Stereophile PRESENTS RECOMMENDED RC2021 COMPONENTS

Every product listed here has been reviewed in Stereophile. Everything on the list, regardless of rating, is genuinely recommendable.

Within each category, products are listed by class; within each class, they’re in alphabetical order, followed by their price, a review synopsis, and a note indicating the issues in which the review, and any subsequent follow-up reports, appeared. “Vol.44 No.9" indicates our September 2021 issue, for example. “WWW” means the review is also posted online.

Stereophile’s Recommended Components list is concerned mainly with products available in the US through hi-fi retail outlets. Companies that sell only through dealers must have well-established dealer networks. Products sold online also qualify. Companies that sell only online must demonstrate the capacity for satisfactory customer support, preferably right here in the US. A no-risk at-home audition is strongly preferred, whether it’s provided by an online or a bricks’n’mortar dealer.

We recommend you read our Recommended Components synopses to decide which reviews to read, then read each product’s review carefully before seriously contemplating a purchase, as many salient characteristics, peculiarities, and caveats appear in reviews that we cannot include in a circa 200-word synopsis. Almost all reviews of current products are available online at stereophile.com. Back issues of the magazine can be ordered from the website. The editors regret that we cannot supply copies of individual reviews.

THE NUTS AND BOLTS

This listing was compiled after consultation with Stereophile’s reviewing staff and editors—including, notably, Technical Editor John Atkinson. Our ratings take into account what we heard during the review period but also our continued experience with the product (if we’ve had any) after the review has been published. Defects discovered after the audition may cause a product to be downgraded or removed.

Class ratings are based on performance—but that includes performance not just in the listening room but also on the test bench. Products are downrated when and to the extent that their deficiencies interfere with the full realization of the music and the pleasure of the listener, although obvious limitations, such as limited bass extension in a minimonitor, are understood and so not viewed as defects.

Measurements matter. But we do not expect every component to aspire to the best measurements possible; to do so would incentivize conformity, boredom, and metric-gaming, all of which I oppose. Measurements indicating poor engineering or revealing potentially audible defects may cause us to lower our rating, but we do not expect our measurements of a single-ended triode amplifier to resemble those of a perfectionist solid state design.

In any case, the reviewer’s sonic experience is the most important factor.

Class ratings are based on performance, but different reviewers value different aspects of performance, so it’s best not to expect thematic and methodological consistency. You’ll find high-tech amplifiers with vanishingly low noise and distortion listed alongside old-school tube amps; what they share is the demonstrated ability to provoke musical bliss in their respective reviewers. Recommendations, then, are most useful to those who share, or at least are aware of, the specific reviewer’s tastes, proclivities, and reviewing context.

The best use of this list, and the original reviews, is to help you decide what to audition. Never turn down an opportunity to audition a component, especially if you can review it in your own system. Even the highest-quality component may not work optimally in your system and room.

The prices indicated were current when the listing was compiled (July 2021). We cannot guarantee that they will still be current when you read this.

There is a near-universal consensus that at some point in the upward climb of product prices, diminishing returns (performance vs price) set in. Where we have found a product to perform much better than might be expected at its price, we have drawn attention to it with a $$$ next to its listing. Otherwise, class ratings do not, as a matter of policy, take price into account. We believe that value in hi-fi is a value, which is to say, it’s personal. Still, it’s fair to assume that every reviewer implicitly factors value into their opinions about products, each in their own way.

Products discontinued by their manufacturer are of course removed from the list, as are those that have been revised in ways that could affect performance. Such revisions often lead to a follow-up review.

When a product is removed from the list, we endeavor to report why it was removed. Look for a Deletions listing at the end of each category.

Many products are deleted from the list while they’re still in production. That does not mean we’ve suddenly decided they’re unworthy or that they suddenly started sounding worse. Most products remain listed for just three years, for two reasons. The first reason is that there’s only so much space in the magazine. The second: It’s impossible to compare a component to others when your memory of it is dim.

We indicate with a star

products we have kept on this list for more than three years, usually because the product is part of a reviewer’s “kit,” so the reviewer uses it regularly. Sometimes, though, it’s at the editor’s discretion. For example, on this list I’ve retained some inexpensive turntables and phono cartridges because I want the list to cover those areas well. I’ve also retained several Class A (Full-Range) loudspeakers because, being blurbless, they take up little space.

Specific reviewers identified by their initials are John Atkinson, Jim Austin (JCA, or occasionally JA2), Brian Damkroger, Robert Deutsch, Art Dudley, Michael Fremer, Tom Gibbs, Larry Greenhill, Alex Halberstadt, Jon Iverson, Fred Kaplan, Michael Lavorgna, Eric Lichte, John Marks, Sasha Matson, Ken Micallef, Julie Mullins (JMu), Thomas J. Norton, Wes Phillips, Herb Reichert, Bob Reina (BJR), Kalman Rubinson, Jonathan Scull, Rob Schryer, and Jason Victor Serinus.

TURNTABLES

A+

OMA K3: $363,000 INCLUDING POWER SUPPLY AND K3 TONEARM

See Michael Fremer’s review in this month’s Analog Corner.

