PRO-JECT DEBUT Turntable REVIEW                              PLEASE SUBSCRIBE!!

Even I am surprised at how hip it now is to play vinyl again, especially among the younger set. I was thinking about this when I listened to the new solo recording by Chris Jones, “Young people are buying entry-level turntables, and someday they may actually have jobs.” In the booming Vinyl industry.

So I decided to review Pro-Ject’s Debut III turntable , to see how it would fare not only in a revealing reference system, but also when matched with other entry-level components.

The Debut III is a complete “plug’n’play” record player that includes a Pro-Ject 8.6 tonearm and an Ortofon OM 5E moving-magnet cartridge. The cartridge comes already installed and aligned; all you need do is install the counterweight, set the tracking and antiskating forces, unlock the motor transport screw, and you’re ready to go. The instructions are clearly written; any mechanically challenged person who has never seen a turntable before should be able to set up a Debut III in 20 minutes.


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I’ve had a lot of experience with turntables, having owned rugged, well-designed decks from VPI, Rega, Goldmund, Linn, and Thorens; the Pro-Ject fits nicely into this company. As I unpacked and set up the Debut III, I noted how well-thought-out and simple the design is, and how rugged and stable it seems. As I examined the Debut III, the phrase “cost-cutting to a price point” never entered my mind. The turntable is available in flat black ($349) or any of several custom colors (add $30): piano-gloss black, silver, glossy white, red, yellow, blue, and green. The paint on my attractive red sample reminded me of Porsche’s “Arrest Me Red” hue.

The Pro-Ject’s AC motor has a two-step metal pulley, for 33 and 45rpm (78rpm is available as an option), which drives the hub and platter via a flat-ground belt. To reduce the transmission of vibrations, the motor is decoupled from the fiber-board plinth, which sits on four shock-absorbing feet. The steel-sheet platter is fitted with a felt mat and sits on a hub with a spindle of chrome-plated stainless steel runs on a polished ball bearing in a brass housing. The ‘table’s power supply is separately housed.

The headshell and undamped armtube are cut from a single piece of aluminum. The inverted horizontal bearings consist of two hardened stainless-steel points, but the arm’s vertical tracking angle (VTA) is not adjustable. The phono cable terminates in gold-plated plugs. The Ortofon cartridge outputs 4mV, tracks at 1.75gm, and is recommended to be loaded with 47k ohms. Finally, the Debut III has an attractive plastic dustcover.

I fired up my Creek Destiny integrated amplifier and alternated between the Epos M5 and Monitor Audio RS6 Silver speakers. Finally, I connected the turntable to the aforementioned Marantz and Paradigm Atom v.5 speakers to compare this ca-$1000 system with the more expensive rig.

The first thing I checked was Debut III’s level of noise. Sure, when I lowered the needle into the groove, I did hear enough groove noise to remind me that I was playing an LP. No, it wasn’t the “music flowing from a silent black background” that I’d heard from Michael Fremer’sContinuum Caliburn turntable, but then, at >$100k, that ‘table is slightly more expensive than the $349 Pro-Ject. I did spend quite a bit of time analyzing the design of the Debut III’s motor-isolation system. Pro-Ject has designed an ingenious mechanism to “float” the motor above the plinth using a rubber O-ring, and it worked quite well. The motor didn’t touch the plinth, but still exerted just enough tension on the belt to turn the platter at a consistent speed. (I noticed no problem with speed consistency, even when playing piano recordings.) However, when I set the needle in the runout groove, turned the volume all the way up (well past ear-splitting levels), and set the platter rotating, I could hear a very faint low-level hum from the motor to tell me it was on. However, even when listening to music at loud levels, this motor noise wasn’t noticeable.

When I played complex and difficult music, two things struck me. First, I would have expected a turntable fitted with such an inexpensive cartridge (the Ortofon OM 5E lists for $55) to produce some smearing with torture-test records, or at least a hint of mistracking distortion. But there was no trace of either with the Debut III, even in comparison with my Clearaudio Virtuoso Wood cartridge, one of the best-tracking cartridges I’ve ever heard. Second, I expected an entry-level turntable with a starter cartridge to have some minor irregularities of tonal balance. After several months of listening to a broad range of recordings, I can conclude that, tonally, this record player was fairly close to dead neutral.

But it wasn’t the Pro-Ject’s tonal balance that most impressed me, it was the ‘table’s delicate rendition of transients. On “Melting,” from guitarist Bill Connors’ Of Mist and Melting (LP, ECM 1120, footnote 1), there’s a fairly busy syncopated drum passage by Jack De Johnette in which he gets an incredibly broad range of colors from his cymbals and snare. Every timbral detail, and his dynamic envelope, even when he strikes the cymbals and snare, was clear through the Pro-Ject. Pianist Eva Nordwall’s rapid-fire upper-register passages in György Ligeti’sContinuum (LP, Bis LP-53) were clear, consistent, and uncoagulated. And the electronic bleeps, bangs, and blurbles in “Reflections in the Plastic Pulse,” from Stereolab’s Dots and Loops (LP, Drag City DC-140), zipped and zagged with a forceful tunefulness that made listening to this uptempo rock waltz involving.

Linn toe-tappers should find the Debut III’s pacing satisfying, especially with electric music. The interplay of bassist Marcus Miller and drummer Al Foster in “Back Seat Betty,” from Miles Davis’ The Man with the Horn (Dutch LP, CBS H4708), was chuggin’, slammin’, groovin’, with no trace of overhang or disintegration between the musicians. The Pro-Ject also let me groove on Alvin Lee’s raunchy, dirty guitar solo on Willie Dixon’s “Spoonful,” from Ten Years After (LP, Deram DES 18009), which I find much more interesting than any of Cream’s versions of this tune.

