Audiophilepure

https://www.hifinews.com/content/pro-ject-debut-pro-turntable-package

Whatever bizarre sounds Brian Wilson chose to employ, the Debut PRO handled with aplomb. And that includes the Theremin, the signature sound of ‘Good Vibrations’ and a rare example of electronic sound that doesn’t immediately suggest artifice. Throughout the album, though, were the harmonies of a group that ranks in the permanent Top 10, along with The Mills Brothers, The Ink Spots, The Hollies, The Everlys and the rest. As with The Lettermen (Capitol Records must have had a thing about harmony), the sound was ethereal yet palpable. How’s that for a juggling act?

Having spun over 30 LPs on the Debut PRO, I leave it convinced that it begs to be heard by the sort of audiophile-in-waiting Lichtenegger designed it for, just as it begs the use of a puck or clamp. I would love to have one just to see how far the various upgrades can take it, the easy swaps like trick cables, outré mats, and whatever MC cartridge one cares to fit. But even in stock form, it joins the best of sub-£1000 front-end combinations. ‘Entry level’ has a new champion.

https://www.stereophile.com/content/analog-corner-314-oma-k3-turntable-schr%C3%B6der-tonearm

OMA was after exceptional dynamic speed stability; the goal was a system that would perform optimally while playing a record. Krebs said that, with finesse, higher motor torque makes it easier to precisely manage speed fluctuations under dynamic conditions.

The Rega P10 Turntable and Apheta 3 Cartridge

Using the P10 in the main system, with the VAC Renaissance Phono Stage (all vacuum tubes) is downright sexy in the presentation. Combining the speed of the Apheta with the slightly lush tonality of the VAC phonostage is like catnip. Going for a more neutral, yet still very dynamic sound, the Boulder 509, set to 100 ohms is a powerful combination that won’t break the bank at $5,500. It’s incredibly low noise floor is well suited to the Apheta 3.

While we don’t currently have a Rega phonostage in our reference system, their past Ios phono was an outstanding match for the earlier Apheta, so it’s probably a safe bet the current Aura at $5,995 is probably an excellent match. When The Sound Org can free one up, we’ll let you know. Once you’ve settled on a phonostage, you’re in for a treat

https://www.audiophilia.com/reviews/2021/7/30/vpi-prime-21-turntable

Bass was also important in a very different way on Ron Carter’s Golden Striker, an intimate and very well recorded live album consisting of only bass, guitar, and piano. Each instrument was rendered well and in a tangible, three dimensional way. What was most surprising is how much body was rendered in the electric guitar, suggesting a rich and full lower midrange from the VPI. On ‘Candle Light’, the live club atmosphere is presented wonderfully, with each instrument providing natural sustain and decay. The table navigates the subtle low passage work of Ron Carter well, even when he plays in the pianissimo range, avoiding one-note bass. But, on the title track, the VPI is resolving and quick enough to pick up the buzz and rattle from guitarist Russell Malone’s vigorous strumming, contrasting it with the clean smooth tone of his later melodic solos.

https://www.audiophilia.com/reviews/2021/7/30/vpi-prime-21-turntable

I’ve been on a New Order kick lately, and I spent a lot of my time with the Prime 21 revisiting classic albums from their discography. 1988’s Technique is one of their most electrifying outings, and the 21 showed just how much meat there was on the bones of this dance rock classic. Analog synthesizers are always one of my tests for gauging how much flesh a component is capable of reproducing, and the Prime 21 did not disappoint here. Speaking of flesh, the kick drum had it in spades. Bass control and body is a serious merit of the VPI metal platter designs, it was always impressive on my Scout, and it was even more impressive here. But what my Scout never possessed was this degree of articulation below the midrange, making everything far more clear and separated. If you are a basshead, this is the turntable for you. That doesn’t mean other areas feel neglected though, as Bernard Summer’s airy, boyish vocals cut through with clarity and pure tone.

https://www.audiophilia.com/reviews/2021/7/30/mark-levinson-5105-turntable

A parallel experience came right after with the 2M Blue. This needle belts out clean-cut sound, no nonsense openness in dynamics. This time I wanted different instruments that could test the soundstage. Beirut’s The Flying Club Cup made an appearance with its folk-like rhythms and tempo. The carnivalesque atmosphere was engaging and the euphonium, big brass section and accordions filled my room with sounds that helped me recollect the glowing lights of fairs I used to visit as a child. That feeling of innocence and unrelenting fun of childhood is rare, but the 5105 was salient in inspiring it. Why? I think it’s because when I let the needle go, I didn’t worry at all, I could focus on the sound and imaging—letting go was easy. Next was Mingus at Carnegie Hall new Deluxe Ed, which was so good I had to listen to all three LPs in one sitting. The talent Mingus brought with him for this concert was unfair. The 5105 delivered the goods with the Ortofon Blue.