Text and Photos by Juan C. Ayllon
Last night on the eve of our wedding anniversary, my wife and I were enjoying the romantic movie, Nights in Rodanthe (2008), when it happened.
A harried Adrienne Willis (Diane Lane) platters a record and lowers the stylus on a turntable at the coastal North Carolina Inn she’s watching for a friend. The warm, gentle whir of a needle tracking along a polyvinyl chloride groove, a few pops, and the music begins. She breaks into dance as amused hotel guest, Paul Flanner (Richard Gere), looks on. Clearly, vinyl playback is going mainstream -- of that, there is no doubt -- appearing in commercials, popular movies and TV shows. What drives that is anybody’s guess. Perhaps it’s steeped in a revulsion of the digital age and its overuse of the lossy and sibilant MP3 format. Could it be a trend like the resurgence of all things Mid Century Modern or, perhaps, an effort to return to a more grounded, simpler past -- as demonstrated by some of the droves flocking back to the traditional Catholic Church? Many would point to the innate, warmer sound of analog, the tangible record one can handle or the meticulous, Zen-like process: removing it from its sleeve, placing it on a platter, wiping it clean, and lowering the stylus onto it before sitting back to enjoy its artwork, liner notes and playback -- all which forces us to slow down from our harried 21st Century lifestyles. Regardless, in 2017, 14.3 million LPs (Long Playing record albums) were sold in the U.S., an increase of more than 1,000 percent from 10 years before. (Richter) And, according to Nielsen Music, greater than 7.6 million LPs sold between December 29, 2017 to June 28, 2018, which was a 19.2 percent increase over that same period for 2017 (Helfet).
You will find more infographics at Statista
Scratching a Growing Itch Back when I was single and owned a mobile DJ business, I purchased a pair of used Technics 1200 turntables for $350 each to practice beat matching (seamlessly transitioning from one song to the next), scratching (manipulating a record back and forth for needle scratch effects) and mixing (interspersing parts of several songs concurrently); I used a dual CD player console with a simulated record scratching flywheel and mixer at actual gigs. After I married, I sold my equipment, using the proceeds to upgrade my home stereo, but kept one of the turntables. I replaced the DJ cartridge with an Ortofon 2M Blue for higher fidelity. It sounded quite nice -- especially after I upgraded from their stock RCA cables to some Straight Wire, Inc. cabling. However, I always wondered how a higher end turntable would perform in my living room.
Stepping Up
This past winter, I reached out to Mat Weisfeld, 33, the affable CEO of VPI Industries, a manufacturer of high end phonographs, tonearms and turntable accessories founded by his parents, Harry and Sheila Weisfeld based out of Cliffwood, NJ. A former high school and college math teacher, Mat found that his turntables and set up services were in hot demand at numerous rooms at last April’s Audio Expo North America (AXPONA) in Schaumburg, IL. Being the gregarious former educator he is, he was more than up for the task. Several weeks after our conversation, their $6,000 VPI Prime Signature turntable, along with a VPI Voyager Phono Preamplifier ($2,500) arrives for review. Ortofon’s American Importer’s product specialist, Louis Dorio, ships me their vaunted Ortofon Quintet Black MC cartridge for the purposes of this review. The Turntable The VPI Prime Signature sports a black, vinyl wrapped MDF chassis with sexy curves sandwiching an 11 gauge steel plate for resonance control and feedback rejection. It employs a uni-pivot JMW 10-3D printed tonearm, is wired with Nordost Reference wire, and uses four Delrin (a highly-crystalline engineering thermoplastic manufactured by DuPont for high load mechanical applications) corner posts to enhance isolation and mechanical grounding (“Delrin Acetal Resin”). A hefty 300 RPM, 24 pole, AC synchronous motor housed in a separate aluminum and steel housing drives a belt that turns the 20 lb. aluminum platter at either 33 ⅓ or 45 RPM, depending on where you place the belt on the motor’s pulley (it has two settings). The platter sits atop an inverted bearing with a “hardened stainless steel shaft”, 60 Rockwell chrome hardened ball, spinning in a phosphor bronze bushing and sits on a PEEK thrust disc,” according to its literature. Moreover, it boasts the following specs:
