Take the Award-winning Planar 6 turntable, add elements from the next-tier-up Planar 8 model, and give it the visual treatment we liked so much in the Planar 3 RS Edition. It’s a formula that simply can’t go wrong, can it?

Rega’s experiment with its first ‘Rega Special’ Edition resulted in the superb, talented Planar 3 RS Edition (a prestigious Product of the Year winner, no less), and now it has given the RS treatment to the next rung on its turntable ladder. Considering the Planar 6/Nd7 package is a five-star, multiple Award winner, and the Planar 8 is also a five-star, former Award winner, a product that Frankensteins the best bits of these two models together is surely a recipe for success.

Can this more premium Planar 6 RS Edition win us over in the same way its sibling did? It doesn’t take long for us to answer that question.

Price

The Planar 6 RS with Nd9 moving magnet cartridge is cannily priced at £2000 / $3195 / AU$4199. This puts it right in between the standard Planar 6 with Nd7 MM cartridge at £1655 / $2595 / AU$3499, and the Rega Planar 8 with Nd9 at £2554 / $4200 / AU$5399. We tested the Planar 8 with the older Apheta 2 MC cartridge back in 2018, and the current package with the newer Apheta 3 MC costs £3000 / $4945 / AU$6299 in total.

The Nd9 cartridge included here as standard is the brand’s top-end moving magnet cartridge and costs £695 / $1095 / AU$1499 on its own, and features a boron cantilever and fine line nude diamond stylus profile that is based on the brand’s reference high-end Aphelion 2 MC cartridge (£3640 / $5545 / AU$7499). The Nd9 isn’t available as a factory-fitted option with the standard Planar 6, so adding it on separately will exceed the value of the 6 RS.

For those who prefer a moving coil cartridge, Rega offers a Planar 6 RS Edition bundle that includes the Ania MC fitted and Fono MC phono stage for the same price as the Nd9 package. It’s pretty compelling value no matter which option you choose.

Build & design

Rega’s use of the ultra-lightweight Tancast 8 polyurethane foam material in the plinth is what sets its premium models (Planar 6, 8, 10, Naia) apart from the MDF plinths in the sub-£1000 Planar 1, 2 and 3 models.

Rega’s defining engineering philosophy is that adding mass to a turntable absorbs energy and this saps the life out of the music, alongside transmitting unwanted resonances that negatively affect the sound – hence its continued pursuit of materials that are very light but also deliver exceptional stiffness.

The Planar 6 RS Edition uses the same Tancast 8 foam core sandwiched between two layers of very thin but stiff HPL (High Pressure Laminate) construction as the Planar 6 and 8, which offers a rigid but extremely low mass base for the turntable. Even after all this time, we’re surprised by just how light the turntable is when taking it out of the box.

Like the Planar 3 RS, the Planar 6 RS has a brushed metallic finish that not only looks stunning, but also acts as another ultra-thin skin around the plinth. As a way of visually differentiating the two RS models, this metal skin is a lighter finish on the Planar 6 RS and wraps all around the edges of the plinth, whereas the darker Planar 3 RS has mirrored black edges.

The Rega Planar 6 RS Edition is a lovely looking piece of hi-fi. Its minimal, belt-drive design is further accentuated by the sleek finish, while every element on the turntable – from the tonearm to the sub-platter to the screen-printed logo – is built to an impressively high standard.

That the Planar 6 RS sticks with the more conventional rectangular plinth design and full-size hinged dust cover is surely another reason why it has been so popular since it was announced earlier this year. It’s ideal for those who want the benefits of the Planar 8’s advanced technology, but aren’t enamoured with the skeletal plinth design or find its moulded dust cover impractical.

The Planar 6 RS adopts the hand-assembled RB880 tonearm found in the Planar 8, and this – along with the step-up Nd9 cartridge – is a big part of the 6 RS’s performance upgrade. The RB880 tonearm is a step up from the RB330 found on the standard P6, and is further refined to reduce resonances throughout the one-piece tube.

It features an improved aluminium and stainless steel vertical bearing assembly, with zero-tolerance bearings that are adjusted to less than a 1000th of a millimetre for near-frictionless movement. In use, there is no undue play and the movement is incredibly smooth.

Additionally, the 6 RS Edition features a twin motor pulley with two drive belts, which help deliver more accurate and stable speed control. It’s another design point taken from the premium Planar 8.