SAT XD1: €150,000 WITHOUT TONEARM

This extraordinary and extraordinarily expensive Swedish turntable begins life as a Technics SP-10R direct-drive motor system, which is stripped down to a handful of essential components, reimagined, reengineered, and rebuilt to much higher mechanical standards. Marc Gomez focused on isolation from external disturbances, speed stability, rigidity, and vacuum hold-down. There are “pods” for two armboards. The platter’s top layer is made from a “proprietary advanced technical polymer infused with carbonfiber micro powder and UHM carbon nanotubes.” The XD1’s price includes a custom, low-profile, Minus K–based “negative stiffness” isolation platform, and the control electronics are housed in an outboard chassis machined from a single block of aluminum that sits on 10Hz-and-up isolation feet. The result, with SAT’s CF1-9Ti tonearm, was better than with MF’s long-term reference turntable, the Continuum Caliburn: “With the SAT ’table, every drum and bass element was in its place for the first time—ever. They were smaller, deeper, far more powerful, and controlled; the attack, sustain, and decay occurred on time. This allowed previously overwhelmed, blurred, and buried instruments to emerge in a clarified mix that produced greater musical excitement and zero listening fatigue.” MF concluded that the SAT XD1 with the CF1-09Ti tonearm (€76,000 when purchased with the turntable) was the best-sounding, best-engineered, best-built turntable he’s had in his system to date. (Vol.43 No.12 WWW)

TECHDAS AIR FORCE ONE PREMIUM: $162,000 WITH TITANIUM UPPER PLATTER

The standard version of the TechDAS Air Force One turntable was awarded an A+ and sat atop these ratings for six years. Now MF has auditioned the Premium version of same, which betters the original AFO with a motorized air pump and automatic, continuous pressure-monitoring system for its air-suspension mechanism. MF’s review sample also featured an optional titanium upper platter. (Without the latter, the AFO Premium sells for $145,000.) Auditioned with a Graham Engineering Elite tonearm, the AFO Premium impressed MF with “its ultraquiet backgrounds, the generosity of its presentation of instrumental sustain and decay, its neutral spectral balance, and [its] dynamic presentation …. It’s as much reliable test instrument as supreme carrier of unassuming musical pleasure.” (Vol.43 No.2 WWW)

TECHDAS AIR FORCE ZERO: $450,000 (BASIC VERSION)

TechDAS founder Hideaki Nishikawa’s ultimate analog statement, the Air Force Zero is limited to a production run of just 40 units. Weighing 725.5lb with its ultraheavy main subchassis assembly, it combines rebuilt, new-old-stock, high-torque Papst motors driving multiple massive platters with a customized air-bearing spindle and flywheel.

LPs are held in place with a vacuum hold-down system. Using SAT and Graham tonearms and his reference phono cartridges from Lyra and X-quisite, MF found that the Zero “let through each cartridge’s timbral and dynamic character while imparting its own unique and immediately recognizable weight, sledgehammer ‘slam,’ ultragenerous sustain and decay, and the blackest backgrounds I’ve heard a turntable produce. … no other turntable, or none that I’ve yet reviewed, so effectively sinks unwanted and extraneous noise while passing the musical goods with effortless ease, often in the most subtle and nuanced ways.” (Vol.44 No.9 WWW)

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AMG VIELLA FORTE ENGRAVED: $25,000 WITHOUT ARM, $32,000 WITH 12JT TONEARM

This massive turntable features an outboard, crystalcontrolled power supply and a black-anodized aluminum two-piece platter that weighs almost 31lb and has a weighted rim (producing a flywheel effect), a gently convex, inlaid-PVC top surface, and a decoupled spindle. The plinth weighs 50.7lb! According to MF, who auditioned the Forte Engraved with AMG’s 12JT tonearm (see “Tonearms”) and an Ortofon Anna Diamond cartridge, what makes this turntable so appealing is its midrange presentation, “which, though ever so slightly thick, is highly resolved and includes complete freedom from overhang.” He added that “the very bottom, too, while not the most fully extended, is completely free of muddy hangover.” He concluded that the Viella Forte “is among the best values in ‘top tier’ turntables. Its build quality and engineering make it worthy of placement in that category even if the sonic performance is a notch below the absolute best.” “Engraved” because of the elegant scrollwork on the plinth’s surface; the nonengraved version costs $2000 less. (Vol.43 No.9 WWW)

BERGMANN GALDER TURNTABLE AND VACUUM HOLD DOWN: $26,800; $35,700 WITH ODIN TONEARM

New from Bergmann Audio, a Danish company known for using air bearings not only in their tonearms but also their platters, is the Galder turntable, which breaks with Bergmann tradition in two ways: Its 26lb, belt-driven, airbearing platter is machined from aluminum rather than acrylic, and the Galder can be bought without a Bergmann linear-tracking tonearm. Indeed, this turntable can support up to four tonearms, either pivoting or tangentialtracking. As reviewed, the 84lb, nearly 19"-wide Galder includes a vacuum record hold-down system; for an additional $8900, it comes bundled with the Bergmann Odin air-bearing tangential-tracking tonearm. (Separately, the Odin costs $12,900, including its own air pump; the package savings are made possible in part because the same pump that pressurizes the Galder’s platter bearing and vacuum clamp also pressurizes the tonearm.) A speedadjustable DC motor allows two speeds: 33.3 and 45rpm. MF praised the Galder’s degree of acoustic isolation and the ease of use of its vacuum hold-down system; more to the point, the combination of Galder turntable and Odin tonearm impressed MF with its fine bass control and extension—better than Mikey expected, based on previous air-bearing experiences—and its reproduction of space, though somewhat diffuse, offered an enjoyably wide stage populated with stable, well-focused images. (Vol.41 No.7)

BRINKMANN BALANCE: $25,990 WITHOUT TONEARM

The ready-to-play Brinkmann Balance is a plinthless ’table with an attractive, low-profile base available in a variety of sizes and configured for specified tonearm masses. Its high-tech feet are designed to effectively isolate the supporting base from horizontally and vertically induced vibrations, and its platter’s speed can run at precisely 33.3 and 45rpm. The Balance combined “deep, tight, articulate” bass performance with “the lightest, airiest, purest” soundstages to breathe new life into MF’s favorite LPs, adding “greater holography of imaging but without etch.” Recent upgrades include a new motor and new power-supply electronics. Adding Brinkmann’s optional RöNt tubed power supply ($4490) produced cleaner, better-articulated mid- and high-frequency transients, said MF: “The Brinkmann Balance remains one of a handful of the finest turntables being made today.” We haven’t auditioned it in a long time, but special pleading from Mikey keeps it listed: “A superb product that has stood the test of time.” Brinkmann 12.1 tonearm adds $6290, Brinkmann EMT-ti cartridge adds $4300. The 12.1 tonearm incorporates mechanical refinements that, according to Brinkmann, endow it with greater torsional stability and greater immunity to resonances. Crafted from aluminum and stainless steel, it uses precision ball bearings for both vertical and lateral movement and is available with either flying signal leads or a captured output cable of the usual sort. MF felt the Brinkmann 12.1, when compared with the Kuzma 4Point tonearm, had somewhat less slam but was lighter on its feet—and, with classical and jazz, is perhaps the better choice. And MF loved the 12.1’s “lusciously velvet midrange.” (Vol.28 No.5, Vol.35 No.4, Vol.38 No.5 WWW)

