A SHORT HISTORY

Turntables have made steady progress from the early efforts of the, then revolutionary, AR (Acoustic Research) turntable (and tonearm from the early 1960's) to the Forsell, Verdier and Rockport in the 1990's.

Not much has been done in the last few years, except to work on better isolation and deader materials. The Linn Sondek LP-12, Thorens TD-125 and Ariston RD-11S were the finest available in the 1970’s. All three were upgraded and improved versions of the basic AR design. None of them could compete with the innovative designs that came out during the early 1980's.

The first true high-end turntable was the original version of the Goldmund Studio, quickly followed by the innovative Oracle and the original Townshend Rock. The VPI HW-19 turntable eventually evolved into a less expensive combination of the Goldmund and the Oracle designs.

The various Goldmund models and the Townshend Rock "ruled the roost" until the two Versa Dynamics models arrived at the end of the 1980’s. Then came the superior Forsell models and the Rockports etc.

THE CURRENT TURNTABLE SCENE

This is a truly unique time for turntables. The demand is very low and yet there are still numerous models available from very small and obscure firms. Most of them are expensive because of the high costs associated with tiny production runs.

Sadly, there are no credible reviews by the established audio press that would distinguish them by performance. Most of them are just ignored by the audio press, because these small manufacturers can't afford either large advertising budgets or "loans" of indefinite length to the 'reviewers'.

I am confident that there must be a number of them that would equal, or even surpass, many, if not most, of the turntables that are recommended below. The two problems I face are that their retail costs are almost always much higher and I don't know exactly which of them are truly "outstanding".

Also, there is a greater risk with turntables that their moving parts might not be available in case of bankruptcy. As soon as I know, definitively, that one or more of them is worthy of serious consideration, you will see it mentioned or even listed here.

VPI TNT HR-X ("SPECIAL EDITION" ONLY)- This model must not be confused with the "standard" HR-X now being sold for $ 10,000, which also includes the latest JMW 12.6 tonearm. This version is one of the two earliest models made by Harry Weisfeld and was purchased by one of my associates. He preferred it to the Verdier La Platine, which he also owned. The "shootout" with the Verdier was done in the correct manner, using the exact same tonearm and cartridge.

I have also heard this same model myself, four times, and with equipment I am familiar with. All the auditions were quite lengthy and extensive. While I can't say that I am fully intimate with its performance, since that would require actually living with it, I can say that it is truly superb, with rare and desirable qualities. I also preferred it to the Verdier.

The two versions of the HR-X share the same basic design, but there are two major differences between the recommended model and the standard HR-X:
1. The "special edition" has a solid (all) aluminum plinth (and not an aluminum/acrylic "sandwich"), and also
2. The exact same heavy duty platter used on the earlier TNT Hot-Rod (and not the relatively lightweight acrylic platter).

The "special edition" (my own term) HR-X is made only by special order and will cost more than the standard version. I don't know the price premium at this time, but based on a direct comparison by one of my associates, the extra cost will be well worth it.

This "special edition" HR-X is Weisfeld's greatest achievement. It is really an accumulation of everything he has learned in the last 20+ years and is, in essence, a super version of their basic Aries model. It is far evolved from the earlier TNT models that I am familiar with. The beauty of it, for me, is its basic simplicity and elegance. Intensive thought, and careful execution, appear to have been applied to every aspect of its design.

I don't know yet how the "standard" HR-X model will ultimately perform, but preliminary results strongly indicate it will not equal the excellence of this special edition model. This is based on my associate's experiences, plus my short audition of the HR-X at the 2004 CES. My associate feels the standard version, on direct comparison, is harmonically lean, dynamically compressed and also a bit bright because of a resonance. (He also feels that its "outer periphery record clamp" makes things even worse.) For added perspective: He prefers the Aries, which he also owned, to the standard HR-X.

I (and another associate) also heard this lean and dry quality while at the CES 2004, but I wasn't able to confirm the resonance and dynamics problems with the source material and the short audition. Plus, two other components in the analog chain were also unfamiliar to us, so it would be unfair to put all the blame on the HR-X. However...

I have one of these current HR-X turntables, which I will be auditioning in my own system in Fall 2004. I have an open mind, since the cartridge and the rest of the system are totally different. I'll report the results as soon as possible. The comparison will be with the Forsell Turntable and tonearm.

These are the two finest turntables that I have ever heard overall. This Class A ranking is conditional. These turntables (both of them) require extraordinary isolation and very specific air regulation to reach their ultimate (Class A) level of performance. When the Forsells are optimized, they have unprecedented neutrality and retrieval of low-level information, plus a huge and focused soundstage, and they are at least excellent in every other sonic parameter, though not "state of the art".

The Air Force model, with the flywheel, is a little better than the basic "Reference" model; it has slightly superior speed stability, but I feel it is not worth the hassle, cost and speed pitch problems (the basic speed will change slightly every time it's turned on.) Both turntables share another problem:

The VPI TNT HR-X "Special Edition", the Verdier, the top of the line Maplenoll models, and all of the Melcos, have better bass reproduction than either of the Forsells.

Further- I was recently (12/03) asked by a reader to name any "potential problems" to look for before purchasing a used Forsell Turntable. This is how I replied to him:

There are two potential problems:

1. The Motor- It may get noisy and fail. Fortunately, it should be able to be directly replaced with an entire new motor from Redpoint. This "solution" is in theory only at this time, since I don't know anyone who has done this so far. (I might take this route next year myself if I decide to keep my Forsell loaner, for sonic reasons, along with the increased reliability.)

2. The Platter Bearing- The only method of testing for this is to listen to solo piano, or another instrument, which is sensitive to noticeable "wow and flutter". If the bearing does go, the only possible repair, that I am aware of, is from Forsell themselves. I had this problem with my previous Forsell, and a technician from Forsell repaired it (along with my friend's Forsell, which had the same problem).

There are a couple of turntables that we have recently discovered that may be as good or even better than any of the turntables in this class. They are the:

Avid Acutus
Envogue Quasar

Two of my associates heard these models and were very impressed with them. The competition was the (latest) Rockport and the (latest) Verdier respectively. We will attempt to audition these in depth. The Avid is reasonably priced, but the (more complicated) Envogue is "pricey".

Both turntables were described to me as having superb low-level information retrieval.

There are links to both these turntables within the Links section. The Envogue website is in German.

Of course, there is the (formerly recommended) Rockport System III Sirius itself, which is discussed at the beginning of the "Other Interesting Turntables".

Two other turntables that we have heard many good things about, but we have no experience with, are the:

Walker Audio Proscenium

Nottingham Analogue Hyperspace

There is an interesting and informative review of the Walker in Audio Asylum, within the vinyl section of course.

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The Verdier La Platine comes without its own tonearm (they don't make any). However, it can accommodate two tonearms at the same time. Our experiences have been very positive using one of the Class B tonearms (VPI JMW 12).

The overall sound quality appears to be competitive with the Forsell combinations, and superior to the other designs within this class. This turntable utilizes magnets for its bearing instead of air pumps, but it has its own impracticalities; including no suspension, a weight of 120 lbs., and a price of $ 8,000 without the tonearm, which I still find "reasonable".

CAVEATS: The earlier models had an overly resonant (concrete) base which they called "granito". They are not recommended. (One reader wrote that he was able to reduce the resonance "by using 3 heavy triple point brass cones (Mapleshade) on top of the base at the available 3 corners, and an additional cone on top of the arm board over the mounting bolt.")

There have also been some problems with the magnets, which can cause hum over time. This problem is repairable by the owner, so it is not serious.

I have, personally, auditioned this particular model, but not at great length. It is probable that this design subtracts some low-level information (in comparison to the Forsell models). This was based on two (short) listening sessions and also conversations with some other of my associates, who are much more familiar with the sound of this design than I am.

Further- I've read a number of comments by Verdier owners who claim that using the Redpoint/Galibier Motor Drive System noticeably improves their turntables. It uses batteries and also provides critical speed adjustments. The cost is $ 800. Neither I, nor my associates, have any direct experience with this drive system. There are links to these two companies in the Link File. (8/03)

These turntables should have been here from the initial introduction of this list. They were missing because of my oversight. They were superb value new, and even better value used. Their bass, dynamic qualities and speed stability are as good as it gets. They are also generally neutral and highly detailed. They can be further improved with updates. They lack the last bit of "refinement" and neutrality that is necessary to join the Class A turntables.

Neither of these are turntables for a "novice". They are both very heavy and difficult to set-up properly. They are still well worth the trouble to find and optimize.

FURTHER MAPLENOLL INFORMATION

 

A reader informed me that he has updated manuals for certain Maplenoll models. He can also suggest simple modifications to improve virtually all the different models.

This generous reader is prepared to help people for free. Any reader interested in this information should send an e-mail to this site, and the message will then be forwarded to this Maplenoll connection. This site is not otherwise involved in the communication.

