Turntables, Arms & Cartridges

If you were just taking your first steps into the world of hi-fi in the early 1980s you’d give serious consideration to the Dual CS505. Often partnered with a NAD 3020 amp by the canny hi-fi buyer on a budget, these two components started many listeners on a path that would bring countless hours of enjoyment. In the 1960s and ’70s Dual occupied a similar place in the German market to BSR and Garrard in the UK, producing turntable units for music centres and combination units. Yet it retained audiophile credibility for the quality of its separate belt-drives, which sold well across Europe.

Lyra designer Jonathan Carr has devoted a large part of his life to developing a range of moving-coil pick-ups, and they’re expertly built by Akiko Ishiyama and Yoshinori Mishima in Tokyo. The Delos is the latest in a long line – the baby of the range it’s designed to be tonearm and phono-stage friendly: of medium weight and compliance it pushes out a claimed output of 0. 6mV at 5cm/sec. Recommended phono stage loading is from 98ohm to 806ohm (Lyra says the final value should be determined by listening).

One of the world’s most expensive, highly-developed tonearms are ‘unipivots’, though in some cases they have additional bearings: Mørchhas a dual pivot to give lateral stability, Kuzma a cunning four-point system; Continuum’s Cobra arm uses a secondary outrigger pivot mounted on its own bearing. However, it was left to Bob Grahamof Graham Engineering to come up with what is arguably the most elegant way of maximising the benefits of the unipivot concept and smoothing away its disadvantages. The breakthrough came with his ‘Magneglide’ magnetic stabiliser system – the major innovation of the first, B-44, Phantom arm. Graham lists six separate benefits for it: increased lateral stability, easy azimuth adjustment, a higher lateral inertia component for improved bass reproduction, augmentation of system damping, true vertical pivoting of the stylus with no rotation as the arm is raised, and easily adjusted anti-skate compensation.

New to the Clearaudio line-up this year, this tidy-looking Ovation model sits at the top of its group of turntables that all feature a rectangular plinth. Borrowing from the Innovation range, the Ovation nonetheless brings several new technologies of its own into play. The plinth is made of aluminium layers sandwiching a layer of Panzerholz ply. (This is is claimed to offer considerable sonic gains over such alternatives as acrylic and standard wood.

The world once more starts to embrace idler-drive, the problem faced by a turntable manufacturer today is that tooling-up for a completely new design would be prohibitively expensive because of the relatively low production numbers involved. Inspire Hi-Fi has stepped up to the challenge of providing an affordable solution and, as with its Technics SL1200-based Monarch flagship [HFN Oct ’12], has chosen to use a plentiful classic design, the evergreen Goldring Lenco GL75, as the basis for its Enigma. It comes in a range of fine paint finishes – red, blue and black are available. One of the most popular turntable units through the 1970s, the GL75 had a reputation for its fine build quality, so Inspire Hi-Fi has felt the need to do comparatively little to the deck’s basic mechanical componentry in order to exploit its replay potential.

Roksan's iconic vinyl spinner remains one of the most forward-thinking decks on the market and the latest version now comes with a raft of considered upgrades Back in the early 1980s if you were serious about vinyl replay and had the money, the obvious contenders to splash your cash on were Linn’s LP12, followed by rivals such as Michell’s space-age GyroDec or the left-field Pink Triangle. Despite drastically different looks, all three decks were essentially attempts to take the late Edgar Villchur’s ground-breaking three-point sprung suspension design to the next level. Then, in 1985, Roksan came onto the scene with the Xerxes, which promptly turned this perceived wisdom on its head. As Tufan Hashemi, Roksan Audio’s Managing Director, explained: ‘We argued that using a suspended or floating surface to support a record could not allow it to be accurately read, as the record itself would be floating.