DÖHMANN AUDIO HELIX ONE MK2: $49,000

Compared with the original Helix, which MF reviewed in Vol.40 No.3, the Helix One Mk2 has been redesigned, and it now incorporates Döhmann’s Minus K negative-stiffness isolation base. The outboard power supply is now installed in the “PowerBase” that the massive turntable chassis rests on. The review sample was supplied with the Thraxmanufactured Schröder CB 9" arm ($5500). The Mk2’s speed measurements were “somewhat disappointing” compared to the original Helix One’s, but MF didn’t notice any issues in his auditioning. While the Helix One Mk2 didn’t sound as smooth as the TechDAS Air Force One, MF found that “This turntable exudes complete authority and control, and never leaves you feeling that there’s more to be extracted from the grooves… or that anything is being withheld dynamically, spatially, or in terms of detail resolution.” Price is for black-anodized finish; it’s $55,600 in plated nickel and titanium. (Vol.43 No.4 WWW)

GARRARD 301: $23,500 (PLUS FREIGHT) W/ARM AND PLINTH

Since 2011, when he began using a 1957 Garrard 301 as his reference turntable, AD has been looking for a way to sneak that product among this magazine’s Recommended Components. The Cadence Group, which owns SME, Spendor, and other British brands, has provided a means to do just that: In 2018, they added Garrard to their holdings, and in 2019 they reintroduced the 301 to the market. Samples available now comprise a mix of new, NOS, and reconditioned parts, but the company says that proportion will change as they tool up to make new components. Less than ideally, Garrard will sell a 301 only with their own plinth and with an SME M2-12R tonearm; fortunately, according to AD, that arm is itself recommendable. But the sound’s the thing, and in that regard, AD feels that Edmund W. Mortimer’s timeless high-torque turntable design remains the surest way to retrieve all of the touch, force, color, and momentum locked in the groove. (Vol.42 No.12 WWW)

J.SIKORA INITIAL: $9495 WITHOUT TONEARM

The least expensive in this Polish manufacturer’s line, the belt-drive Initial comes with a standalone power supply/controller and either a blank arm mount or a mount predrilled for Kuzma, Jelco, Ortofon, Origin Live, or SME tonearms. Price as reviewed was $11,053 with a glass platter mat ($259), a two-piece record weight ($799), and a Jelco TL-850M tonearm (though Jelco announced in May 2020 that it was ceasing production). The plinth is aluminum, the platter Delrin, and the DC motor is sourced from Pabst. With a Grado Aeon3 phono cartridge, the J.Sikora sounded conspicuously unmechanical, unnervingly dark, superquiet, noticeably dynamic, and unbelievably microdetailed, wrote HR. “But, he added, “it also—strangely—sounded like nothing I’d heard before.” After trying several different cartridges, HR decided that “J.Sikora’s Initial gave me what I consider to be a majority portion of what the Porsche-Maserati turntables do at a Cadillac-Oldsmobile price.” (Vol.43 No.6 WWW)

KUZMA STABI R W/ONE ARM WING: $8150

According to its designer, Franc Kuzma, the new Stabi R turntable is essentially a scaled-down version of his up-market Stabi M: same 8kg belt-driven platter, same twospeed (33.3 and 45rpm) DC power supply, and same hightorque DC drive motor. The heavyweight (66lb in its most basic version) Stabi R is also available with a wood frame that adds $910 to the price (and another 13lb) and can be used with up to four tonearms. (Additional armboards are an extra-cost option.) Used with a Kuzma 4Point 11 tonearm ($6675 as supplied), the Stabi R wowed KM—whose reference turntable is the less expensive Kuzma Stabi S—with “its ability to communicate force at lower volumes, a kind of tranquil power.” Is the Stabi R worth four times the price of the Stabi S? According to KM, “Yes. No other turntable has created its level of stability, presence, resolution, and sheer physicality—not in my system.” Available in black or silver. (Vol.42 No.7 WWW)

REED MUSE 1C: $15,000 (WITH FRICTION DRIVE AND BLACK FINISH)

This dramatic- and attractive-looking Lithuanian-made turntable features a thin leather/suede platter mat and a two-motor drive system. An aluminum subplatter, machined with a tapered hub, is driven by two opposing phase-locked–loop DC motors that turn at slightly different speeds; the two motor pulleys are fitted with rubber/elastomer drive wheels of slightly different diameters. (A belt-drive option is available.) “Tapping anywhere on the plinth produced the tiniest of ‘tinks,’ with no low-frequency component and no overhanging sound,” according to MF. Reed’s 5T tonearm (see “Tonearms”) and an Ortofon MC Century cartridge “extracted musical fun from every record I played, plus a sense of ease and relaxation.” (Vol.43 No.6 WWW)

REGA PLANAR 10: $5695 (W/O CARTRIDGE)

Save for their ca-$45,000 Naiad, the newly revised Planar 10 represents the pinnacle of Rega’s high-tech and extremely well-thought-out minimalism. Its skeletal plinth is machined from a super-rigid laminate in which a lightweight polyurethane foam core is a key element, supported by three elastomer footers. The diamond-cut ceramic platter rests on a machined-aluminum subplatter, with upper and lower ceramic braces between the platter bearing and the tonearm mount, the latter home to a Rega RB3000 arm. A 24V, low-vibration synchronous motor is individually tuned to its outboard drive electronics; this propels the platter via two drive belts that are precisionmolded from a very high-tech polymer. MF found the sound of the new P10 to be “fast, tight, well-defined, tuneful, and exciting on the bottom,” adding that “anyone who thinks a lightweight ’table can’t produce deep, tuneful, and well-sculpted bass should listen to the P10.” Apheta3 cartridge adds $1000; Aphelion2 cartridge adds $4000. (Vol.43 No.3 WWW)

