sound from the local environment, and then listening to a recorded music on the home system, even if achieved in the shortest of timeline, leaves a individual with a corrupted hearing.

I suggest anybody with the notion on board, they are able to have equivalent of a  Live Music Encounter, as a match for a Recorded Music Audio Experience, has a little fantastical attached to their notion and inaccurate assessment.