Hi-Fi News Staff

Hi-Fi News Staff  |  Jan 09, 2015  |  0 comments
Rega’s RP8 turntable uses what it calls ‘Double Brace Technology’. Here stiffening braces above and below the plinth provide rigidity between the turntable main bearing and the arm mounting. Thanks to this, Rega’s Roy Gandy was able to envisage a plinth construction that would be much lighter than in previous designs, so in the RP8 the plinth has given way to a very light skeletal chassis. From a functional point of view, the RP8 on its skeletal chassis is complete in itself but Rega has added a separate outer frame, using the same foam-sandwich construction, to support a dust cover.
Hi-Fi News Staff  |  Jan 09, 2015  |  0 comments
It’s that very rare bird: a suspended-subchassis turntable with a direct-drive motor. A development of STST’s original Motus solid-chassis model, the Motus II inverts the usual concept of a subchassis turntable. Although the ‘plinth’ is a substantial component made of 20mm MDF, in reality it is just a cover. Once the platter and arm have been removed, it can be lifted off to reveal the whole mechanism.
Hi-Fi News Staff  |  Jan 09, 2015  |  0 comments
VPI’s entry level Scout [HFN Nov ’09] looked deceptively simple, while promising lots of easy adjustment for the deck – even the supplied in-house tonearm that came as part of the package boasted an easy to remove arm wand, thereby facilitating rapid cartridge swapping. The Scout 1. 1 offers more refinement for your money, and is the cheapest VPI turntable to use a freestanding motor unit housed in its own steel case, which tucks into a dedicated cutout in the plinth. Compared to the original Scout, the 1.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
In the early 1970s Sanyo was a UK market leader in the field of music centres that were extremely popular here, but its separate hi-fi units were not as successful. It was intended that the acquisition of the Fisher brand (in 1975) would solve this problem and less than a year after the CD format had first been made commercially available by Philips and Sony, it launched its first machine, offered in the UK as the Fisher AD 800. A vertical front loader, the AD 800 was a confident entry into the digital field. One reason Sanyo was able to bring this model to market so rapidly was its use of integrated circuits made by Sony.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
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.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
A 10W design from the final years of the valve era, the original Rogers Cadet appeared in 1958 as an amplifier and control unit combination for mounting inside a cabinet. Its stereo successor, the Cadet II, appeared in 1962 and proved equally popular. With the version III, gain was increased so that magnetic cartridges like the Shure M44 and M75 series could be used. This was achieved by the use of special ECC807 valves and an extra stage, meaning that the Cadet III control unit became slightly wider.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
The TA-1120 stereo amplifier was a step-ahead design which combined power, quality, reliability and compactness in a way that had not been seen before, but which in a few years would become ubiquitous across the ranges of Japan’s major hi-fi brands. In 1968 the original TA-1120 was replaced by the TA-1120A, as tested here, the addition of a headphone socket and the removal of a ‘safety’ indicator light being the only obvious external clues as to which model is which. Revisions were also made to the preamplifier circuit. The main selector lever gives a choice of phono 1 (MM) or tuner, along with a central position that selects a rotary control giving four further options, eg, mic, tape head, second MM turntable and line-level auxiliary input, which can be used to connect a CD player.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
When the BC III was launched in 1973, Spendor’s ads described it as ‘An extension and refinement of theBC I and BC II’, while Thomas Heinitz, doyen of hi-fi consultants in those days, could not resist using the headline‘Hey, big Spendor’. The BC III was rooted in Spencer Hughes’ work at the BBC: he was part of the legendary BBC research team, working under both D E L Shorter and H D Harwood. It had an 8in driver with 40mm voice-coil, working in its own sealed chamber as a midrange unit while the 12in bass unit was reflex-loaded by a carefully designed port. The crossover point was 700Hz.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
A masterpiece of stylish understatement, the flagship Balance 2 uses Brinkmann’s Sinus motor and belt-drive system as a way to update the earlier Balance model. The plinth is CNC-machined from aluminium and supports both arm bases plus the bearing; it sits on three spiked feet adjustable for levelling. The bearing is made of hardened stainless steel and rotates in sintered brass bushings, but it’s unusual in that the assembly is heated by a MOSFET device in order to ensure the bearing operates at a steady temperature. The 90mm platter is machined from a block of aluminium while a polished crystal glass mat is recessed into its top surface.
Hi-Fi News Staff  |  Dec 22, 2014  |  0 comments
While the massive Statement continues as Clearaudio’s very top model, below it in the hierarchy comes this spectacular and impressive new flagship for the main Innovation Series. It is built up on Clearaudio’s familiar, elegant, three-lobed chassis members, each constructed as a sandwich, with a core of Panzerholz (an ‘armour wood’) between two sheets of aluminium. The Master Innovation is in fact built as two separate units with the proprietary multi-platter arrangement facilitating Clearaudio’s magnetic contactless drive system. The upper section is the turntable proper, with a 70mm-thick acrylic platter atop a 15mm stainless steel base platter.

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