SME SYNERGY: $25,900 WITH SERIES IV TONEARM

In December of 2019, SME announced that they would no longer offer tonearms as standalone items and would instead sell them only when bundled with SME turntables; in retrospect, that sheds light on the May 2018 introduction of the Synergy, SME’s first-ever integrated record player. The Synergy combines a newly designed and relatively high-mass belt-drive turntable—one whose vibration-isolation scheme eschews the O-ring suspension used in previous SME models—with a magnesium-tube tonearm, an Ortofon Windfeld Ti MC cartridge, and a builtin Nagra phono preamplifier. The Synergy offers 33.3, 45, and 78rpm, all microfine-adjustable via the ’table’s outboard power supply. Setting up the Synergy is relatively easy, as one might expect from an expensive turnkey player, but the “the Synergy is not exactly ‘plug’n’play,’” according to MF, who also praised the “soundstage threedimensionality” and “complete freedom from mechanical artifacts” of this “very competent and fine SME player.” (Vol.42 No.11 WWW)

TECHNICS SL-1000R: $18,999

TECHNICS SP-10R MOTOR UNIT: $10,999

In 2018, Technics did something that had seemed unthinkable even five years earlier: They tooled up to make a brand-new, hand-built-in-Japan version of their flagship direct-drive turntable. The SP-10R motor unit is built around a brand-new, double-coil, twin-rotor, core-less direct-drive motor topped with a 17.5lb brass-and-aluminum platter controlled by an outboard switching power supply, and built into a metal chassis that allows drop-in replacement of older SP-10s in existing plinths. The SP-10R is also available with a newly designed plinth and tonearm, comprising a complete player sold as the Technics SL-1000R ($20,000); the new arm, fixed to an armboard at the usual 2 o’clock position, can’t be swapped out for other makes/models, but the user can add up to two auxiliary armboards. MF praised the SL-1000R, noting that its “accuracy and stability of speed helped produce precise but not overly sharp transients that helped contribute to a complete absence of listening fatigue.” He also described the player’s sound as “serenity-inducing… and refreshingly non-mechanical,” although he noted that the SL-1000R “did not produce the ‘blackest’ backgrounds behind the music,” and that the bottom end was “not as explosive, muscular, or grippy” as with some other players. (Vol.41 No.11 WWW)

TECHNICS SP10R WITH OMA IRON PLINTH: $22,000

Perhaps spurred by the success accorded Technics’s recent SP-10R turntable (see elsewhere in “Recommended Components”), Oswalds Mill Audio has designed for that and earlier Technics motor units their SP10 Plinth System, which combines a base unit made of hypoeutectic iron—said to combine high mass with exceptional rigidity and vibration-damping properties—with a removable armboard of torrefied ash, the latter adaptable to tonearms ranging from 9" to 12" and longer. The SP10 is large (26.125" wide by 4.125" high by 20.125" deep) and very heavy (110lb without turntable), and is available in clear or black powder finishes; the price has yet to be determined, but is expected to be under $10,000—ie, less than the SP-10R itself. Writing of his experiences with the SP-10R and Schröder CB tonearm mounted in the OMA Plinth System, MF described an “austere” sound that was “rhythmically taut and, overall, ‘together’ from top to bottom,” with music pouring forth from “the ‘blackest’ backdrops,” leading him to praise this pricey plinth as “one super energy sink.” (Vol.42 No.2 WWW)

THORENS TD 124 DD: $11,499 WITH TP 124 TONEARM

The original TD 124 turntable from Swiss manufacturer Thorens, with its innovative drive mechanism that utilized both a belt and an idler wheel, was introduced in 1957. It became a classic and examples in good condition are much sought after. The current Thorens company, owned by former Denon manager and ELAC CEO Gunter Kürten, is based in Germany. Rather than manufacture an authentic reproduction of the 1957 TD 124, the TD 124 DD, available in a limited run of 500 units, is intended to maintain as much of the original as possible while updating its function in key areas. The biggest change is the use of a 12-pole direct drive motor. The TP 124 tonearm is also new. It features an internally damped aluminum armtube with a heavy brass counterweight to balance the 30gm weight of the Ortofon SPU 124 cartridge used by KM in his auditioning. (A second, lighter counterweight is included, along with a headshell, for use with more typical cartridges.) KM liked what he heard: The TD 124 DD “excelled at rhythmic punch and dynamics, producing music with vigor and drive. The ’table’s low noisefloor made for stark dynamic contrasts as music burst from the subtlest ppp to the boldest fff.” His conclusion? “The designers’ most heretical move—replacing the original 124’s peculiar drive system, which resulted in a turntable with fluidity and, well, drive—with direct drive has achieved an even more propulsive sound, with a somewhat larger soundstage and better dynamics.” (Vol.44 No.8 WWW)

VPI AVENGER REFERENCE: $24,000 INCLUDING FATBOY TONEARM

The heavy (85lb) Avenger Reference is built on a plinth made from layers of acrylic and aluminum, shaped with three outriggers fitted with massive steel corner posts, themselves supported by aluminum cones resting on Delrin/ball-bearing isolation bases. A cantilevered aluminum armboard clamps to the tops of those corner posts—the Avenger Reference can simultaneously accommodate up to three tonearms—and the platter is rim-driven by an idler wheel that is itself belt-driven by two AC synchronous motors. The idler drives a lower platter that’s precisionmachined from aluminum; that platter propels, by means of magnetic drive, a similar upper platter—a thin gap is maintained between the two. The Avenger Reference is fitted with VPI’s Fatboy tonearm, a 12" unipivot with a 3Dprinted polymer armtube. (Additional Fatboys are available for $6000 for the complete tonearm, $4000 for a spare armtube only.) Despite isolation feet that “provided little actual isolation,” Mikey found that the Avenger Reference “fulfilled the promise of rim drive’s benefits minus the noise and rumble.” He noted the ’table’s “excellent speed stability and consistency,” and praised the combo for producing “’black’ backgrounds.” (Vol.41 No.12 WWW)

