World Of Turntables Find The Best Turntable 2018 Now Sat, 22 Sep 2018 17:33:09 +0000 en-US hourly 1 Amazon Prime Day – Selected Products Tue, 17 Jul 2018 18:10:21 +0000

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As you may know, today started Amazon Prime Day discount.

Here are the best deals selected by World of Turntables:

1. Amazon Fire Tv Stick with Alexa Voice Remote. DISCOUNT 50%!

Fire TV Stick with Alexa Voice Remote | Streaming Media Player

2. Echo Dot (2nd Generation) – Smart speaker with Alexa. DISCOUNT 40%!

Echo Dot (2nd Generation) - Smart speaker with Alexa - Black

3. iRobot Roomba 671 Robot Vacuum with Wi-Fi Connectivity – Works with Alexa. DISCOUNT 34%!

iRobot Roomba 671 Robot Vacuum with Wi-Fi Connectivity, Works with Alexa, Good for Pet Hair, Carpets, and Hard Floors

4. nuraphone – Wireless Bluetooth Over Ear Headphones with Earbuds. Creates Personalized Sound for You. DISCOUNT 25 %!

nuraphone - Wireless Bluetooth Over Ear Headphones with Earbuds. Creates Personalized Sound for You. 20 Hour Battery Life. Software Upgrade July 16 - New & Enhanced Features for Existing and New Users

5. Bose QuietComfort 25 Acoustic Noise Cancelling Headphones for Apple devices. DISCOUNT 7%!

Bose QuietComfort 25 Acoustic Noise Cancelling Headphones for Apple devices - Black (wired, 3.5mm)
If you buy any of these devices and you have Amazon Prime you will get a discount described above.

Happy shopping!

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The Best Wireless Headphones of 2018: Cut the Cord With Our Pick – Introduction Thu, 12 Apr 2018 16:09:54 +0000

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Wireless headphones are nothing new or unseen, but since Apple frightened us with an idiotic decision to remove the 3.5-mm audio connector from their cell phones, it became clear that we would have to pay them much more attention. As reviewers but also as future users. So we’ve gathered everything available on the US market, checking out what’s worth the money and answering all questions – whether it’s fun or not to listen to wireless music.

You can think of whatever you want about Apple, but one thing we can not argue with – the company sets trends and changes rules that were previously considered unchanging – eliminating the headphone connector is the best example. Although criticized by nearly all of the world’s media, the most influential tech youtubers and millions of users the only thing that has happened is that Apple’s example began to follow almost all other mobile phone manufacturers. Although the 3.5mm connector will not be extinct because it is used on other devices than just mobile phones – almost every other device that can produce sound – the fact is that we will see it less frequently on mobile phones in the future.

By purchasing a suitable adapter wired headphones can still be connected to phones without a 3.5mm connector so they can be plugged into a USB-C or Lightning port. This means you will not necessarily have to replace your existing model especially if you are completely satisfied with it. However, when purchasing the next headphones you will probably want to be wireless. A simpler connection to mobile phones without a 3.5 mm connector is just one reason. After a few days of use it will become clear to you that the lack of wires between the head and the pocket is a great and very liberating thing. There is no concern that you will be crammed into objects around you and there is no risk that your cell phone or headphones will fly on the floor in case you pull them off with some garment. Caring for the battery can be tense but this aspect in practice is not as awesome as it sounds. Namely, virtually all wireless headsets available today on the market can offer 10 or more hours of playing on a single charge. In other words they can withstand a one-way flight but also the entire week of public transport on the way to school, college or job and back. Let’s not forget that almost every wireless headphone model can work in a wired mode that does not require a battery so this can be a handy solution if the battery is empty.

Before we go over to the descriptions of the wireless headsets that we have gathered in this comparative test (about thirty) we will address the issue of wireless sound quality, remind you of the types and performances of the headsets and the great functional and practical difference between them and overturn (or confirm!) some of myths from the world of music enjoyment.

Explain to me immediately – do the wireless headphones have the same, worse, or better sound than the wired?

The assumption that wireless headphones sounds worse than wired originates from the time when they used older versions of the Bluetooth, which greatly compressed the sound signal to transfer it successfully (without interruption) to the receiver in the headphones. In the newer era, the Bluetooth 4.1 and 4.2 standards, whose bandwidth is higher (24 Mbit/s), are far better, energy consumption is more rational, and the overall sound reproduction is far more favorable. For example, the sound in “CD quality” has a bandwidth of about 1.5 Mbit/s. In the last year Bluetooth 5 is presented, which continues to improve all aspects of this technology, but for now has not yet widely used in headphones and sound sources (cell phones, laptops, line streamers etc.).

If we have two identical pair of headphones, where one are wired and the other are wireless, and we play the high definition song from the same sound source, then the wired headphones sounds better. The reason is simple – it is not necessary to compress the signal when the sound is transferred over the wire.
However, in practice this will almost never be the case. We live in times when music is listening from the services like Deezer, Spotify, Play Music, Apple Music and YouTube. The highest quality audio signal available at these locations is completely “portable” over Bluetooth. In other words – in this case you will not hear the difference between the wired and wireless connection with the sound source. In addition, one should keep in mind where wireless headphones are used: on a bus, train or plane, on city streets, in cars, on the beach, in the gym – all places where your surroundings will not be silent, thus insisting on audiophile sound quality loses meaning.
If you are an audiophile and want the headphones with which you will enjoy your home collection of albums in FLAC or vinyl, then you will definitely want to buy the wired earphones. For anyone who buys the headphones for motion on the go their wireless feature will not be a limiting factor in achieving maximum performance. You will be most convinced when connecting your cordless headphones to the sound source with wire – and you realize that you do not hear a big (or any) difference in the sound quality.

You want to say that wireless headphones can also be used as wired?

Not always, but often. The vast majority of wireless headphones have 3.5mm (or less, 2.5mm) connectors and come with a cord that turns them into wired headphones for about two seconds and connects to sound sources like any other wired headphones. This feature is implemented so that wireless headphones can be used when the batteries are empty. Some wireless headphones do not have the capability to connect to the cable so discharging the battery in their case indicates the end of the music listening.

Is the battery in the wireless headphones replaceable?

Not always but is always rechargeable. A standard Micro-USB connector is used for charging which means that you can easily connect them to your mobile charger or the nearest free USB port on your desktop or laptop computer. Charging the battery from empty to full charged does not usually last more than three hours.

Is there a way to extend the battery life of my wireless headphones?

Yes – use them at a lower volume. Listening volume directly affects battery life. You should adjust the sound volume at the maximum available value on the sound source as this will allow you to use the headphones at a lower volume level. All cell phones allow “Bluetooth volume control” within their system menus or simply by pressing the volume keys after Bluetooth connectivity with the headphones is established.

Is Bluetooth the only way to connect wireless headphones with sound sources?

Not the only one, but the most widely used. Some headphones use a radio connection to their base station which is connected to the sound source. Indeed, Bluetooth connectivity also works over radio waves so this definition is not accurate enough. If you see headphones labeled RF it means wireless but not using Bluetooth. Such models are intended for home use only and the main advantage over Bluetooth is their range which is can be from a few tens to one hundred meters. It means we can move freely around the room and still enjoy the music . The main drawback is the limitation to one place of use and one source of sound. As you connect the Bluetooth headset neatly to all your cell phones, laptops or tablets – RF headphones will only work with the device with which their base or receiver is connected. A good example of RF headsets are wireless gaming headsets. They always come with a USB receiver, which we need to plug into a free USB port on your computer and such a headset is connected immediately.

What is the range of the Bluetooth headphones?

About 10 meters according to specification and in practice it will vary from headphones to headphones. We have not encountered any of the situations that it was not enough for a smooth audio transmission if the sound source (cell phone, tablet, and the like) is in the pocket or backpack and the headphones on the head. Generally, you can count on that music in your Bluetooth headphones will be audible as long as you are in the same room as the sound source. A wall or a window glass between the Bluetooth headphones and the sound source will usually result in crackles and the sound interruption – a sign that you are out of range.

Bose QuietComfort 35 (Series II) Wireless Headphones, Noise Cancelling - Black

How do the headphones can be classified regarding to their purpose?

Bluetooth headphones can in principle be divided into classic and sporty. The basic difference is that the classics are usually comes in a closed version and for the sake of greater enjoyment in music try to block the outside noise (passively or actively) as much as possible and with a sporty headphones emphasis is on the resistance to falling from the head so they often have some sort of mechanism for the additional attaching  to the ears. We could say that sound quality alone in sports wireless headphones is less important than some other features, such as attaching to the head, sweat resistance and similar. Finally we have the aforementioned RF headphones intended exclusively for home use where comfort, sound quality and range are the most important features.

What additional features wireless headphones have?

Models that are connected with audio sources by Bluetooth connection regularly offer the function of answering phone calls and making conversations. They function as headsets. One or more microphones are usually embedded in one of the ear shells and are capable of recording our speech. Some models offer the microphone only on the wire that are delivered with, which is far less practical because you probably did not buy them to use it frequently in the wired mode.

Why wireless headphones are more expensive than wired?

One thing you certainly pay for is comfort and the “modernity” of wireless. Wireless headphones also contain more components than wired. In addition to the battery itself and the Bluetooth receiver, they must have an amplifier and a digital-to-analog converter, which converts the bluetooth output (your song) into an analog audio signal, which speakers in the headphones can play as sound waves. The fact that digital-to-analog conversion is performed on headphones rather than in the sound source also means that the DAC of your source (such as cell phones) will not affect the overall sound quality. Of course, until you connect the headset to the cellular phone when the DAC in the mobile phone again takes over the work of digital-to-analog signal conversion. This is also why someone will convince you that Deezer’s music sounds better when the headset is connected to a cord instead of using it in wireless mode. In such cases, it is only the DAC in the cell phone that is better than the one in the headset.

Do I have to pair my wireless handsets again and again with my cellphone?

No, the connection is sufficient to be established only once. Each time you turn on Bluetooth on your mobile phone, the headset will recognize it and connect to it immediately after switch-on. Things can be more complicated only if you use the same headset on a large number of devices (mobile phones, tablets and laptops, for example), and they can not remember more than one device. Fortunately, all the better models are able to remember more than one device and move smoothly between them.

Which other sound sources wireless headphones can be paired with, other than cell phones?

Each device that works as a sound source and supports Bluetooth it will be possible to connect to the headphones. Apart from cell phones, we can connect laptops, tablets, smart TV sets, music streamers, car audio systems, and many other devices. If it has Bluetooth and produces a sound will be paired with wireless headsets.

Does it make sense to give much money to the wireless headset if I use a mobile phone as a sound source?

We can hardly answer whether it makes sense, because quality sound is simply not worth the money for someone. However, huge differences in the sound quality between wireless headsets from different price categories certainly exist. In this sense, things are no different than the wired handset. Each pair of headsets, cordless and wireless, comes with its own acoustic signature and interpretation of bass, middle and high tones. The Bowers & Wilkins wireless headphones sound inevitably better than Vivanco’s in absolutely every aspect. Both are wireless – but there is absolutely nothing what we can tell about sound quality except to be able to receive sound without the physical connection to the source. What happens then with it and how ample it will be in our ears, depends solely on the acoustic characteristics of the headsets itself.

I heard the sound of the headphones improves over time. Is that true?