Other elements remain from the standard Planar 6, which include the nicely machined aluminium sub-platter, the dual-layer glass platter, and the double-brace system that strengthens the area between the tonearm mounting and the main hub bearing. This is a clever way of adding extra rigidity without adding too much unwanted mass to the turntable.

As with every deck from Planar 6 upwards, the 6 RS Edition’s low-noise 24v AC motor is powered by an outboard Neo Mk2 power supply unit, which offers electronic speed switching (33⅓ and 45 RPM) and is hand-tuned to match the motor on the turntable it is paired with. So if you’ll be auditioning the Planar 6 RS against the standard P6, make sure both models are used with their matching PSUs.

With the Nd9 factory-fitted, setting up the Rega turntable isn’t complicated at all. Simply balance the arm using the stainless steel counterweight, set the tracking weight and bias to the cartridge’s recommendations (1.75g in this case), and plug the captive phono leads into a capable stereo amplifier, and you’re good to go.

Sound

We plug the Planar 6 RS into our reference Naim Nait XS 3 integrated, and switch between the Epos ES-7N standmounts and PMC Prodigy 5 floorstanders during our testing. The Naim is discontinued now, so we would suggest Rega’s own Elicit Mk5 amplifier and the Fyne F502S or PMC Prophecy 1 speakers as a good pairing for the 6 RS Edition’s talents.

It doesn’t take us long to hear the step up in performance from the standard Planar 6. The recognisable Rega sonic characteristics are there – agile timing, superb dynamic ability, and a lovely balance between authority and subtlety.

We spin some of our favourite test records – Holst’s wide-ranging The Planets, Nirvana’s MTV Unplugged live set, the ambient soundscapes of Four Tet, and Fleetwood Mac’s Rumours – and find that the Planar 6 RS Edition simply elevates all those recognisable sonic aspects even further.

The upgrades on the Planar 6 RS all pull together to deliver a sound that is more stable and composed, and even more expressive and delicate. The turntable offers a quieter background for detail from the vinyl grooves to flourish, and it’s a more three-dimensional sound, too.

The positioning of instruments in Holst’s chaotic, intense Mars is more definite within the sweeping, broader soundstage, with the edges of notes relayed with a greater degree of authority and precision. The sweeter, delicate notes of Venus are just that – the higher tones of the flute, clarinet and violin sound subtle and textured alongside the delicate shine, with a fluidity that holds our attention even in the movement’s quieter moments.

That meaty bassline in The Chain is deep, punchy and pulled taut; the Rega’s tremendous agility combines with a greater amount of low-level dynamic finesse so that it sounds even more tuneful and impactful. The 6 RS Edition does a fine job of keeping all the strands of the chorus organised and balanced – no single element jostles for the limelight over another.

With Nirvana’s MTV Unplugged record, we find the 6 RS better conveys the space of the room the musicians are playing in compared with the standard model, while Kurt Cobain’s voice sounds even more raw and revealing. Dynamically, there’s simply more going on – guitar strums are more emphatic, silences are deeper, and the way his voice reaches hair-raising intensity during the closing track sounds more visceral and organic.

Switch back to the standard Planar 6, and we still find it delivers an agile, fluid and dynamically exciting performance, with plenty of fine detail. The 6 RS Edition simply locks everything into place with a greater sense of composure and confidence. Voices are more intimate and have more presence; the switch from a quiet moment to a big crescendo is more dramatic; and we are drawn into the music with greater emotion, no matter the genre.

Verdict

As the Planar 3 RS Edition bridged the gap between the standard Planar 3 and the step-up Planar 6, this model is a similar stepping stone between the P6 and the more premium Planar 8, and offers excellent value for the combination of its advanced technologies.

The Rega Planar 6 RS Edition is a beautifully and cleverly made turntable, and its stylish looks and great sound will be a siren call to any vinyl fans who can afford to level up to this price.

Review published: 8th October 2026

SCORES

• Sound 5
• Build 5
• Features 4

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Read our review of the Rega Planar 6/Nd7

Also consider the Rega Planar 8

Best turntables: top record players tested by our expert reviewers

The physical media revival has brought with it some strange side effects, from production bottlenecks and extended wait times on new vinyl, to unexpected, novel tech developments, such as Bluetooth-enabled cassette players.

Perhaps the strangest byproduct of all, however, is a new kind of vinyl buyer: one who doesn’t even own a record player.