VPI HW-40 ANNIVERSARY EDITION INCLUDING GIMBAL FATBOY TONEARM: $20,000 $$$

A lot has happened since VPI introduced its $30,000 Classic Direct direct-drive turntable, the high price of which was determined in part by its high-tech ThinGap motor, which reportedly cost the manufacturer $4000 apiece. Based on that turntable’s success, VPI has found themselves able to cut costs by ordering a lot of those motors—to which they now apply their own in house–designed drive electronics as well as a completely reworked bearing, subplatter, and platter. The result, according to MF, is a turntable that’s “better in every way… than the Classic Direct.” And while he didn’t consider the HW-40’s gimbal-bearing JMW-12 Gimbal Fatboy tonearm the equal of his reference SAT arm, MF said that, given the package’s $15,000 price, the “very good arm is almost a freebie.” (Going forward, the HW-40 will be available without an arm and with an interchangeable armboard.) MF noted the HW-40’s “rock-solid musical drive,” “exceptional transparency and retrieval of low-level detail,” and “deep, powerful bass” and concluded that, “in terms of design, execution, and value, it’s the best VPI turntable yet.” (Vol.43 No.1, WWW)

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AVM ROTATION R 2.3: $4995 (WITH TONEARM)

Hi-fi enthusiasts who already own one or more components from German company AVM might do well to consider the Rotation R 2.3, a similarly styled belt-drive record player manufactured by Pro-Ject. In addition to its aesthetic consistency with AVM’s electronics—most apparent in its sleek aluminum “cover frame” and the blue-LED illumination of its recessed acrylic platter—the Rotation offers an inboard DC motor, permanently lubricated bronze platter bearing, and a gimbaled tonearm with an “impressively massive” bearing yoke and a sliding–single-bolt headshell for good cartridge adjustability. MF observed “excellent speed consistency” and a “well enough controlled” bottom end, and although he heard a slight softening of transients, Mikey noted that “the R 2.3 produced a pleasingly uncolored sound” overall. (Vol.42 No.12, WWW)

CLEARAUDIO CONCEPT ACTIVE WOOD: $3700 W/SATISFY BLACK TONEARM & CONCEPT MM CARTRIDGE; $4600 W/SATISFY CARBON FIBER TONEARM & CONCEPT MC CARTRIDGE

Nonsuspended, belt-drive turntable from Germany that is available in two versions with different tonearms and cartridges. Both versions include an integral MM/MC phono preamplifier, which can be bypassed, and a headphone output. KM auditioned both versions. The pricier Active Wood with the Satisfy CF tonearm and the Concept MC cartridge sounded “clear, dynamic, rhythmic, and transparent; the combo excelled at playing black discs with detail and quiet backgrounds, with a large soundstage populated with well-sized images,” he wrote. He found that what the less-expensive version gave up in transparency, refinement, and focus, “it gained in richness, warmth, and relaxation.” Though he felt the Clearaudio’s internal phono pre was outclassed by the tubed Tavish phono stage, it still “sounded quite good overall: palpable, solid, and upfront.” KM’s overall conclusion: “Its first-rate build quality and sound, and its ease of setup and versatility, make the Clearaudio Active Wood a solid choice for both turntable purists and enthusiasts.” (Vol.44 No.6 WWW)

DR. FEICKERT BLACKBIRD: $6995

The standard Feickert Blackbird is a belt-driven turntable in which a Delrin platter is propelled by two (!) high-torque AC motors, with provisions for mounting two tonearms. Its plinth is an aluminum-MDF-aluminum sandwich done up in a black Nextel finish. As reviewed by HR, fitted with Jelco’s knife-bearing TK-850L tonearm and optional DIN-to-RCA cable, and upgraded with eight inertia-enhancing brass platter weights and a glossy wood finish ($9345 total), the Blackbird ingratiated itself in no time: “I admired the Dr. Feickert Analogue Blackbird the minute I set it up. After a couple of weeks, I was ready to propose marriage.” As Herb describes it, “bass through the Feickert-Jelco combo was tighter and more vigorous” than with his AMG G9 player (see elsewhere in “Recommended Components”), and compared to even his Linn LP12, the Blackbird impressed him by re-creating musical momentum in a way that was “noticeably more visceral.” (Vol.41 No.12 WWW)

HANIWA PLAYER W/HTAM01 ARM: $15,000

The Player, which is made for Haniwa by German manufacturer Transrotor, is a compact but massive belt-drive design with a heavy aluminum platter topped with a butyl rubber Oyaide mat. Its companion tonearm is billed by Haniwa as their HTAM01 model, but MF recognized it as the ViV Laboratory Rigid Float tonearm, which he wrote about in the August 2014 Stereophile. The Haniwa/ViV tonearm is an odd duck, designed so that a cartridge mounted therein exhibits underhang instead of overhang, and with zero offset angle. MF praised the player’s ease of setup and high quality of construction and finish, but noted that, contrary to the claims made for it by Haniwa, it is not optimized for use with low-internal-impedance cartridges and their companion current amplification phono preamps, and he dismissed the HTAM01 for design solutions that are “misguided and demonstrably ineffective.” (Vol.42 No.10 WWW)