This process in the world of acoustics is informally referred to as “running in”, and applies to speakers and headphones. The logic behind the running in is that the speaker diaphragms, like a moving element, need some time to relax after which they achieve optimal performance. In other words, the newly plugged headphones will not sound as good as they can, but will give its maximum only after you use them for a while, and the sound will be improved with each hour. If you follow the instructions from the audiophiles forums, you will find that the time is about a hundred hours, and that for some headphones it may take longer – up to 400 hours. Running in is done with a simpler, louder music release, according to the capabilities that will “smooth” the membranes, like those with a lot of bass. Some go so far as to recommend white and pink noise and the range of other generic sounds of different frequencies.
The whole concept of running in the speakers and headphones has always been controversial. The founder of Grado Labs, the US manufacturer of premium headphones, says that the characteristics of all the devices with mechanical parts change over time and concludes that each headset will reach its final “maturity” after about fifty hours of listening. Measurements of the frequency response of the sound membrane also show small changes in certain parts of the spectrum, but the question is to what extent the ear of the average person can be registered. Of course, there is also the fact that the ears in time are accustomed to the acoustic characteristics of the headphones, which some perceive as an improvement in their performance.
The best advice we can give you is – do not expect the headphones with bad sound to become excellent over time. These changes that happen with time, if they are actually heard, are certainly not drastic enough to completely change the sound quality experience.

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Bose Quietcomfort 25 – Noise Cancellation Travel Headphones – Detailed Review Fri, 23 Mar 2018 14:37:12 +0000

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Bose QuietComfort 25 – A Perfect Companion

Bose, one of the leaders in noise canceling headphones production did not sleep after the successful model QuietComfort 15 but worked on the presentation of the successor.


Bose QuietComfort 25 Headphones are presented as a replacement for the popular QuietComfort 15. They feature the best Bose headphones with an active noise cancellation system and are made in three versions – for Apple, for Android and for those who want to be different in every detail.

Serious look

QuietComfort 25 is delivered in a pretty attractive box with a color print and the content of the box is multiple protected. In addition to the headphones supplied with the package is a very good carrying case made of hard material with a spare battery and connecting adapter for the airplane. The handbag has a carrying handle and an elastic frame on the back so it’s very practical to use. In addition, the headphones comes with a simple user guide in multiple languages ​​as well as a detachable silicone cable of 1.4 meters long, which ending with a universal 3.5 millimeters stereo jack. With regard to the design it is clear that QuietComfort 25 is derived from the predecessor. The resonators have an ellipsoid shape and a striking, chrome-plated manufacturer logo. The inner padding is made from Alcantara – a synthetic form of suede that’s both hard-wearing and comfortable – rather than synthetic leather and are filled with a very soft memory foam. In addition, the canvas covering the loudspeakers has a clearly marked left and right side. The headband has a base made of metal alloy and can be precisely adjusted and the upper part is covered with a soft fabric that resembles a velvet. In addition to adjusting the headband the headphones have joints on the headband and pads so they can be adjusted in all directions.

Active and passive

As always with this manufacturer, the product’s technical data is poorly and it rarely exists so we remain deprived of information about the type and diameter of the speaker units, the bandwidth and the nominal impedance of the headphones in the passive mode. However, what is certain is that QuietComfort 25 brings a serious improvement to the predecessor. It’s just a passive regime that did not exist on the QuietComfort 15 model – when the battery is empty, the headphones just stop working, which can be pretty irritating if you do not have a spare battery. Unlike most of the competing models that have an integrated battery with the ability to refill, Bose has a standard AAA battery for these headphones. Although such a solution may not be suitable for those who use the headphones everyday on shorter occasions (on the road to work, etc.), imagine the situation on long journeys by train, over-night flight, or in an environment where you can not charge the battery – if you use QuietControl 25, you will simply insert a spare battery and continue to enjoy music.


When we started critical listening, after a few minutes it was clear that QuietComfort 25 had the dose of warmth typical for this manufacturer. The sound is extremely pleasant and does not bother even with long hearing sessions. The tone balance is somewhat specific because the high and low tones are somewhat more pronounced than the mid range, so these headphones could not be called neutral. The high-power spectrum is velvety and completely devoid of unpleasant sharpness, even in the most aggressive parts, and there is probably the secret of the almost unreal receptive sound of these headphones. The middle tones are rich enough and detailed, with outstanding musicality and excellent fit with the remaining two bands. From the patented Bose Active EQ system, the most profitable are the low tones, which are at every opportunity at the task level and deliver a massive, deep and warm bass. The definition is excellent, and sound is characterized by very good dynamics.

Bose QuietComfort 25 Acoustic Noise Cancelling Headphones for Apple devices - Black (wired, 3.5mm) Bose QuietComfort 25 Acoustic Noise Cancelling Headphones for Apple devices - Black (wired, 3.5mm)

After listening with the noise cancelling system by using the discrete switch on the right resonator we went into a passive mode. In addition to the volume reduction, as expected, the tonal balance improved slightly and the mid-range seemed to equalize with high and low tones. For the best results in the passive mode we recommend the use of an additional headphone amplifier. This difference is also present when listening directly to a portable player or mobile phone. In our view, this is just a proof that QuietComfort 25 has been engineered very well in the start and that the presence of two modalities of work only adds the value to these headphones as it allows a choice between two somewhat different reproduction.


Of the “most important side things” we have forgotten to mention the remote control with an integrated microphone which is on the cable and allows control of reproduction and answering phone calls. The model on our test was intended for Apple devices but there is a version for Android. Also, at the beginning of the text, we mentioned the third version of these handsets – in the case of Custom QuietComfort 25, for which the buyer, with the added bonus, can choose the color for each of the nine parts from which the headphones are made. They offer up to 52 colors which gives a huge number of combinations. Still, we are very fond of QuietComfort in the basic edition because they are serious and mature and will fit well with the jeans and the tuxedo with the tie. If you are looking for a comfortable headphones that provides a brilliant isolation from the outside noise and gives the sound you can enjoy for hours Bose QuietComfort 25 is one of the best solutions.

√Check Price and Availability Here√

Here is a Bose Quietcomfort 25 Manual: Bose Quietcomfort 25 Manual Download


 Unmanageable design.
Excellent production quality.
Warm and pleasant sound.
Practical battery replacement.


They are not neutral.
Noise canceling somewhat changes sound.

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What Is The Best Record Player With Bluetooth ? Tue, 06 Mar 2018 13:30:48 +0000

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The Best Bluetooth Turntable

Bluetooth technology represents the mode of wireless data exchange between two or more devices. Although it has been present a long time it became a standard just recently.

Bluetooth technology represents the mode of wireless data exchange between two or more devices. Today’s modern computers, cell phones, digital cameras and audio devices have a great deal of ability to send data with Bluetooth. The connection is established via radio waves in the frequency range of 2.4 to 2.48 GHz. Due to the use of radio links the connecting devices don’t have to be optical sighted nor interconnected and the connection can be made in a diameter of approximately 10 meters around the device.

Despite the fact that this technology has been in the market since 2000, it has only recently become standard in almost all audio devices. From the very beginning, Bluetooth is practical and useful, but has become very widespread over the last few years. Bluetooth can be found in almost all mini and micro lines, audio components, headsets, small portable audio devices and in the turntables.

As simple as it may be, the fact is that only few years ago, quality audio devices did not support wireless audio transmission, protocols and built-in amplifiers did not provide the purity and finesse of HiFi sound.

Via Bluetooth today you can connect different devices with an audio device regardless of the Internet connection and the type of platform your device is powered. Moreover, some devices support the APTX protocol which contains a special audio codec that offers even higher sound quality than plain bluetooth and is very close to CD sound quality.

Although the APTX algorithm was developed in the eighties, before that year was not noticed at all. With the appearance of so-called and increasingly popular Lossless audio formats in various resolutions APTX progress was inevitable. The most sophisticated audio devices in the world today support the APTX HD algorithm that provides the highest possible quality of music playback.

The basic difference between aptX and aptX HD Bluetooth is that the aptX Bluetooth codec can transfer 16 bits of 44.1khz audio with 4: 1 compression at 352 kbps, while aptX HD is capable of far higher resolution of 24 bits – 18 kHz audio with compression of 4: 1 at 576 kbps.

This segment became so popular that the companies that produces turntables started to produce bluetooth turntables with the APTX and APTX HD algorithms in the last couple of years.

In the next part of the text we offer you the best bluetooth turntables that exists today.

  1. ION Audio Air LP

The ION Air LP turntable converts your old turntable records into digital audio. Unleash yourself from the restriction of cumbersome hookup cables. The Air LP turntable connects to any bluetooth speaker. You’ve been collecting turntable records all your life. Even though you like a turntable record it is practical for you to play music in digital format. ION Air LP is a bridge that connects hits from the past with today’s digital age. It simply connects to the PC or MAC via USB connection. Includes EZ Vinyl conversion software.

Main Features:

  1. Bluetooth Enabled

With Air LP, you can send the sound from your records wirelessly to any Bluetooth speaker in the room. It’s simple to use and can connect with any Bluetooth-enabled speaker you own.

  1. Autostop Feature

In case you think you might fall asleep while listening to some relaxing tunes, you can turn the Autostop on. This will make the platter stop spinning when it reaches the end of the record.

  1. Convenient Connections

Use the 1/8-inch aux input for other music players like your tape deck or smartphone. RCA outputs connect with your home stereo system for optimum sound quality.

  1. Headphone Output

Plug in your headphones to the easily accessible jack on the top of the Air LP. Now you can privately groove to ’50s jazz late at night.

  1. Stylus Included

The conical, diamond-tipped ceramic stylus plays 33 1/3 and 45 RPM records. This maintains the best audio quality for clear playback.

  1. Universal Compatibility

Use the USB connection to digitize your vinyls with a Mac or PC. The EZ Vinyl/Tape software is included with the purchase.

Ion Audio Air LP 3-Speed Belt-Drive Bluetooth Turntable Ion Audio Air LP 3-Speed Belt-Drive Bluetooth Turntable

Tech Specs

  • Dimensions(length x width x depth): 16” x 14” x 4.5”
  • Weight: 6.7 lbs
  • Power: 12V DC, 0.2A, center pin-positive, tip-negative
  • Air LP Turntable Bluetooth Function: Transmitter
  • Bluetooth Version: 3.0
  • Bluetooth Range: Up to 30 feet
  • Cartridge Type: Ceramic
  • Cartridge and Stylus: CZ-800-10 (sapphire-tipped)
  1. Audio Technica AT LP-60 BT


At first glance, many people may perceive this device only plays LP records. However, the device has other features that meet the expectations of the music lovers. It is advisable to purchase this 6.5-pound belt machine if the users need to digitalize their LP records.

This turntable is compatible with PC and Mac and therefore it makes it easy to connect to the computer and change your preferred tunes into MP3 files. The connection to your computer does not need any special drivers just like most other turntables that come with this feature.

Audio Technica AT-LP60 USB also performs well when used as a simple record player. This turntable can be used with different stereo systems by conveniently switching a built-in pre-amplifier from phono to line level. A majority of the vinyl lovers and casual listeners prefer to use this automatic machine, but this record player may not have the capacity to please the most trained ears.

Also there is a possibility of a bluetooth sound stream to any bluetooth speaker. Up to eight different pairs of speakers, headphones or other devices that utilize Bluetooth wireless technology can be stored in the AT-LP60-BT’s memory. Once stored, a simple push of the turntable’s Function button is all that is required to connect the turntable to your chosen wireless device.

Main Features:

  1. Connects wirelessly to speakers and other devices equipped with Bluetooth wireless technology or to wired audio systems and powered speakers via included dual RCA output cable
  2. Fully automatic operation with two speeds: 33-1/3 and 45 RPM
  3. Anti-resonance, die-cast aluminum platter
  4. Integral Dual Moving Magnet phono cartridge with replaceable stylus
  5. Switchable built-in pre-amplifier enables wired connection to components with or without a dedicated turntable input
  6. Includes 3.5 mm (1/8″) stereo mini-plug (male) to dual RCA (male) output cable, 45 RPM adapter, and removable hinged dust cover
Audio-Technica AT-LP60BK-BT Fully Automatic Wireless Belt-Drive Stereo Turntable (Bluetooth & Analog), Black Audio-Technica AT-LP60BK-BT Fully Automatic Wireless Belt-Drive Stereo Turntable (Bluetooth & Analog), Black

Maybe you will be interested to read much more details about this turntable here: Audio Technica AT-LP60 complete review

  1. Trntbl

This is a new concept of a modern turntable. Turntable has had its big return in recent years, and its makers have been delighted with it, incorporating a number of modern technologies and options.