There were originally two models, plus enhanced versions of both. Both have had some reliability problems because of their complicated design. The original designer/owner, John Bicht, is still available to both service and upgrade them. In their day, the late 1980’s to early 1990’s, they were the best turntables in the world.

They still hold up today because of their very advanced design and unique tonearm. They should be modified with better air regulation and by defeating their suspensions, if possible. The more expensive model, the Model Two, is a little better than the Model One, but both are superb. They have very noisy pumps that you will have to sonically "hide", despite the fact that they are within a solid container. When optimized, the two Versa’s are probably the finest overall turntable/tonearm combinations within this class.

It is more than 20 years ago now, but there was a time when the original Goldmund Studio took the title of "The Finest Turntable in the World" from the Linn-Sondek LP-12. Of course it was an unfair competition, considering that the Goldmund was much more expensive, had up-to-date engineering and was manufactured from advanced materials (lead/plastic polymers). It was also much easier to setup, and it stayed setup.

The last model they made, with a metacrylic base, is the finest of this series and the particular model that I am recommending. The suspension should be defeated like the above Versas. (Sorbothane pucks or their equivalent.)

The Goldmund Tonearm, the T-3F, was very good, but it was not equal to the performance of their own turntable and a hassle not only to set-up, but also to operate and maintain. Other tonearms are preferable. (See the Tonearm section.) All of them will work well with the Goldmund, though the mounting will be tricky. (The Goldmund Studio's subchassis, which is made out of an exotic polymer, is very difficult to drill through.)

With the proper tonearm mounted correctly, and the suspension defeated, the Studio comes reasonably close to the Versa for a lot less money and it is a joy to use. It is noticeably better than any of the CLASS C turntables below.

Considering its long-term influence and the fact that this design is still "competitive" after almost 25 years, it is obvious to me that:

 

 

and not The (far inferior) Linn Sondek LP-12, which is just a few years older.

Caveat: The Studio is as deep as it is wide, and doesn’t fit on standard shelves.

Clarification- The earlier Goldmund Studio models, with their metacrylic platter and subchassis, but with wood bases, are still superior to the Class C tables below, but the sonic differences are not as pronounced; rate them Class B/C.

Repair Issues- I've been recently informed that Goldmund can no longer provide the direct-drive motors for these turntables if and when they need to be replaced. Any verification of this bad news would be appreciated. Even better would be some information on how to find a (direct) replacement motor.

More Recently- A reader informed me that he knew a couple of people who may be able to help Goldmund owners having mechanical problems with their turntables/tonearms. I'm not posting their identities, but an interested reader can e-mail this site for contact information. (4/04)

However, really early Goldmund models have a potential problem that can not be repaired. This is from the Goldmund website:

"Our early production of the Goldmund Studio and Studietto turntables used a motor made by Pabst in Germany which was discontinued in the early 80s by its manufacturer without service possibilities. We changed the motor for a JVC one which we still have in stock for service. Any turntable using the early motor will be unusable when the motor stop working and we have no way to help, the original manufacturer not providing even spare parts. The Pabst motor is easily recognizable being in one part, with very thin loose wire connecting it to the front panel of the turntable. On the contrary, the JVC motor was made in two separate parts, motor and electronic board, was covered, under the suspended top plate of the turntable by a thin molded plastic black cover and attached to the front panel by a flat cable. We strongly encourage all buyers to not buy the Pabst version since the motor are now 20 years old minimum and cannot be repaired."

The Clamp- The Goldmund Clamp was expensive, but superb, one of the finest clamps ever made and highly recommended.

The Studietto- The Goldmund Studietto was their least expensive design. Its midrange and high frequencies were similar to the Studio, but it had mediocre bass and its (less expensive and simpler) tonearm had the same problems as described above. (The original Rock Turntable/Tonearm "wiped the floor" with this model in a "shootout" many years ago.)

Further Information on the Studietto- I've always assumed that the Goldmund Studietto could be improved, like the larger Goldmund Studio, with a better (non-spring) suspension, though I've never done it myself. Now, a reader has actually made this improvement with satisfying results. Here's part of his (edited) letter, with some important details:

"(I'm) using the Audioquest Sorbothane domes instead of the springs. (Note: to do this correctly, you need to remove, invert, and re-install the large knurled height adjustment knobs so the Sorbothane domes can rest on a nice flat surface.)"

Personal Note- I recommend any owner of the Studietto to duplicate this reader's actions, unless the stock springs are necessary because of serious and unsolvable isolation problems. (6/04)

The Goldmund Reference model was their finest sounding turntable, but it was still not quite equal to either the Versa or the Forsell, and it cost considerably more. It was extremely impressive looking though, and its ultimate performance was most likely compromised by the use of the Goldmund Tonearm. This particular assessment, unlike the others, is from people I knew, rather than from my personal experience. (There may be a new, improved version of this ultra expensive design, but we have no information on it as of yet.)

Further Reference Information- One reader, who has very broad experience with "all-out" turntables, has written to me that the Goldmund Reference, with the Air Tangent tonearm, "is still a world beater", and that he now regrets selling the combination. His opinion is credible to me.

THE EARLY STUDIO-A READER'S OBSERVATIONS- A veteran reader, who has already relayed his observations to us about the MFA Luminesence preamplifier, has been recently experimenting with an early Goldmund Studio. Initially, he was not very impressed with it. These are his latest experiences (with minor editing):

"After living with a Studio/T3 combo for a while and getting it all right, I have changed my mind on it completely. Granted, it is not as clean as modern super-tables, but its sheer musicality, huge blooming midrange, transparency, unbelievable dynamics and slam, not to mention earth-shaking bass, finally convinced me to keep it.

I was at first taken aback by its sound after living with dry Japanese tables and an EMT for a while, but now I'm a fan. It is true that my early wooden version is a "voiced" table, having colorations not unlike the Linn, but they are mostly in the right places, so to speak. Plus, when I isolated the subplatter on hard foam/sorbothane pucks, I didn't hear much of the wood anymore. In fact, it is very possible to remove the subplatter altogether, and use it on those pucks sitting on any hard surface.

As for the Pabst motor, it is performing well, and I found a spare (albeit expensive). I also took it apart, and found it is very possible to fix it, if the main coils are OK, and they rarely go. For a while, I had two identical early Goldmunds with defeated suspensions here, one with a T3, and one with ET-2/magnesium tube. The T3 won every time. The ET-2 was definitely more accurate, delicate and neutral, but it was "asleep" compared to the T3. It had no midrange bloom and it lacked bass. Great tracker though, even with the Koetsu Onyx. I was also surprised to see that the T3 is worth MORE on the open market than the table itself! "

Personal Notes- I never had a chance to play around with an early Studio, other than at customer's homes, though I did have an opportunity to optimize the last version they made, including one that I owned for a few years. I really enjoyed that turntable. In fact, I can't think of any turntable I've ever used that has provided as much satisfying sound, with as little hassle and effort while using it.

Removing the entire base, as this reader suggests, is well worth trying. However, you have to have not only the isolation devices, but a different method to control the motor, since the controls are all on the base. I never liked the T-3 tonearm, including the "F" version. It was a real pain to set-up; not the alignment etc., but the fine motor adjustments, that determined if and when the arm moved on its rails. The best combination I heard was the SME V on the late Studio.

A superb turntable/tonearm combination that was very underrated by the audio press. A number of English 'reviewers' disgraced themselves, and their profession, by claiming it wasn’t even equal to the performance of the far inferior Linn Sondek. (This embarrassment occurred during the "Linn Hysteria" of the early 1980's.) Their matching tonearm, the Excalibur, was also excellent.

This turntable had many innovative features; including the (oversized) bearing, composite platter, hydraulic suspension and tonearm trough. Its only serious problem was that the basic speed of the earlier models varied with the room temperature.

Its performance was even superior to the better known Goldmund Studio/T-3F and just below the Versa. This turntable, without the tonearm, may still be available in an updated version new from England. This will be difficult to find but it is worth the effort.

Further- I have been recently informed that Townshend is coming out with a new and superior version of this turntable within the next 6 months or so. My source also wrote "that it wouldn't be cheap".

All of the Melco turntables, while rather rare, are excellent performers. They all have very large and heavy machined platters with no suspension. They require above average isolation and some fine-tuning to reduce resonances or else their colorations will disqualify them from this class. Their bass, solidity and dynamic qualities are state-of-the-art. They can also accommodate two tonearms. These are worth purchasing, if you can find them.

When it comes to the Melco turntables, there is a simple Rule: The heavier the platter, the more desirable the Melco.

Warning- Some Melcos have a worn bearing, due to the extraordinary pressure of their platters, so check them out before purchase.