LINN SONDEK LP12: $2630 FOR TURNTABLE ONLY

Since 1972, Linn has devised and offered for their beltdrive, suspended-subchassis flagship all manner of upgrades; commendably, all have been retrofittable. Some standouts: The Lingo power-supply mod of 1990 minimizes the LP12’s propensity toward a slightly fat midbass and subjectively “adds an octave of low-bass extension,” according to JA. The Keel one-piece subchassis, tonearm board, and Linn-specific tonearm-mounting collar of 2006 makes “an unambiguous improvement in the LP12’s performance,” according to AD. And the Linn Radikal mod—a DC motor with an outboard switch-mode power supply—impressed Mr. D with “more force, more momentum, and a little more sheer grip on the notes.” At present, the least expensive LP12 package is the Majik LP12 ($4320): standard subchassis, wood-composite armboard, singlespeed power supply, Pro-Ject 9cc tonearm, and a Linn Adikt moving magnet cartridge. Experience leads us to expect high Class B performance—superbly low measured rumble, excellent speed stability, and very good musical involvement—from an entry-level LP12, while previous incarnations of the full-monty LP12 have delivered true Class A sound. (Vol.7 No.2, Vol.13 No.3, Vol.14 No.1, Vol.16 No.12, Vol.17 No.5, Vol.19 No.2, Vol.26 No.11, Vol.28 No.2, Vol.30 No.10, Vol.34 No.6, Vol.39 No.6 WWW)

MARK LEVINSON NO5105: $6000; $7000 WITH ORTOFON QUINTET BLACK PHONO CARTRIDGE

Designed in collaboration with and sourced from a German manufacturer, this elegant-looking, high-mass (75lb), belt-drive turntable comes complete with a 10" tonearm that features a rigid, glossy, carbon-fiber tube. Michael Fremer found the No5105 easy to set up and use and, with a fast, detailed cartridge like the Ortofon Quintet Black, it produced sound that was rich, relaxed, generous, and typical of higher mass, damped-style turntables. (Vol.44 No.4 WWW)

MOFI ELECTRONICS ULTRADECK: $1999 WITH TONEARM

Decades after the first Mobile Fidelity Sound Lab record comes the first MoFi record player—the UltraDeck turntable with Ultra tonearm, both made in the US and created with design input from Spiral Groove’s Allen Perkins. The UltraDeck’s sturdy plinth comprises three aluminum plates bonded to the top of an MDF core, and its belt-driven platter—machined from Delrin and weighing 6.8lb—rides on an inverted bearing. Four height-adjustable feet, designed in collaboration with Harmonic Resolution Systems (HRS), support the plinth. The Ultra tonearm has a 10" aluminum armtube, Cardas wiring, and a gimbaled bearing. According to HR, the UltraDeck, when used with MoFi’s top-of-the-line moving magnet cartridge, the MasterTracker (a $2198 package; the MasterTracker is sold separately for $699), didn’t provide the “deep ‘black’ backgrounds or enormous sound spaces” of the considerably more expensive AMG Giro G9 player, “but it did present me with an infectious, easy-flowing, liquid vitality.” According to Herb, the MoFi combo “had stronger energy, achieved bigger dynamic swings, and was more detailed than comparatively priced ’tables from VPI and Rega.” (Vol.41 No.2 WWW)

SME MODEL 6: $8995 W/SME M2-9 TONEARM

SME’s least expensive turntable uses an outboard power supply and a chassis CNC-machined from what the company says is a “unique polymer high-density resin material,” claimed to have “superb resonance absorption.” It sits on four elastomer feet made from a vibration-absorbing compound, but as these aren’t height-adjustable, the user needs to make sure the turntable support is level. The belt-driven, 4lb platter appears to be machined from Delrin. The M2-9 tonearm—an MF favorite—can accommodate cartridges weighing 5–12gm, and azimuth, VTA, and SRA are all adjustable. As with all SME turntables, there’s no dustcover. While MF didn’t like the screw-down three-piece record clamp, he appreciated how the Model 6 performed with Ortofon Cadenza Black and 2M Black LVB phono cartridges. “The more I used it, the more I enjoyed its open, airy sound and its solid bottom end,” he concluded. (Vol.44 No.5 WWW)

THALES SLIM II TURNTABLE: $6750

From Swiss watchmaker–turned–audio craftsman Micha Huber comes the Thales TTT Slim II belt-drive turntable, which mates a DC motor—powered by a battery that charges itself when you’re not looking—and a 7.7lb aluminum platter with an attractively compact yet surprisingly heavy plinth. Combined with the Thales Simplicity II pivoting, tangential-tracking tonearm ($9450, or bundled with the TTT Slim II for $14,180), the Thales turntable lacked the last word in idler-drive-style impact, but it satisfied with its superb momentum and flow and its very good tactile qualities—not to mention its ease of setup and notably high build quality. (Vol.42 No.8 WWW)

C

PRO-JECT DEBUT CARBON EVO: $499 WITH TONEARM & CARTRIDGE $$$

This bargain-priced, belt-drive turntable comes complete with a carbon-fiber tonearm, a Sumiko Rainier moving magnet cartridge ($150 when sold separately), and a shielded, directional phono cable. The 3.75lb steel platter is damped along its outer edge with a strip of thermoplastic elastomer. AH found that the review sample, like Rega turntables, ran slightly fast, but also felt it didn’t release notes “with quite the screen-door-hitting-them-on-theass urgency of the [Rega] Planar 3 (which costs nearly twice as much without a cartridge).” He also found that the Pro-Ject and its cartridge made surface noise more intrusive than many other record players he’d heard. However, AH summed up his time with this turntable by saying “If there’s a design parameter more crucial than a hi-fi component’s ability to hold our attention and enable us to feel things, I don’t know what it is. The Pro-Ject Debut Carbon EVO does this consistently, emphatically, at an attainable price.” (Vol.44 No.3 WWW)

