Audiophilepure

The vertical tracking angle (VTA) has to be adjusted too. This means adjusting it so the tonearm is parallel to the surface of the platter when an LP is on the platter. For the VPI Dragon, there is a large black dial with markings on the sides for adjusting the angle. In the photo below, you can see the dial in the center, as well as the gimbal tonearm bearing, the cartridge electrical wires, the hydraulic tonearm lift lever, and the counterweight at the rear of the tonearm. There is a black knob at the rear end of the tonearm counterweight which is rotated to adjust the tracking force.  There are two thumb screws you need to loosen in order to adjust the VTA dial. They are labeled “VTA Thumb Screw” in the second photo (diagram) below. You can also see a small nylon string that is attached to the tonearm and a weight at the other end. This is the anti-skate mechanism.

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I tested this by trying two other cartridges that are easily distinguished from the Jo No5, one rather ‘cool’ sounding, yet the vivacity of Wilson’s delivery was undiminished. I did the same with another singer of similar intensity but a completely different mien, Judee Sill via her eponymous debut from 1971.

While the Wilson album is brassy and bold in places, Sill’s exquisite singer-songwriter effort is in the early Joni Mitchell vein. As intimate as any work in the genre, the superb sound of this 45rpm 2LP pressing digs deeper, and both Sill’s delicate singing and piano playing were showcased perfectly by the C-Dur. Conversely, they enabled the deck to perform of its best – and please note that I was listening to it in absolutely stock form, as befits any review.

If any instruments embody the capabilities of the C-Dur, it’s the two most difficult to reproduce: voice and piano. In tandem, as Sill’s were heard here, the C-Dur displayed proficiencies so close to decks at twice the price that it is now my reference in the £3000-£5000 sector. Yes, it’s that good.

The more you delve into the black grooves with the XtraX, the more you begin to understand what it’s all about, without the essentials getting lost in translation. Vertere XtraX captures the ephemeral nature of musical moments, always staying in sync with the speed of the music, retaining it mysterious and elusive. XtraX elicits subtle qualities, going deep into the analog realms, deeper than usual to unleash the magic and lots of it.

XtraX doesn’t add an ounce of its weight to the music, tracking fabulously while keeping a firm grip on the tempo, escaping constriction, conveying the music with extreme resolution and fidelity, always in tune with the harmony, immersing the listener in the rich palatable factuality, and acting as a revealing window into objective reality.

The catch was that I had to do some serious online searching to find a good metal one; there was a plethora of plastic mounts available (which are less than ideal sonically), and although advertised as suitable for my BL-91 turntable, the first aluminum one I ordered was too large to fit. I got a refund from Amazon and eventually hit pay dirt with this one. The mount was secured to the Micro Seiki’s plinth with four screws. From there, I then used their pivot-to-spindle template to place it at the proper distance. This process required patience and trial and error, as I had to unscrew, rotate, and reattach the armboard mount several times to get it right. 

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Vertere turntables have several unique design features. Each of the four models employs an attractive acrylic plinth, offered transparent or, except in the DG-1S, in a choice of three colors: Black Metallic, Pearlescent White, and Champagne. Each plinth structure comprises several thick layers of acrylic separated by precisely tuned, strategically placed rubber isolation mounts that damp vibration through the structure. Apart from the sub-platter, a three-layer plinth structure is found on the RG-1 and SG-1, a two-layer structure on the MG-1, and a single layer on the DG-1S.

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The distinct timbres of the vocals and guitar were perfectly preserved. The leading edge of notes was accentuated, propelling the song along. Piano interjections from the left and electric guitar licks from the right were rendered sharply, distally, over the broad soundstage.

This tendency of the MG-1 to deconstruct music to its constituent parts seemed to diminish the cohesiveness of presentation sometimes. But this may have been merely a reflection of the multitrack recording process. The Vertere may simply be better able to discriminate and relay such detail than other turntables. In many ways it is akin to digital in its precision and raw honesty.