Audiophilepure

https://www.stereophile.com/content/clearaudio-signature-turntable-tracer-tonearm

The final element in the Musical Surroundings Signature package is the Clearaudio Professional Power outboard power supply, which powers the Signature AiR motor and electronics. “The Professional Power supply uses a vibration-damped, toroidal transformer in conjunction with stiff regulation, providing clean power to the AiR motor,” stated a press release.

A discrete rocker switch on the rear of the power supply summons the unit to life, its presence reflected in a blue LED on the front. A plump, 1.5″ wide, tapered dial atop the plinth presides over the platter’s speed, a single press coaxing it into 33 1/3rpm, a second to 45rpm. A halo of blue light encircles the button when energized, a sensual design flourish that signals completeness, at least to me

https://www.stereophile.com/content/gramophone-dreams-92-technics-sl-1300g-record-player

For me the biggest news was the 1300G’s delta-sigma drive system: a digital rotational control technology that, according to Technics, suppresses microvibrations.

According to the Technics website: “The ΔΣ-Drive uses delta-sigma conversion technology to reduce errors in the drive signals, obtaining low distortion drive signals through highly precise PWM generation technology. It also helps to reduce the minor rotational inaccuracies and minute vibrations that cannot be picked up with wow and flutter or S/N ratios.”

This noise-reducing technology is assisted in its tasks by Technics’ Multi-Stage Silent Power Supply, which features active noise canceling.

The result of these new technologies, as I describe in my auditioning below, is a modestly priced record player that performs (noise-, speed-stability-, and momentum-wise) like those big-ticket luxury decks

https://www.soundstageultra.com/index.php/equipment-menu/1258-avid-hifi-acutus-dark-iron-turntable-nexus-tonearm-and-ionic-cartridge

With the turntable’s bold, blazing performance on the previous track still fresh in my mind, I couldn’t resist playing one of my favorite jazz albums: Big Band Spectacular! by the Syd Lawrence Orchestra (Chasing the Dragon VALDC002). I’ve been a Glenn Miller fan all my life, an affinity I contracted from my father, who was a huge fan of the jazz trombonist. (I fondly recall him cranking up the big-band classics on his Technics system, hollering “Pennsylvania 6-5000.”) The originals aren’t particularly well recorded, so a big part of the enjoyment of listening to this wonderful recording is hearing these fabulous big-band tunes in true audiophile quality. “In the Mood” sounded utterly fantastic. The band was imaged almost life-size, extending beyond my listening-room’s boundaries, its brass section projecting forth with visceral, searing dynamics. The drummer on this recording is an absolute master of his art, contributing accenting beats when called for and keeping time with the precision of an atomic clock. The Acutus conveyed all this brilliantly, delivering a gloriously rich and involving presentation.

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Then there’s the Fortissimo S, from European Audio Team. It’s a Bentley Continental GT: sleek and elegant in its own boxy way, but also larger than life. Hugely powerful, but undeniably elegant. Fat tires, squat to the road with unlimited torque, but so comfortable and silent that you don’t even know it’s running.

That said, visuals out of the way, from a sound-quality perspective, both the VPI and the EAT radiate neutrality and control, sounding more alike than they do different. The Fortissimo S edges out the VPI in its control of transients and isolation from vibration. A knuckle rap on my well-damped equipment rack elicits a clear thump from the VPI and absolute silence from the EAT. Those magnetic feet really do the trick.

https://www.audiophilia.com/reviews/2024/9/1/pure-fidelity-symphony-turntable

The opening of “Where Do The Children Play,” with its delicate but firm guitar underpinnings, was very beautiful and tactile, but with an emphasis on bass, drums and piano. But it’s the guitars of Cat Stevens and Alun Davies that steal the show. Much like the guitar of Philadelphia Jerry Ricks, the sounds of both guitars are very beautiful. And Ricker’s cut is glorious, with the few instruments placed perfectly in a natural soundstage. Even the usually quiet string arrangements and the great Jack Rothstein’s violin solo are heard clearly—Del Newman’s subtle but effective string arrangements are more in the foreground, so the quiet pizzicato that emphasizes the rhythm in the coda of “Sad Lisa” is heard better than on other ‘tables. Finally, Stevens’ gravelly, fragile, vulnerable baritone sounds perfectly centred in the soundstage, making for a wonderful musical whole. Ricker’s dynamics are delicate and very punchy. No problem for the Symphony.