I made a mistake when I originally combined the descriptions of the Melco and Micro-Seiki turntables. They are quite different in design. I only have enough personal experience with them, all of it on friends' systems and all of it impressive, to know that they should be in this Class. One reader, who is both familiar and enthusiastic with the Micro-Seiki line, sent me this information, which I have edited:

 

"The Micro-Seiki models 1500, 2000 and 3000 are suspended, although Micro understood and implemented the suspensions slightly differently. The models 5000 and 8000 used their own air suspensions. Once again it was not a suspension in the normal sense, but an uncoupling because their internal resonances were taken care of within the turntable itself.

They do not "require above average isolation". Their design was a total self-containment. You could put some of the Micros in your bed and they would perform like they were on top of a 5 ton concrete slab.

None of the Micros allow any fine-tuning or adjustments. There is NOTHING on Micro to adjust or to tune. They are not the Walker Proscenium adjustments nightmare!

None of the Micros (from model 1500 and up) have any colorations that could be fixed by adjustments. There were different versions of Micros that were designed for different purposes (like the Bronze platters meant to work with SS electronics and so on) and those “versions” have different intended colorations. None of the Micros had coloration's due to the resonances.

Generally, Micro-Seiki (since 1965) was the company from which all contemporary TTs imitated their design (quite unsuccessfully I would say). Micro’s TTs (along with EMT 927) are quite in a different league that really has no references to the entire army of contemporary TTs. It is very sad...." (7/03)

These combinations offer the best performance and value at anywhere near their price point, since there is a discount if you purchase the turntable and tonearm together. The Aries will provide superb sound in ever sonic area and it's very easy to set-up since it has no suspension. This is especially true if you purchase it with one of their premounted tonearms. It is much more attractive than their other models and also very well built.

It’s worth the extra money (if you have it) to move up to the Aries from the HW-19. The TNT models may be better, but they are not worth the extra money inn our opinion, with the possible exception of the latest HR-X.

I've owned an Aries/JMW-10.5 combination. I had around 150 hours on it. I can now verify that it is the finest combo that I have heard for the money. It excels in every area, though it appears to lack the last bit of refinement that the Class A turntables possess. Because of the setup, I was not able to isolate the characteristics of each new component on an individual basis.

VPI Aries/JMW 10.5 Vs. Forsell Air-Reference Turntable/Tonearm- Considering only the respective retail prices of these two front-ends, this comparison is obviously unfair, but the Forsell can be purchased used at a major discount, and the VPI is a modern design that has really impressed me. The question is: Can a "modern design", the best that I've heard for the money, equal or even surpass the performance of an "all-out" design from a decade earlier?

When it comes to audio, I don't like suspense. The Forsell is better, and it is easily noticeable. The Forsell has sonic advantages in every parameter except two. It is a little more natural, it has a larger and more focused soundstage, and, most importantly, it has a lower noise-floor, allowing the subtleties of the musical performance and the recording space to be more easily heard, felt and sensed. The VPI equals the Forsell in speed stability and it also has a slightly more solid, deeper and impactful bottom-end, though the bass on the Forsell appears to be a little more cohesive with the rest of the audio spectrum.

On a purely practical note; the Forsell requires the owner to upgrade its air supply and it also has problems with room isolation, while the Aries, and the JMW 10, are as easy to set-up and optimize as any serious turntable/tonearm I've experienced, and I've had many.

Both these particular Forsell and VPI models that were compared can still be improved. The Forsell by better air regulation and acoustical isolation, while the VPI Aries has now been upgraded to a new model by the factory. I seriously doubt that these various improvements would alter my overall evaluation.

 

 

The better BASIS turntables may be in this class, but my associates and I have no direct experience with them.

There are many other new turntable designs that could also equal, or even better, the performance of the above recommended models, but they are almost all very "pricey". We will not stop looking none the less.

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These are the best overall value of any turntable ever made. They are excellent in every way; sound quality, build quality, ease of setup and use and they can even be updated. They do have one (minor) "downside": Their appearance is just "plain Jane", unless you get their (more expensive) piano black finish. Also important to remember...

The HW-19 series are my first recommendation in this class; nothing less than this, or the others below, can be justified when building a true high-end system. I advise readers to look for one used if possible, and then update it at your leisure, either from a local dealer or directly from the factory. Go to the Mk. IV version if you can, it is worth the extra money.

The HW-19 (Mk. IV) is also my first recommendation within this category if you prefer to buy "brand new".

IMPORTANT- Only the HW-19 Mk. IV is in the Upper Category, the older models are in the Lower Category.

FURTHER: The Mk. IV is behind only the Maplenoll Ariadne (and probably also the Michell Orbe) in sound quality within this class. It can accommodate any tonearm I can think of. This turntable can also be noticeably improved if its spring suspension is defeated, actually replaced (with Navcom "silencers" etc).

Caveat: This design is wider than most other turntables and does not fit on standard turntable shelves. Fortunately, extra wide stands and shelves are generally available.

With proper setup and care, this turntable/arm combination is the best sounding ever made for the money.

The model I am recommending has no suspension and was made from the late 1980’s until the early 1990’s. It was well built, but because it used an air pump and had a linear tonearm, it was difficult for an average audiophile to setup. The VPI 19 Series is preferable for most audiophiles.

The Maplenoll is so good, that it even approaches the CLASS B turntables in some areas of sonic performance. This company is now out of business, but a former employee was servicing them. This turntable is the one to get in this class if you are comfortable with air pumps, linear tonearms and can find a good, isolated location.

IMPORTANT: Make sure to read the entry on the Ariadne Signature in Class B above. There is relevant information there concerning all Maplenoll turntables.

The original (then revolutionary) Oracle became the first turntable to improve on the performance of the Linn LP-12 for the same amount of money. When it comes to these stunningly attractive and (once extremely) innovative turntables, the more recent the better the performance.

They are similar in sound to the VPI if you use Oracle’s hard mat. Their only sonic downsides, compared to the VPI, are less extended bass reproduction and a little less sense of solidity.

Conversely, the Oracle is most likely slightly more neutral in the mids and highs, and maybe also a little purer sounding. These advantages are audible only if and when the Oracle is setup properly*. Unfortunately...

The earlier (entire 1980's/early 1990's) models were very difficult to set up properly (meaning no wobbling*), which is critical in optimizing their sound. These turntables are also not as versatile as the VPI when selecting tonearms.

*A properly setup Oracle MUST:

1. Bounce perfectly straight up and down,
2. With absolutely NO wobble,
3. Exactly 3 times when the spindle is depressed straight down,
4. And then STOP.
That is the difficult test we used.

FURTHER NEWS: This company is now back in business, so you can get parts and maybe some upgrades. The Oracles can be purchased used at quite reasonable prices.

Caveat: Always have extra spare belts and even an extra motor for this turntable, because their availability can never be assumed with this company. Their current (visually stunning) design is too expensive to recommend purchasing new (unless you get a serious "deal"), but it is much easier to set up than their previous models and it also sounds a little better.

IMPORTANT- Only the latest model of the Delphi is in the Upper Category, the older models are in the Lower Category.

There were a number of reasons why I didn't put this turntable line on this list from the very beginning. I admit that it was a very close call. I have now had second thoughts. Here is the complete story...

I was a Gyrodec dealer during the 1980's. Their model then (the MK. II) was a very attractive turntable (it looked like a large Oracle) and an excellent performer, but we also felt that the design wasn't quite fully thought out (just like the earliest VPI). The Details...

It was prone to minor adjustment problems which couldn't be rectified and, accordingly, we were never confident that it was totally optimized, no matter how much time we worked on it. This was a very frustrating experience for us. While our customers really liked the turntable, I was uncomfortable with it, fearing that there would be other problems surfacing over time, which would eventually haunt me. Next...

Some listeners felt that the continual movement of the (6) inertia weights (on the bottom of the platter) was distracting. There was one other issue...

Because it was an import (with the inevitable extra distributor markup), it didn't have the performance/value ratio that the VPI HW-19 series had at that time, at least in North America.

However, a few things have changed:
1. My perspective (and judgement) on how relatively (in)significant those older problems actually turned out to be in practice.
2. The current longevity and popularity of the design, along with owner loyalty and long-term satisfaction.
3. Michell's continual improvement of their basic design and their update program, while still keeping the prices "reasonable".

So, here is where I stand today.

Used (Mk. II) models...

If a reader can find a Mk.II used, that is in good operating condition, and properly set up, then it should be an excellent purchase. It will be in the same sonic league as any of the older Oracle or VPI models (though not the Mk. IV), and preferable to the Linn. Still...

The VPIs can work with more tonearms, and they are also far easier to setup and to keep setup.

Further Notes- The Gyrodec (Mk. II) worked particularly well with the SME IV or V, and so should the more recent models.

The Gyrodecs (and Orbes) can also accommodate two tonearms with some "special order" custom work.

Upgrades...

As mentioned above, Michell also offers upgrades on all of their older turntables, so they can be brought up to their latest models. This is a very important policy, which makes all of their models desirable. These upgrades are highly recommended, especially if there are any problems or annoyances with an older model. The owners of the earlier models will obviously have to absorb more costs and difficulties for these upgrades.