The dynamic envelope of well-recorded jazz was also convincing through the Debut III. Jackie McLean’s wailing alto sax on Charles Mingus’s Pithecanthropus Erectus (LP, Atlantic 1237) was linear and natural. This same recording highlighted the Pro-Ject’s natural bass reproduction. Although I thought Mingus’s bass was at times just a tad woolly, overall his instrument sounded woody and natural, and locked in perfectly with the rhythm section, with no overhang.

Jazz recordings also spotlit the Debut III’s open, natural midrange. Eric Dolphy’s bass-clarinet solo on “God Bless the Child,” from Eric Dolphy Vol.1 (LP, Prestige 7304), emerged from between the speakers in holographic, breathy, timbrally perfect splendor. Voices, too, shone through the Pro-Ject—the three-part harmony on “Born to Rock,” from Buck Dharma’s Flat Out(LP, Portrait, BL 38124), had a silkily angelic quality that I never hear when Dharma sings with Blue Öyster Cult. High frequencies were also natural and extended. An acid test for string tone are the massed strings on André Cluytens and the Orchestre de la Société des Concert du Conservatoire Paris’s reading of Ravel’s Daphnis et Chloé (LP, EMI Testament AEMI 2476). Through the Debut III they sounded gorgeous, with no trace of harsh, steely, or distorted quality, but plenty of extension.

The Debut III exhibited plenty of air with most recordings, unraveling quite a bit of detail. It was particularly adept at distinguishing among different instruments in dense recordings, whether it was Francis Poulenc and Jacques Février’s pianos on the former’s Concerto for Two Pianos (LP, EMI ASD 517); or the middle passage of “The Inexhaustible Quest for the Cosmic Cabbage,” from my favorite rock album, the Amboy Dukes’ Marriage on the Rocks/Rock Bottom(LP, Polydor 24-4012), in which Ted Nugent overdubs 12 electric and acoustic guitars, each playing a different line; with the Pro-Ject, I could easily follow each.

The Debut III wasn’t perfect. With other turntables, I’ve heard more ambience and hall sound from one of my favorite contemporary classical works (and the first record composer John Harbison ever played for me), Lukas Foss’s Baroque Variations, with the Buffalo Philharmonic conducted by the composer (LP, Nonesuch 71202). Gerd Zacher’s recording of Ligeti’s Volumina(LP, Candide CE 31009) tests the extreme frequency and dynamic range of a solo pipe organ, and I wasn’t as involved in listening to this disc as I’ve been with other turntables; it left me just a touch cold. Finally, there was a tendency for very densely modulated passages to coagulate and smear a bit through the Debut III, as I heard during the cacophonous tutti passages of “A Jackson in Your House,” from the Art Ensemble of Chicago’s Great Black Music(LP, Actuel GET 368), and in the hairier passages of pianist Chick Corea’s solos on ARC, his collaboration with Dave Holland and Barry Altschul (LP, ECM 1009).

But I’m nitpicking. The album that put this turntable’s sound all together for me was Count Basie’s 88 Basie Street (LP, Pablo 2310-901). On “Bluesville,” the lower-register brass and woodwinds emerged from near blackness in silky bloom, as I noticed that Cleveland Estes’ walking bass line was woody and deep without a trace of overhang or coloration. From my notes: “I didn’t realize how great this album is.”

Using the same recordings, I compared the Pro-Ject Debut III with my Rega Planar 3 turntable, fitted with a Syrinx PU-3 tonearm and Clearaudio Virtuoso Wood cartridge, whose collective retail value (based on the last available prices) I estimate to be a bit over $2000. The Pro-Ject’s bass definition was almost as clean as that of my reference rig, if maybe just a touch plummy in the midbass, but the Debut III didn’t seem to extend as deeply in the low bass. The ‘tables’ sibilants and high-frequency extension were remarkably close. I felt that my reference ‘table projected a wider, deeper soundstage than the Pro-Ject, with more ambience and room sound. There was a better sense of flow and ease with the more expensive Rega combination; the Pro-Ject sounded relatively more mechanical. Finally, the overall patina of the music had a slightly grainy texture through the Pro-Ject that I didn’t hear through my reference rig.

I then hooked up the Pro-Ject to the Marantz PM5003 integrated and Paradigm Atom v.5speakers to compare this system (ca $1000 without cables or speaker stands) with the Pro-Ject Debut III, Creek Destiny integrated, and Epos M5 speakers (ca $3700). Overall, the entry-level system produced about 75% of the quality of the Pro-Ject–fronted system; there wasn’t as much bass weight or detail, but the sound was still balanced overall, with excellent transients and rich, fairly uncolored timbres.

Summing Up
Suffice it to say that the performance of the Pro-Ject Debut III startled me with the level of musical realism possible at this price. Its shortcomings vs more expensive gear were clearly audible, but the Debut III would be an excellent first turntable to suck an incipient if not quite budding audiophile into the hobby. So listen up, youts: Bag those MP3s and get into vinyl. But don’t be tempted to upgrade the cartridge on this baby—the Ortofon OM 5E is just fine. Instead, take the cash you’ve saved, buy a record-cleaning machine, and hit those used-vinyl stores and yard sales!