REGA PLANAR 3 WITH ELYS 2 CARTRIDGE IN BLACK, WHITE, OR RED: $1245

Forty years after introducing the original Planar 3, Rega has dusted off that model name and applied it to a comprehensively redesigned package that includes a new tonearm (the Rega RB330), a new 24V motor, and a newly re-engineered if outwardly similar plinth that incorporates the “metalized phenolic” tonearm-to-platter-bearing top brace that characterizes Rega’s higher-end turntable models. In examining the new Planar 3, HR noted that his review sample did indeed run a bit fast, and he wondered whether some measure of the “‘pacey,’ boogie-down Rega sound” has to do with a combination of that and a microscopic “doubling” effect from the player’s lively plinth. That said, Herb wrote, “For me, the best record-playing system is the one that most vigorously directs my attention toward the humans behind the music…. Rega’s new Planar 3 is exceptional at doing just that.” Price includes Elys 2 moving magnet cartridge; base price for turntable with tonearm is $945. Optional Drive Belt (in Floridianretiree white): $59. (Vol.34 No.12, Vol.35 No.11, Vol.40 No.2 WWW)

D

REGA PLANAR 1 WITH CARBON CARTRIDGE: $525 $$$

The plug’n’play RP1 (for Rega Planar One) replaces Rega’s popular P1. Nearly identical to the earlier model in size and shape, the RP1 uses an Ortofon OM5e moving magnet cartridge but trades the P1’s MDF platter for one of phenolic resin and adds Rega’s new, solidly built RB101 tonearm. Additionally, the P1’s drab gray finish is exchanged for the RP1’s choice of White, Cool Gray, or Titanium. Compared to the P1, the RP1 delivered more drive, better focus, and was the more confident, purposeful, and authoritative player. “Rega’s RP1 looks good, is easy to set up, and plays records like it means it,” said SM. AD shared SM’s enthusiasm: “It’s not just that I can’t imagine $445 buying more happiness; I can’t imagine so modest an investment in money and effort buying more music.” The RP1 Performance Pack Upgrade was easy to install and resulted in a bigger soundstage, deeper silences, and greater resolution of low-level detail, said SM. “A no-brainer,” agreed AD. (Vol.34 Nos.2, 4, & 5 WWW)

DELETIONS

Schiit Sol, VPI Scout Jr., discontinued. AMG Giro G9, Brinkmann Balance, Palmer Audio 2.5I, Reed Muse, SME 20/12A, not auditioned in a long time.

TONEARMS

A+

SAT CF1-09: €48,000

SAT CF1-12: €50,000

In 2018, after selling 70 of his original Swedish Analog Technologies Tonearms, designer Marc Gomez discontinued it and replaced it with two new tonearms. The more expensive, the CF1-09, is now the company’s flagship. The CF1-09’s tapered, hand-lapped, “naked”-carbon-fiber armtube has an effective length of 9" and incorporates a number of parts machined from solid stainless steel—including a new vertical bearing yoke that’s far more massive than that of the original SAT arm and makes the CF1-09 too heavy for turntables with spring-suspended subchassis—and its newly designed hardened bearings exhibit far tighter tolerances. Also available is the 12" CF1-12. Mikey tried the CF1-12 in place of the Schröder CB arm on the OMA SP10 Plinth System and praised the SAT’s “more explosive,” “warmer,” and “fuller” sound. (Vol.41 No.11, Vol.42 No.2 WWW)

SAT CF1-9TI: €76,000

SAT CF1-12TI: €80,000

These two cost-no-object tonearms appear outwardly identical to the Swedish manufacturer’s original CF1 arm. However, there is now a titanium tube running through the carbon-fiber armtube, and the CF1’s removable carbonfiber headshell has been stiffened with a frame made from titanium. The 9" arm was auditioned, but the 12" arm should be just as good (but longer). Prices are when purchased separately; when the arms are purchased with the SAT XD-1 turntable (see “Turntables”), the prices are €50,000 (’9Ti) and €60,000 (’12Ti). (Vol.43 No.12 WWW)

A

AMG 12JT: $8500

This tonearm features a unique, dual-pivot horizontal bearing system (for vertical movement) and a vertical bearing (for horizontal movement) that uses a hardened tool-steel axle with top and bottom micro ball bearings. The antiskating mechanism uses a pair of adjustable magnets that can be moved closer to or farther away from an opposing ring magnet, and azimuth is adjusted with a knurled knob. See MF’s review of the AMG Viella Forte Engraved turntable (“Turntables”). (Vol.43 No.9 WWW)

BERGMANN ODIN TONEARM SYSTEM: $13,400

The Bergmann Odin is an air-bearing, linear-tracking tonearm in the mold of the Eminent Technology Tonearm 2, of the late 1980s. But where the sliding portion of the older arm was a longish aluminum tube—the arm’s effective mass was thus greater in the horizontal than vertical plane—the armtube of the Odin is attached to a 3"-long sleeve of comparatively low mass, which rides along an “airtube” that’s held rigid at both ends and whose level is adjustable. (Bergmann claims for the Odin an effective mass of 14gm.) Also adjustable are VTA/SRA and overhang; Bergmann suggests that the Odin is azimuth-adjustable, but that wasn’t so on the review sample provided to MF, a former owner of the ET Tonearm 2 and now a bit of a linear-tracking skeptic. The Bergmann combination of Odin tonearm and Galder turntable (see Turntables) “perform way above their total price,” MF concluded. Air pump included. (Vol.41 No.7)

EMT 997: $6495

The banana-shaped EMT 997 tonearm is a fixed-pivot, high-mass design that is supplied without a headshell. (Use with old-style pickup heads is presumed, although the 997 is compatible with conventional detachable headshells.) Its effective length of 307mm (12") works to minimize tracking-angle error and distortion. Though it sacrificed timbral neutrality, imbuing well-recorded voices with “some mid-to-upper-mid bumps and dips,” the 997 impressed AD with its ability to convey the inherent tension of recorded music. “The EMT 997 was the least wimpy, least wispy tonearm I’ve ever heard,” he said. If willing to invest the time and effort necessary for proper installation and setup, the user will be rewarded with “an almost indescribably great deal of pleasure,” AD added. Currentproduction samples of the EMT 997 incorporate a bearing housing machined from brass rather than stamped from aluminum alloy, and a better finish for the armtube. AD found the bearings of the new version to have less play than those of its predecessor, the sonic and musical consequence being “a surprising if subtle increase in musical drive.” “The EMT remains the best-sounding tonearm I have used… and the best-built arm I have owned.” (Vol.31 Nos. 7 & 9, Vol.38 No.7, WWW)