If a turntable has returned to the big door, we’ve known it for a long time now, and now the producers have been playing and even upgrading them to keep up to date with the latest technology. In order not to have everything left on a quote: “you have a turntable and you play a record”,  the company has added WiFi options to the modern versions of the turntable. One such thing, which stands out first with its elegant aesthetics, is the Trntbl behind which stands the Vnyl company and describes it as “a new device for listening a records”. It is interesting that through its bluetooth and of course WiFi you can stream music through various music services.

To start, the Trntbl appears as a Music Service to Sonos devices, allowing listeners to stream uncompressed audio throughout their homes. The turntable can also stream via AirPlay or to Bluetooth devices like speakers and headphones. As a matter of fact, these wireless connections are the only way the Trntbl connects — there are no analog or wired digital outputs on the unit at all.

Where the Trntbl really starts to differentiate itself from other wireless turntables is its built-in social features. Vnyl says that the Trntbl can actually identify music while its playing — straight from the record — and share what you’re listening to with your friends or followers. The turntable will also let your friends tune in to what you’re listening to via Spotify, something the company says is a first for consumers.

Trntbl comes in a black-gold and a white-gold version. Its price is about $ 400.

  1. Crosley CR8005D-TU Cruiser Deluxe Portable Turntable

Crosley CR8005D-TU Cruiser Deluxe Portable 3-Speed Turntable with Bluetooth, Turquoise

This is one of the best portable record players to purchase. Crosley Cruiser Portable Turntable allows you to take record whenever you hit the road. The deep and warm sound of the device is among the things that make this device stand out from other products. Also, it is considered to be one of the most portable format devices that you can buy. There is no need to waste your hard earned income when you can save some amount of money by purchasing this product. You can put the device down on you Ipod and then mobilize your music with ease.

The device is made from hardwood that has been bound in vinyl to make it attractive as well as unique. Also, the manufacturer has included built-in stereo speakers, which implies that you can enjoy your favorite music without necessarily having to connect to any external speakers. It has a spin that can play three speeds namely 33 1/3, 45 and 78 RPM. If you are looking for a record player that boasts of portability, durability, style as well as high-quality sound, do not look beyond this product because it is one of a kind. As one of the best turntables under 100$, this product has everything that you need when it comes to high-quality music and performance. It is reported that more than 1000 online buyers have tried the turntable and posted positive comments about the same. This is a clear indicator of the high quality you should look forward once you purchase Crosley Record Player once you are done with reading this review.

Crosley Cruiser Deluxe Vintage 3-Speed Bluetooth Suitcase Turntable, Turquoise Crosley Cruiser Deluxe Vintage 3-Speed Bluetooth Suitcase Turntable, Turquoise

Recently updated with Bluetooth and pitch control, the Cruiser Deluxe allows you to stream your favorite music from your Bluetooth-enabled device wirelessly to the turntable’s dynamic full-range speakers and customize your listening experience. Constructed of wood and bound in a leatherette material, the briefcase-styled record player is lightweight and easily transported from place to place. Built-in stereo speakers let you listen to your music without having to connect it to a speaker system, so you can cruise over to a friend’s house and experience vinyl’s superior sound together.

Main Features

  1. Briefcase-Style Case

The Cruiser Deluxe’s hard and portable vinyl-wrapped case with handle latches closed, completely containing the lightweight turntable to take anywhere.

  1. Bluetooth and Dynamic Full Range Speakers

Two built-in stereo speakers eliminate the need to carry additional speakers. And you can stream music directly from your smartphone to the Cruiser’s built in speakers with the integrated Bluetooth.

  1. Portable Audio Ready

Listen to mobile apps or digital audio by plugging in any portable audio device or MP3 player into the auxiliary port on the rear of the Cruiser Deluxe.

  1. Plays Three Speeds

The Crosley Cruiser Deluxe plays any 33 1/3, 45 And 78 RPM records, and includes a built-in 45 adapter.

  1. RCA Audio Out

For an additional punch, RCA outputs on the rear of the device next to the power adapter plug allow the Cruiser to hook up to any external speaker system.

  1. Updated Features

Located near the built-in headphone jack, the pitch control and Bluetooth functions add a new layer of listening options.

  1. Available in a Variety of Colors

The Crosley Cruiser Deluxe is available in a wide variety of colors and styles to suit any taste or decor.


Trntbl is ideal, but any of the tunrtables above can be an answer to your Bluetooth needs. As always, it all comes down to funcionality, cost and aesthetics.

Bluetooth is Bluetooth. From Crosley to Trntbl, you’ll run into the same advantages and disadvantages with wireless listening technology. Find a price and style that work for you and go for it. When you’re sitting on the porch on a rainy night with your old jazz records piping in from the living room, you’ll be happy you did.

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The Best Bookshelf Speakers in 2018 – Ultimate Review&Test Thu, 01 Mar 2018 10:49:46 +0000

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We can proudly present a list of the best bookshelf speakers in 2018 for every pocket.

Further below you will find a detailed tests of the best bookshelf speakers today, with all data you need, hearing tests and specifications.

The Best Bookshelf Speakers in 2018 List:

1. Acoustic Energy AE1 Classic


Does it make sense to offer to the market a faithful copy of something that its star moments had twenty years ago at the time of galloping technological progress? In case of a AE1 Classic certainly do. Because it is a speaker whose level of detail and music is far above its price range.

After Aegis One for Acoustic Energy there has been a period of drop in popularity.

And when they are in lack of the ideas for the new products, why not look into their own past and give the market a proven product in a new release. One of their most glamorous products is certainly the AE1, the loudspeaker first introduced in 1988. The AE1 was then extremely popular and commended in the press, followed by a couple of “improved” versions.

In the name of a return to the broad market, Acoustic Energy has decided to offer a copy of its most famous monitor. We have already seen something similar to some of the manufacturers, Rogers, for example, who was re-launched legendary LS3/5 under Chinese ownership. Since things have changed significantly in the last twenty years, such a move could be risky, but the distinctive diversity of the AE1 Classic from the current offer of small speakers makes it a special product on the market.

Speakers that successfully live (or they lived) in the world of professional audiences (as studio monitors) and in the hi-fi world are very rare. The first to come to mind is of course the legendary studio monitor LS 3/5 according to the BBC specification. AE1 also had a similar destiny, very rare and unique. Connecting the characteristics of a studio monitor and their requirements to sound with the demands of hi-fi enthusiasts is a tough task. The main objection is usually that the sound is pre-analytic, it lacks some warmth, the details in the high part of the spectrum are overwhelming compared to the rest of the spectrum etc. But if the monitors are well-made they can provide insight into music in a way that rarely the speaker intended solely for the hi-fi market can.

Acoustic Energy AE1 CLSC LE:Chry/Slvr:Pr Acoustic Energy AE1 CLSC LE:Chry/Slvr:Pr

Technical description

Technical specifications the manufacturer’s pages are exceptionally short and there is nothing more in the material that cames along with the speakers. The box has a magnesium alloy tweeter with a diameter of 25mm, while the bass/midrange is 110mm with a membrane of an anodized aluminum . The maximum power the speaker can handle is 200W. The sensitivity is small – 84db, but as it turns out, these small monitors has no problem with a 40-watt amplifier. Impedance is not specified, but according to the measurements in some online journals its minimum is about 8 Ohms. The box is made of black mat finish and on the back side there are a couple of single-wired connectors, maybe slightly lower quality than we are used to in this class of loudspeakers. The overall impression of design can be described in one word; studio.


From a pedigree speaker like this expectations are somewhat bigger and different than others. AE1 already shows its face in the first beats. The piano response to the Tchaikovsky concert for piano and orchestra No.1 is shown extremely clean with a good timbre. In the lowest octaves, though limited in depth due to its size, it shows exceptional control and firmness in the bass. Details in the high-tech area of ​​the orchestra are all the time clearly present and displayed extremely pure without any kind of grain or any other “artistic” contribution of the speakers, are shown as they are on the record, without any embellishment. The details in the middle part of the spectrum are many and clearly present but still provide a slightly lower level of information than the high part of the spectrum. During the orchestra crescenod AE1 Classic showed a characteristic that usually fits into the more expensive speakers, the stage stays in its gaps, with minimal degradation in space, even at higher volumes. Of course, with these same crescendos, there is a clear degradation of microdynamic relationships. The width of the stage is correct, although it can not be said to fall into the top of the category. With all the control it possesses, the characteristic that builds it up from other is the speed with which it is able to convey complex information to such a large number of orchestra performers.

After AE1 proved to be exceptionally good with big orchestras, a material that is very demanding for such a small speaker, we played a small band led by an exceptional vocalist Rebecca Pidgeon. The speaker only confirmed previous impressions. The vocals are reproduced very purely and clear. The vocal positioning was done correctly with the natural separation relative to the position of the rest of the band. A slightly smaller stage width which was obvious with the previous orchestral record is now a little bit more obvious. The timbral correction and reproduction of the material as it was recorded comes to expression. The depth of the stage is in accordance with the other two dimensions. For testing until now a fairly defined and fast bass area was served by the Massive Attack album, Mezzanine.

Artificial basses that come extremely deeply set great demands on these small monitors. The bass thunderstorm in the bass area can not be expected from such a small boxes, although considering the size of the AE1, it goes extremely deep, but what is surprising is the ability not to lose the definition and remains assembled no matter what the material demands and leaves the impression that the speaker is still in the catbeart seat regardless of the restriction at the lowest frequencies.


The speaker has spent a lot of time listening to these lines and the conclusion is that AE1 can in real terms provide a very special insight into the music material. The level of information provided and pure musicity is far above the price class. Also, the minimal mode of interpreting information from a CD provides the user the ability to listen to music as they imagined in the studio where it was shot, which is a rare option for this price.
AE1, although designed for some twenty years, is still a very up-to-date product, and at this time, it is, and unique in the market. No loudspeaker, no AE1, stacks are not in the top, but when it comes to small monitors, nothing comes without a charge. The ability to display a lot of information from the signal coming, to keep all aspects of the sound image at dramatic dynamic ups, is beyond the category. With the real rest of the system, where you need to make sure that the high signal input signal is not too hard, AE1 is a very exciting choice.

Technical Specifications

Bass/Mid Driver: 110mm ceramic sandwich aluminium cone, 32mm edge-wound voice-coil
Tweeter: 25mm magnesium alloy dome
Crossover: Symmetrical third order at 3kHz
Power Handling: Compatible with amplifiers rated at up to 200 watts into 8 Ohms
Frequency Response: 70Hz – 22kHz ±3dB
Sensitivity: 86dB for 2.83V at 1m
Nominal Impedance: 8 Ohms
Total Harmonic Distortion: Typically less than 0.3%, 200Hz to 20kHz
Power Compression: Less than 1dB for 16dB gain at 250Hz
Dimensions: 295 x 180 x 255mm (HxWxD)
Weight: 7.5kg (single, unpacked)
Finishes: Piano black, very limited quantities available

2. Elac Debut B5

Elac Debut B5 is a brand new vision in which Andrew Jones designed speaker units, crossovers and the box itself

ELAC B5 Debut Series 5.25" Bookshelf Speakers by Andrew Jones (Pair)

Elac Debut B5 is brand new vision in which Jones designed speaker units, crossovers and the box. Speakers are designed in California in a brand new environment that Jones equipped according to their own wishes and needs, and to reduce costs production is entrusted to partners in China. That allowed him to in other more important places goes with somewhat better parts and better and more expensive solutions. Spheroidal horn tweeter unit is made of silk and the diameter is 2.5 cm, and it has pretty much deep-seated drive. Such a procedure allows a relatively simple construction to direct the sound waves in the optimum manner, while also avoiding the refraction of the box. Bas and mid-range are covered by 13 cm diameter unit made of aramid fibers for which the constructor quotes clear advantages in the strength-mass relation and damping ability in relation to possible alternations to the units created of treated paper or polypropylene.