Pro-Ject Debut III record player Specifications

Sidebar 1: SpecificationsDescription: Turntable with prefitted arm and cartridge. Dustcover: yes. Nominal speeds: 33, 45rpm (78rpm available as an option). Speed variance: ±0.8%. Wow & flutter: ±0.12%. Signal/noise ratio: 65dB. Tonearm: Pro-Ject 8.6. Effective tonearm length: 8.6″ (218.5mm). Effective tonearm mass: 9.5gm. Overhang: 18.5mm. Supplied counterweight compatible with cartridge mass: 3.5–5.5gm. Optional counterweights available for cartridge masses: 6–9gm, 1.5–3gm. Cartridge: Ortofon OM 5E moving-magnet. Downforce range: 10–30mN.
Dimensions: Lid open: 16.2″ (415mm) W by 14.2″ (365mm) H by 15.8″ (405mm) D. Lid closed: 16.2″ (415mm) W by 4.6″ (118mm) H by 12.5″ (320mm) D. Weight: 12.1 lbs (5.5kg). Platter weight/diameter: 2.7 lbs/10.9″ (1.3kg/280mm).
Finishes: Flat black; add $30 for color. 




Among British turntables, there is the Rega Planar 3, which sells here for $550 (approximately double the UK price). I’ve owned a Rega for three years and know it well.

The Rega is a good-sounding turntable and a good value—at the UK price. Someone once said that the Rega, which has no suspension, is a triumph of engineering over the laws of physics. There is little isolation from acoustical feedback—some Rega owners have gone to the extreme of mounting their turntables on flimsy shelves, the flimse serving as isolation of sorts.

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That’s not all that’s wrong with the Rega. When you drill a hole for an arm in the Rega’s plinth, you’ve got a hole in the Rega for good—there is no mounting board. So if, like me, you decide that the Rega arm isn’t so great for medium-to-high–compliance moving-magnet cartridges, you either have to stick with the arm or find something else that fits the hole. Also there isn’t enough room under the plinth to mount many tonearms—Rega owners have had to lifts their turntables up on stilts. (Rega is out with a new arm of their own manufacture, which sells for around $135 in Britain.)

If it’s a miracle that the Rega sounds as good as it does, it’s a mystery why the Harmon-Kardon T60 doesn’t sound better. Here is a moderately-priced belt-driven turntable that seems to do everything right. There are so many nice features—a three-point spring suspension that is really easy to level, a very good integrated tonearm,, an arrangement whereby the tonearm cables can’t foul the suspension, adjustable feet for leveling the plinth. But the Rega sounds better. You explain it, I can’t.

“I’m not sure I want a CD player, pops.”

My son and I were having lunch at the Mark You Restaurant, on Pleasant Street, in Fall River, Mass.—birthplace of Lizzie Borden, Ray Bolger…and The Audio Cheapskate.

Fall River also happens to be the birthplace of the chow mein sandwich—invented by one Mr. Daniel Tow, proprietor of the Mark You, who, in his seventies, still runs the restaurant.

You haven’t had chow mein until you’ve had Fall River chow mein—the noodles are cooked with the vegetables and Mr. Tow’s secret blend of seasonings. And the best way to enjoy Fall River chow mein is in a chow mein sandwich—chow mein lavishly poured between and around a hamburger bun.

What does a chow mein sandwich have to do with CD players?

Well, the same adjectives that make my son and me love chow mein sandwiches—eccentric, peculiar, individual—make us love turntables, especially turntables with personality. Just as the chow mein sandwich is one man’s bright idea, so, too, most great turntables have been the idea of individuals: Edgar Villchur’s original AR (revised by Tim Holl), Ivor Tiefenbrun’s Linn, Roy Gandy’s Rega, etc.

CD is a real problem for me. I find it hard to say anything interesting about the players I receive—not that I receive that many. The Sony CDP-102 sounded like a very good player in the several systems I heard it in. It may be almost as good as Sony’s more expensive and not generously discounted ES models.

Magnavox (Philips), unlike Sony and others, has never made a bad player; their latest models are very good indeed, especially the handsome and user-friendly FD1040, on whose design the Mission DAD7000 is based.

I don’t see spending big bucks on a CD player. Buy a $1000 player today, and tomorrow there will be $500 player with better performance. Buy a $300 player and you won’t feel so bad! Meanwhile, the money you would have spent on costly hardware can buy discs.

Spending big bucks on a turntable, on the other hand, might be justified—especially if you own a large collection of LPs. Today’s state-of-the-art is not likely to become obsolete tomorrow.

But suppose you don’t want to spring for a SOTA, Linn, or VPI? Well, there’s always the AR. The new basic AR EB-101 lists for $399.95 with arm, usually discounted to below $300 (it’s not sold armless). An AR Connoisseur Series ES-1 table with an even better AR arm will run $475 in cherry or $650 in rosewood—subtract $125 for an armless table. The Connoisseur series, by the way, is not discounted much because AR “protects” its Connoisseur dealers from Crazy Eddie types. But, I have yet to audition the new AR tables and arms. And then there’s the Rega Planar 3…

A Lesson in Reganomics
I’ll start off my review of the Rega turntable system with its strongest feature: the Rega RB300 tonearm. This is truly an excellent arm—it sounds good, installs without much fuss, is easy to use, and it looks like it will last. It’s a triumph of engineering, and mates particularly well with an AR table. It also mates well with a Linn LP12, a fact that has apparently caused Ivor Tiefenbrun no small amount of grief.

But how about a Rega arm on a Rega table?

Well, the problem is price. The Rega combo retails for under $300 in the UK, but for $450 in the US (and might go up, depending on the dollar, footnote 1). There are many reasons for this disparity: British dealers take 30 points mark-up vs the 40 points or more that US dealers expect (and perhaps need—wages and other expenses are much higher here than in Britain).

