Phono Accessory Reviews

The next time you're preparing to play a record, try doing a little experiment. Once you have the record mounted and spinning but before you lower the stylus into the groove, lower your gaze to just below record level and look for a gap between the platter and the record. It helps if there's a light source or a brightly colored wall behind the platter. You may discover a gap—that very little of the record's playing area is making true contact with the platter mat or (if there is no mat) the platter. Another way to test this is to take a record you don't care much about, put it on the platter, then tap with your finger in the groove area listening for a click as your finger pushes the record down and it contacts the platter surface.

Warps obviously lead to such problems, but even records that appear flat make scant contact with the supporting surface. Turntable and aftermarket accessory designers have recognized this problem for decades.

I'm a music lover first, not the most Type A of audiophiles. Sure, I clean my records, but I'm not obsessive about keeping them immaculate like my audiophile father is; he cleans each record ultrasonically before it lands on his turntable platter, writing the date of each record's last bath and which cleaning machine he used on the outside of a fresh plastic inner sleeve before sliding the LP back inside. I don't think his cleaning schedule is rigid—he has far too many LPs for that—but it's regular. Whenever I visit with LPs in tow, they must pass through the record-cleaning machine (RCM) gauntlet before they're permitted to land on his turntable's platter...

Recently, I tried out one of the many RCMs currently on the market: the redundantly named Nessie Vinylcleaner ProPlus+ ($2495), which despite the name does not hail from Scotland, nor is it a monster; in fact it's smaller than some other record cleaners I've used.

The stylus that cuts the grooves in your favorite records is best described, in simple terms, as "chisel-shaped." The most accurate playback styli—the "extreme" ones that extract the maximum amount of information from the grooves—have a similar shape, with sharper and more severe contact edges than a standard elliptical stylus, itself an advance over spherical styli.

What? Suddenly a new Japanese cartridge manufacturer? That's what I was thinking when Mockingbird Distribution's Phillip Holmes dropped three cartridges on me from DYLP Audio. Never heard of them—but then I'd not heard of MuTech either when Holmes sent me one of that company's $4500 RM-Kanda (now Hyabusa) moving coil cartridges, which I reviewed in the March 2019 issue's Analog Corner. If that cartridge is not on your moving coil radar, you ought to put it there.

So glad to be back in business with superclean electricity! Especially having spent the last few weeks listening to the remarkably pure-sounding Analog Relax EX1000 cartridge ($16,000).

The brochure asks, "Have you heard of YAKUSUGI Cedar?" No. I had never heard of Analog Relax, either. If you have heard of it, you're at least one step ahead of me.

Held every November in normal times, the annual Warsaw Audio Video Show is among the world's largest. I first attended a decade ago, in 2011, and was amazed by both the number of attendees—more than 10,000 people—and demographics that skewed young and included many families. That show was bigger and better-attended than any I've been to in America.

Back in the 1990s, my friend Nick Despotopoulos and I published an article in The Tracking Angle titled "Zen and the Art of Record Cleaning Made Difficult," describing author Michael Wayne's record-cleaning methodology. That regimen, like the article itself, was the most comprehensive one I knew of at the time.