The company believes that the unit is very flexible related to the rest of the structure and additionally owns clearly heard benefits in width spectrum and good impulsive reaction thanks to a particularly powerful magnet. The crossover is made of seven elements and cutting frequency of 3,000 Hz. Parts of the crossover are indeed very high quality for this class of loudspeakers as well as a pair of metal connectors with which the connection of the speaker cables were easy and without any greater need for a powerful twist to make a solid contact.

The box is made of MDF and on the first look is not too massive and convincing, and without internal struts which where left out in the first two models in the series. Among others features we need to mentio “dual flared” bass reflex port on the back of the speaker, protective grid (which we removed during the test) and the basic numbers that talk about 85 dB sensitivity, impedance 6 ohms and the weight of each box of 5.2 kg.

ELAC B5 Debut Series 5.25 ELAC B5 Debut Series 5.25" Bookshelf Speakers by Andrew Jones (Pair)

Hearing test and conclusion

The last few constructions which are signed by Andrew Jones and who I had occasion to hear were very good. Preparations for listening included placing the speakers on the stands and after a few minutes of listening removing the grills that are closed the sound picture and made the sound construction slightly unconnected. At that point things came to place. I started really considerably (Charlie Haden, “Private Tapes “) at low volume and in turn got a pretty full sound with formed spatiality, which is had only a little less dynamics. With a volume turned up sound got needed dynamics and solid contours and painted a good space in width and excellent depth perspective. At that point my expectations grew up and tried with a small  movements in space draw even more from the speakers. The best results were achieved with a little twisted speakers according to the listening place about two feet away from the walls and with a slightly lower position of the head. Then almost all the parameters we can expect from the speakers in this class have come to the right balance. Listening to extraordinary record(The Band / “Music From the Big Pink”, Original Master Recordings) it has been added a fine alignment of wire and over-precision in instrument volume projection. Loud listening did not cause a stress in the construction, but somewhat hurt definition and focus of the bass areas which was slightly dampen medium microdynamics. Classical music of the string quartet discovers a little bit retired upper treble area but added a lot of space and very natural timbre. Compared to the Elac Debut 5 price we almost had no objections.

Those who want to get the maximum out of this speakers need to put them in space and on quality stands. In this case the speakers will deliver full, dynamic and well-connected sound with enough quantity of detail and good space. Andrew Jones has obviously not lost the design skills of the speakers in which it is necessary to meet the compromises. It is a huge happiness to do the job he likes. Skill, pleasure and remarkable feeling for music has been felt for years in the work of the designer through the sound of his speakers. The Elac Debut B5, on the other hand, was a great substrate for a great comeback.

Technical Specifications

Speaker type: 2-way, bass reflex
Tweeter: 1 x 1-inch cloth dome
Woofer: 1 x 5.25-inch woven aramid-fiber cone
Crossover frequency: 3,000 Hz
Frequency response: 46 to 20,000 Hz
Sensitivity: 85 dB at 2.83 v/1m
Recommended amplifier power: 30 to 120 wpc
Nominal/peak power handling: 50 / 120 wpc
Nominal impedance: 6 Ω; minimum 5.4 Ω
Binding posts: 5-way metal
Magnetic shielding: No
Cabinet finishes: Black brushed vinyl
Accessories included: Removable fabric grille
Height: 12.8 in / 324 mm
Width: 7.9 in / 200 mm
Depth: 8.7 in / 222 mm
Net weight (each): 11.5 lb / 5.2 kg

3. Monitor Audio Bronze BX2


Just as the right art is to make a top speaker regardless of price, so it’s a skill to make a cheap speaker that sounds good. The BX2 sounds good.

In the audio world the phrase “you get what you pay for” can often be quite literally understood. If you spend a lot of money on the system the chance is that it will not play badly. If you did not take care of the system components synergy and carefully examine and test each of its components, you probably have not pulled the maximum out of it. The real art of composing audio systems is to get as much music for as little money as possible.

Over time to the market come a component emerging from the average relationship gained/invested. The example has a variety in all component types, NAD C320 Integrated Amplifier, Cambridge Audio Cheap CD Players, Wharfedale Diamond 8.1 Speakers and what is important for this test – Monitor Audio Bronze B2 speakers that set the standard for the other speakers of that class.

After a couple of years came the new version, equally successful, BR2 and now we finally have the third incarnation – these BX2 speakers on the test. The Bronze Series is the cheapest series in Monitor Audio offer and consists of two stand-alone models and two designed for shelves. The differences compared to the last series are visually small and as the manufacturer writes in promotional materials it is just about fine-tuning the entire production process by using better materials and better quality parts.

Monitor Audio Bronze 2 Bookshelf Speakers - Walnut

Bronze BX2 is not a small loudspeaker – in range of similar priced speakers it is pretty larger. Regardless of the higher volume, the loudspeaker on the stands looks quite elegant, especially in the color of dark wood. As with all speakers of this class and size we have a bass reflex boxes. The hole in this model is on the front side while on the back are gold-plated connectors for bi-wiring.

The embedded tweeter is already well known, an aluminum membrane coated with a ceramic layer, to achieve high strength of the material and thus a high resonance frequency. This technology in Monitor Audio is called C-CAM. According to the official manufacturer’s materials the resonant frequency of the membrane is close to 30kHz. The tweeter diameter is 25mm. The 165mm diameter bass/midrange was also made on the basis of C-CAM technology. The official materials state that a coil and a reinforced magnet have been improved regarding to the last series to provide more linear responses throughout the spectrum covered by this unit. The way of the sound signal on the crossover is shortened to the previous version.

That are not all of the improvements made – the bass reflex has been changed and is now made of relief plastic to accelerate the movement of air through the opening itself. We had the opportunity to see a similar concept on Bowers & Willkins speakers at a slightly higher price. There are no visible screws holding the speaker units. Audio Monitor decided to be significantly different from most of the other speaker manufacturers. Instead of making the speaker units tightened for the front panel as it is common in the BX2 they are fixed to a rear panel bracket with a long screw that ties them to the front panel housing. With this principle in Monitor Audio they would like to remove one of the sound coloring sources that makes the usual connection.

The BX2 speaker units do not actually have a direct connection to the front panel. The power that these speakers can receive is limited to 100W at the stated impedance of 8 ohms. Sensitivity is high 90 dB that allows these loudspeakers to work very well with weak amplifiers. The hearing test showed that 40W is more than enough to control the loudspeaker at higher volumes.

Monitor Audio Bronze 2 Bookshelf Speakers - Walnut Monitor Audio Bronze 2 Bookshelf Speakers - Walnut


The sound of all the Audio Speaker Monitor I had a chance to test has a clear common background and BX2 is no exception. The sound of their speaker units is truly recognizable no matter what the series is doing. With the jazz standard “Take Five” performed by Dave Brubeck, as well as the latest versions of the Bronze series, the BX2 have a very fast and rhythmic sound. The cleanliness and detail of the high part of the spectrum was really great when considering the price of the speaker. The middle part of the spectrum is the same as the treble – detailed, fast and open. The drummer’s solo section revealed a very good control and bass speed.

Bass goes deep enough, but with a relatively large box it could be expected to go deeper. With vocal jazz it reveals new sound dimensions especially with regard to timbral correction and sound transparency. The voice is reproduced very purely with natural colors and volumes. The width of the stage is definitely one of the best I’ve had the chance to hear in this class, the depth is not as high as the height, but it’s really hard to expect in its class. The album of American rockers Queens of the Stone Age sounded very good. The loudspeaker is capable of playing at higher volumes without greater degradation of the sound image and its speed and rhythm are very pronounced in such material.

The high part of the spectrum is just as opened as needed but it has never been hard or overwhelmed. Here it should be borne in mind that the rest of the system must match the speakers. A somewhat warmer character of the amplifier or speaker cables is welcome to make the sound very pleasant for long listening. Listening to the symphony orchestra’s recording just confirmed the impressions gained before, the amount of detail that is capable of providing the BX2 is excellent throughout the spectrum. Stage width is very well done with enough space between the artist to avoid unwanted sound jamming. The presentation options of those fine details are in line with the class, perhaps even higher than the price suggests. The bass area is very firm and fast, again not with too much volume, just the way it is.


Just as the right art is to make a top speaker regardless of price, so it’s a skill to make a cheap speaker that sounds good. The BX2 sounds great. High sensitivity means that almost all the amplifiers in the class can be driven without any problems. Accommodation is also not a problem and is not too demanding, but they need to be placed on good stands to get the maximum out of them. When choosing other components, make sure that they are not too bright in character as in conjunction with the fast and detailed highlights of the BX2 spectrum the details would not turn into something unwanted. Objections? Of course there are, the space could be better, deeper, but this is not too serious when pricing is concerned. The BX2 is one of the most rounded speakers for its price.

Technical Specifications

Frequency Response: 42Hz – 30kHz

Sensitivity (1W@1M): 90 dB

Nominal Impedance: 8 Ohms

Power Handling (RMS): 100 W

Recommended Amplifier Requirements: 30 – 100 W

Cabinet Support: Front ported bass reflex. HiVe®II port technology

Crossover Frequency: 3.2kHz

Drive Unit Complement: 1 x 165mm (6 1/2″) C-CAM bass mid-range driver
1 x 25mm (1″) C-CAM Gold Dome tweeter

External Dimensions (H x W x D): 350 x 185 x 255 mm
13 3/4 x 7 5/6 x 10 1/16 inches

Weight (each): 5.84 Kg (12.8 lb)

4. Wharfedale Diamond 10.1

Wharfedale - Diamond 10.1 (Black)

More complete than previous model 9.1, Diamond 10.1 is a brilliant speaker for jazz, pop and electronic music, which can be enjoyed for a long time without effort. However, one should be careful with the choice of electronics.

Wharfedale has, despite frequent ownership changes, has been synonymous for quality budget speakers for 75 years. Diamond models will celebrate thirty years of success next year, and the 10th series, judging by the second smallest model 10.1, could continue the tradition.

The dimensions of the boxes remained the same with respect to the predecessor 9.1, counting the curved sides as well. But two bass reflexes were moved to the back of the box and in Wharfedale they measured that this operation helps the speaker go to a low 48 Hz. There is also a change in the construction of a box that is reinforced on the inside by new compartments for eliminating internal standing waves. The neodymium tweeter of the soft dome has a wired shield that also serves as a diffuser for high tones. The glossy aluminum frame around the kevlar membrane is an effective “fashion” detail that covers a special polymers basket. The speaker cartridge is shallower than before because in Wharfedale it is considered that this reduces the effects of reflection movements on the back of the membrane and distortion. The front panel is covered with thick piano-style plastics and the contrast between dark membranes and “silver”, the roughly-shaped frames around them look really handy and expensive. Just like bi-wiring of gold-plated speaker terminals. Diamond 10.1 is a real pleasure for the – the most beautiful design of all Diamond Series.


“Take Five” Dave Brubeck is always grateful for the start-ups. The Diamond 10.1 seemed to be a well-balanced, loud speaker with a warmer character. Saxophon of Paula Desmond was natural, relaxed, but in that extraordinary shot there was a little bit less of “air” than we used to. The change of cables (from Qed to Tara Labs) has bring an improvement, just like turning the speaker to the listener. The bass is well controlled, its extension is surprisingly deep even when the speakers are quite distant from the rear wall.