Current models...

Their latest models, the Gyrodec MkV and the simpler SE, plus the top-of-the-line Orbe models, are even more advanced versions of the Gyrodec MkII, but I have no direct experience with them. The Orbe uses a different motor, which cannot be upgraded to by Gyrodec owners.

Since all these models are basically iterations of the same design, they are all recommended. They should all be superior to the older MkII. I make this statement based on the descriptions of the upgrades, my personal experience with this company and the overwhelming and unanimous anecdotal evidence of objective observers. That being said, there will most probably be noticeable sonic differences amongst these different models*.

*A number of readers, who claim to be very familiar with this line, have written to me that the Orbe is "different" than the Gyrodec. One reader wrote:

"The Orbe (MkI) sounded darker, massier, more stable, while the Gyro (MkIV) is more airy, breezy, less stable. The gap even widened with the Orbe MkII, which uses a tacho-controlled DC-motor which is NOT available to GyroDec users, and as such present Gyros can not be upgraded to near-Orbe status."

Another reader, who is also a part-time reviewer, informed me that "the SME IV and Orbe isn't a brilliant combination whatever the two manufacturers say - the SME just dumps too much energy into the Orbe's singalong chassis and gives it an upper bass bloat. You can help this by isolating the armboard with blue tac. Every other arm I've had here works better:-)". He much prefers the Morsiani unipivot, a tonearm I never heard of (they also manufacture a serious turntable). He claims that the Morsiani "is stunning", and sells for only about $ 450 direct from the manufacturer, but he also states that adjustment of the tonearm is tricky, so it isn't for everyone.

Leftovers...

The earliest Michell turntable, with 6 "pods" instead of a conventional platter, is not part of the Gyrodec "family". It is not recommended under any circumstance. It does look neat though, and it would make a good prop for a "sci-fi" movie.

The Michell Clamp was relatively inexpensive, but it also wasn't very good. The Orbe clamp is claimed by the above reader to be "far superior" to the earlier model.

IMPORTANT- Only the Orbe and the latest model of the Gyrodec is in the Upper Category, the older models are in the Lower Category.

 

 

The description for these models is above. They are not quite good enough for the "Upper" level.

Description is above. They are not quite good enough for the "Upper" level.

Description is above. They are not quite good enough for the "Upper" level.

This turntable (WTT) is another excellent performer, which excels in speed stability, the retrieval of low-level information and neutrality. Its bass reproduction and dynamic contrasts are not as good. It is very easy to set-up and maintain. I recommend purchasing it used only; sadly, the new retail price is now too high to compete with the latest VPI.

This company also made/makes some other turntable/tonearm combinations. The less expensive model, the Well Tempered Record Player, is not as good, but it could be an excellent "starter" if found used at a cheap price. I recently placed this model within the Entry-level recommendations. (9/03)

Their more expensive model is even better than the Classic, but it is not worth the very large premium they are asking for it. However, if you can find one used for a really low price, I would seriously consider it if its strengths are appealing.

Note- These turntables have no suspensions.

Caveat: The distributor overcharges for some spare parts, like belts.

This turntable may include a modified Rega RB-300 tonearm, though it can be purchased without any arm.

This turntable is very similar in overall performance to the Well-Tempered, including its problems with reproducing bass and dynamic intensity. The one major advantage though is their arm-trough with silicon fluid, which dampens numerous tonearm resonance's. Another is their (isolation) base; an actual Seismic Sink. On the other hand, the speed stability of the Rock doesn't equal the WTT.

This is one of the better values on the turntable market today, but it is not in the same sonic league as their superb Rock Reference, listed above.

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The Linn Sondek LP-12 is now an obsolete 1970's design that has had a number of minor (in audibility, but not in cost!) improvements in the last 20 years. It is, by far, the most overrated audio component of all time and it is also the most obvious example that, especially in the audio world, "marketing skills" are much more important to the commercial success of a component than its ultimate performance.

 

 

While the Linn obviously "sounds very good", all of the turntables above have sonic advantages, and some of them (the latest VPI, Oracle, Orbe or all the last generation Maplenolls) are superior to the Linn by a relatively large margin (for turntables).

Why and how?

These others turntables all have much more up-to-date designs. It is actually amazing that the Linn sounds as good as it does, but the Cetech modification, discussed below, demonstrates what Linn has overlooked and ignored all these years. This is the result of marketing trumping basic engineering.

What are the problems with the Linn?

 

The Linn "simplifies*" and homogenizes the music, and it is also noticeably colored compared to its competitors. The frequency extremes (especially the bass) are also substandard. This is the reason why Linn, and its dealers, usually stress focusing on the most basic and simple audio goal ("follow the tune") when it's auditioned.

The Linn actually does "excel" in this one area. How?

This is because "the tune" will always be relatively easier to hear, in comparison to superior turntables, when the natural musical complexities have been compromised (by being subtracted). This ploy epitomizes the most cynical and misleading marketing strategies; those which turn actual weaknesses into "strengths".

*For those skeptical readers who require further confirmation of this "characteristic", from an actual, well-known "Linn Lover" no less, you are in for a rare treat. There is even the added bonus of an excellent example of the use of The (Secret) Audio Reviewer's Rule No. 3D* (see "The Audio Press" file for the complete "Rules").

This is what Art Dudley wrote about the Linn compard to the VPI Aries/JMW 10 combo in Listener Volume 6 No. 2:

"The Aries' timbral balance is different from that of the LP12/Aro combination - the latter sounding a little more "open," the VPI making chords sound a bit richer, thicker, and more tonally complex. Which is right? Beats me."

Mr. Dudley didn't come out and write that the Linn sounds "simple" by comparison. He also avoided* stating a preference, which should be a "no-brainer" in this particular instance. I'm a little more direct. When it comes to music (though not "audio"):

Even the Linn's "pleasant" character, which is just an innocuous distortion and coloration, has been misrepresented by them (and their fans) to be a "'musical' strength".

The Linn also has a practical downside...

The Linn (along with some other spring-loaded turntables) has a tendency to "bounce" if it is not placed on the proper shelf or stand. This problem must obviously be corrected before an expensive cartridge is mounted on it.

But the Linn does have one important "upside"...

The Linn, when optimized, retains a noticeable share of "musical life", which many other turntables do not possess to the same degree. This is the primary reason why the Linn is still recommended, even though this "life" is at least partially caused by a distortion from its mat. This observation is a "gut feeling", but that's what most music appreciation is ultimately.

 

 

However, despite these sonic problems, the Linn LP-12 is still recommended, though only under certain, strict conditions:

If a reader can find a USED Linn:

1. Manufactured "recently" (after "Valhalla" and "Nirvana"),
2. For a decent price (at least 50% off retail),
3. In very good condition,
4. And which is set-up properly, or can be done so (in your house) for a reasonable price, then "go for it".

The financial investment and risk are reasonably low at that point, and the reader will have a turntable quite a bit better than (the budget) Regas, Aristons or most Thorens etc. Linn's service reputation is also excellent.

 

 

Whatever you do, avoid the Lingo (which may create RFI problems) and any other expensive accessory (unless it is "thrown-in"). For that much money, a new VPI, Orbe (etc.) is a better turntable and investment. Don't forget that the Linn is manufactured in Scotland, and costs much more in North America than in the UK (where it is still a good value).

You may "live happily ever after" with the used Linn, but if not, it should be very easy to resell it and recoup most, or even all, of your money, but never fool yourself into thinking that you own "one of the world's finest turntables", you don't.

 

 

To end the "Linn bashing" on a pragmatic note: Serious audiophiles can use all the Linn-hype to their advantage when reading and assessing the opinions of 'audio reviewers' and all other self-proclaimed 'experts'. The rule is simple:

The more a 'reviewer' (or any fellow audiophile) is impressed with the Linn LP-12 in comparison to any of the finest turntables recommended above, the less credibility (with turntables) he or she deserves.

 

 

A number of readers have now informed me of an upgrade that they claim dramatically improves the performance of the Linn. It is the:

This is a description from one of those readers:

"I've just upgraded (the LP-12) with a Cetech subchassis. Hell, the Linn one does ring like a bell when you tap it. The Cetech one is (a) carbon fibre/aaluminumhoneycomb composite; light, rigid, virtually non resonant. Why it works is like this: It allows the armboard to be bolted up to the chassis ... instead of being nipped up with tiny screws. The latter loses the ringing of the chassis by being 'lossy'.

The Cetech chassis makes a MASSIVE difference. Well, like changing to a better class of tt. Much more low level detail is there; extra musical phrases and instruments for a start! Yes, as big as that. Mainly, it's a total cleaning up of the sound. And much better 'tonality', individual natural tone of each instrument.

The LP12 is seriously compromised in terms of the behaviour of its subchassis and the linking of this chassis to the armboard. This causes the loss of considerable low level information, and a corresponding high sound floor. The single most effective way to lower the sound floor of the LP12 is to fit the Cetech subchassis. As this costs about £100, it is also by far the most cost effective upgrade. And this is a Linnie saying these things."

