Audiophilepure

https://www.soundstageultra.com/index.php/equipmen-menu/1234-audio-technica-at-art20-moving-coil-cartridge

A-T claims a channel separation of 30dB at 1kHz, a frequency response of 20Hz to 50kHz, an output voltage of a healthy 0.55mV (1kHz at 5cm/sec), and an overall weight of 9.3gm. The suggested load impedance is >100 ohms, with a recommended tracking force in the range of 1.6–2.0gm. Average compliance figures and moderate mass suggest this cartridge would be easy to accommodate in a variety of high-quality, medium-mass tonearms such as SME and Origin Live.

It’s worth noting that the stylus tip of the ART20 is some way forward in the body, which could present a problem for arms with insufficient front/rear alignment. The SME Series IV tonearm I used had no problem with this, but SME arms are among the most flexible in the world in terms of mounting position and adjustment.

https://www.hifinews.com/content/reed-muse-1c3p-turntable

The Reed combination also demonstrated its own personality in the bass. So rich was it, so free of artifice, that I wanted to simply keep on playing Hayes’ Hot Buttered Soul. But instead it was time to present the Reed package with a challenge: hard rock, – nay, nascent heavy metal – but of a dark, murky sound. It was begging the question asked of all high-performance gear – can it render a so-so recording more listenable… or simply less objectionable?

The hugely underappreciated guitarist Leslie West released a staggering debut called Mountain [Windfall 4500] before he created the band of that name. I have never heard a pressing that isn’t thick-sounding, even when his searing leads break through. While the Reed Muse 1C deck and 3P arm could not remix the album, the benefits were not dissimilar to that sort of makeover for this 1969 release, as if a layer of muck had been removed or a better-generation tape had been found. Something else Reed’s combination unveiled was low-level activity I hadn’t heard before, benefitting in particular the bass and percussion which were otherwise responsible for the murk.

https://www.analogplanet.com/content/luphonic-r2-turntable

The R2 table measures 44 x 12 x 35cm (w/h/d), weighs 10kg, and is equipped with height-adjustable feet. Like the R2’s chassis, its 24mm platter is made of solid surface material, and is said to “guarantee detailed reproduction thanks to its low-resonance, homogeneous structure.”

The R2’s synchronous motor is mounted on the lower layer, separately from the platter bearing and tonearm. It is controlled by motor electronics developed in-house at Luphonic — with which, the company states, both the amplitude and the phase shift of the two sine waves are individually adapted to the built-in motor. This is said to “ensure an extremely quiet and low-vibration drive.”

https://www.soundstageultra.com/index.php/equipment-menu/1229-musical-fidelity-m8xtt-turntable

Supertramp’s Even in the Quietest Moments . . . is so heavily biased toward the midrange that it tends to dissolve into a gelatinous mess, given half a chance. Even the cymbals seem to descend into the midrange. I have a half-speed-mastered version (A&M Records SPJ 4634), but even that has generally left me cold. But the music is magnificent! “From Now On” has a regal sense of majesty that’s musical genius. The M8xTT actively decoded this mess. I could hear the rhythm guitar as a discrete instrument, whereas it’s normally buried beneath heaping dollops of piano.

Flipping over to side 1, “Give a Little Bit” starts off with an emo-style 12-string guitar that threads right through the whole track. It’s finely detailed in the opening, and it gets progressively harder to keep it distinct once the other instruments start to crowd it out. The M8xTT did right by that guitar.

No record in my collection showcased the M8xTT’s grip on the bass and its transition to a clear, open midrange better than St. Vincent’s MassEducation (Loma Vista LVR00448). SoundStage! founder and publisher Doug Schneider turned me on to this album. It’s entirely acoustic, mostly with an enormous piano riding under St. Vincent’s rich, evocative voice. With both the piano and voice sharing the same acoustic plane, the M8xTT concocted a vast soundstage; one that benefited hugely from a lack of noise, combined with a feeling of latent power in the lower registers.

https://www.audiophilia.com/reviews/2024/1/16/muarah-mt3-turntable

Type “3K turntables” into Google and press the shopping tab. It’s almost overwhelming the choices for your analog dollar. As such, only the very best sound and design value-for-money products will survive. I’m confident that an audition of this ‘table, correctly set up and with an appropriate cartridge, will convince those searching for their next turntable to shortlist the Muarah Audio MT-3. At USD 2990 including a well-designed tonearm, it’s a solid analog bargain. A warm recommendation from me.

https://www.whathifi.com/reviews/jbl-spinner-bt-review

Similarly with Mars from Holst’s The Planets, the JBL does a good job of capturing the drama and rollercoaster of dynamics and emotions that the track delivers. There’s a pleasant tone across the board with a good sense of texture from the sweeping strings to the regimented hits of the timpani drum. Low frequencies don’t sound too thick, or lightweight, and nor does it thrash out highs with reckless abandon. In this regard, the Spinner BT is well-behaved.

While we’re using the Arcam’s phono stage, we swap decks to the similarly priced and five-star Rekkord Audio F110. It’s a fully automatic deck but doesn’t have Bluetooth functionality or a built-in phono amp. Compared to the JBL it gives you a little more across the board. We find it sounds more confident and composed. There’s an even greater sense of musicality with elements flowing even more naturally.