Air freight charges have gone sky-high in recent years. Customs brokers need to get paid. The importer (or his reps) has to schlepp around the country pedaling his wares—in such a big country, it’s expensive. Advertising is far more expensive here than in the UK, not that Rega advertises there (they do here). The Japanese companies are better able to absorb these expenses—they have volume. The small importer has to take a substantial mark-up to stay alive.

The question is, should you pay these charges? Only if the product offers good value relative to what else is available here in the States. The Creek CAS 4040 sells here for about twice its British price—but it’s still a good buy at $300 (in Britain, of course, it’s a steal). The Rega arm is still a good buy at $195 in the US (which, by the way, is lower than it started out). The Rega arm/table combination at $450, in my opinion, is not—the turntable is nowhere near as good as the arm.

The Rega certainly sounds different from most other tables, but different is not necessarily better. The Rega gives you a very dynamic sound with powerful, punchy bass—the table conveys the music’s excitement. (Ivor Tiefenbrun would call it “tuneful.”) But there is too much emphasis of the mid- to upper-bass for my taste, and the table tends to sound a little muddy in bass detail, even when I exchange the felt mat for something like the excellent Audioquest sorbothane mat.

The Rega is prone to pitch instability. The motor, isolated from the plinth by rubber, can apparently oscillate ever so slightly, causing variations in the belt distance from motor to pulley. I could hear the unsteadiness every so often, particularly with woodwinds. It wasn’t the fault of the records—I was able to switch immediately to another turntable for comparisons. I might be able to forgive this in a $300 turntable, but for $450? (With the dollar heading south vs the pound, the Rega may cost $500 by the time you read this.)

There are other things I dislike. The hingeless dust cover won’t stay open half-way. Rega’s Dave Wilson says a spring-loaded dust cover would degrade the sound of a solid plinth turntable; they’ve tried it. The motor turns off with a dreadful pop, so you’d better mute your preamp or turn your system off first. Isolation is poor, requiring something like a Target turntable shelf for best performance.

The Rega cartridge is an even stranger animal than the turntable. A $200 moving magnet built into what looks like a Goldring Epic Body, the cartridge sounds very dynamic, with a prominent and richly detailed bass. But the tonal balance is peculiar, just like the Rega table itself (yes, I tried the cartridge on two other turntables). There’s too much bass, and the highs lack that last bit of sparkle. Rega admits that the cartridge overloads many phono preamps.

I do like the packaging of the cartridge, however. It comes in a plain plastic box that makes the MAS EconoCoil’s packaging look lavish. Here’s one of the instructional paragraphs: “Rega have not tried to create a false impression of expense by using an elaborate package. We have used the most simple and cheap carton possible to avoid transit damage and therefore more is actually spent on the cartridge itself and you get better value.”

The last thing I did before sitting down to write this column was run an $1895 Lyra Clavis DCphono cartridge on a $650 Rega Planar 3 turntable. I played a British Polydor pressing of Roxy Music’s song “Avalon,” then played it again on the $9000 TNT Mk.3/Immedia RPM combo using a $3800 Transfiguration Temper cartridge. That’s $2545 vs about $13,000.

Were there differences? Of course. Were they big differences? Not nearly as immense as I thought they’d be. When I started my comparison of four reasonably priced arm/’table combos a few weeks ago, the last thing I thought I’d be doing during the process was playing with expensive cartridges. I was figuratively wrong and literally correct.

Let me backtrack: It’s fun playing with $3000 cartridges, $2500 arms, and $6000 turntables, and I hope that, even if you can’t afford such exotica, you at least enjoy readingabout it. I like reading about Porsche Carrera 4s, and I thumb through the Victoria’s Secret catalog, but…

Back in the real world, there are car payments and mortgages. For most of us, dropping a thousand dollars on an analog front-end is the limit. An analog revival for the well-heeled few is no analog revival at all. Besides, if you blow your wad on the hardware you’ll have no money left for the great end-of-the-century vinyl glut.

But if reasonably priced analog doesn’t sound better than the equivalent digital, what’s the point? So at last spring’s HI-FI ’96 I did some reviewer shopping, procuring the Rega Planar 2 ($450), the Rega Planar 3 ($650), the Moth Kanoot ($699), and, just for good measure, a Thorens TD 320 Mk.III ($1080). The Regas came fitted with Rega cartridges: the 2 with the $175 Super Bias, the 3 with the Elys ($225).

Rega Planar 2 & 3 turntables
Roy Gandy, Rega’s designer and main man, is a confirmed iconoclast. In the instructions that come with both models, he implores you to use the dustcover. Mainstream thinking on dustcovers these days is that they act like giant resonating chambers that cloud the sound. Gandy says “use ’em,” both because they keep the dust off the record and because they may make the turntable sound better. I don’t see why that would be the case, but who am I to argue with a guy who makes his platters out of glass and gets great sound anyway?

Gandy also warns against cleaning records with fluids and/or cleaning machines. He claims a little dust isn’t really a problem, because the stylus simply pushes it out of the way. Better a little dust, he figures, than cleaning the record with liquids on a machine. I don’t agree with any of this, but I pass it on for your consideration.

The Rega Planar 2 and 3 turntables are basically the same design executed to different price points. The 2 retails in the US for $450 and features an unsuspended MDF plinth that sits on three of those cane-tip–like rubber feet. The Rega RB250’s substantial arm post is mounted via a hole in the plinth. The drive system consists of an Airpax AC synchronous motor (manufactured in the Netherlands) mounted from below in close proximity to the platter bearing.