Below is a description from another reader:

"The Cetech carbon fiber subchassis DOES what Linn's "Cirkus" subchassis/bearing upgrade claims to do (and for less than half the price!) Many have said that the Linn "Cirkus sound" is more in the subchassis design and not the "new" bearing (though the bearing is likely improved - the original will suffice for Cetech upgrades). A few have said that the Linn Cirkus subchassis (which flattens frequency response compared to previous incarnations), still has that "ringing" and thus the armboard is still connected with the three tiny screws (thus making the Cetech mod still necessary after paying Linn their $650+ for Cirkus upgrade). Others say there's virtually no difference in the Cetech and Cirkus mods (except the steep price of Linn's upgrade). Though I might be a "Linnie", I don't believe in the "School of Tiefenbrun" bullshit either and am open-minded (as seen by my own opinions)."

More on the Cetech- A reader, who has owned a number of these turnables, of all vintages, just sent some relevant information about them. Here it is, slightly edited:

"I wanted to buy a second Cetech subchassis for my second Linn, but as soon as I found out they stopped producing them, I sold off my second LP12, only to find out they had their website up again (..perhaps only to sell off their remaining stock?). Now that I'm finally getting a second fixer upper LP12, Cetech is once again out of business, or "in limbo" from what I hear (hopefully not for good)...Perhaps this is added incentive to try some good ol' homemade modifications, etc.

Early LP-12 tables are likely to have a slightly larger inner platter and a motor pulley that is machined proportionally to that "larger" platter, thus playing correctly when setup - Any swap of parts with later versions, motor only, or inner platter only due to upgrade, will render the LP-12's speed incorrect and unadjustable until the other component is replaced as well (and Linn's claim is that the bearing is to blame for the "speed stability" issue, not the platter size since they only made one size, YEAH, RIGHT!, I have the early deck to prove it, and so do others out there)."

Personal Note- What a shame that the Cetech subchassis may no longer be available. I've had no personal experience with it, but a number of Linn LP-12 owners all claimed it was a significant improvement over the stock part. It wasn't expensive either.

Important Note- There is a link to the Cetech website in the Links section of this website.

 

 

Meanwhile, another reader informed me that the Lingo's RFI problems can be rectified with a modification. This is the URL with all the details, and even pictures: http://bubwub.com/lingo/.

A READER'S CHALLENGE- The same kind reader, who also provided the useful link above concerning the Lingo, complained in a subsequent e-mail that I have not given the Linn LP-12 a fair shake. This is his (edited) letter. My reply (which differs slightly from my personal reply to him) is greatly expanded, because it leads to my take on the much more important issue this reader brought up:

"It is impossible for you to make this judgement:

 

 

If you have not heard the Lingoed LP-12 in the right circumstances. The performance may be ...close or equal to the Aries.

You, yourself, agree that your comments on the LP-12 have created your most contentious backlash from readers, so why not do this right and be beyond reproach. Your admission that you have based all your comments on the LP-12 without a Lingo is already quite unsettling for me.

The cost of the Lingo may not be a concern for a lot of people, as they may have already owned the LP-12 for years...The "big picture" (general) comments you make on the LP12 is on principle not right. And being a self critical person like yourself, you should set things right...Anyway, you owe it to yourself to hear a fully fitted Linn - after all, almost anyone old enough would know the LP-12..."

 

 

Though I've heard many Linns since the 1970's, in all configurations, some of which I owned personally, it's true that I haven't heard the Linn with a Lingo, at least not in a "controlled environment". The question is, does that fact make it "impossible" for me to make a "judgement" about the Linn without it?

To me, the answer to that question totally depends on the degree the Lingo effects (improves) the stock Linn's performance. Can I know the exact degree of that improvement without actually hearing it? NO! But I do know the approximate (and highest possible) degree of the improvement because of the basic nature of the Lingo, which is:

The Lingo is a high-quality power supply, and nothing more. It enhances and optimizes the (relatively cheap) motor that comes on the LP-12. It will improve speed stability, which, from my experience, improves the performance of turntables in a number of areas. I recognize this reality, but, on the other hand, the Lingo is not a unique component, with unique qualities, that makes unprecedented improvements with the LP-12. That is not possible for the Lingo, or any other turntable power supply.

I've heard various power supplies over the last 20 years. This includes the SOTA, the VPI PLC and SDS used with their own turntables and others; the PS Audio power regenerators etc. and a number of others I've now forgotten. I know what improvements are possible with a better power supply. These improvements may be important, but they are limited, why?

The basic turntable is still the same: the motor, platter, subplatter, mat or LP interface, clamping system, suspension, isolation system, the basic materials, bearing, plinth, base, construction quality, etc. etc. These basic parts each make as much, or more, of a difference to the final sonics than the power supply. This is obvious to anyone who has actually heard the differences when these parts were exchanged and contrasted. (I.E. At the CES, we heard a platter "shootout" with the Teres.)

In fact, when speed stability is the main goal:

A flywheel makes a much larger difference (improvement) than a power supply. It has to, it is directly connected to the platter. I've heard a number of turntables over the years, with and without flywheels, in controlled enviornments, including my own system, and the improvement in speed stability has always been much larger, and much more easily noticeable, than with ANY power supply.

It boils down to this: the Linn, as is, can only be improved so much by an enhanced power supply. This is also true of ALL other turntables that have ever been made. The Linn's improvement may be greater than average because: 1. Its motor is cheap, and 2. the platter is light, but the improvement is still limited. It is certainly not enough for the Linn to even approach the performance of the VPI Aries, which, it is important to note, neither I, nor any of my associates, heard with ITS own enhanced power supply (the SDS).

One single refinement of a component, such as the Lingo, is not nearly enough for me to want to go back and totally re-evaluate it. Especially when every other turntable I/we recommend, with the exception of the "special" VPI HR-X, also didn't have an enhanced power supply when I/we heard them. If I re-audtioned the Linn, I'd have to go back to all of the others to be fair. No thanks! Let's just say that all but one of the turntables that are recommended, and all the others for that matter, can be improved, more or less, with better power supplies, but the "big picture" stays the same.

When Linn makes a serious change of the LP-12, meaning a total redesign based on the engineering and materials available to them in this century, I will be glad to hear it again in a serious environment. Until that highly unlikely day, what I wrote stands.

I feel the mistake this reader has made is confusing "refinements" with "fundamentals". The Lingo is only a refinement, and so is the VPI SDS and every other enhanced power supply I've heard. (So are the majority of the modifications I recommend, and even flywheels, though I still have an open mind on them.)

 

 

This reader brought up, at least indirectly, a much larger issue: The important difference between a "refinement" and a "fundamental improvement". For each listener, and evaluator, the vital distinction between these two terms will be very subjective, because it is based on the listener's own reaction to the perceived improvement.

To me, a "refinement" is just that, a generally small improvement that may be somewhat difficult, or quite easy, to hear. It will pleasantly enhance the sound. You may notice it, now and then, for maybe a day, or even a week or so, and then it will be mainly forgotten, absorbed by the system. You could live without it, if you had to, with only minimal suffering.

A "fundamental improvement" is very different. This profound transformation shakes you, changes you and may even shock you. It will make you re-evaluate everything that occured prior to hearing that component. You will almost feel like your system was "born again" (no religious inference implied). This change is a "matter of kind", not a "matter of degree". You wouldn't dream of returning to your former system, even if only one component caused the particular transformation.

Many audiophiles experience a literal state of "ecstasy" when hearing a fundamental improvement, especially their first time, and how it greatly enhances their appreciation of music. It's the desire to repeat this intense experience which transforms ordinary people into "audiophiles". Sadly, it's inevitable that with each experience an audiophile has with the finite amount of different designs that exist, the less chance that audiophile will once again experience another fundamental improvement. Of course, this may be divine intervention to encourage a greater focus on the actual music, which can be easily forgotten during the excitement in the quest for audio ecstasy.

For many years now, I've only recommended spending "serious money" when a component makes a fundamental change. If it doesn't, keep your money. The real thing will eventually come around, and you'll be so happy you still have that money when it does.

This entire issue is another large problem I've had with most of the audio press. They have deliberately blurred the distinction between these two terms to the point of meaninglessness. Hearing fundamental improvements are routine events in most audio magazines. I only wish this were true. Their shameless exaggeration of minor improvements, and even less ("the boy crying wolf"), is one of the justifiable reasons why they've lost their credibility.

Finally, I don't want to give the impression that I don't think "refinements" are important. In fact, they're vital. They are what may transform an excellent system into a "great" system. Of course, it takes "a lot" of refinements to do this, not just one, or even a few. The point is, don't spend "big money" on them. That's for something much more important.

 

 

Since my (actually our) opinion on this turntable has proved to be the most controversial of any of the components on this entire list, a further personal explanation may help to clear the air.