The VPI Voyager Phono Preamplifier
By comparison, VPI’s new Voyager Phono Preamplifier is lightweight by comparison and an easy setup, allowing the user to select MM (Moving Magnet) or MC (Moving Cartridge) gain cartridge settings with two RCA inputs. According to their literature, MM gain is 42 dB, with loading at 47K ohms and capacity loading selectable between 100pf, 200pf and 270pf; MC gain is listed at 62dB with selectable loads of 100, 500 and 1K ohms. ("VPI Voyager") Setting Up As one might expect for such a high end turntable, it is not plug and play. Setup is a daunting task for the uninitiated, so after viewing the VPI Prime setup tutorial above at YouTube, I reach out to several Chicagoland VPI resellers. I leave a message at one of the better known retailers. Their technician, who lives in a nearby community, offers to set it up at my home for a mere $450. I am flabbergasted and say I’ll let him know. I share this experience with a mutual acquaintance who suggests the price isn’t unreasonable, as well-qualified turntable specialists are hard to come by and, furthermore, he is extremely meticulous and employs specialized computer software, various measurements and lasers (well, maybe not lasers). Not satisfied, I call Holm Audio in Woodridge, IL and find them more amenable. For $95, they will set up the turntable at their store whereas, if they send a technician to your home, the charge is $95 for the drive out and an additional $95 an hour for a two hour minimum. “If for some reason, they have to work longer, it’s an additional $95 an hour, but that’s highly unlikely,” their staffer, Neil Fox, assures. I opt for the cheaper option, pack the Prime Signature and schlep it 90 minutes to their store where their in-house expert, Bill, configures and fine-tunes it. After several hours of adjustments, calibrating, listening and chatting, their tech, Bill, instructs me on how to reconnect it when I get it home. “Make sure that you plug [the 3D arm Limo connector] with plenty of tension in it so that it’s arched like this,” he says, showing me a beautiful parabolic curve in the connecting cable. Since he doesn’t install the anti-skating device (the people at VPI don’t really recommend its use, but nevertheless provide it for sticklers that insist on it, he asserts), this acts as an anti-skating agent, so it’s important to get that right. Now finished, we gingerly pack it for the trip back home. What is skating? Musehelix explains it this way: During playback of a record, a force is produced that pushes the tonearm towards the center due to the friction between the stylus and the record surface. This inside force is called skating force and needs to be counteracted or balanced out. Otherwise, it may affect the sound quality and make the needle more prone to skipping. The device that prevents a turntable from skating is called anti-skate. (Francisco) The unipivot JMW 10-3D printed tonearm is not firmly secured on the turntable, but is seated atop a very sharp spike so it essentially floats, hence the name, "unipivot." However, if it is not properly seated, it lists to one side. Once home, I carefully place the assembly, check to ensure that it is properly seated and balanced. I link it to the VPI Voyager Phono stage with RCA cables and a phono ground cable that, in turn, connects to the PS Audio BHK SIgnature Preamplifier that I am reviewing.
