Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1239-vertere-acoustics-mg-1-turntable

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.

https://www.soundstageultra.com/index.php/equipment-menu/1239-vertere-acoustics-mg-1-turntable

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.

inally, a bit of an off-the-beaten-path choice. Miles Davis Sketches of Spain was forward, in-your-face brass. The horns had impact and body with huge dynamics that will clean out your ears. If you have heard real horns in a smallish space that sense of realism and loudness can be borderline painful and the Michell Gyro SE reproduced that faithfully. Percussion instruments also had that sense of realism, especially tambourine. Music with a lot going on all at once can get congested during crescendos, but the Gyro SE kept it all clear and distinct. The snapping fingers and finger bells were far cleaner than I’m used to and allowed me to really audibly dig into the recording focusing on various elements of the music.

Compared to the Rega P3, the Gyro SE was way more refined, which was expected, but the Rega tended to have more energy, perhaps inaccurately so, but matched my musical tastes better. That is until I swapped out the Cusis E cartridge with the MoFi StudioSilver. This was at the end of the review period and was more of a check to see how much influence of the cartridge had on the turntable.

The GrooveMaster III arrives well-packed with an excellent manual, armboard, pivot-to-spindle mounting templates, protractor, hardware, and a handy metric Allen wrench set making this tonearm setup relatively painless. I say that with a caveat: If you’ve set up turntables before or have an experienced person who can help you, this should be a snap; if not, it might be best to hire a turntable specialist. 

https://www.soundstageultra.com/index.php/equipment-menu/1238-thales-ttt-compact-ii-turntable-system

Dynamics—that’s the key here. The Thales system made a distinct happening of the start and stop of each note, each effect, each sharp moment. So when Waits disburses a grunt or a grumble, it stood out from the other instruments and sounds that make up this complicated song. The Thales does it again on “Metropolitan Glide,” where Waits’s front-and-center vocals gained an appropriate serving of spit and gristle, the Thales expanding the reach and spread of his explosive, whole-head voice

Below the plinth are three adjustable feet, so you can ensure the turntable is level. These feet can also be removed and replaced but, considering just how heavy and inert the plinth is, I’d be surprised if you would hear any improvement with aftermarket feet.

This is a very good-looking turntable in my opinion. The machined aluminum on the top of the plinth has a warm textured pattern that catches and diffuses light. The company’s logo is featured prominently in white just below the tonearm’s cartridge position.

Power to the Cyrus Audio TTP Turntable was provided by a PSX-R PSU power brick supplied with the table, which is suitable for 90-264V operation (50/60Hz). This PSU features a low-consumption standby mode for sustainable operation. When in use, power from the PSU is routed internally to the motor drive stage to provide an even more stable, ultra-low noise power supply for the turntable motor.

https://www.stereophile.com/content/spin-doctor-13-acoustic-signature-verona-neo-turntable-ta-5000-neo-ta-7000-neo-tonearms

The TA-5000 NEO and TA-7000 NEO tonearms continue the effort to keep things simple, providing all of the key adjustments and most of the tools needed for an accurate cartridge setup. Azimuth adjusts in the familiar Acoustic Signature way, by slightly loosening the two screws that attach the armtube to the bearing assembly, then rotating the tube. An uncalibrated counterweight screws onto a fine-pitch threaded rod at the back of the arm, making it easy to fine-tune small changes in the tracking force. The antiskating adjustment is a simple, calibrated dial. The arm comes with a nice dedicated Dennesen-style single-point alignment protractor for setting overhang and zenith, but you will need to provide your own tracking force gauge. I recommend and use the Riverstone Audio gauge: It’s accurate, affordable, and it measures the tracking force close to the level of a record’s surface.