I owned my first Linn Sondek LP-12 back in around 1976. I purchased another one in 1979 after I realized I had made a serious mistake selling the first one (for a number of expensive direct-drives and then an Ariston). I greatly enjoyed listening to them at the time.

Since then, I (or my store) have owned around 20 more of them. My most recent experience was around five years ago (1999). I have heard almost every version, and in-depth.

I have made more comparisons with the Linn versus other turntable designs than I care to remember, including many at my customers' homes. I routinely used the same models of tonearm and cartridge on both turntables, which is the only method that is fair and accurate. On a number of occasions, I even went to the further trouble of having both the exact same tonearm and cartridge removed from one turntable and placed on the other, just to isolate the exact differences between the turntables themselves.

I had the finest "set-up" men I knew do the actual work, to make sure there could be no "excuses" or "uncertainty" as to the final results. I even used special stands, that were supposed to enhance and optimize the sound of the Linn.

The results of those numerous comparisons are discussed above. The other auditioners were virtually unanimous in their agreement with my characterizations of those results. That is why I (actually my store) ended up with around 20 Linns; essentially all of them were "trade-ins".

(For years, I actually kept a Linn LP-12 in my store to help sell the VPI HW-19; making A/B comparisons on a regular basis. Those comparisons enabled me to become one of the best selling VPI dealers in the world during the 1980's. Tricks of the trade.)

These (consistent) results were not unique in any manner. Virtually every other knowledgeable person I knew in the audio business realized that the Linn's basic design was obsolete after the Goldmund and Oracle designs came out. At that time, more than 20 years ago now, we all expected Linn to radically change their design, but Linn decided instead to play the "follow the tune" marketing game. The fact that this ploy was actually successful is a depressing thought.

The other common experience I had back then, and which is still very true today, is that most owners of the Linn turntable will rarely, if ever, seriously compare their Linn to the competition. There is a good reason for this reluctance...

It is the same reason why religious fanatics will never seriously study "comparative religions", or any "true believer" will always avoid the "alternatives"...

The stronger, more untenable and increasingly irrational their belief, the less likely that person will ever consider arguments or even information that would contradict that belief. It is just too emotionally painful and unsettling for that person to contemplate (let alone realize) that their now comfortable and deeply satisfying opinion may not be true.

I realize there has been a near "cult" (and an enormous emotional) attachment to this turntable for years (it started back in the 1970's). I don't care about that. To me, the Linn Sondek is just another tool for reproducing music, just like every other turntable (amp, speaker etc). It is nothing else. Nor can it be.

I see the Linn for what it is, not for what I want it to be.

 

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ROCKPORT SYSTEM III SIRIUS TURNTABLE AND TONEARM- From what we have read, and seen, we feel this has the potential to be the finest turntable/arm in the world, at this moment. The designer/owner of Rockport, Andrew Payor, has extensive experience manufacturing all-out turntables. The price to the consumer, purchased direct at "wholesale", is more than $ 70,000. There is no retail price, thank God.

An actual physical description of this model is within the review in the August 2000 issue of Stereophile, as well as on the Stereophile website in their "archive" section. The physical description is excellent (though just a "rewrite" of Rockport's own description), but the review itself is controversial and, in some parts, ridiculous. (Rockport has no website itself at this time.)

The original models of this turntable (those from the early/mid 1990's) were very well built and had superb sonics, though not quite as good as the Forsell.

There may also be a potential problem with the Model II's power supply. It was custom designed and built by Rowland to Rockport's specifications, but it can no longer be replaced, and it may be very difficult to repair.

Andrew Payor, himself, appears to be very accommodating to his customers, based on my personal correspondence with Payor, three Rockport customers and other anecdotal evidence.

Rockport has moved on since then (along with their price). However...

Someone in our group heard the Sirius III in the Fall (2000), and within two different, very high quality systems. These two auditions, each lasting a few hours, were in Europe, not North America. He was also familiar with most of the other components. He noticed some problems. Unfortunately, neither system had the resolution required to make a definitive observation or opinion.

A little later (February 2001), an experienced and objective reader, who lives in Europe, also heard the latest Rockport, and independently described the same sonic problems that my associate had previously heard: A dry, "clinical" sound, though superb in other areas; detail, imaging, bass etc. (The reader actually preferred the less expensive, and now discontinued, "Acapella" model.)

Recently, within early Fall 2001, a veteran audio distributor also described the exact same sonic problem with a Rockport (latest model) that he heard in the New England area. It is also important to note that, as far as I know, this was a model that Andrew Payor himself felt did have optimized sound.

Meanwhile, I have now discovered, from a very reliable source, that at least one of these "European" Rockports (and maybe both) had the ultra-expensive Clearaudio cartridge installed on it, which just happens to have the same "clinical", "mechanical" sound that they (the reader and my associate) both describe. Accordingly, two of the listeners didn't hear the Rockports at their full sonic potential, and may have unfairly transferred the sonic problems of the cartridge to the turntable.

The situation is a little confusing. However, with 3 independent listeners (within 3 systems and with four auditions) describing the exact same problem, a "warning flag" must now go up on this design.

This problem, if it exists, may not bother some listeners (or reviewers), but many others will find it a disqualifying condition. At the very least, listeners must be made aware of its potential existence prior to any serious audition.

To summarize my total "knowledge" of this model:

On the "pro" side you have; Michael Fremer*, HP/TAS and Peter Moncrieff of IAR. On the "negative" side you have; one of my readers and two of my associates. However, it is only fair to emphasize that all** of the "pro" side actually "lived" with the turntable in their own homes while the entire "negative" side only auditioned it in other peoples' homes.

On the other hand, all the "pro" people are "reviewers", which, in today's environment, means that they will most likely have some serious and undisclosed "baggage" (especially Michael Fremer*). Also, it must be stressed that each person within the "negative" side independently heard and described the exact same sonic problem. I find it extremely difficult to believe that this is only just a highly unusual coincidence.

* Michael Fremer and Andrew Payor (Rockport Technologies) have had an ongoing "relationship" for many years. Just compare Mr. Payor's writing and literature to Fremer's writing on the same subjects. They are "closer than two coats of paint". Be cautious of Fremer's reviews of any turntable or tonearm that is competitive, in any manner, with the Rockport designs. The same warning goes for any other component built or marketed by Andy Payor that is reviewed by Michael Fremer.

**I am assuming Peter Moncrieff "lived" with it. The review, still in process, is ambiguous at this point, despite its length.

What does all this mean to a potential purchaser?

The Rockport, because of its price, only makes sense if it is "head and shoulders" above everything else. Any audiophile who has enough money and interest to purchase this design should take the time to hear it in depth, and in optimized conditions, along with making valid comparisons to its serious competitors.

I would especially focus on the potential sonic problem that is discussed above. In short: I would purchase one of these models only after all doubts are totally satisfied.

The Rockport was recommended (in August 2000) based on what I had read and also what my associates had heard about it from inside the reviewing community. This recommendation was consistent with my "Recommendation Policy" at that time, but it was also something I had never done before (or since). Why did I take such a risk with some people I didn't even know well?

I "dropped my guard" (with some prominent magazines and their reviewers) because I thought it was safe. I wasn't concerned with the usual "conflicts of interest" because of the unprecedented price of this model. No matter what the final conclusion will be concerning the true sonic performance of the Rockport- I still feel now that I was WRONG to do that.

In short-I have now changed my original policy on how a component may join this list.

.

Accordingly, I have decided that this (singular) recommendation (based only on reviews and reviewers) is no longer consistent with my new policy, so I have removed the Rockport from Class A and placed it in this section, where it should have belonged from the very beginning.

A reader, whose identity will remain private and confidential, was kind enough to share this information with me:

"I purchased a very early Rockport Sirius almost fifteen years ago from Andy Payor to replace a Goldmund Reference. At the time there was no air isolation base or outboard power supply for the motor. I proceeded over the next five years to spend more for updates than the original cost of the turntable. Given that the updates were installed one at a time, I have an excellent perspective with respect to what each of these mods accomplished [air isolation base, Rowland power supply (digital), mods to fix the power supply by Demian Martin (substitution of analogue signal generator), 50# stainless steel platter, various motors, flywheels and belts, etc.] Of all these updates, the only one that was not a clear improvement was the original Rowland power supply.

I am also very familiar with the early version of the Acapella (a friend bought the unit which Michael Fremer reviewed) and a somewhat later version owned by another friend and with the Sirius 2 (the use of granite for the plinth was in my opinion a mistake that gave this turntable a cold clinical sound). Based on these experiences, I can say that each of these tables shares certain familial traits, the most salient of which are the substantial elimination of mechanical noise originating from the turntable coupled with extreme isolation from environmental noise, extreme low level detail and dynamics. Of the three versions with which I am familiar, I would say the 2 is cold, the 1 very neutral and the Acapella somewhat warm.