Drive is via a plastic pulley mounted on the motor shaft, and a small $wO-ring that fits around a diminutive 4″-diameter subplatter/bearing/spindle assembly. The record spindle protrudes through a hole in the center of the glass platter and rests on the subplatter, centered via a raised area around the spindle. Topping the platter is the ubiquitous hairy British felt mat.

The Rega Planar 3 uses the same motor as the 2, but it’s better isolated from the thicker, heavier plinth via a rubber suspension. The glass platter is also thicker, as is the felt mat. The RB300 arm features higher-tolerance bearings, a decoupled counterweight, an at-the-pivot coil-spring–type VTF adjustment scheme, and higher-quality interconnect cables. Both arms feature spring-type anti-skating compensation; neither offers VTA or azimuth adjustment.

I used a variety of test discs to check out the two ‘tables’ speed accuracy, wow and flutter, noise level, rumble, etc., and the arms’ tracking ability and resonance points when fitted with a variety of cartridges. All tests were performed with the ‘tables resting on a Townshend Seismic Sink sitting on a spiked, four-tiered Target stand resting on four A.R.T. Q-Damper feet.

Keep in mind that the floor beneath my carpet is concrete. A turntable without a suspension—even a turntable with a suspension—is susceptible to serious floor-induced feedback, and worse, when placed on a “bouncy” floor. In my previous abode, I had my TNT on the TNT stand filled with lead shot and sand, and I still had occasional stylus bounce because the floor of my old house was springy. If your floor bounces, you’re going to have to put the ‘table on a wall-/stud-mounted platform, or at the very least “ground” the floor stand to a wall—I did that by wedging a block of wood between the stand and the wall behind.

Back to the cement world: Both ‘tables ran at precisely 331/3. Using wow/flutter test tracks onStereo Review‘s handy-dandy SRT14-A Test Record, I found wow and flutter to be “very low indeed,” as Julian Hirsch would say. Both ‘tables exhibited very low noise on “silent groove” bands, and both arms handled all of the cartridges in exemplary fashion.

The arm/cartridge resonance points were always very low where you want them, but not so low that they’d be excited by the normal warp/wow on most records. Sorry, I’m generalizing like hell here—something I don’t do in full reviews—but in “Analog Corner” I’ve got to worry about the final frontier (that’s space for you non-Trekkies).

Neither the Rega 250 nor the 300 could track Telarc’s 1812 Overture cannon shot at the third level on the Omnidisc. Not surprisingly, the Rockport arm sailed through. But on the other Telarc “tests” using real music, the arms performed extremely well, exhibiting outstanding control with all of the cartridges I tried.

None of this is surprising given the outstanding reputation Rega turntables and arms have garnered over the many years they’ve been in production. The drive system is simple yet effective, providing a great deal of torque along with accurate speed. Why a glass platter doesn’t ring and sound hard even with a felt mat is a question perhaps Gandy will answer for me when I speak with him about his top-of-the-line Rega Planar 9 (which uses a high-tech ceramic platter and will get a full review shortly).

But the real stars of the show are the arms. While writing about the VPI JMW Memorial arm (review to appear next month), I asked VPI’s Harry Weisfeld how Rega can sell two such outstanding arms for so little. Both are extremely rigid, well-damped, and feature tight-tolerance bearing sets, precision-cast arm tubes with tapered wall thicknesses, and decent-quality internal wiring and interconnects. These arms feel good and sound good too. While you can’t adjust VTA (vertical tracking angle), the large-diameter post that mounts to the plinth ensures an extremely rigid connection.

“Why don’t you make an inexpensive cast arm?” I asked him. “Cost,” he replied. “Making the die is very expensive. It’s only after you sell large quantities of arms that you recoup your initial expenses.” Back when Rega made the outlay, analog was the only game in town. Today, every arm they sell is gravy.

How do they sound?
While I’ve recommended Regas turntables and arms to many friends and to readers who’ve contacted me, and I’ve heard them in other people’s systems, until now I hadn’t had one in my own listening room. I’m glad I finally got the opportunity: Now I can say, with complete confidence, that the Regas are incredible bargains. They sound and perform even better than I’d previously thought. (The Moth’s sound was comparable, but because the wobble took it out of serious contention, I returned it to the box and didn’t bother with “head to head” comparisons.)

The Rega 2 came fitted with a Rega Super Bias moving-magnet cartridge ($175), which I ran through the quiet, neutral-sounding Gold Aero Signature dB45 phono section ($999). Even after a long break-in period I was not impressed: The Super Bias was grainy and fatiguing, turning applause into rain on a tin roof. It lacked any semblance of low-level resolution, was bright on top and bulbous on bottom, and accentuated surface noise to the point where you were always aware that a stylus was digging through a groove. Not a good start.

Of course, at that point I didn’t know whether I was hearing the cartridge, the turntable, or both, so I substituted the low-output Benz MC Gold (which I was already familiar with), and even though it lifted the front of the arm a bit higher than was optimal, the sound became much smoother and more refined. Not surprising—the cartridge is twice as expensive.

In the end I tried both Ortofons, the Rega Elys, the Benz MC Gold, and a Grado Signature Jr. ($125) on the Rega 2 and 3, and both ‘tables were capable of extracting outstanding performance from all of these cartridges. I was so impressed with the stylus-caressing abilities of the arms that I ended up mounting heavy hitters like the AudioQuest Fe5 and Lyra Clavis DC to accurately gauge the sound of the ‘tables relative to the TNT Mk.3.