An Impressive Upgrade
As Bill suggests, I remove the VPI turntable mat, place an LP on the platter and secure it with the record weight. I press the power button on the motor. The skinny turntable belt squeals as it settles into place on the platter for a couple seconds. I release the safety clamp on the tonearm, pivot it over the groove and gently lower the cartridge. A little pop and the gentle sound of the stylus caressing the groove, along with a few muted pops -- and the music begins. My Technics SL1200 Mk III has never sound this good! The difference conjures a ride in a vintage white Jaguar Mark II in the 80s. My college friend’s mom, Willie, says, “Drive carefully, Chris,” as she hands him her keys. Two other friends and I get in with him. The solid, muted slam of doors closing, the luxuriant white leather, the stainless steel amenities and the dead quiet, comfortable ride are impressive enough, but our collective adrenalyn levels spike when several blocks away, Chris presses the pedal to the floor. We sink into our seats with the G-Forces and stiffen our bodies on curves to avoid leaning on one another. “HOOAH!”, Chris bellows. We roar in approval: acceleration, speed, and handling on curves -- it’s all there in spades. By comparison, my 1982 Dodge Colt was a tin can on wheels. The VPI Signature is more vivid in its presentation and -- as with Willy’s vintage Jaguar -- delivers it with more background silence than my Technics SL 1200 Mk III turntable. That silence factor can be attributed, in part, due to the employment of a physically separate motor driving the platter via a belt, making it easier to isolate noise and vibrations than a direct drive turntable with an internal motor. However, as mentioned earlier, other anti-vibration and sound dampening measures built into the VPI undoubtedly factor in as well. Coincidentally, I briefly hooked up my Technics SL1200 turntable to the Voyager Phono Preamplifier for a more direct A/B comparison (I have previously played it with my silver Pro-Ject Audio Phono Box DC MM/MC Phono Preamp ($129)), but found it very ordinary compared to the superior sound of the Prime Signature. Hooking the SL1200 up to the Voyager was akin to donning track shoes on our goldendoodle, Liam, to race against greyhounds at the local dog park; as speedy as his legs move, he simply cannot compete. Moreover, its use of the Ortofon Quintet Black cartridge ($999), versus the Ortofon Blue 2M cartridge ($235) on my Technics give the VPI distinct advantages. The Quintet delivers a fuller, more refined sound than the Blue, which although very good, is more analytical and not on the same level of overall performance. And, then, of course, there’s the unipivot JMW 10-3D printed tonearm which is a vast improvement over the SL 1200’s stock tonearm. Those differences aside, the mechanical advantages of the VPI Prime Signature versus the Technics SL1200 Mk III are very clear. That stands to reason: the VPI was designed for superior audiophile performance while the SL1200 was designed to be a sturdy and reliable workhorse for DJ playback. In many ways, the difference is similar to the improvements I heard when I upgraded from a Toshiba Satellite laptop computer to the Lampizator DSD Komputer for my dedicated digital music server (you can read about that here). With the VPI Prime Signature, right off, I notice a very solid and balanced presentation with more noticeable bass than I am used to hearing from the digital side of my system for the volume (I was using a pair of Von Schweikert VR-5 HSE speakers that accentuated the midrange and were very smooth, but which were a little shy on the bass; I sold them several weeks later and used a pair of Usher Mini Dancer Two DMD speakers for this review which are very detailed and have more bass slam). Like the solid, muted closing sound of the doors, the dead silent ride and the high octane performance of Willie’s Jaguar compared to my clunky college ride, the Dodge Colt hatchback, the improvements are striking. Two pairs of Straight Wire’s high end Virtuoso interconnects arrive a week later, just in time for a Chicago Audio Society meeting I host the next day. I place them between the VPI Prime Signature turntable and the Viper phono stage and from the phono stage to the preamplifier and notice a more robust, bolder and detailed enhancement, which the 20-something attendees enjoy immensely. “That turntable really makes your system!” one enthusiast effuses. A Few Hiccups A week or two later, a friend and I notice some low level distortion while playing some vinyl. We brush the stylus, employ a bubble level to ensure that the turntable is sitting plumb, adjust the tracking pressure of