The analog thread.

[luvdunhill]

I'd take a Rega any day over a Pro-Ject table. I have a P3-24 right now and enjoy it While audio memory is something that's a bit hard to rely on, I think the Planar 3 with RB300 sounded a bit better than the newer package.

With Rega, buying used is a decent way to go. Just insist on original packaging. It's smartly done and should survive pretty much anything. Just off the top of my head, I've shipped and received probably 10 times total without any problems. Even if something were to go wrong, replacement parts are very easy to get your hands on and they are reasonably priced.

[deepak]

I'd take a Rega any day over a Pro-Ject table

They're all the same table, terrible build quality, massive dealer markup, lots of shills

[Torpedo]

I'd take a SL-1200 over a glass-platter Rega any day. The ProJects are very decent TT for the price, though I suppose price isn't the same in Europe than in the US. Probably in the US it's better getting a Music Hall, which are made by Project. Better than any of these three, I'd try to get a used Michell Tecnodec.

This thing sounds awesome for the price. MA be patient and try to spot one of these or an Acoustic Solid The difference over the 1200, Regas and Projects is really worth the extra expense and wait. Really

[deepak]

I would not advise anyone to buy a Music Hall. From five years ago all these outfits have continued to increase their price as well.

[Torpedo]

Can't say, never saw one. They look cool on the pics

I owned a Project RPM-9 and it served me well, even when paired with carts well above its "quality frame". It just had the usual coloration of acrylic platter TT and the azimut setting on the arm, which wasn't at the same level than other adjustments. 33/45 speed adjustment was as easy as switching a lever. I'd take it over any Rega, period. Regas have that kind of "thin sound" that suspended TT have and that I've learned to avoid over the years. To each one his own I guess

[deepak]

The difference in sound between my older Planar 3 and MH MMF-5 wasn't that big. The Rega had a higher quality tonearm. I trust Marc, so I am assuming the P3-24 is substantially better.

[luvdunhill]

Regas have that kind of "thin sound" that suspended TT have and that I've learned to avoid over the years. To each one his own I guess

The Rega's don't have a suspended TT sound that I can hear. It's not a suspended deck, so perhaps there is a confusion in terms. Do you mean like a Systemdek (I used to own one) or (shudder) Linn?

The Rega charm is that the whole package is more or less tuned to a certain sound. It's definitely like a cocktail, greater than the sum of its parts. Perhaps that's one of the reasons that the Rega really changes once it's mounted to a wall for example. Again, I think it's a carefully tuned product.

Now, where we can agree probably is the Rega lack a real weighty, meaty sound. I'd totally agree with that. We could talk about this if you'd like, but it's no massive or idler design.

If you're listening to classical instrumental, the Rega is going to shine in my opinion. I'm not sure what price difference we're talking here against a project, but I've seen Planar 3 with RB300 combos for $350-$500 or so shipped?

[Torpedo]

I know Regas aren't suspended, but aren't high mass or specially stiff either. I'm referring to that "speedy" yet thin sound which is common -and mainly a sonic goal- for suspended TT manufacturers like Linn. I haven't listened to any Rega TOL though, hence my pointing out that I'd stay away from the glass platter models.

I agree that build quality is very decent for the price, arguably the best in that segment of entry or mid-level decks. But for sound aren't my cup of tea, which on the other hand is one of those silly generalizations "audio people" do, for I haven't listened to every combination of Rega TT with different carts, nor checked everything is perfectly adjusted. I suppose I tend to disregard them for those little things of them like not providing VTA and azimuth adjustment, or saying discs need no cleaning

[deepak]

To anyone using or ordered the PTP4, is there an easy way to switch between 33 and 45 rpm? From what I understand it uses a sliding mechanism so you will need to check with a speed strobe every time a speed change is made?

[luvdunhill]

To anyone using or ordered the PTP4, is there an easy way to switch between 33 and 45 rpm? From what I understand it uses a sliding mechanism so you will need to check with a speed strobe every time a speed change is made?

The previous versions have a mechanism to set stops for different speeds. I'm not sure about the most current version. You still need to remove the platter and potentially loosen and retighten a set screw. This allows adjustement to a different diameter on the motor spindle.

[deepak]

The previous versions have a mechanism to set stops for different speeds. I'm not sure about the most current version. You still need to remove the platter and potentially loosen and retighten a set screw. This allows adjustement to a different diameter on the motor spindle.

This is what Peter says about the PTP3

"The first time you use it you must find the correct setting for 45 and 33, using a strobe and slowly moving the small screw in the slit in the right front corner. Once you have found the right setting you can use the speed stops (the keyhole shaped bits under the platter) to secure the settings so you can return to them every time. If you download the PTP assembly guide you can see these parts a bit better."

I was not aware the platter had to be removed on either PTP3 or PTP4 to make a speed change.

I am wondering how OMA PTP slate decks are doing it. I don't know, but it doesn't seem like loosening, moving and tighening a hex screw to make speed changes would be a viable option on a high end consumer deck.

[luvdunhill]

That's correct for the PTP3. I'm not positive about the hex screw, it could be that the stops are used and the friction of the tire on the spindle keeps it in place and effectively against the stop. Regardless, I'm not doing it that way so I didn't look into it very much.