Given the $200 difference in price between the Rega 2 and 3, go for the 3 if you can afford it. The RB 300 arm is a better performer, and while the 2 did nothing really wrong, the 3 offered somewhat deeper and tighter bass, better dynamics at both ends of the scale, a better sensation of “quiet,” and smoother overall performance. Because of space limitations I’m going to skip the 2’s sound and tell you about the 3. (Lower the bar a few notches and you’ve got the 2.)

The Rega 3’s sound with any of the cartridges I used was extremely well balanced tonally—that was the biggest surprise. I expected a slight metallic hardness on top and some bloat on bottom; what I got was very tight, ballsy bass that in some ways worked better on blues and rock than what I got from the TNT with the Rockport arm!

For instance, on the terrific new Blues Union (AudioQuest AQ-1039), with Ronnie Earl and Joe Beard, there was a “crack” to the snare and a meatiness to the bass that reminded me of what I hear in a club sitting close to the stage. Through the TNT it was more laid-back, more refined, like what you hear in a studio—which is, of course, the actual venue. But the excitement generated by the Rega was incredible—and in some ways preferable.

The Rega excelled at providing the rhythmic thrust of the music, which I think the Brits pay more attention to than Americans do. The Naim CD-2 CD player offers the same kind of outstanding throb (for CDs) relative to the EAD 9000/Audio Alchemy DDS Pro combo.

In general the Rega 3 tended to move the soundstage forward, putting the images closer to the plane of the loudspeakers; it slightly brightened the overall tonality and provided more of a stiff, etched feel to cymbals, female voices, and other sources with lots of high-frequency energy.

I still had the stack of records out that I’d used to evaluate the VPI arm, so I played the tracks from each I’d used for that review, which included “New York State of Mind” from Mel Tormé’sLive At Marty’s two-LP set, Elvis Costello’s “New Lace Sleeve” from a British pressing of Trust, “Betty Ball’s Blues” from Conjure, “The Syncopated Clock” from the Mercury Living Presence LP of Music of Leroy Anderson, Vol.2, “Surrey with the Fringe on the Top” from Nat King Cole at the Sands (get this Capitol gatefold LP!), Sinatra’s “When You’re Smiling” off of MoFi’s superbSinatra’s Swingin’ Session!!! (part of the boxed set), “You Turn Me On I’m a Radio” from Joni Mitchell’s For The Roses (original Atlantic-pressed, George Piros–mastered, white-label Asylum—skip the later blue-cloud label Elektra/Asylum version), Classic’s reissue of Reiner’s Pictures at an Exhibition, and DCC’s superb new reissue of Bonnie Raitt’s Nick of Time.

While each cartridge offered a somewhat different perspective, in general the focus on Sinatra’s and Torm;ae’s voices was surprisingly close to what I got from the TNT, with just a bit of extra size to the image, a bit of flattening, and slightly less overall harmonic coherence. Female voices sounded somewhat more aggressive, less velvety and round, but still had that certain PP (palpable presence) you don’t get from CDs

In fact, a new Reprise two-CD HDCD Joni Mitchell collection showed up during the listening sessions, and it’s quite impressive-sounding, decoded or not. But I still preferred my 24-year-old original pressing of For the Roses for its warm, luxurious-sounding acoustic guitars (the CD guitar sounds bodiless and thin by comparison), and its ability to focus all of the instruments and background voices on the soundstage. While Mitchell’s voice was rendered quite cleanly on the CD, the LP sounded more like a human being sitting before me and singing.

The bottom line is that considered on its own terms, the Rega 3 offers outstanding performance: it’s quiet, dynamic (check out the opening to Pictures), free of obvious tracking distortion or other supposed analog problems, extremely well-balanced top to bottom, offers very deep and reasonably tight bass, and will do no damage to your precious records.

It’s only when you compare the Rega to the much more expensive TNT that you notice what it doesn’t do. Even then, if you don’t listen to classical music, you won’t be too disappointed. If you do listen to classical, you’ll find the noise floor—or at least the perceived noise floor—somewhat audible, the strings somewhat harder, the overtones somewhat squelched, and ambience and decay a bit truncated.

The overall sound on all of the records I auditioned was more like a recording and less like real life on the Rega 3 than on the TNT. Not surprising, but I’d bet that with the more modestly priced systems likely to be used with the Rega, you’ll feel no pain at all.

And if you’re an all-CD kind of audiophile, here’s the kicker: I think the Rega 3 will blow your mind even if you have a very-high-priced spread. While good CDs sounded somewhat smoother and quieter than records played on the Rega, the vinyl, as usual, was more emotionally compelling, better focused, better nuanced harmonically, kept my attention longer, and provided a much bigger, airier picture.

Which cartridge on the Regas?
Since the Rega arms don’t offer VTA adjustment, you have to be sure to use a cartridge that puts the arm close to parallel when installed. Here, a knowledgeable dealer or cartridge seller is crucial. The Rega cartridges, of course, do just that. While the Super Bias didn’t do anything for me, the purple-bodied moving-magnet Elys, which tracked well at 1.75 grams, offered high output, vivid tonal balance, and good extension top and bottom. It features a three-screw mount that offers a tight ride and, save for zenith, makes overhang automatic. (The RB 300 has a third screw hole pre-drilled.) On the down side, like its less expensive sibling, it too accentuated surface noise and was less than exemplary at the very bottom.