We recently covered a report that stated 30 per cent of Gen Z vinyl buyers didn’t own a turntable, while a 2023 report from Luminate found that, in the US, only 50 per cent of people who had bought a record (within a 12-month window) actually owned a turntable.

While we think buying vinyl and never listening to it is a forgivable sin, through a sceptical lens, you could put this consumer behaviour down to posturing. Some might even call it a waste of a physical music format that’s becoming ever more challenging to produce and facing emergent challenges, such as the creation of counterfeit records.

Who is buying vinyl?

But Scott Hagen, CEO of Victrola – a turntable manufacturer with over 100 years of experience – is no sceptic. He understands that Gen Z’s interest in vinyl has made the generation one of his company’s key consumer bases.

We haven’t yet fully reviewed any of Victrola’s products, but we couldn’t miss the chance to talk to the CEO of a company whose history goes all the way back to the days of the gramophone. These days, the company’s aesthetic is far from gaudy, making stylish, lifestyle-friendly record players, which incorporate modern features such as Bluetooth, wi-fi and Auracast into their designs.

Hagen explains that one of the first consumers Victrola considers when designing new products “is somebody that purchased vinyl, or someone who is considering buying a record player for the first time, and they think, ‘You know, this looks like a lot of fun’.

“Gen Z, or that age range – call it 18 to around 30 – is the fastest growing segment of vinyl purchasers,” says Hagen.

And indeed, recent research by Key Production – a physical media broker and manufacturing agency – showed that the proportion of people listening to music in physical formats was greatest among those aged 18-24. As an encouraging side note, the survey also found that 18-24-year-olds were the most willing of all age groups to spend more on their wax in the name of eco-friendly production.

“Simple set-up to get a quality solution”

But for Gen Z, who are the first generation fully native to mobile devices, getting into analogue audio comes with a few hurdles.

“There’s a bias that it’s very difficult to get a great sounding, great looking product that’s not hard or scary to set up,” says Hagen. “At Victrola, we love music, we love hi-fi and all the great, beautiful products that are out there. What we don’t love is scaring people with this hi-fi, snobbish ‘analogue has to be perfect’ mindset, because, frankly, that isn’t who the core audience purchasing vinyl today are – so, we want to take the fear away.”

As a solution, Hagen stresses that “simple set-up to get a quality solution” remains a key tenet in Victrola’s new designs.

An apt example is Victrola’s Automatic turntable, which features Bluetooth connectivity, fully automatic operation, and a continuous repeat function that lets you loop one side of a record without the need for manual resets. Such products offer a middle ground for those newly interested in vinyl, allowing them to engage with physical music without the complexity of a fully manual turntable and hi-fi separates.

According to Hagen, consumer expectations around audio quality have been steadily rising. “Frankly, there’s more music being consumed today, in all different ways, than there was 20 or 30 years ago.”

With persistent upgrades to the quality of on-the-go listening formats, such as affordable wireless headphones, portable music players and in-car audio systems, Hagen says that “the expected base-level quality of sound is significantly higher” than it was in vinyl’s heyday in the ‘70s and ‘80s.

In an effort to meet that need, Hagen says that he and the company “take learnings from higher-end products, then figure out how we can implement them in a way that other people haven’t, to provide an even better product”.

As an example of this approach, he points to vibration-elimination technology developed for the company’s new Soundstage soundbase. This is a compact speaker unit that sits beneath a record player to deliver sound – it’s a convenient, space-saving solution for those wanting a compact vinyl set-up, but also a move that has the potential to cause feedback and distortion.

“Previously, we came up against a bunch of barriers. Take the Eastwood (a turntable with built-in speakers), for example. There, we were able to keep an isolated front array of speakers and get a lot more output than we, or our competitors, had… But we hit a barrier at some point, where we could only make it go so loud without vibrating the thing off the table.”

The company went back to the drawing board, and eventually returned with Victrola’s down-firing symmetric drive woofer, which uses a dual-diaphragm design with opposing woofers that share the same voice coil to produce bass while cancelling unwanted low-frequency vibrations.

“Now we’re taking those learnings and, over the course of the next couple of years, bringing them back into our lower-line products,” says Hagen.

“The industry is behind vinyl”

His confidence in the stable growth of vinyl, he says, is based not only on the consumer response to the company’s products, but also the vested interests of musicians and the wider music industry in physical media.