[luvdunhill]

do all the new plates not have the arm coupled to the top plate? I vastly prefer the single unit design. It might be worth looking for the older style if this is the case.

[deepak]

do all the new plates not have the arm coupled to the top plate? I vastly prefer the single unit design. It might be worth looking for the older style if this is the case.

I didn't know that older plates had the arm coupled to the top plate. I prefer a modular armboard piece so upgrading/side grading tonearms is simple.

[luvdunhill]

I didn't know that older plates had the arm coupled to the top plate. I prefer a modular armboard piece so upgrading/side grading tonearms is simple.

It had a SME style cutout, so all you had to do is make a armboard and drop it in. There even was a two arm version. Much better design IMHO. Pehaps the overseas shipping was prohibitive due to the larger size?

[deepak]

So I've been running a plain old DL-103 and for the last several weeks a Dynavector 20X (lo). I really don't think the Dyna offers any added detail or resolution, and I have it loaded down at 100 ohms. Any higher and I get sibilance in parts where there should be none. What I am really impressed with is how much less noise the DL-103 picks up. Once even VG condition vinyl has been through my cleaning regime the DL-103 is just a lot quieter. I mean it obviously can't do anything for deep scratches, I am talking about surface noise mostly.

I just ordered a DL-103R, these Japanese broadcast cartridges. I will keep a high end MC for audiophile vinyl that is naturally quiet.

[sschell]

The Schick arrived yesterday, so I felt obligated to try and resolve the issue I've been having with the 124's strobe light. De-soldered all the wiring and started to solder them again, when I managed to snip off the lead to the shunt resistor connected inline with the strobe .

Starting to think I am in over my head.

[jp11801]

Sschell, wondering how you like the Schick tonearm.

About two months ago I picked up a Miyajima Shilabe on A-gon. The Shilabe has deep bass, mids to die for and a presence that the Atmos (while great) can not match.

Edited February 27, 2011 by jp11801

[sschell]

Geez, it's been a month already...

I wish I could offer some commentary, but the only progress I've made is purchasing a couple of parts. If anything, if you're at all interested in getting a Schick I would recommend you place an order now, as the waiting period for me was about 2 months. From the few times I've seen them up on Audiogon, depreciation doesn't seem to be an issue if you decide it isn't for you.

The Shilabe sounds like quite the cart from your (and a couple of Stereophile reviews) description.

[DigiPete]

Just pulled the trigger on this:

Choir Audio SUT using the Hashimoto HM-7

After using a Bob's Devices Cinemag step up transformer unit for a few weeks, I am convinced I like SUTs in my setup.

So I did some reading and have concluded I can get close to top end SUT performance with this unit, for a reasonable price.

I should get delivery in 2-3 weeks. I'll report back what I hear. Nice thing is they offer a 30 day in home try out period.

Some details from the website.

Frequency Range: 10- 80K Hz

Insertion Loss: < 1.5db

Loading/Gain: 2-7 ohms + 29dB / 7-40 ohms + 23dB

RCA: Cardas Pure Silver Contacts (the wbts are no longer offered due to quality issues, this also dropped the price of the unit to $1499 )

Internal Wiring: 99.999% Oxygen Free Silver plated Copper with Teflon jacket / WBT Silver solder

Selector Switches: All contacts are constructed from Silver with Gold plating

Recommended Preamplifier Load Impedance: 47K Ohms

Enclosure Formed Mumetal shielding

Internal Enclosure dampening

Dimensions: 6.00" W X 8.5" L X 5.00" T Weight 4lbs

The SUT-H7 uses the ultimate Hashimoto HM-7 transformers, allowing the highest level of details and nuances to be extracted from a cartridge's performance. Please make sure that your source is up to the task as the HM-7 is very revealing and will uncover any weak links in your source components. But, if your system is up to the task, then you are in for an unbelievable level of performance and presentation with the H7.

A pic of the lower level model

Edited March 6, 2011 by DigiPete

[deepak]

I'm looking to sell my Dynavector 20XL and try another MC, any thoughts on the Ortofon Kontrapunkt A? It is $570 on Ebay new.

[sschell]

Some progress on the 124: The strobe now lights up. The motor also runs but, unfortunately, continues to do so regardless of what position the speed select switch is in.

[blessingx]

Vinyl eye candy...

[robm321]

I really don't think the Dyna offers any added detail or resolution, and I have it loaded down at 100 ohms. Any higher and I get sibilance in parts where there should be none

I used the Dyna 20x for several months before I mashed it like an idiot one night, but it turned out to be a good thing. It forced me to upgraded to the Karat 17D2.

The Dyna Karat is the polar opposite of the 20X which was more lush and kind of veiled. The Karat is all about speed, detail and dynamics. When my 17D2 wore out I figured I'd change it up and go with something else. After several auditions with various carts, that didn't happen. I ended up with the 17D3. Just wanted to put it back on your radar YMMV (link)

Edited March 15, 2011 by robm321

[sschell]

Fixed the on/off problem. Turns out the cap inline with the switch was dead, despite looking fine physically. Removed it, soldered in a new cap and all is fine. Waiting on some shrink tubing to cover up the leads. Now onto designing the plinth...