For $50 less, the high-output Ortofon X1-MC (tracks well at 2 grams) offered a leaner bottom with pretty good overall balance and surprisingly good low-level resolution, though with a bit more grain on top than the Super Bias, and did a better job of masking surface noise—a very good performer for the money. Its height tilted the arm back a bit more than I’d like, but the styli in these inexpensive cartridges make VTA setting somewhat less critical.

In the low-output category (0.35mV), the Ortofon Super MC 15 II was a real sleeper, offering very neutral tonal balance—a bit lean, if anything—good ambience retrieval, fine extension on top without grain or glare, good control below, and impressive overall dynamics. It required a bit more tracking force than I like—about 2.2 grams—but it provided a quiet background from which the music emerged. It interfaced reasonably well with the RB 300 arm, again with more lift in front than I’d like to see, but the final arbiter is the sound. I was impressed.

The low-output Benz MC Gold (0.4mV output) at $350 was a real smoothy, offering the most luxurious, refined top-end of the bunch, and the greatest sense of background quiet. It tracked well at 2 grams, and offered a greater sense of liquidity and ease than the others, but dynamically it was a bit compressed, and its bass was not as punchy as some of the others’. Its lower profile mated well with the RB 300 arm, but I suspect its more finicky stylus footprint (0.3 by 0.7 mil) made it more susceptible to VTA changes than some of the others.

Finally, the Grado Signature Jr. ($125), with a very high output of 5mV and 0.2 by 0.2 mil stylus, despite being very tall and lifting the front of the arm way up, sounded much better than the setup looked—probably due to its stylus shape, which is basically impervious to VTA changes. The Grado makes a good-sounding, inexpensive, very safe choice for the Rega 3—especially with inexpensive electronics.

Sorry I don’t have space here to be more specific and detailed about the sonic performance of these cartridges in the Rega 3. That’s where a good analog dealer, or one of the mail-order guys who specializes in cartridges, can come in handy. Get as much advice as you can from all of them before making your final choice. I’ve been told by a few that the $150 Ortofon high-output (3.3mV) MC 1 Turbo is a good match for the Rega. And don’t forget the Sumiko Blue Points!

I began this ARTICLE with the Rega 3/Clavis D.C. combo, and that’s where I’ll end it. That combo was scary-good, as was the AudioQuest Fe5/Rega 3 combo. The better the cartridge, the closer I got to the TNT! (But believe me, TNT owners need not second-guess their investment.) My conclusion from all of this playing around is, if you’re on a limited budget, better to get a Rega 3 and an expensive cartridge than an expensive turntable with a cheap cartridge (footnote 1). I’m surprised by this, but that’s what I found. Of course, if your electronics can’t do justice to a low-output MC, the point is moot. I tried a Dynavector XX-1 ($1100) high-output cartridge, and that combination scored high marks with me. Unfortunately, it’s a very heavy cartridge; I had the counterweight almost hanging off the back of the arm. Still…

Peter s tip:: I think it’s a tribute to the Rega record player that it will work with an expensive cartridge. But dollar for dollar, my experience has been that you get better sound from a relatively inexpensive cartridge on an expensive tonearm/turntable combination than the other way around
you want one? write me and I beat the price!!

The Reloop RP-6000 MK6 professional turntable comes in an all WHITE makeover. The rubberized surface and operating elements harmonise with the white super bright LEDs that never leave you in the dark. Furthermore Reloop’s flagship is compatible to any kind of mixer and amplifier due to the signal output as line or phono – no grounding necessary. Its highly dependable direct drive furthermore features a variable torque (2.5 or 4.5 kg/cm) which will satisfy club DJs and turntablists alike. The Reloop MK6 b: A statement.

Reloop RP-6000 MK6 LTD specification

* Quarz-driven DJ turntable with upper torque direct drive
* Adjustable starting torque (2.5 kg/cm – 4.5 kg/cm)
* Noble rubber paint finish
* Phono and line output (no grounding necessary)
* Direct interconnection of turntable and motor for maximum stability
* Adjustable start/stop speed (0.2 – 6 sec.)
* Metal chassis
* Extra heavy design
* Height adjustable S-shaped pickup arm with anti-skating
* Pitch range +/- 10%, +/-20% & +/- 50%
* Easy-to-exchange, freely revolving stylus
illumination with super bright LED
* Quartz lock
* Safety mains switch
* Forward and reverse mode
* Additional start/stop button for vertical installation
* Rubber ply to reduce vibration and ambient noises
* Detachable mains and RCA cable
* Immersed connection cavity for easy case installation
* Shock-absorbing feet

technical data:
* Type: 3 speeds, fully manual
* Drive: quarz-driven upper torque direct drive
* Speeds: 33 1/3, 45 and 78 RPM
* Starting torque: 2500 – 4500 g/cm
* Dimensions: 450 x 160 x 353 mm
* Weight: 11.0 kg
* Incl. slipmat, headshell and pick-up illumination, but without cartridge






Reloop RP-2000 MK3 Black Turntable


Due to its strong, quartz-driven direct drive, the Reloop RP-2000 MK3 does justice to professional expectations. As opposed to belt-driven turntables, the RP-2000 MK3 transfers the engine power directly to the driving collar – this way, a superior torque generates power on the turntable in a much quicker way. The professional start button contributes to the exact-to-the-second-accuracy. This is a reliable, affordable tool.