GRAHAM ENGINEERING PHANTOM III: $8300

(Price is for 10".) A less expensive alternative to the Graham Phantom Elite, the new Phantom III improves on its predecessor, the Phantom II, with a titanium arm wand, a more massive bearing housing, and, inside that housing, wiring that’s claimed to produce less physical resistance as the arm moves. A new counterweight permits a wider range of cartridge weights, and Graham’s patented Magneglide stabilization system has been further improved. After using it with a TechDAS Air Force III turntable, which Graham distributes, MF wrote that “it was immediately clear that the Phantom III’s bass reproduction was far more robust and controlled than that of the Phantom II Supreme that I owned.” The Phantom III’s price drops to $5000 when bundled with the Air Force III. (Vol.41 No.1)

KLAUDIO KD-ARM-AG12: $11,999.99 (FOR 12" ARM)

Our Mikey, whose enthusiasm for tangential-tracking tonearms is less than infinite—rest assured, he’s tried them all—was nonetheless impressed with the ingenuity of the Klaudio KD-ARM-AG12, a pivoted tangential tracker. The Klaudio arm maintains tangency to the groove via two distinct mechanisms: the articulation of its headshell relative to its twin carbon-fiber arm beams, and an evidently cam-actuated mechanism whereby the entire tonearm, bearings and all, slides nearer to or farther from the record spindle as the arm swings across the record. Stylus position is set with an alignment jig and confirmed with a very cool Laser Tangent Tool (both are included). MF praised the KD-ARM-AG12 as “mechanically ingenious, superbly built,” but also noted that this “supercomplex assemblage of hinged and sliding parts” has a “wobbly” lifting and lowering mechanism that resulted in imprecise cueing, and that its sound, though “generally neutral,” exhibited “a lack of bass punch and dynamic slam.” (Vol.42 No.1)

KUZMA 4POINT: $8400 AND UP

KUZMA 4POINT 9: $5160 AND UP

Designed by Franc Kuzma and available in 9", 11", and 14" versions, this tonearm takes its name from its four-point bearing system: Four carefully arranged points contact four cups, permitting the arm to move in both the vertical and lateral planes while avoiding the chatter of gimbaled bearings and the instability of unipivot designs. A removable headshell makes swapping cartridges painless, while adjustment of VTF, VTA, antiskating, and azimuth are relatively simple. With its outstanding immediacy, transparency, and overall coherence, the 4Point consistently exceeded Mikey’s expectations. Compared to the combo of Continuum Cobra arm and Ortofon A90 cartridge, the 4Point with Lyra Titan i offered greater timbral, textural, and image solidity, said MF. Compared with the Cobra, the Kuzma sounded more natural and energetic. “The Kuzma 4Point may be the finest tonearm out there, period,” said MF. The Kuzma matched the Graham Phantom II Supreme’s detail retrieval and neutrality but offered greater speed and coherence, said MF. As reported in the July 2019 Stereophile, KM’s review sample of the Kuzma Stabi R turntable came with a 4Point 11" ($6675 as supplied), which proved “eminently and easily adjustable.” Also offered with regular phono cables/no RCA box for $6375. (Vol.34 Nos.9 & 10, Vol.35 No.7, Vol.39 Nos.3 and 11, Vol.41 No.6, Vol.42 No.7, WWW)

REED 5T: $21,500

This pivoted tonearm has a unique design that uses a servo-controlled, battery-powered motor and a laser to enable it to track tangentially and also to address antiskating. Compared to pivoted tonearms, the 5T’s smaller moment of inertia allows for better tracking. Care must be taken when cueing cartridges with the Reed arm, as moving too fast will disable the servo mechanism. The 5T, mounted on the Reed Muse 1c turntable and fitted with an Ortofon MC Century cartridge, sounded “wonderful,” said MF, and “excelled in soundstage stability and expansiveness, all across the record surface.” (Vol.43 No.6 WWW)

SAT LM-09: €25,000

Engineer Marc Gomez has replaced his original Swedish Analog Technologies Tonearm with two new tonearms, one slightly less expensive, the other considerably more so. The former is the LM-09, which retains the original model’s basic design elements—tungsten-carbide bearings with user-adjustable preloading, and a 9" armtube made of carbon-fiber laminates—while offering lower overall mass by means of a bearing yoke made from aluminum rather than stainless steel. The new SAT arm also has more robust bearings and a stiffer armtube, and its detachable headshell has been redesigned to provide more rigid coupling and smoother rotational action, the latter for more precise setting of azimuth. The new LM-09 is a drop-in replacement for the original SAT arm; MF compared them and heard “faster, cleaner, and better resolved” reproduction. For $29,000, SAT offers a 12" version, the LM-12, although designer Gomez still suggests that, all else being equal, 9" arms offer superior performance. (Vol.41 No.10)

SCHICK 12" TONEARM: $1995

SCHICK 10.5" TONEARM: $1995

Made in Germany and now distributed in the United States by Mofi Distribution, the Thomas Schick 12" tonearm is intended to combine the greater-than-average length and mass of certain vintage models with the high-quality bearings of modern arms. It offers superb fit and finish, with a clean, spare bearing cradle and a smoothly solid pickup-head socket. Though lacking the spring-loaded downforce and other refinements of the EMT 997—and, thus, some measure of the more expensive arm’s performance—the Schick is characterized by a big, clean, substantial sound, with an especially colorful bottom end: “a superb performer,” per AD, who also verified the correctness of the Schick’s geometry with Keith Howard’s ArmGeometer freeware. According to Art, “The Schick tonearm