Wharfedale - Diamond 10.1 (Black) Wharfedale - Diamond 10.1 (Black)

Closer to the wall gets even stronger bass but a bit of focus is lost and the seamless connection between the lowest and the middle is distorted. In Beck’s “Lonesome Tears” speaker has been shown in its musicality, though its ultra-low bass waves have been influenced on minor control issues. The instruments are clearly separated, well laid out in the space of a luxurious stereo image, but there are limitations. When the song “complicates” with the layers of string instruments and the middle of the spectrum becomes buried the instruments are somehow closer and more difficult to recognize in the space. Confirmation that Diamond 10.1 complied with its class and price can never do wonders for more demanding designs came through Brahm’s 4th Symphony; Instruments through the system sound timbrally faithfully with a little bit of lack at the extremes, in the full rushes of the orchestra the speaker rein back as it should, but it is too much to expect to completely separate the instruments and provide a virtual deep impression of the great orchestra lines. That’s why with simplier and electronic recordings Diamond provides a “diamond” sound. The introductory bells of the “Hells Bells” from Australian hard-rock band  AC/DC spread their bells beyond the outside edges of the speakers and give a sense of size.

The guitar riffs and the sound of the cymbals and drums swam with precision and depth of perspective while the “toothed” voice of Brian Johnson floated above the center of the speaker. In a word, the new Wharfedale boxes have made an exciting rock band even more energetic. A similar compliment could be pronounced for the reproduction of electronic music. In Norway’s Royksop duo, the lowest part of the spectrum is not like Beck’s placed speaker to temptation, the extraordinary control of the deep bass in the pulsating “49 percent” proved to be an excellent foundation for a fast, attractive middle segment and “smooth” but transparent high. And as the amplifier volume go up more Diamond 10.1 work better.


Diamond 10.1. retained the main characteristics of its predecessor model 9.1. Diamond 9.1 has a more pronounced darkness, 10.1 will also sacrifice the details for warmer sound, but the more representative mid-range spectrum is approaching the neutral character. Second, the 10.1 with two bass reflex holes provides more space to accommodate the ideal deep-tones level by bringing  closer/furthe to the rear wall. All in all, 10.1 is a more complete speaker, with better cohesion of the sound spectrum and a bass area that imposes control and volume. A great loudspeaker for jazz, pop-rock and electronic music that can be enjoyed for a long time without effort. However, one should be careful with the choice of electronics. The amplifier of the lighter character of the used Marantz, with an explosive “attack” and more power, could draw even a more out of a talented Diamond.

Technical Specifications

Format: Standmount

Bass/Mid Driver: 125mm

Tweeter: 25mm

Suitable Amplifier Power: 20-100 Watts

Impedance (Nominal): 6Ω

A/V Shield: Yes

Sensitivity: 86dB

Nominal Frequency Range: 48Hz – 24kHz

HF Limit (-10dB): 44kHz

Crossover Frequency: 1.8kHz

Dimensions (H*W*D): 296*194*278 (mm)

5. Definitive Technology Studio Monitor 55

Definitive Technology products on our market have been for some time, and we have been able to see and test some of their interesting products. As compared to other audio producers, Definitive Technology constantly offers a bit of different solutions, such as dipole construction, active bass units, and a few more solutions that are rarely offered by manufacturers.

The offer of this manufacturer is extremely wide both in price and in purpose. From high-class speakers, through built-in home cinema to soundboards for tablets. We have prepared a test for the Studio Monitor 55 bookshelf speakers.

Most speakers of Definitive Technology have something in them that distinguishes them from the majority – same thing is with Studio Monitor 55. It seems to be the classic design of small speakers. If we look at the speaker tests back in the last ten years, very few of them are not a bass reflex, and especially if we look at the small speakers – here and there comes something out of the standard. The Studio Monitor 55 is a high quality and well designed speaker available in black finish only.

The front panel is high gloss black while the sides are matte black finish. On the front we find a bass/mid-frame with a very specific design with a large phase extension for better sound dispersion 16.51cm in diameter. The tweeter is aluminum-coated with a ceramic layer and 25.4mm in diameter. What makes this speaker different from the rest of the market is that the box is not a bass reflex construction. On the upper side there is a large oval membrane of height 25.40cm and width of 15.24cm.

Apparently, it looks very similar like the old Kef oval membrane. This membrane is passive, meaning that there is no coil and magnet that drives it, but its movement is related to the movement of the bass unit.

Definitive Technology SM55 Bookshelf Speaker - Black Definitive Technology SM55 Bookshelf Speaker - Black

The speaker box is also hermetically sealed so that the movement of the bass unit causes the passive unit to move. When the bass/midrange is drawn, the passive radiator rises and vice versa. Such a construction is not a novelty and we have already seen the speaker of this design through history but today it is rare, especially at a given price range. An example of such a top-of-the-line speaker design but at a higher price was Sonus Faber Electa Amator 2.

In theory, this approach has advantages over control, strength and bass efficiency, but of course this depends largely on the specific performance of a particular speaker. Of the other technical features, it should be mentioned that this is a very sensitive speaker, whose declared sensitivity is 90 dB at the impedance of 8 ohms. The maximum power that this speaker can receive is 225W. The height of the box itself is 33.02 cm, width 20 cm, depth 31.43 cm, while the weight of a speaker is 6.8 kg.


Studio Monitor 55 has spent more time in the listening room. After the initial tuning that lasted longer than usual, which is commonplace with speakers with an aluminum tweeter, a test has started. It has been shown that the speakers are not difficult to accommodate in space, which can be largely due to the lack of bass reflection of the opening so that they can sound well in smaller spaces or in cases where the owner can not place them away from the rear and side walls.

The first listening material was Kind of Blue, Miles Davis. The sound of his trumpet sounded biting and very well defined with a great echo. The aluminum tweeter is capable of transferring a lot of detail clearly spaced in the space. The midfield area is well defined and each performer has a clear place on the stage. The minimum presence of coloration throughout the spectrum is one of the strongest trumps of this speaker. When listening to the symphonic orchestration SM55 showed how much detail it can deliver and how precise it is.

Stage size is very good in all dimensions and especially in depth compared to other competitors of similar price. The timpane strikes this speaker reproduces with exceptional strength and speed, and no depth is far behind. Even in the larger room this speaker has been able to fully fill in the sound and provide enough bass. When listening to amplified and computer-generated music SM55 has demonstrated that it can handle without a problem with such a type of material. His great speed and a very good definition made this material fun for listening. But when listening to this often poorly produced material, it turned out that the aluminum tweeter sometimes sounds tough.


Studio Monitor 55 is an extremely interesting speaker for several reasons. First his construction is different from the rest of the competition. Because of this construction it is capable of delivering the sound that is something new in this price class. With the proper electronics, which is just important not to be too bright in character, can provide a lot in very different listening conditions and fill larger room with sound. And because of its lively character it is pretty good with all kinds of music and even movies.

Technical Specifications

Total Frequency Response: 32 Hz → 30 Hz

Nominal Impedance: 8 ohms

Height: 13″ (33.02 cm)

Width: 7.875″ (20 cm)

Depth: 12.375″ (31.43 cm)

Weight: 15.45 lbs (7.01 kg)

Driver Complement: (1)  6.5″ (16.51 cm) d (Round) BDSS Bass – Mid/Woofer

(1)  10″ (25.4 cm) h x 6″ (15.24 cm) w (Oval) – Bass Radiator

(1)  1″ (2.54 cm) d (Round) – Tweeter

Recommended Amplifier Power Per Channel: 20 watts → 225 watts

Speaker Inputs: (2) Pair of 5-Way Binding Posts – Gold Plated

This is the list of the top 5 bookshelf speakers in 2018. It is up to you to choose and buy a new bookshelf speakers by very reasonable prices, as you may see.

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How To Clean A Turntable Stylus/Needle Sun, 25 Feb 2018 13:10:30 +0000

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Anyone with a turntable and regularly listening to the records, irrelevant are they old or new, certainly adds attention to the needle of a turntable and takes care of the hygiene of the most subtle part that in the world of turntables means music. At least it should be.

No matter what kind of records you listen to, sooner or later the needle will get dirty. It will cover not only with dust but also fat. According to some claims, fringes caused by friction will also be deposited. Specifically, the point at which the needle and vinyl tip are touched is about 200 ° C during playback which results in a melting of vinyl, but only at a micro level and with no lasting effects on the record itself. However, everything that is found on the way of that touch point, which is mostly dust, literally burns and leaves a combustion byproduct. This is just a theory and no matter the pile of articles on that subject and all the hard evidence, there is no right base.

Combustion or not, what is certain is that the needle will accumulate a new layer of dust and grease on each rotation of the record. A little by little and for a while you have a needle covered with layers of dirt. This is a big problem because you have made it impossible for the needle to do its basic task, touching the slit walls of the record groove. As a result, you have distortion, popping out, crackles, loss of details and other problems. If you notice any of this distortions in the sound, you know what to do. In fact, you need to clean the needle once a week, or at least every 10 records. But also, much depends on what kind of record you are listening to.


A well cleansed turntable needle, no matter which price class it belongs, can provide drastically better sound results.

Needle can be cleaned in several ways, less or more efficient. On the internet you can really read the tone of articles on this topic. Personally, I have not tried everything but from what I am, I would distinguish the one that seems simpler and very effective for everyday use.

So you can start out with specially designed bristle hairs. With careful handling (always careful), you can easily remove dust from the needle. However, stubborn deposits will remain, ensuring that new dust on the needle can be expected with the next record.


Lyra SPT

There is also a variant of special liquids and brushes, also with super fine fibers. One such thing I use is super efficient. It is a Lyra SPT (Stylus Performance Treatment), a liquid sold in a 5 ml bottle at a price of about 55 euros. If you consider that 88.2% of the liquid is water, you simply come to the conclusion that you would have to cut about 10,000 euros for this water. And then somebody finds out that public water supply is expensive.

The shawl, these 5 ml will be enough for years and years of use. I bought my own for about two years and I have not spent the sixth, and I did not save.

However, there is another thing to consider when it comes to needle cleaning fluid. It is important to pay attention to what kind of fluid it is, ie what it is. There are less and more aggressive. If your needle is glued to the cantilever, and you use some aggressive agent, there is a chance that it will fell off it as you melt the glue. If not from the first, in time, for sure. Otherwise, the recommendation, no matter what kind of equipment you use, is not to touch the cantilever, but just the needle, if you have such a quiet arm and a precise eye.


Vinyl Styl Stylus Cleaner

There are also special sponges that essentially replace the fibers of the brush. A cleaning agent is also applied to them and the needle is ‘flushed’ in that sponge. Another action that can go wrong in half a second. Something similar to Lyra SPT is offered by VinylStyl, whose special brush is also anti-static. The fluid is placed on the brush and the brush is pulled unilaterally towards the user. And there you need to be very careful not to pull the brush to the left or to the right, or pull back and forth.


Flux HiFi Sonic Electronic Stylus Cleaner

A somewhat more elegant solution is offered by the Flux HiFi Sonic Electronic Stylus Cleaner, which cleans the needle with ultrasound frequencies. On the base of the device, a special fluid is bumped and the needle is lowered. The device, then, with ultra high frequency, literally breaks the needle deposits and removes them from it.


Audio Technica AT-637

This technology exists since the last century. Among the more popular was the Audio-Technica AT-637. However, in time, there is a suspicion that such devices can damage the sensitive cartridge system due to too high frequencies, so they are somewhat oblivious. Flux HIFI works at low frequencies (though still ultrasonic) and according to statements by many users, a thing works perfectly. However, this unfortunately has its price of about 150 euros.

audio-technica AT607 AT-607 Stylus Cleaner Cleaning Formula audio-technica AT607 AT-607 Stylus Cleaner Cleaning Formula

Of course, there are numerous DIY variants. Some genius has discovered that there is a certain kitchen or bathroom cleanser that is in fact ideal for cleaning needles. And then goes writings on the internet forums – you can buy it here and there, but be careful that the box has a blue line on the side. If it has a green, there is a possibility of scratching the entire turntable. But if there is blue, then look for the sponge with a certain density, cut out the cubic centimeter, soak it with the liquid and carefully lower the needle, making sure you wear a protective suit and glasses. You understand, you never do a things as this.


Mr. Clean Magic Eraser – on forums you can find posts as this is a super-efficient turntable needle cleaner, as well as warnings as it is a highly aggressive and risky tool.