Based on talks with the owners of two of the Sirius 3 tables, I have every reason to think that they surpass the earlier models."

REGA- I was a dealer of this line from 1996 to 1998. Their original, lower-priced< models (The Planar 3 & 2) are within the Entry-Level section. Their performance is excellent for the money, but it is not equal to the level of the present Class C models.

Further- A customer of mine measured the speed of a number of Rega turntables some years ago. He claimed that they were all slightly fast. This observation has also been made by a number of other critical listeners since then, including myself, and could be the reason for their slightly "exciting" sound.

I was not impressed with Rega's highest priced model (the P9), which I was able to audition for more than a month in my former retail store. It was well detailed, but I felt it lacked solidity and liquidity and it also had an unnatural tonal balance and some frequency irregularities. It additionally looked like it was cheaply built for the high retail price. Rega claims that the high cost is due to the P9's exotic and very expensive (ceramic) platter.

I understand that some significant improvements have now been made with this design (including their new RB1000 tonearm), but I have no direct experience with them. I haven't auditioned the P25, their medium priced model. So no turntable from this company is within these 3 Recommended Classes, for now.

SOTA- I was also a SOTA dealer for a few years in the 1980's, and I sold quite a few of them, both new and used. I also compared both models to everything in existence back then. The SOTA turntables were very good, but they had reliability problems with their power supplies, plus they were constantly going in and out of business (like Oracle).

They were heavy and solidly built, but the suspension moved like a pendulum for an extended period of time as soon as the tonearm was put into position and engaged, and in any other instance in which the subchassis moved. This horizontal "oscillation" is the main problem with this design. (See the IAR website's lengthy discussion of turntable designs and compromises.)

I didn't find them quite as tonally natural and, even more important, as good in speed stability as the other turntables (I assume because of the above noted oscillations); including the VPI, the Oracle and even the Linn Sondek. It wasn't a big difference, but it was noticeable when listening to the turntables over extended periods of time. Personally, I found it a disqualifying characteristic for my own system, then and now.

The SOTAs had excellent bass and good dynamic qualities, and were relatively easy to setup, though not quite as easy as the VPI. The setup, while straight forward and quick, never seemed to be as optimized as with either the VPI or the Oracle, though the Oracle was much more time consuming and required real skill. They could not be used with some tonearms, but this is true with just about every other turntable except the VPI series.

The vacuum model (the Star Sapphire) requires an ultra clean platter at all times and, even then, it may still damage some records. It did have some sonic advantages over the original Sapphire though, a more "solid sound" and slightly better speed stability.

I have known people who were very happy with these turntables, so it is possible that I am being overly critical with them, but that is my nature, and especially when their (inevitable) area of weakness just happens to be one of my top priorities for excellence.

I am not familiar with any of their "budget" models, or any other SOTA turntable that came out from the mid 1990's till the present.

The SOTA Clamp was excellent, one of the finest ever made, and reasonably priced. Highly recommended.

PINK TRIANGLE- The (original) Pink Triangle had a few (minor) innovative design features and a unique appearance, but the build quality was mediocre and the sound quality was unexceptionable. My store had a few of them come in as "trade-ins". It had all the problems of the Well-Tempered Turntable, but lacked most of its corresponding strengths.

However, someone (that I trust) has informed me that their most recent upscale model (the Tarantella II) is a total redesign and is an excellent performer. It may be competitive in sonics with the best of the current Class C models. On the downside, it may also still have some problems with its build quality and reliability.

SME- I have very limited personal experience with these models (only the early, "big buck", Model 30), but my associates have helped me fill in some of the "blanks". The real problem with evaluating these models (fairly) is removing the SME tonearms from the equation, which I don't think anyone has done so far.

They all appear to be superb in sonic performance; actually comparable to the finest models in Class B. They are very well-built, which should be no surprise with this company.

Unfortunately, they are also very expensive and relatively overpriced compared to their peers, at least in North America.

SME's competitors (in Class A, B and other models) are usually (much) less expensive, and they are either almost the equal, the equal or even superior, in actual performance. The SME problem - they sounded slightly "dead" and "analytical" compared to the competition. In short, the SME turntables should only be seriously considered if you can find a "real deal" on them (which I have seen).

I should stress than none of us has heard the "second generation" SME 30 or 20, which according to a reader, have improved bearings.

Further- Very recently, the Model 30 was proclaimed to be, in effect, "the finest turntable" by Michael Fremer of Stereophile. Within the actual "review", there was no direct comparison, or any technical explanation, in the required depth, of why he now preferred this turntable/tonearm to his "former champion", the much more costly Rockport Sirius 3.

Considering Michael Fremer's long-time, close relationship with Rockport's owner/designer Andrew Payor, audiophiles will have to make a potentially expensive choice when deciding whether Fremer is both completely "on the level" and also accurate in his assessment, or if there was a "falling-out", which may have clouded his judgement. Based on Michael Fremer's past history, see some of it in the lengthy Fremer file in Reviewing the Reviewers, I don't envy those of us who will make this choice.

ARISTON/SYSTEMDEK- The early history of this company, and its rival Linn (and Fons), could be the subject of an interesting book, or even a movie. Each has claimed to be the "original" design, and I don't know the actual truth in this case. (Check the Vinyl Asylum search engine for further information.)

Their original model, the RD-11S, was a virtual clone of the Linn LP-12 in appearance and in basic design during the 1970's, or maybe it was the other way around. The sound was very good, but I (and many other listeners) felt that the Linn still had a slight edge in performance.

I never found out why, but there was speculation at the time that it was due to the superiority of the Linn's bearing and general machining. At least that was what Linn claimed. It is also very possible that this "difference" might have been totally imaginary (it wouldn't be the first time that happened).

Linn played up this slight "difference" to the hilt, with the big help of an obsequious British press, who embarrassed themselves (in the late 1970's) with their lack of objectivity and their near hysterical admiration for the LP-12.

The result: Linn won their first "marketing war", and the LP-12 became a cult object at the same time. Their marketing skill has proved to be their greatest strength over the years.

In the 1980's, the two companies went in different directions. Ariston was, by then, left behind by "serious audiophiles", but they reorganized and came out instead with some high quality budget models. They were all "good for the money". Their new name was: Systemdek. I was a dealer for this line when I opened my store back in 1981.

These turntables must not be forgotten. I will put them in the Entry-Level section.

Further- A reader has recently informed me that a new version of the Systemdek is still available from Audio Note, which is well-known for their single-ended amplifiers, kits and high-quality, exotic parts. Below is the short write-up on the Audio Note website:

"The Audio Note TT1 turntable is a three point fully floating suspended sub chassis model derived from the award winning Systemdek IIX. The platter is a acrylic platform and drive to the platter is provided by a round rubber belt."

None of us has had any experience with this model.

AUDIOMECA- Their models are superficially similar in appearance and basic design to the Goldmunds, because they are shiny black and use metacrylic material. There are major differences though. For instance, the Audiomeca uses a belt drive, not a direct-drive, and a multiple composite material for their platter, not just metacrylic etc.

Their linear tonearm is also made in the same factory as the Goldmund models. It is very similar in design, with most likely the same strengths and weaknesses.

Their J1 model, from the early 1990's, was not equal to the Goldmund Studios (any of them) in sonics. This was an observation I made when I auditioned one of them in my store during a lengthy loan. The only qualification with this audition and comparison is that the Audiomeca was used with its own tonearm, while the rival Goldmund Studio had a SME V.

I haven't heard their most recent efforts, which they (and some owners) claim are improved and might have turned things around.

REVOLVER- I had some limited experience with this line back in the early 1990's. It was very similar to the budget Rega's in overall design, but with a reduced build quality. I also felt that the sound was similar, but with the slight edge going to the Regas.

ORACLE ALEXANDRIA- The Alexandria is very competitive with, but isn't quite as accomplished as, the Lower Class C models above. It is still an excellent value for the money, especially at its typical used price. It is recommended and located, for now, within the Entry-Level section. It is a priority to purchase the extra belts and motors for it also.

Further- A reader has informed me that Oracle no longer has parts for this model. I have no other verification of this information. (5/03)

More Recently- These excellent sounding turntables are now prone to failing motors, which the manufacturer can do nothing about, so a letter I recently received from a reader is really good news:

"I have just installed the "Advanced Motor Upgrade" kit (from Origin Live) into my Oracle Alexandria Mk II. I can say without reservation that the improvement in sound quality is significant and worth way more than the $ 540 that I spent.

I did not have high expectations for sonic benefits other than the elimination of the increasingly annoying motor noise from the aging Pabst. Extending the service life of the deck was the focus so I was not prepared for what I heard. As I related to the Origin Live folks, it was like looking at fine print with my aging naked eyes and then slipping on my reading glasses. It's just a lot easier to enjoy the musical presentation.

