Turntable Reviews

UK, 1976: Upon its release, Rega Research's original Planar 3 turntable became the poor man's Linn Sondek LP12. It opened a gateway of affordability to the exotic world of high-quality British record players. Forty years later, the new Planar 3 turntable and its "light and rigid" engineering aesthetic, as conceived by Rega founder Roy Gandy, still occupy an admirably working-class, pro-music position in an audio world increasingly populated by gold-plated tonearms and quarter-ton turntables.

Do good things come in small packages, or is bigger better? Your call. But regarding the products they've sent my way for review this month, designers Franc Kuzma, Kiyoaki Imai, and Velissarios Georgiadis are all in the latter camp. Kuzma's Stabi M, designed to accommodate the 14" version of his 4Point tonearm, is a massive turntable with a big footprint. Imai's Audio Tekne TEA-8695 tubed phono preamplifier has 11 Permalloy core transformers and weighs nearly 100lb. And although it uses just four signal-path tubes and a pair of rectifier tubes, Georgiadis's Xactive Argo phono preamplifier fills the full width, height, and depth of a Harmonic Resolution System shelf—and not because it's a big but mostly empty housing.

Recently, when a reader questioned my hearing acuity on account of my age—I'm 69—I didn't argue: I don't hear as well as I did when I was 40, or 50, or even 60, and it would be foolish to claim otherwise. However, while my hearing isn't what it once was, neither is my listening—which has never been better. Audio perception is a combination of what the ear delivers and what the brain does with it.

My upper-octave response still sounds to be all there. Are there some lumps and bumps below? Probably. And some tinnitus noise encroaching on very-low-level material? No denying it. But as far as I'm concerned, at least for now, I'm still quite capable of doing this job.

The review gear piles up, and it's time for a late spring cleaning—not that any dust has gathered on the uniformly excellent products covered in this column. I'll start with two very different phono cartridges.

"Hail, Neophyte!"

That's what members of the Smoky Basement Secret Audio Society would exclaim in unison at the end of each ceremony admitting a new devotee. It was called the Smoky Basement Society not because everyone smoked (though they did), but because its members believed that whenever an audio designer finally got a design dialed in just right, he or she had metaphorically "let the smoke out." They exclaimed, "Hail, Neophyte!" because they believed that the most important aspect of being an audio engineer was to have a fully open "beginner's mind." In Zen practice, this is called Shoshin, or beginner's heart.

Dr. Feickert Analogue's top-of-the line turntable, the Firebird ($12,500), is a generously sized record player designed to easily accommodate two 12" tonearms. Its three brushless, three-phase DC motors, arranged around the platter in an equilateral triangle, are connected to a proprietary controller in a phase-locked loop (PLL); according to the Firebird's designer, Dr. Christian Feickert, a reference signal from just one of the motors drives all three—thus one motor is the master while the other two are slaves. (Man, today that is politically incorrect, however descriptively accurate.)

For some time now, I've been thinking that my record player was due for an upgrade. My Linn LP12 turntable and Ittok LVII tonearm are about 25 years old, and my AudioQuest AQ7000nsx cartridge is going on 15. During that time, my listening has become increasingly dominated by CDs, but I am not yet ready to give up on LPs. Updating my LP12—for which I have Linn's Lingo power supply but no other upgrades—would involve installing the Keel subchassis, for $3250—for which price I could get another maker's new, current-design turntable and still have the LP12 to sell. The Linn Ittok can't be upgraded, and its replacement, the Ekos SE, costs $4950—out of my range. AudioQuest no longer makes cartridges. Examining my AQ7000nsx's stylus under a microscope showed no visible wear, and there was no obvious audible problem that could be traced to the cartridge's suspension, but age must be having some sort of effect. Taking all these factors into account, I decided to replace my entire phono front end.