the tonearm with a digital gauge (my friend said that it was set too high and drops it down to 1.5 grams), adjust the height so the phono cartridge is parallel with the record’s surface and plug and unplug the Limo connector, trying to maintain that elliptical arc that Bill told me to maintain. We have some measured success, yet some distortion remains -- especially towards the end of a record’s play. I set it aside for a couple weeks and focus on digital playback. Then, I replay the VPI Prime setup video on YouTube and call Louis Dorio at Ortofon, who assures me that the tracking pressure should be at about 2.5 grams and not at 1.5. I have to set the tone arm’s counterweight way back so it floats and, then pushing it inwards towards the center spindle and release it. If the anti-skate pressure is correct, the tone arms should gently swing outwards. It does not, so I remove the Limo connector, rotate it, plug it back in and repeat the process. This time, the tone arm swings out as it should. Next, I loosen the thumb screw on the counter weight, move it forward and, placing the digital gauge, check the tracking pressure (too high at 3.5), and repeat this cumbersome process until I get it right smack on 2.5. I test a record and voila! I have sonic bliss again. Unfortunately, several days later, after I cleaning a record with solution, I notice that ugly distortion again. I call VPI and speak with one of their engineers, who suggests it may be due to tiny particles coating the stylus. He mentions that the Ortofon Black seemed especially sensitive to dirt. The solution? Borrow a clean makeup brush from my wife, dip it in Isopropyl Alcohol and gently brush the stylus from the rear to the front. Presto! The distortion is gone. I am now ready for my formal review. Editor's Note: Drahomira Hustinova, General Manager of Ortofon, Inc./AIAIAI and Lehman Audio Import and Distribution, cautioned me on the use of alcohol on their Ortofon Quintet Black stylus, saying, "we strongly advice against it as this can damage / destroy cartridge. In our manual we recommend – instruct people to use stylus brush which comes with the cartridge or any other good quality stylus brush." Listening Session:
Daryl Hall and John Oates. “Sara Smile.” Rock ‘N Soul Part 1. RCA Records, October 18, 1983.
John Oates’ patented mournful, glowing, Fender Stratocaster arpeggio lead-in sounds just right. The keys, Scott Edwards’ bass, Jim Gordon’s drums, Daryl Hall’s patented, silky vocals sliding from vulnerable tenor to falsetto and back again, Oates’ velvet falsetto backgrounds and interspersed, harmonized leads are rendered warm, three dimensional and vivid. The subtle echo and/or vocal effects giving a sense of space, and the background strings are well articulated and warm. Sitting down to listen to this performance rendered on the VPI Prime Signature turntable with the Ortofon Black Quintet, it’s hard not to set aside my tablet and simply get lost in the music. For a mass produced pop record, it doesn’t sound bad at all.
Jack Johnson. “I Got You.” From Here to Now to You. Brushfire, Republic, Septermber 2013.
The whistling lead in and Johnson’s vocals are very clear, detailed and balanced; his acoustic guitar strings and slaps on the guitar’s body are crisp. The slide guitar in the backdrop. The resonant dobo rounding out the spare percussion is present in the backdrop. No doubt due to the recording technology used, this sounds more compressed and sharper than Hall and Oates’ “Sara Smile.”
Alan Parson Project. “Sirius” and “Eye in the Sky.” Eye in the Sky. Arista, June 1982.
The song, “Sirius,” long known as the Chicago Bulls’ entrance song sounds vivid, balanced and full, with the occasional small pop and hiss reminding you that this is a vinyl record. Then, as it fades to “Eye in the Sky,” Eric Woolfson’s lead vocals, along with David Paton, Chris Rainbow, Lenny Zakatek, Elmer Gantry and Colin Blunstone on background vocals are smooth, warm and engaging. As with the rest of the band -- Woolfson on keys, Paton’s electric guitar and Stuart Elliot on drums envelop me in a very pleasant sonic blanket.
Dave Mason. “Only You Know and I Know.” Alone Together. Blue Thumb Records, 1970.
This classic rock recording by the former member of Traffic sounds surprisingly bright and detailed. Mason’s vocals are solid, the snare and ride cymbals pop and shimmer; while the electric guitar lead lead comped by the ride cymbals sizzles. This 180 gram record is a little disappointing, as it sounds a little sharper than some others. Despite this shortcoming, this is rock and roll as it should be.
Sting (remix by Josh Wink). “Send Your Love” Wink Deeper Vocal Interpretation. A&M Records, 2003.