Adjustable Tone Arm: No
Dust Cover: No
Model: Direct Drive
Speed: 33, 45 rpm
Color: Black
Max. Torque: 1000 g/cm
Audio Output: Phono
Reverse Play: No
Pitch Range: ± 10%
Weight: 9,5 Kg
Accessories: Audio Technica 3600 AL Cartridge, headshell & slipmat
Guarantee: 1 Jaar / Year

what others say about this turntable:

What you get for the money is a stylish and minimal looking set up. The machine will allow you to stand it on flat surfaces thanks to thes steady foot holds, so the player will not slip as you mix. With a quick starting drive, you can be sure that the deck starts within seconds and you will be good to go. The variable pitch control on this model will allow you a range of fifteen percent which is pretty good, rivalling many Gemini models in the same price bracket. So why is this good? Well this gives more diversity when it comes to mixing and will allow you to make more inspired mixing choices. It is also helpful for beginners who might need that extra variation.

The machine allows you to play at a 33 and 45 rpm which is useful if you are a traditionalist. The features for pitch control and rpm are easily accessible on the side of the machine and are well positioned for access in the dark which I like. The stylus is smart and sturdy, though maybe the resting bay could be a little more secure and have a better locking mechanism. If you wish to transport the deck around, it is lightweight enough to carry by hand and the size of the deck is standard deck size.

Not much not to like here, the only other thing I would say is that the slipmat could be a bit more vibrant, but overall this is a good value bit of equipment with enough basic features to please the bedroom deejay.

Summary: a solid buy

This is a very good, strong, heavy and most of all an affordable turntable, I offer this black beauty for Dollars 250,- so please feel free to contact me, fast delivery!!




This record player is a further development of the legendary TD 160. Do not be deceived however by the plain, classic design of the TD 160 HD because numerous new components and innovative materials are taking care that the TD 160 HD sounds much bigger indeed than its compact dimensions would imply. Its purist appearance leaves no doubt that only the best sonic performance was of paramount importance. A real understatement, nevertheless.

The construction of the TD 160 HD is based on a progressively dampening sub-chassis owing to the newly developed compound suspension elements. This would also facilitate the use of uni-pivoted tonearms. The one-piece platter is made from acrylic material and driven by a belt at its underside, yet without the need of a sub-platter. The platter mat, a blend of cork, India rubber and polymers, has antistatic properties and ensures the optimal coupling of the record to the platter. The TD 160 HD features a base plate, tonearm platform and feet made from RDC, a very special compound of micro-granules, which provides outstanding resonance dampening throughout. The further developed electronic motor control prevents the synchronous motor from running hot, in particular when subject to extensive operation.

AH, THE 1980S… Channel 4, The Style Council, the miners’ strikes and the selling off of all our heavy industry – halcyon times indeed. It’s hard to believe it’s nearly 20 years ago they finished, and looking at the Thorens TD160HD, doubly so.

With an authoritative, bulky stomp, Thorens is back, with the TD160HD in the vanguard. Make no mistake, this turntable is the epitome of the word chunky. Mounted on a solid-looking black plinth that is simple yet reassuringly impressive, with a speed change switch that goes ‘clunk-click’, it has undeniable presence.

Yet despite the initial raised eyebrow, it turns out that the TD160HD packs some very interesting surprises.

First, Thorens has isolated the playing surface by using polymer grommets as well as the non-resonant composite material RDC to cut external vibration.

Second are the obvious cork anti-slip mats that prove to be surprisingly effective, and then there’s the TP250 arm – Thoren’s badged version of Rega’s RB250 – which complements this deck rather well. In terms of cartridges, we used the moving magnet design Goldring 2400 – unlike the arm, it’s not included, but at £160 it’s a worthwhile addition.

Decked out for every occasion
We restrained the temptation to dig out our retro skin-tight white Levi 501s, but we did throw every musical style we could think of at this turntable.

Giving it a complicated, yet compressed sounding production such as Pentangle’s Bruton Town, it was immediately apparent how well the subtleties of the song were treated, with each instrument being clear, yet sounding part of an ensemble. Vocals were full of life, while the string double bass was resonant and not overbearing.

Give the Thorens something with a reverb saturated sound full of bass and depth, such as Herbie Hancock’s funky Fat Albert Rotunda, and you’ll be surprised at how tight the sound is – with the group sounding like, well, a group and not a load of individuals in a recording studio. One thing the Thorens excels in is its cohesion, and there’s always a sense of the music pulling together.

Finally, using a spoken word record, such as The Goon Show or Under Milk Wood, the timing ability of the Thorens shows through, with vocal inflection and emotion really making an impact.

The TD160HD presents a very even soundscape and lacks any hint of unwanted stridency or excessive bass frequencies. Yes, the build is robust and more than capable (that clunky-click speed change is very easy to use), but some may be put off by a style that’s as subtle as a breezeblock.

What’s important here, though, is to not let aesthetics get in the way, and to concentrate on the sound – which can’t be faulted at this price point.



Pro-Ject 6PerspeX
Transparent Acryl

Good sound from sound technology

Magnet supported sub-chassis decouples platter and tonearm

• Tonearm bearing comprises inverted hardened stainless tips in ABEC7 spec ballraces

Headshell and conical armtube formed from a single carbon fibre workpiece

Armtube allows adjustment of needle azimuth despite fixed headshell

Vertical tracing angle adjustable

MDF platter with perimeter belt drive, vinyl playing surface and record clamp

• Inverted main bearing with ceramic thrust-pad

• Sorbothane-damped aluminium cones


Pro-Ject 9cc Evolution tonearm

Nominal speeds 33 / 45 r.p.m.

Record clamp

Gold-plated RCA phono sockets

Dust cover

Transparent acrylic plinth

Pro-Ject spirit level supplied


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