What seems to me the simplest, and even from the time I did not have a turntable yet, proved to be not only an acceptable price but also a very effective solution. Unfortunately, until I get a better microscope you will have to be satisfied with the photos that are here, but I believe it will serve as a guideline you can expect.


It is a polymeric gelatinous material of high elasticity. Once the needle comes in, it literally takes over all the dirt, and thanks to the added chemical, it removes all residues from the needle. The whole procedure is trivial and ridiculously simple.

There are more manufacturers who offer this ‘mysterious’ material in different shapes, at different prices. The latest in the series is the DS Audio whose ST-50 costs around 100 euros. Personally, for me, Onzow ZeroDust stuck around because there are hundreds of positive statements from users around the world and because it is not too expensive. However, you should be careful when shopping. You can order Onzow Zero Dust at Amazon:

ONZOW ZeroDust - Stylus Cleaner ONZOW ZeroDust - Stylus Cleaner


Anyway, I threw a glimpse through the cheap microscope bought on eBay for a couple of dollars and saw the dirt. I set ZeroDust on the plate, lifted the tone arm, placed over the bladder and lowered the needle twice to the top. And that was – it!


onzow-zero-dust-animationThe next look through the same piece of plastic showed that the needle was completely cleansed. I could not see any residue. I even cleaned the needle with Lyra SPT, but there was still no difference in saying that ZeroDust did a very good job.


The only thing that is minus at ZeroDust, which can pose a real danger, is to turn the plate by accident while you put the needle on the mixture. Then you risk losing the needle to the side and with a tear in your eyes you say – bye, bye. So be careful! But why would anyone in this world go to turn the plate while cleaning the tunrtable needle ?! There is no fear and benefits are already heard on the next record.

I have cleaned needles on two different turntables from my friend. One is a Sansui from the Stone Age, while the other is the new Rega P3. It is not difficult to guess who was in the worse condition. I would even say that the needle on Sansui was not cleansed since a turntable was purchased. Coma.

There ZeroDust does not help from the first, so I dumped the dirt and the deposits with Lyra SPT. We could’t get any better results than this in the photo because of the condition of the needle itself.

Expected, Rega was in a much better condition, even though the dirt had accumulated. Here ZeroDust did an excellent job, and the fine glimpse fell again with Lyra SPT.

Finally, I am interested in what kind of experience do you have with cleaning the turntable needle? Which tools and techniques do you use? Feel free to comment.

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Pro-Ject The Classic – Complete Review & Hearing Test Tue, 20 Feb 2018 13:11:31 +0000

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New 25 years of classical turntable

On the occasion of the jubilee, the renowned Austrian producer launched a new model of the turntable – as it always looked like and with the lid.

In the introduction to the presentation that he personally held in Brussels, Heinz Lichtenegger, the founder of Pro-Ject, with enthusiasm of a fan of records and music, told that he sold the first turntable in his mother’s gas station, using her registered company. In the first year, in its hometown, which then numbered about 2,000 people, he succeeded in selling about 50 Thorens TD166 MkII. Many years later, more precisely in 1990, when he began to construct and produce turntables, Heinz’s credo was that analogue reproduction is the most economical way of listening to music in audiofil quality. Then, of course, he could not predict that the vinyl renaissance would turn the turntables and records into desirable objects with not so economical prices, but he continued uninterrupted thread from his first turntable to this day. It is not, therefore, a surprise that he decided to make the classic creation on the 25th anniversary of Pro-Ject.

Your design sounds familiar

The Classic is deja vu. Just as the name says, as a classic turntable. A discreet rectangular box with a fine furnace, an aluminum plate, a polished platter, and a Pro-Ject transparent cover, succeed in bringing the turntable into the home as it has been in it since the seventies, but as a brand new. If the carbon arm is excluded, nothing on this turntable gives any technical solutions and tone enhancements built into it. The main idea was to offer a turntable not for a tech lovers, but for music lovers, who will be fully equipped for fine tuning and playback, without the need for adding and installing more or less expensive accessories.

The turntable box with the base is made of MDF and relies on the surface with four adjustable feet with felt support and damped thermoplastic elastomer, which should completely eliminate the need for installing the spikes later. TPE is a rubber-like material which, depending on the composition of the mat, offers different hardness, therefore, different resonant frequencies, and is quite useful in this turntable. In the box, next to the motor, there are six TPE balls instead of springs, placed in the ellipse, floating on an independent chassis made of aluminum sandwiches and MDF. The chassis does not touch the sides of the box and carries the tone arm and the platter. The precision bearing is almost identical to the design in the Debut model; This is a shaft made of polished steel in bolt of sintered bronze and teflon, but with one important difference: the bearing is made with ten times less tolerance (0.005%), which is reflected in a lower background noise during rotation, which enters the total sum of the noise. On the pulley with the shaft lies the platter, which is also enhanced. Unlike earlier molten or stamped platters that used to ring, the platter was cut from a single piece of aluminum alloy and then damped close to the edge with the fillings of two different TPE mixtures.


The tone arm with integrated head shell has also been improved. The already known combination of aluminum tube that dampen vibrations, coated with carbon fibers for rigidity and speed, now has a whole new touch and suspension: the support points in the cardan are made of synthetic diamond, and on the underside is the bearing of Japanese production. This construction allows wiring to pass through the axis and the arm base and does not complicate its angular movement. The counterweight has a TPE fill, which reduces the resonance of the tone arm free end to the half. Non-standard for this price range is the ability to adjust the inclination and azimuth of the tone arm, expanding the choice of cartridges that can be mounted on this turntable. Also, the tone arm compliance is in medium range, so it fits very well with the MC cartridges. In the standard package, the turntable is supplied with the Ortofon 2M Silver cartridge with silver wire coils and cartridge screws in its own production. The wiring is made to the back of the base, where two gold plated RF connector and screws are placed. The drive motor is AC with electronic regulation via a DC inverter, similar to the Speedbox. It is placed in the lower chassis and has a two-stage gearbox for speed change. As it is hidden beneath the platter it is necessary to remove the platter so that you can switch the belt. Although not often expected to play at 45 rpm, this remains an objection to the design.

Pro-ject The Classic Sub-chassis turntable with 9? carbon/alu sandwich tonearm- Rosenut Pro-ject The Classic Sub-chassis turntable with 9? carbon/alu sandwich tonearm- Rosenut

The Classic comes packed with a lot of useful stuff. In the box you will find a Connect It E interconnect, a felted mat, a mechanical scale, a three-scaled protractor, an antiskating weight, a single record adapter, wrenches, a spare TPE ball, a pair of gloves and a magic cloth. We are not sure how much the cloth is suitable for wiping the acrylic lid, so we advise you to use a softer material for your The Classic.

In addition to the standard package, for the additional 500 $ The Classic is supplied with Superpack equipment, which includes the Ortofon MC cartridge, Van den Hul interconnect with no silver, leather mat, electronic speed selector and the clamp.


Pro Ject The Classic Hearing Test

We had the opportunity to listen to The Classic in the home system and the home conditions, but also in the reference Pro-Ject system, via the phono preamp Prebox DS2 connected to the MaiA DS2 integrated D-class amplifier and Triangle Antal EZ speakers. The music material was particularly remastered reissue of Maler’s Second Symphony (Vienna Philharmonic, Mehta) on Decca’s 1975 label. Two 180-gram vinyl in a limited edition of 2,000 and with a Pro Ject logo are intended exclusively for collectors via distributors.

At the very beginning of the first musical paragraph it could be noted that the background was extremely silent, which subsequently delivers more fine details in the foreground. String in a strong start and delicate brass section in the background have their natural colors, and the turntable reveals all beauty of the analogue recording. The strings have silken, gentle and full sound. Cellos and basses are well defined not only by their depth, but by the articulation and color of the instrument. In the lower range, the differentiation of different string instruments and percussion is very good, and this is not at the expense of their dynamics and tightness. The Classic very good resolves complex music information, and proof is the wealth of the whole of the eighty clearly distinguished musicians.

The sound of the parts closer to the center of the record does not give any indication of graininess or less separation of the channel, which could be confirmed by listening to silent passages and separated strings with clear positions on the left and right sides. This means that the tone arm and the cartridge follow the groove precisely and at the right angle, with the barely rising augmentation of the high sibilances.


In the overall impression, the only objection of the sound is a somewhat darker tone, which reduces the spatial information and the size of the sound stage, which is, however, proportionate and with quite accurate positioning of the instruments, but it happens that the instruments after the initial transition are slightly lost in the mass of the orchestra. Reason probably lies in the combination of the tone arm and the cartridge, so it is therefore easy to remove it by replacing the cartridge.

Pro Ject The Classic – Test Conclusion

Critical listening to music components leads to the danger of losing sound as a whole out of sight. The Classic has passed all the individual analytical listening tests very successfully, but they did not draw attention from the overall musical impression. The Pro Ject jubilee turntable is a very good set of components and performances designed for those looking for a simple, but good quality solution for the turntable, without dimming into the vinyl voodoo water. His pleasant sound and excellent performance, in which we does not have much to worry about, the audiophiles will much appreciate. If your high-quality vinyl collection and a free place on the shelf are awaiting for a turntable, this can be one of the best choices in the current year. Experimenting with other cartridges may raise the reproduction of this turntable to an even higher level.

User manual is located here: Pro-Ject The Classic User Manual Download

√Check Price and Availability Here√

An excellent all-in-one audiofil kit for high-quality vinyl reproduction.

Removing the platter for manual speed shift is not an elegant solution.

Pro Ject The Classic Specifications:

Pro-Ject THE CLASSIC with Pro-Ject 9’’ Carbon/Alu sandwich tonearm
Nominal speeds: 33/45 r.p.m.
Speed variance:33: ±0,15 % 45: ±0,12 %
Wow and flutter: 33: ±0,11 % 45: ±0,10%
Signal to noise: 70dB
Effective tonearm mass: 13,5g
Effective tonearm length: 9 ” (230mm)
Overhang: 18mm
Power consumption: 5W/>0,5W standby mode
Outboard power supply: 15V/ 1,6 A DC, universal power supply
Dimensions (W x H x D): 462 x 131 x 351mm, dust cover open 462 x 423 x 390 mm
Weight: 10,2kg
Technical specifications MM – Cartridge Ortofon 2M Silver
Frequency range: 20-22.000Hz
Channel separation: 23dB /1kHz
Output voltage: 4mV
Recommended load impedance: 47kohms/amplifier connection – MM-input
Compliance/stylus type: 20μm /mN – elliptical
Recommended tracking force: 18mN
Weight: 7,2g
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Sota Comet Series III Turntable Review & Hearing Test Wed, 07 Feb 2018 13:56:29 +0000

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The second model in Sota series came to review, Comet with the factory S303 tone arm. The offer is from the most advanced to the original Millennia, Cosmos, Nova, Star, Sapphire, Jewel, Satellite, Comet and Moonbeam models. The first four models have a vacuum mat.
The first Sota turntable was offered in the market in 1982 under the name Sapphire. It was quickly recognized as a great device and, in the midst of the digital era, inspired the fans of analogy that it was not all lost.


For music lovers who have retained their precious vinyl collections, the turntables have never been dropped into the dustbin of unnecessary and unwanted devices, but have always been used as a source of truly natural music reproduction. Although the production and sale of the LP records has diminished and became quite marginal, for many the reproductionof the vinyl remained the standard for measuring the quality of all new devices and sound carriers. Moreover, the designers of the turntables still revised their designs, applied new materials and technology, and maintained the offer of live music, more diverse and better than ever. Many CD players of that time aspired to mimic vinyl, and today, after the shift of generations, the youngest have no experience with the finest turntable combinations, turntables, these emperors of analogy reproduce music from (digitally) newly-recorded and remastered CDs in the quality of a mid-CD player.
Of course, for a new generations a standard of good reproduction is compact disc, computer, or MP3 compressed records. However, today’s technologies have led to high-quality reproduction from the PC with the help of more advanced streamers / DA inverters, high resolution shots, and bypassing computer sound cards.