The installation required a little DIY ingenuity but was relatively straightforward. I was anxious to complete the installation so it is not as tidy as I would like. Therefore, I will be making a more refined version of the motor mount adapter plate in the next two weeks. As I told Origin Live, digital pictures and detailed assembly instructions will be forthcoming in case other adventurous Alexandria owners are looking for an upgrade." (4/04)

TERES- This company sells 5 turntables direct to the public, and they can also be purchased as kits for further (modest) savings. So far, every owner's correspondence that I've seen has been very positive. Comparisons to commercially available turntables have almost always been in the Teres' favor, even when there was a large price differential against them.

If these writers are accurate, and some of them have had considerable experience with turntables, then the Teres line is simply a "steal" and the typical (and well-known) turntable manufacturers from the past are in potential trouble (just like most North American tube amplifier manufacturers).

None of us has heard any of the Teres models. One associate is seriously considering purchasing their (former) top of the line (Model 255-$ 2,600/$ 2,300 Kit). Their new "top of the line" is the Model 265*. It has "a lead loaded platter constructed from solid hardwood". I have never seen anything like it. The retail price is $ 3,700. There is no mention of a kit.

My current advice is that I would seriously look at this line (and the Redpoint below) before making a new turntable purchase. In fact, with the highly positive, anecdotal evidence continually accumulating, it will not be long before I can properly and safely use the word "overwhelming" to describe it. This means I can then, consistent with the posted "Recommendation Policy", recommend it without any of us actually hearing it ourselves.

*Further- I just heard there is a new "top of the line" planned for this Fall. It is the Model 340, and it is supposed to weigh around 130 lbs. and cost around $ 6,000 direct, with no kit available. It appears to be a "heavy-duty" version of the recently introduced Model 265. This company is becoming increasingly serious. (6/03)

REDPOINT- This (more recent) company is an offshoot of Teres, and also offers direct sale turntables, though no kits as far as I know. There are two basic models in the line, with a further choice of exotic platters etc. They have appeared to move ahead of the Teres line in development, but their turntables also cost more. (This situation may have changed with introduction of the Teres 265.) My advice concerning Redpoint mirrors exactly my advice concerning Teres.

Parts- There is also increasing evidence that the parts (motors, platters etc.) that they (both Teres and Redpoint) sell separately can improve existing designs (Verdier, VPI Aries, Scout etc.). There is an obvious trend here which is great for audiophile consumers and not so good for everyone else in the (established) audio industry.

On a purely personal note, I find it very exciting to have these two companies (along with their DIY equivalents) continually coming out with innovative products at reasonable prices. Their enthusiasm and passion are obvious. It reminds me of audio 20 years ago, when "the quest" for perfection was more important than anything else.

Further- I've been hearing about the Redpoint Testa Rossa XS- from a variety of sources, all of it positive and enthusiastic. This is taken and edited from two letters by a reader who is both excited and (is apparently) very experienced:

"As a huge fan of analog music reproduction (in any format), I recently went on a quest to find the table of my dreams... I've owned many tables and have found great things in each, but had yet to find one that embodied everything I was looking for. To cut a very long story short, my research ended with the Redpoint Testa Rossa XS. WOW!!! MAGIC! MUSIC, SLAM, ARTICULATION, IMAGING, SOUNDSTAGE, TONALITY, PACING--you name it, this table has it! While it costs $ 6,500 (direct price), I feel that it outperforms tables costing 3 times as much. As you've already pointed out, Redpoint has provided sonic upgrades in the form of their motor to numerous folks owning Verdiers, VPI's, etc. The XS weighs 130 lbs, uses Teflon, aluminum, lead-shot and oil in it's composition and is DC operated. I've never heard a table quite like this (and I've heard "them all" including the Teres)."

"(This)... is my honest assessment of the vinyl machine scene--as I have thoroughly evaluated it in the NYC market. In addition, several "audiophiles" have stopped in for a listen to the system with the Redpoint XS TT, and most are utterly stupefied by what they had just heard! One close friend was shaking is head in disbelief and giggling like a little girl as we listened to Basie's 88 Keys recording on Pablo!!!"

"I have owned many different tables, and the VPI I am now parting with is the HW19 Mk4 (with every upgrade, including the latest Mk5 TNT platter and bearing) and Triplanar/Audioquest 7000. To my ears, there was very little difference sonically between the TNT Mk4 and the 19,... and living on a busy and noisy street in Brooklyn, it made more sense go with the 19 over the TNT..." (10/03)

Garrard 301/401/Thorens TD-124 Turntables- I've been receiving occasional letters from people asking me my opinion on these two vintage turntables. This is what I have replied:

I, or one of my friends, had the Garrard 301/401 (with an SME tonearm) for a short period of time many (around 25) years ago. My memories are now obviously hazy, but I do remember that we preferred the Linn LP-12 at the time. I realize the 301/401 is now a rare and desirable collector's item, but I can't see it competing with the better modern designs.

In the case of the Thorens TD-124, I've actually owned 3 or 4 of them, the most recent in 2001. I also feel it does not compete with more modern designs, including the Linn, which is another older design that some people ignorantly feel I am overly critical of, and that I also don't fully appreciate.

These two turntables do have two important upsides:
1. They are very well built, using heavy duty steel, motors, etc.
2. They don't use a suspension, which is a sonic advantage if you can get away with it (see my Class A Turntable Recommendations above).

These designs, and all the other vintage turntables that I've heard, don't have the newest, highest quality bearings (noticeable rumble); dead or neutral platters (obvious colorations/smearing); and the latest techniques to reduce the unwanted energy generated from within them, and/or their acoustic environment (more smearing/more colorations). Their advantages don't overcome their disadvantages in my opinion.

I fully realize I didn't hear either of these designs "at their best", meaning with the best tonearms and with modern, isolated bases, but even if this were the case, I still can't imagine them improving to such a degree that they would be competitive today. However...

An Alternative Opinion- A reader sent me this letter which I felt should be shared for the sake of balance and a more complete perspective on the vintage Garrards:

"I just want to add an opinion to your recent December 2003 update concerning vintage turntables. I am an owner of a custom-built Garrard 401, and I have to say that I think it competes very favourably with many of the better turntables of today (though obviously not with the very best). I believe that the problems plaguing the 301/401 models were always to do with the fact that they were built into very poor quality plinths and bases - often no more than a plywood or chipboard box really. When I received my 401 around 3 years ago it was in such a configuration. I have since spent about £1200 ($2000?) on a proper custom-build by an experienced engineer/turntable builder, utilising superior materials such as ash, granite, Tufnol (a high performance plastic), and carbon fibre, as well as a very high quality custom power supply. I use an SME 309 (modified) arm with a Denon DL-304 cartridge.

Since the rebuild I have yet to experience any of the often listed problems so associated with these turntables, especially that of rumble. I've heard a number of turntables up to around £5000 and none compete with my Garrard (including the Nottingham Analogue Hyperspace which I heard a few weeks ago). I, and a couple of friends (whose audio opinions and listening skills I value very highly) have also heard the Clearaudio Master Reference, and this, in all our opinions, failed to match my turntable's performance. This all leads me to conclude that the design of these turntables is in fact exceptional, it was only (and largely still is) the way these products are built up which is the problem in my view. Even the engineer who built my turntable up commented on the quality of engineering of the 401, and the fact that it is rarely seen today. Perhaps it is important to note that I have never heard as low a noise floor in any other system.

This all sounds a bit like I'm blowing my own trumpet here, but I definitely believe in calling a spade a spade (which is why I read your website). I haven't heard many of todays real Class A designs, and I wouldn't expect my Garrard to compete with those, but am convinced that if my turntable was a production design today then it would be very competitive indeed.

Unfortunately people continue to re-build the Garrards into such inferior materials as marble, MDF and such like, so many people still have no idea of the potential of these fantastic designs."

 

 

"There is a great turntable and No.!: The EMT 927 and just a tiny bit less great the EMT 930. These are Masters of the Platine Verdier. Then... The Garrard 301 in a correct plinth can work wonderful in an all triode/horn system. It outperforms a Linn LP12 in its latest version with ease.

I started in that range with the following turntables:

Thorens 126 MKII, Micro BL91, Goldmund Studio (old wood plinth version), Kuzma Stabi-II (I was the distributor of Kuzma), Platine Verdier (concrete base), VPI TNT, TNT-III, Well Tempered Signature (still have it), EMT 930, EMT 927 (and a Garrard 301 is there as well).

I still favour the ZYX R100 Fuji as the best. No need for the Airy, the standard version is so good, I am fine with it. FR-64s tonearm: On an EMT-930, or on other heavy TT's, it can perform Class-A! Not the fx aluminium, that is Class-C. But the bearings must be 100%."

Personal Notes- The EMT turntables are more revered by their owners than any other turntable I can think of, excluding the Linn during the hysteria of the late 1970's. There must be something special about them, but, like the Garrards, I don't see how they can equal the modern designs using air bearings, flywheels and exotic materials etc.

Thanks to High End Audio