Turntable Reviews

I have found that turntable designers typically fall into one of two camps. First are what I call the obsessive machinists. These are the people with impressive manufacturing chops and a sharp eye for fine detail and precision. For them, making a better turntable usually involves taking what we already know and simply doing it better.

Whether it's a thicker chassis, more powerful motor, more precise bearing, more effective isolation system, or something else, the emphasis is always on stepping things up a notch or two, rather than reinventing the wheel. This obsession can result in some impressive 'tables—some of the most impressive in the world, with awesome attention to detail. But are they the best sounding?

The other camp is what I call the deep thinkers. They approach the task of playing a record from a theoretical perspective and leverage their knowledge of physics to come up with fresh and innovative designs. The results may look unconventional, or even odd at first glance, but when such lateral thinking clicks, it can really push the boundaries of what's possible.

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

Creating a new flagship model is never an easy task for an audio company. A good designer will have already incorporated all his or her best ideas into the prior flagship. For a follow-up, you typically get a scaled-up version of what came before, incorporating the kind of improvements a bigger budget will allow.

SME's history is well-documented. The company started out, in 1946, as an engineering company for hire. In 1959, after a few years supplying parts for the scale modeling and various other high-tech industries, company founder Alastair Robertson-Aikman wanted a better tonearm for his personal use. He leveraged the capabilities of his small engineering company to create what eventually became the legendary 3009 and 3012 tonearms. The reputation of the new arms spread quickly, and from the mid-1960s through the 1970s, SME dominated the high-end tonearm market. SME's corporate slogan was The Best Pick-Up Arm in the World, and few people at the time would have challenged that claim.

"New York is an ugly city, a dirty city," John Steinbeck wrote in 1953. "But there is one thing about it—once you have lived in New York and it has become your home, no place else is good enough." Decades later, the novelist's insight about this appalling, incomparable city still feels true. New Yorkers love to complain about the summers, with their wafting miasma of hot garbage and urine; about the superannuated subway system, which only sometimes resembles a psilocybin trip gone really wrong; about the purgatorial agony of finding an apartment; about the affronts of existing shoulder-to-shoulder with the stupendously rich. . .

What I'm getting around to saying is that easily the best part of living here is the people. One of them is Jeffrey Catalano, who has been a drummer, painter, DJ, and construction worker and today runs a hi-fi business, High Water Sound, from a loft in a former sail-making factory on Water Street in Manhattan's financial district.

Founded in 1978, VPI Industries appears to be one of the most successful turntable manufacturers in the world—certainly in the US. The New Jersey–based company sells turntables, tonearms, cartridges, record clamps, plinths, record cleaning machines, and a phono preamp. But that's not all. The company offers VPI-branded pillows, candles, mugs, stickers, T-shirts, and a tell-all company history, 40 Years on the Record.

And talk about turntables! From the entry-level $1499 Cliffwood to the top-of-the-line $104,000 Vanquish (found under the website's "VPI Luxury" page, accompanied by the adage, "Settle for Nothing but Extravagant"), VPI is clearly and rightfully proud of its analog achievements.

The ability to fine-tune a vinyl playback system is part of what makes it possible to combine an archaic technology with modern thinking and materials to create musical magic, and take listeners to new heights of ecstatic musical pleasure. It's why so many young people are tuning in to vinyl, and helps explain why just today, as I write this, it was announced in the UK that, for the first time, revenues from sales of vinyl exceeded those from downloads.

Luxman occupies an unusual place in the hi-fi world. While many of the brands chasing ultimate performance will battle it out in the bleeding-edge design stakes, Luxman makes what I like to call luxury equipment. Everything they produce is beautiful, not just to the ear, but also to the eye and hand. Their design aesthetic keeps one foot firmly planted in the style of classic audio equipment from decades past—for example, many of their amplifiers have tone controls and big power meters, features reminiscent of topflight gear from 40 years ago—while the other foot is up to date with the latest technology...

The PD-151 MkII record player ($5695) is an excellent example.