Turntable Reviews

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Michael Fremer Posted: Jun 28, 2011 8 comments
Enticing more music lovers to try vinyl requires a foolproof, plug'n'play solution. Asking a member of the digital generation to install a cartridge in a tonearm and then set up the VTA, SRA, VTF, etc. is asking too much. It's easier to make such a request of someone already bitten by the analog bug, but with turntables, wishing someone beginner's luck will not guarantee success.
Art Dudley Posted: May 19, 2011 3 comments
I tried to name a high-end audio product that's been recommended more often than the Rega Planar 3 turntable. I failed.

The closest I could come was Rega's own RB300 tonearm, surely the best-selling perfectionist tonearm of all time. After that came the Rega Planar 2 turntable, a sample of which I owned and loved in the early 1980s. Next on my list was the original Rega Elys, a moving-magnet cartridge that sounded as chunky and direct as it was cheap and magenta.

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Michael Fremer Posted: May 19, 2011 2 comments
I won't debate here how to make a turntable's platter go around. Choose your favorite: belt vs direct drive, idler wheel vs belt, spring-windup vs wind power, whatever. As far as I'm concerned, there's nothing to debate. Each of these technologies has its pluses and minuses, but none can produce CD's accuracy of speed and inherent freedom from wow and flutter.
Brian Damkroger Posted: Jun 14, 2010 0 comments
Photograph: TONEAudio Magazine

High-end audio exists at the intersection of art and science. Either discipline can produce a good product, but it takes both to create the very best. The Sonic Frontiers gear I auditioned many years ago, for example, was technically sound, nicely built, and sounded good—just never as sublime as products from, say, Audio Research or VTL. On the other hand, an experienced, insightful designer such as Quicksilver's Michael Sanders can create wonderful products from humble circuits and parts, but be ultimately limited by the underlying technology. But when brilliant design, uncompromised execution, long experience, and artistry all come together, the results can be staggering.

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Art Dudley Posted: Apr 16, 2010 0 comments
Although LPs remain, for me, the high-end medium of choice, I'm not terribly interested in today's high-end record players. Most of them, from the 1980s through the present, have been soulless, uninspired, me-too products that utterly fail to communicate the presence, momentum, and punch of recorded music. And in certain ways—expense, complexity, size, cosmetics—some have been, quite simply, ridiculous.
Michael Fremer Posted: Dec 27, 2010 Published: Mar 01, 2010 1 comments
Thirty years have not diminished the beauty and elegance of Oracle's Delphi turntable. In my opinion, it still ranks among the best-looking turntables ever made. I bought an original Mk.I, used, in 1982, and very positively reviewed the Delphi Mk.V in the December 1997 Stereophile.

In its three decades the Delphi has undergone many upgrades both technical and aesthetic. Not surprisingly, so has the price. The Mk.II Delphi sold for $1250 in 1986; the Delphi Mk.VI with Turbo power supply and dedicated power cord now sells for $8500, which, in today's market, I think is reasonable for what you get. The review sample came with an Oracle/SME 345 tonearm ($3100) and a Benz-Micro Thalia high-output MC cartridge ($1700), for a total cost of $13,300—or $11,600 for just 'table and arm.

Robert J. Reina Posted: Feb 23, 2010 0 comments
In the January 2010 issue of Stereophile I gushed effusively about the $450 Marantz PM5003 integrated amplifier. Not only was I impressed with the sound, build quality, and features of this very affordable component, but, intrigued by how it might be combined with other gear to build a complete entry-level system for about a thousand bucks, I began to ponder other entry-level components that might nicely complement it. My goal here, of course, is to inspire a new generation of young audiophiles. I felt a turntable would be a good place to start.
Art Dudley Posted: Feb 23, 2010 0 comments
Revolver? More like evolver: 80 years after the first electrically driven record players became available, professional and amateur engineers continue to seek new ways to spin LPs with ever-greater steadiness and precision.
Michael Fremer Posted: May 15, 2009 0 comments
Much has happened in the analog world since I reviewed SME's flagship Model 30/2 turntable for the March 2003 Stereophile (footnote 1). Back then, spending $25,000 on a turntable (without tonearm) was an odd extravagance intended only for those seriously committed to the format, and who already owned large LP collections. Although new LPs were being pressed in growing numbers, the resurgence of vinyl was still spotty, and the long-term prognosis for the old medium remained in question.
Art Dudley Posted: Mar 20, 2009 0 comments
During a century of development of the phonograph, dozens of different things have been considered crucial to its performance: lack of bearing noise, lack of motor noise, freedom from runout error in the platter, high moment of inertia in same, immunity to all manner of unwanted vibration, and so forth. But now I wonder if the most important factor of all hasn't been overlooked, or at least misunderestimated, throughout much of that time: Could it be that motor torque is more critical than any of us imagined?
Michael Fremer Posted: Jul 15, 2008 0 comments
It's now been eight years since a Rega P3 turntable passed through my listening room. While the new P3-24 superficially resembles the P3 (and virtually every other Rega 'table), the company has made some significant changes, including upgrading to the high-quality, low-voltage (24V), electronically adjusted motor used in the more expensive P5, P7, and P9. As in those models, an electronic circuit trims the phase angle of the P3-24's motor coils, thus substantially reducing motor vibrations. In 1998, during a factory tour, a Rega engineer demonstrated the circuit's effectiveness to me. As he adjusted the circuit board's pot, vibrations from the motor dramatically decreased, until it was difficult to tell if the motor was spinning or not. Back then, this "hand-trimmed" motor technology was available only in the P9. The P3-24 uses a less sophisticated version of the same basic idea.
Art Dudley Posted: May 31, 2008 0 comments
The Oakland fluker said, "You mean we should lug our Connie Companion layout all that way? It's too heavy and something might happen to it."
Michael Fremer Posted: Dec 23, 2007 0 comments
Simon Yorke is an artist, a machinist, an electronics wiz, and a political idealist. He's also an analog enthusiast who melds aesthetic and technical considerations into eye-catching, densely packed, compact record-playing devices that are ruggedly built and functionally elegant. His turntables' smooth, matte-gray, metallic finishes and efficient lines make them among the most visually pleasing ever made.
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Michael Fremer Posted: Nov 15, 2007 2 comments
Conceptually audacious, elegantly designed, executed with space-age precision, and remarkably compact, Grand Prix Audio's direct-drive Monaco turntable ($19,500) aims to turn the tables on the belt-drive designs that have dominated analog playback for three decades.
Art Dudley Posted: Oct 20, 2007 0 comments
Visit www.stereophile.com and look at the Vote Results for June 17, 2007: You'll see that when we asked our readers to name the one audio product that's spent the greatest amount of time in their systems, the most common answer by far was the Linn Sondek LP12 turntable (footnote 1). Little wonder that Scotland's most famous record player endures as an object of attention for various and sundry commercial tweaks.


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