SOTA COMET Turntable with REGA S-303 Tonearm with Dustcover-High Gloss Black-Made in USA!

Back To The Sota Comet Turntable

Sota Sapphire was in its time the only high-end turntable produced in America and, thanks to excellent sales results, has inspired many to begin construction and production.
Partly owned by Kirin and Donna Bodinet, today SOTA (State Of The Art) is a respectable producer of not only turntables but also record cleaners, dealing with service, repairs, upgrades, modification and sale of parts and accessories related to reproduction of vinyl. The design team, apart from the above, is made up of David Fletcher, an electronics designer and analogue reproduction physics consultant, Jack Shafton and John Gilmore. Everyone was involved in the design of Comet, Moonbeam, Millenia’s turntable and both models of record cleaners. Today’s products with their quality continue to tradition, and thanks to post-marketing and maintenance, the number of satisfied customers is growing.

Today, when the turntables and vinyl records are coming back in the case of Sota, we can not talk about returning to the scene, but about taking the place that belongs to Sota all the time – at the top.
As production of tone arms, which would follow the turntables with its quality, is very demanding and painstaking, intelligent manufacturers take modified tone arms of proven quality and mount them on their turntables. The Comet is standardly supplied with the Rega S303 tone arm which proved to be a very good combination.

Thanks to the new material, turntable manufacturers are fighting vibration by choosing and combining the material, and less often with sub-chassis. The Comet housing is made from a thick piece of composite shining finishing and even better interior vibration damping. Such a housing, with the help of three feet, which is made of a sticky absorbent polymer, is resistant to the effect of vibration from the environment. Asynchronous 24-pole motor over a rubber strap drive a hard-shell sub platter with a sharp focusing direction. On top of that it comes a black platter made with sandwich technique. Sandwich ofa a sub platter and the platter are two layers of plexiglass between which is a layer of high density polymers and high absorbent abilities. The bearing cup is made of a material called Turcit, self-extinguishing polymer teflon impregnated.

Unlike many turntables with a similar construction, Comet is relatively insensitive to positioning in the listening room. We do not have to waste the words about Rega 303, because we know more or less everything about this great product. The only probable defect is the impossibility of adjusting VTA (as it is called the SRA – Stylus Rack Angle today), but it is possible to intervene with attached pads (placed under the screws that secure the bearinf of the tone arm). Theoretically and practically, VTA is an important parameter, but the theory quickly falls into the water. Due to the different thicknesses of the records VTA is constantly changing. For perfect adjustment, it would be necessary to fix it for each record, which is exceptionally difficult to perform. So set the tone arm to the height where the VTA will be right for the thickness of most of the records in the collection and enjoy the music.
For this review we used Audio Technique OC10 tone arm, compliance 9×10-6 cm/Dyn, 0,4 mV output voltage. The impedance is set to 100 ohms and a torque of 1.6 g.


The first thing that struck in the ears was the dark background from which the music came from. Microdynamics immediately shone in the audible and recognizable interplay of quietly playing instruments, smooth and effortless. Throughout the hallowed area, the order, the serenity and the collaboration of musicians reigned, and the leading instruments and/or singers stepped into the space. Although the soloists dominated(of course, depending on the recording), the orchestra in the background did not lose its clarity and detail. All shades were recognizable and smooth. The central area, where much of the music is happening, was seamlessly integrated with the edges, smooth and flowing. The combination of the turntable, tone arm and the cartridge clearly revealed even the slightest differences in the production, clearly outlining all three dimensions of the music player’s space. Part of the merit can certainly be allocated to the tone arm, but we must not forget that the turntable and the tonearm must prevent the generation and regeneration of any parasitic vibrations that would reach the needle/cartrdige and cause their unwanted motion and, consequently, reproduce information not recorded on the vinyl . In addition, the turntable must maintain a constant speed without any fluctuation of any kind, which makes no problem for Comet.

SOTA COMET Turntable with REGA S-303 Tonearm with Dustcover-High Gloss Black-Made in USA! SOTA COMET Turntable with REGA S-303 Tonearm with Dustcover-High Gloss Black-Made in USA!

Piano keystrokes, tone duration, and disappearance in the darkness of the background are very lively, with no fluctuations or deformations. Particularly impressive are the brass sections that retain the desirable amount of flicker and sound power, and the player’s technique is clear and sparkling. A low quality turntable combination would have the problem of excessive aggressiveness and unabashed painful puckering, especially the trumpet. Confirmation that Comet is excellent turntable came when we were playing a brilliant record of Stimela from Hugh Masekele’s Hope album. Technique, tone hold, stacated parts and play dynamics are flawless. Equally gloomy is the glamor of the great jazz orchestra of Harry James from the King James Version record, where the strong wind instruments sound breaks everything in front of him. Kick of the bass drum pedal, a sharp twitches of thick double bass wires, depth of the tubes are controlled, deep and vibrant. Holding tons and duration have contributed to the distinguishing the type and strength of the percussion, and the cymbals had the right size to clearly articulate the type and size of the stick or the brush and the part of the cymbal to which it struck.

The strings are shrill and humble, well positioned in space. With the rest of the orchestra, the harmony was achieved with a clear distinction between the wind instrument group. Human voices are richly painted, clear sounding. The choirs are recognizable and well-ranked by height.

Sota Comet accompanied with in S303 does not equalizes different recordings and productions, but reproduces an important but not drastic difference. Through the multi-week listening of different music from different recods, the combination has shown that today they are producing turntable music that is reproduced in the same analogous way that older audiophiles like to remember and younger, unfortunately, do not know.


If you want a turntable that plays music the way a turntable should and does not match new standards and tastes, this combination should certainly be taken seriously. Trainees of new trends, where turntable and vinyl sound carriers reproduce music that has lost analogity in precision and comes from digital sources, should happily look elsewhere.
Comet and S303 make this kit easy to handle and instead of endless distress in search for perfect geometry  indulge in the long and cheerful enjoyment of music.

√Check Price and Availability Here√

Do not forget that with the purchase of turntable all the problems of faithful reproduction are not resolved. We all know that the chain is strong as strong as the weakest link. Accordingly it is necessary to carefully select the cartridge and at the end, but not least, a better phono preamp that will guarantee that the weak signal will be amplified as well as with the correct and accurate RIAA equalization. Only then will all the components of this great source of analogue sound achieve results above expectations.

Can it be better? Of course! But for that price, hard.

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Rega Planar 2 – A Complete Review & Hearing Test Wed, 10 Jan 2018 17:00:46 +0000

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Analog Plug And Play

The third version of Rega’s classics is intended for a new generation of vinyl lovers. What impression will it have on older vinyl lovers?


For many people from the analogue generation, Rega is a synonym for a good sound and solid hi-fi from a mid-size British manufacturer, the one that has given the most names and devices that have become history. Rega is best known for its good turntables, but its other devices – amplifiers and CD players – met the same expectations we have been accustomed to this brand in the middle of the seventies. At this time, the first model of the legendary turntable Planar 2 appeared, whose third generation we have the opportunity to test in this post.

Rega is a turntable from whom you know exactly what you can expect, which that turntable fully provides.

Planar 2 is located between models 1 and 3, where the only difference between second and third is at first glance a metal joint between the base of the tone arm and the platter axis on the higher model. In addition, Planar 3 has a better RB330 tone arm as well as the option of optional TT-PSU power supply for the motor. But, if viewed from the beginning of the models list, as the first model above the base, one could not say that it does not offer enough. Planar 2 is, in fact, a set that makes the base, the tone arm and the cartridge a very good synergy. A new generation of wood base replaces acrylic sandwich in shiny black or white. You can read many discussions on web forums regarding inferior properties of the new material as compared to the wood or how it coloring the sound, the main lack of base is still a solid suspension, in fact the support on three rubber feet which, though increased and dampened, still require a well damped base so the turntable would be isolated from external vibrations; This is, however, a compromise in this class. The electronic speed control system and the 24-volt external power supply are integrated into the base with a switch underneath the lower edge to maintain a sleek design clean. Through a short belt, the engine is started over starts a full plastic pulley in a brass bearing, which holds a 10 mm thick glass platter. Although vry precisely made and perfectly flat (the plate is “sticking” when lifted), glass is an acoustic unusual material for a turntable, primarily because it “resonates” at the frequencies of the surrounding vibrations and then because of its different acoustic impedance from the vinyl, so it does not absorb enough resonance from the record itself – so the matched mat must be used. The advantage of a glass plate is its solid mass, which improves the stability of the speed and reduces the jolt coming from the engine. Shifting the speed is manually, via the motor belt, below the platter. And while in expensive turntables this kind of solution is a big flaw, in this class of turntable is quite acceptable, but, nevertheless, prepare the gloves to keep fingerprints off from the glass when removing the record.

The RB220 also brings some innovations. On the track of the most successful models, the RB250 and RB300, this nine-inch model with an integrated shell and aluminum tone arm “seats” on a newly designed, low-friction, no tollerance bearing, as the manufacturer claims. The tone arm has an integrated clip and an automatic anti skating adjustment within the tone arm weight. Weight on the rear end of the tone arm does not have a scale as a better model, so when adjusting the weight the rule is “one circle – one gram” when the tone arm is adjusted to the position zero, and for the correct position of the weight we using the green dot on the circumference. As we expected, the RB220 does not have the option of adjusting the VTA angle, so switching to the second cartridge becomes a more complex than the ordinary replacement.


Carbon, the basic Rega’s MM cartridge, is a part of this set, with a 2.5-inch and replaceable needle outlet. The recommended mass is between two and three grams. Finally, there is also an acrylic cover, which is fixed to the two hinges on the back of the turntable base. The whole turntable weighs more than 10 pounds. If you are not satisfied with this basic package, you can get a Performance Pack, with MM cartridge Bias 2, an improved belt, as well as a wool mat.

Hearing Test

Planar 2 is a plug and play turntable: it is assembled in the factory and tuned almost ideal. When we took it out of the box, we checked the geometry of the tone arm and the cartridge using the supplied protractor – deviation was minimal, so we still tune this up – while the perfect parallel of tone arm and the platter can admire every turntable lover. VTF has been subtracted to a mean value of 2.5 grams. Thus, in less than 15 minutes tunrtable is already been connected to the Micro iPhone 2 phono preamplifier in the A-class, where we set MM input to 100 picofarads and gain of 36 decibels.

About the time when the original Planar 2 was born was the studio band Incredible Bongo Band was very popular. This instrumental group with prominent percussion and funky rhythms published his greatest hits “Bongo Rock” on vinyl in 2006. Processing “I Can Get No Satisfaction” with bongos in the foreground sounds rhythmic and great. The foot on the drum has a solid blow and a decency. Bas guitar prevails in numbers, but the cartridge does not lose control in the groove, the acoustic circuit with the base does not overplay the bass and very properly positioning the bongos in the space. Over the whole of this rhythm section are hit-hats and cymbals in a very fine upper range, which, though, is somewhat more clenched on the recording itself. The brass section and electrical organs in the middle range does not fight for the place in the foreground. All in all, on a dynamic material, there is no confusion in the picture, compression or loud noise, on the contrary, everything sounds clean and organized.


Then we turned to the more demanding classical music, and the piano, the ultimate instrument for testing many audio components. We chose Beethoven’s Piano Concert no. 1 (E. Gilels, Cleveland Orchestra, Sel) on EMI’s 1968 recording. The concert, which begins quietly and gradually, reveals that Planar 2 is very quiet and does not enter the sound of its own rumble under the sound. As soon as the whole orchestra had caught up and go, we were re-introduced to this recognizable Rega’s sense of rhythm, albeit different from the previous record. The strings are fluid, with a discrete dose of grain. The color of the piano is solid, if not extraordinary, this instrument is good enough, but it is not uniform on a full scale, so the deep tones are sonorous than they should be, the most dirty ones have a mild hinky tonk blow but the middle part around who most music is playing is more than correct. In a slow approach, where different parts of the orchestra are permeated, Planar 2 shows a tendency to break fine details, individual instruments, as well as to hide a portion of the less engaged background in favor of the first plan. However, the total pleasure of listening of a  classical music is very good.