I drop the needle on this intoxicating favorite from my mobile DJ days and find, despite the wear on this oft-used record, the delivery of Sting’s vocals, James Royser’s keys, synthesizers and the heavy dance bass thump are very smooth, warm and crisp. I like it so much, I play it several times and post a video of it playing on Facebook (you can view a short video of it actually playing on the Prime Signature in my room at the end of this review).
Head Case
I listen to two more selections playing on the VPI Prime Signature Turntable via the Audeze LCD-3 headphones, which are connected to the PS Audio BHK Signature Preamplifier (these observations took place in a previous review of the Audeze LCD-3 and Sennheiser HD 800S headphones and the Audio Art HPX-1SE cables that you can read here)
Larry Carlton “The BP Blues “. Last Nite. MCA Records, February 17, 1986.
The masterful live performance at the Baked Potato is captured in all its glory: the magic in Carlton’s soulful, expressive electric guitar lead and his dialog with longtime friend and collaborator, Terry Trotter, on keys, John Robinson keeping time on drums and Abraham Laboriel’s nuanced and muscular bass undergirding the band and, in a more quiet passage, plays with nuance as he swaps leads with Carlton. The trumpet solo by either Jerry Hey or Gary Grant (it doesn’t say which, but only that they comprise the trumpet section), comped by Laboriel and Trotter is scintillating. Then, as if to say, “You ain’t seen nothing yet,” Carlton comes back slowly, builds up to an intoxicating solo and, with the whole band in scorch mode, finishes with a flourish that leaves the crowd clapping and cheering.
Miles Davis. “So What.” Kind of Blue. Columbia, August 17, 1959.
Winton Kelly’s piano lead in, followed by upright acoustic bassist Paul Chambers, and Billy Cobbs’ lilting drums cymbals, horns comping. Miles trumpet joins in. Wow. Magic. Add John Coltrane’s saxophone solo in its early, mathematical, frenetic rephrasing attack, followed by Julian “Cannonball” Adderley’s more melodic, rounder approach and you have a very special, intimate event. As delivered by the VPI Prime signature, it’s transfixing and haunting. Concluding Remarks The VPI Prime Signature Turntable has been a magnificent presence in my listening space. I have received many compliments for its aesthetics and sitting and playing in my family room, its performance has exceeded my expectations. Previously, the high point of my sound system was my digital playback, with the Lampizator DSD Komputer music server, my modified Lampizator Lite 7 DAC (Digital to Analog Converter), Roon Labs music player and a huge digital library chock full of high resolution and CD quality files in excess of four terabytes in size. With the VPI Prime Signature turntable and Voyager Phono Preamplifier, I finally had parity -- and a World class performer -- on the analog side. Furthermore, I have listened to many high end turntables -- some in excess of $30,000 at trade shows, but at a fraction of their cost, the VPI Prime Signature has delivered comparable sound and quality to my living room.
Alas, my budget does not leave me room for its purchase, and so it’s going back. However, as with Adrienne Willis in Nights in Rodanthe, I will cherish the memories and be better for the experience.
Equipment Used:
Work Cited Francisco. “Anti Skate Explained.” Musehelix.com. 23 May 2015. Web 3 July 2018. “Delrin Acetal Resin.” www.dupont.com. DuPont 2018. Web. 20 July 2018. Helfet, Gabriela. “Over 7.6 Million VInyl LPs were sold in the US over the First Half of 2018.” The Vinyl Factory, Ltd. www.thevinylfactory.com . 8 July 2018. Web. 10 July 2018. "Prime Signature." VPIIndustries.com. VPI Industries. Web. 20 July 2018. Richter, Felix. “The Surprising Comeback of Vinyl Records.” Statistica.com. 20 April 2018. Web, 2 July 2018. "VPI Voyager." VPIIndustries.com. VPI Industries. Web. 20 July 2018.
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Oscar Johnson
7/24/2018 06:57:05 am
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