The "EE" arrived yesterday and looked truly "New Old Stock" of an older kind. The four connecting pins looked rainbow brown instead of golden
But the cantilever/stylus looked new, and of a smaller diameter and shorter length than the "E" version
First time I noticed that welcome difference, and portends well for treble tracking (over and above the "E" version). But not to worry, since the "E" version tracks treble excellently, and even better in my Paratrace modification.
the suspension feels somewhat hardened in comparison with my Paratraced sample. Only one interpretation here: the sample received yesterday IS OLDER and already shows some suspension hardening (but not too much). It did not track the toughest Low-Freq. band on my Shure TTR-117 test LP. ( which my Paratraced 500 tracks easily).
So, I purposely played the highest volume LPs I could muster, just to loosen the suspension.
Voila! I found a long lost sample of the "Miller and Kreisel Bass And Transient" 45 rpm test record. It had been lurking silently in pregnant silence to jump any unsuspecting cartridge. This "Older EE" navigated ALL bands without a hint of mistracking! And that includes Very Low and High Energy Bass, vigorous midrange, and show-off smart aleck treble percussions of several kinds. Plus several cannon shots, and loud Flamenco Dancers stomping on a 3-foot-high wooden platform...PLUS hand-clapping, finger clicking, and castanets clicking That generates stong transients from the low bass to the upper midrange.
Other high-energy LPs were subsequently passed with perfect tracking AND with the characteristic balanced tone (neutral, and free from treble highlighting).
then came my all-purpose total-character LP test. The Brahms 1st Symphony on Chesky 180 gram reissue, with London Symphony conducted by Horenstein. It is a Very Special recording insofar as Special Sonic Authenticity.
It also includes a hideous passage of dissonant French Horns (unintended by Brahms) introducing the crucial theme of the last movement (reprised by the flutes) The phrase is composed for full-throated expression, and these horns were recorded in all their blastingly hideous dissonance of apparently perverse intentions. The "EE" passed this disgrace in utter accuracy (perfectly tracked dissonance)
In my frequent amateur participation with symphonic choruses, I have witnessed instances where the players challenge the director with their "passive-aggressive" intentional "mistakes". This is an example (I have three other LP versions which are totally free of this perversion), played in all its accurate (what is the opposite of "splendor"?).
So, despite a slightly hardened suspension with mild effect on bass tracking, the NOS "EE" has been a succes! Glad for purchasing the last (?) of the breed.
And I cannot stress too much that other versions of the "500" are not up to audiophile interest. Just DJ interest.