We did a hearing test also without a mat, with a record directly on the glass. As we mentioned at the beginning of the text, the record adhere really good for the surface, but, as expected, the sound changes. The details we have heard before have been lost; the stage was further clustered and dense, and the middle was slightly outgrowed in the front plan, the high range became thinner and elevated. It is not excluded that someone will enjoy such a quiet(even monotonous) sound. However, what is recommended in acrylic plattees is not the best solution here and it is better to keep the mat or even get one of the better quality.


As we expected from Rega, Planar 2 is great for listening: one of those sources that at one point seem to say, “Listen to this now …” The sound of this turntable is dynamic, straightforward and honest, with a very good balance of the entire range. The main star of this turntable is, in fact, a tone arm. Rega’s tone arms have traditionally offered perhaps the best performance and price-performance ratio – the RB220 might not be at RB250 or 300 level, but certainly gives the main and recognizable sound mark of this brand. Planar 2 is not the champion of the finest detail (it would be really hard to find a turntable in a class just above to 600 $ that is competent) but without them it is a very complete turntable which, along with a full package with a tone arm and shell and because of its simplicity of installation and use, it is difficult to reach in its class.

Manual is located here: Rega Planar 2 User Manual


Very musical and lively, but decent and moderate.
An excellent package of components in mutual synergy.


Rigid suspension makes it more sensitive to the base type.
Inability to set VTA.

Rega Planar 2 Specifications

Base: solid chassis, rigid suspension
Drive: belt drive
Speeds: 33 ⅓ and 45, shift over the belt
Platter: glass, 10 mm
Engine: fixed to base, external power supply
Tone arm: Rega RB220
Vartridge: Rega Carbon MM
Dimensions (WxHxD): 44.7x36x11.7 (with lid)
Weight: 5.5 kg

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Used Turntables Buying Guide – What to Look for in Used Record Players? Wed, 03 Jan 2018 13:19:21 +0000

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Used Turntables

As with buying any used stuff, when buying a second hand record player, it is important to open your eyes and ears well, take it with a healthy mind and be a bit of a psychologist (in the seller’s judgment).
In addition, you must pay attention to the following several things:

  1. Avoid models with a lot of automatic, such as resetting a tone arm to resting position, repetition, automatic positioning and lowering of the needle at the start of the record, etc. The more automatcss, the more likely it is that something is not working properly or something will quickly break down, although it was working ok in the moment of purchase, as we talking about devices between the ages of 20 and 35, and sometimes more.
  2. Avoid purchasing a turntable with the T4P cartridge mounting system, as the new needle/cartridge is almost impossible to find on the market, except for the occasional model of the Audio Technica AT92. In addition, these record players are not suitable for further improvement by adding a higher quality cartridge or other interventions, and many of them can not be adjusted properly. Due to the aforementioned drawbacks, the turntable models with the T4P system are not covered by this guide for buying used record players, although they are often offered on ads.
  3. If it is a “belt drive” turntable make sure that the belt is not too stretched, and whether the tire has tiny cracks, which is not good because it says the belt is are at the end of its lifetime.
  4. When purchasing a turntable with a sub chassis, pay attention to the state of the spring, or whether the sub chassis stands wrong, indicating that the springs are either not set (tensed) properly or failed. If they have failed, it is practically impossible to bring the sub chassis into the optimum position so that the platter (the sub chassis itself) is horizontal, that the axis of the motor is parallel to the axis of the plate (so that the turning of the motor over the belt is properly transmitted to the platter) and to subchassis equally moves freely, ie performs its function of separating bearings with a plate and tone arm from the turntable case itself. This is especially related to Thorens turntables, which is a relatively common problem, especially in older models.
  5. In the case of direct drive turntable or record player where the rotation from the motor is directly transferred to the plate, the speed (both 33 and 45) should be checked, since in these turntables it is the most common problem with the inability to maintain constant speed. The safest test is, try to see if a turntable can spin one side of the board at speed 33, and that there are no audible or visible (in stroboscope) speed fluctuations. If this goes right, raise the needle from the platter, let the platter continue to rotate. As the platter rotates, change the speed from 33 to 45 and vice versa repeatedly and look at the strobe to see if the turntable always achieves the correct speed. If all has gone smoothly, one more thing you need to do: if the turntable has the ability to fine-tune the speed (most of them have, that is the “wheel” where “pitch” is written), rotate that potentiometer from min to max and back several times, if and after that speed can be adjusted to be constant, then most likely everything is ok. Although there may always be some hidden flaws in these turntable sets.
  6. Check the position of the tone arm, ie the tone arm should lower / raise and turn left / right without resistance, but not too loosely.
  7. Check the condition of the cartridge, though this is not so important because our recommendation is to purchase new cartridge in each case.
  8. In addition to the listed items you need to check all other turntable functions, the lift mechanism(“cue” on some turntables), auto if it has etc. Whether the cover remains open in the upper position while changing the record or dropping it over your hands, etc. .
  9. The visual-cosmetic impression is not so important to the function of the turntable itself, but we can tell a lot about the relation of the owner-seller to the turntable, and from this we can already deduce how reliable that turntable works. And, if the record player works properly, based on visual-cosmetic flaws (cracked cover, missing hinge, a button is missing, a greaseproof on a turntable, etc.) one can and should work to lower the price.

If you can buy it from a known seller, through friends, acquaintances – this is no guarantee.

This guide will be constantly updated with new record player models as well as relevant information on common faults, etc.

The score or description of the sound of some turntables are the result of personal experience and sound experience.

The maximum prices in $ sum we consider to be allocated for the models mentioned in the guide are the result of a long-term monitoring of the market of used turntables. Further, the prices represent the maximum amount of money to pay for a turntable, regardless of whether it is mounted with the cartridge or not. In 95% of cases, the cartridge is unusable, except for “plowing” on the records. So, it is best to leave the cartridge to the seller for memory, and to urge culturally to set up the price for the headless turntable.

Turntables are split by alphabet and prices, from the lowest to the highest:

            1. Dual CS 505 / MkII / MkIII / MkIV
              plastic case – up to 60 $
              wooden case – up to 80 $
              Semi-automatic turntable driven over the belt with fine tuning speed. A lightweight tone arm that is easy to mount at a cheaper Ortofon / Grado / AT cartridge.
              Sound: nothing special, the best and the most heard medium range, bass and highs occurs sporadically.
              Common Problems: Tone arm resetting often does not work properly; Belt; The fine-tuning belt quickly breaks down or is completely stuck.used-technics-sl-b202-for-sale
            2. Technics SL-B202 – up to 60 $
              Technics S-B303 – up to 60 $
              Belt drive record players with identical technical features, with strobe and fine tuning speed. The only difference is that 202 is semi-automatic and 303 is automatic turntable.
              Sound: Straight without emotion, the best and most commonly heard medium range.
              Common Problems: Tone arm resetting often does not work properly; Beltused-technics-sl-d202
            3. Technics SL-D202 – up to 70 $
              Technics SL-D303 – up to 70 $
              Direct drive turntables with identical technical features, with strobe and fine tuning speed. The only difference is that 202 is semi-automatic and 303 is automatic turntable.
              Sound: straight without emotion, the medium is best heard, although there are bass indications.
              Most common problems: Dusty pot for fine tuning speed; Sometimes you need to adjust the speed trimmer.used-technics-sl-1900
            4. Technics SL 1900 – up to 70 $
              Technics SL 2000 – up to 80 $
              Direct drive record players of similar technical characteristics, with stroboscope and fine tuning speed. Model 2000 is manual and 1900 is automatic.
              Sound: Relatively uniform throughout the range, but fairly straight and without emotion.
              Common Problems: Automating and resetting the tone arm sometimes does not work properly in 1900; sometimes you need to adjust the speed trimmer.used-technics-sl-q202
            5. Technics SL-Q202 – up to 80 $
              Technics SL-Q303 – up to 80 $
              Direct drive turntables with identical technical features, with stroboscope. The only difference is that 202 is semi-automatic and 303 is automatic turntable.
              Sound: Equal throughout the range.
              Common Problems: Sometimes you need to adjust the speed trimmer.used-technics-sl-q2
            6. Technics SLQ 2 – up to 90 $
              Technics SLQ 3 – up to 90 $
              Direct drive turntables with identical technical features, with stroboscope. The only difference is that 2 is semi-automatic and 3 is automatic turntable.
              Sound: Equal throughout the range, good bass, with the right improvements and the right cartridge can sound great.
              Note: Good quality record player.
              Common Problems: Sometimes you need to adjust the speed trimmer.used-technics-sl-1200-mk2
            7. Technics SL 1200MkII / 1210MkII – prices from 220-500 $
              Legend – personification of turntable.
              They know about this turntable in neighboring galaxies too.
              Since it has been produced almost recently, it is possible to find a suitable specimen in excellent condition.
              There is not enough room here so we will write a special post about this legend.used-technics-sl-1300
            8. Technics SL 1300 MkI / MkII – up to 140 $
              Technics SL 1400 MkI / MkII – up to 160 $
              Technics SL 1500 MkI / MkII – up to 180 $
              More or less turntables of identical technical features, the best is 1500 being fully manual, then 1400 semi-automatic and 1300 automatic. The MkII versions are generally improved, have a better tone arm, and are therefore a better choice.
              Sound: solid throughout, great bass (SL 1500), with little improvement and the right cartridge sound great.
              Note: very good turntable.
              Common Problems: Resetting the tone arm sometimes does not work properly with model 1300/1400; Sometimes you need to adjust the speed trimmer.used-thorens-td-104
            9. Thorens TD104 – up to 80 $
              Thorens TD105 – up to 90 $
              Belt drive record players with sub chassis of similar technical characteristics; stroboscope and fine tuning speed. They automatically turn off and raise the tone arm at the end of the record.
              Sound: solid throughout the range, well defined bass for that class of turntable.
              Most common problems: Automatic shutdown often does not work properly; Beltused-thorens-td-110
            10. Thorens TD110 – up to 90 $
              Thorens TD115 – up to 100 $
              Belt drive turntables with sub chassis of similar technical characteristics; stroboscope and fine tuning speed. They automatically turn off and raise the tone arm at the end of the record.
              Sound: solid throughout the range, well defined bass for that class of turntable.
              Most common problems: Automatic shutdown often does not work properly; Belt; Pulleyused-thorens-td-165
            11. Thorens TD165 – up to 135 $
              Thorens TD166 – up to 135 $
              Belt drive turntables with sub chassis of almost identical technical characteristics; classical Thorens philosophy and construction.
              Sound: solid throughout the range, poorly defined bass, which is standard Thorens’ failure; With a lot of tweaking(20-200 $), these turntables can sound seriously, but why then not immediately buy a more expensive turntable that plays better in the beginning and does not require any intervention.
              Most common problems: Springs; Belt; Pulley; Signal cable; Earthing cable.used-thorens-td-160
            12. Thorens TD160 – up to 130 EUR
              Thorens TD145 – up to 120 EUR
              Belt drive record players with sub chassis of almost identical technical characteristics; the classic Thorens philosophy and construction, whereby the TD145 at the end of the record automatically shuts off and the tone arm rises up. The biggest flaw in these turntable is the tone arm TP16, which is well below performances of the turntable itself.
              Sound: Relatively good through full range, poorly defined bass; with a change of tone arm and a lot of tweaking(20-300 $), these turntables can sound seriously, but why then not immediately buy a more expensive turntable that plays better in the beginning and does not require any intervention.
              Most common problems: Shell on the TP16 handle; The lunch itself; springs; Belt; Pulley; Signal cable; Earthing cable.
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