“I would say the industry is behind [vinyl],” he says. “Ultimately, content availability and content support from the studios and production and the artists themselves is what's always driven the demand and the consumption of the content itself. And the studios and the artists are so behind this format.”

According to 2026 statistics from the British Phonographic Industry (BPI), UK vinyl sales jumped by 19.9 per cent, driving a third consecutive year of growth in physical music revenue.

Here at What Hi-Fi?, we are always pleased to see interest in physical media grow, and alongside the vinyl sales, we’ve seen turntables continue to grow from strength to strength across all price ranges, as you can see from our best turntables buying guide. Even as times change, we’ve encountered superb new turntables, from affordable Bluetooth-equipped models such as Sony’s PS-LX3BT and PS-LX5BT turntables, to more upmarket, purist offerings from Rega and Pro-Ject.

Of course, streaming remains the dominant financial source for the music industry as a whole, rising to a record level of £1.07 billion in the UK in 2025, but Hagen believes that vinyl occupies a unique and robust position.

“People aren't going to buy [vinyl] necessarily because they think it has better quality sound, or because they think it's more convenient,” he says. “People aren't going to buy it because they think it's the most affordable, either. People are buying it because it is the second version of them going to a concert, and it is an incredible way for them to celebrate what they love with their friends.”

Looking to the future of turntable manufacturing, Hagen does not believe that innovation will be driven by “the most recent Bluetooth chip, or adding the most up-to-date amplifiers or preamps that are out there.”

Instead, he thinks that keeping a close eye on the ways that home life changes and understanding which types of connectivity and features best “connect with the way people live” will be key to keeping future customers engaged.

“I think it’s really going to be about industrial design,” says Hagen. “[It will be about] having the best industrial designers that are most connected to the end consumer, and working with them to learn as much as possible.”

What do you think? How do you see turntables evolving in the near future? Are there any features you hope to see included in modern turntables? Let us know in the comments.

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Well that didn't take long. Fresh from its five-star review in April, Sony's latest Bluetooth turntable has now plummeted to a new low price. It's just £217 at Amazon as part of the Prime Big Deal Days sale – that's a saving of £82 off the RRP.

Read on to see why it's a great first step into the world of vinyl.

Sony Bluetooth turntable best ever deal

So why is it so good? It builds on its five-star predecessor (the PS-LX310BT) with a similar fuss-free design and straight-out-of-the-box functionality. It also has an aluminium tonearm with a precision pivot bearing, an aluminium die-cast platter and a rubber mat.

Because it's an automatic turntable, there's no need to fiddle with tracking weights or cartridges, which makes playback a breeze. If you're a bit daunted by all the turntable terminology around, a simple model like this is ideal.

Pairing via Bluetooth is very straightforward too, and with support for the aptX Adaptive codec, sound quality is top notch (as long as you pick a compatible wireless speaker).

As we wrote on our review: "We're taken with just how composed, controlled and well-organised the Sony sounds, marvelling at the effortless cohesion and solidity it brings to the entirety of Michael Jackson's Bad album."

There's genuine musicality, which is not always found at this price. And with over £80 off, there's never been a better time to dip your toe in the vinyl waters.

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Read our Sony PS-LX3BT review

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Amazon Prime Big Deal Days Live: the best deals as they happen

The Beatles have released an expanded special edition of their 1965 album, Rubber Soul, featuring new stereo and Dolby Atmos mixes, archival recordings from early sessions, and a variety of physical formats.

The special edition features new mixes by Giles Martin (producer and son of George Martin) and engineer Sam Okell.

Alongside the new Dolby Atmos and stereo mixes, the collection includes the original mono mix, the original Capitol US Album Version, and previously unreleased session recordings and home demos, plus a double A-side single featuring Day Tripper and We Can Work It Out.

A few versions of the new release are available, including single CD and LP editions, double CD and LP Special Editions, and four-CD and five-LP Super Deluxe editions. A Blu-Ray edition will also be available, featuring the Dolby Atmos mix, a hi-res stereo version and promotional films for Day Tripper and We Can Work It Out.

UMG and Apple Corps Ltd have also announced limited-edition orange vinyl and D2C exclusive Zoetrope vinyl editions.

Those willing to fork out on the Super Deluxe editions can expect to hear 24 early session recordings, including 20 previously unreleased takes and three previously unreleased home demos, one of which, titled Little Girl, is touted to be a “previously unheard” John Lennon song.

Super Deluxe buyers can also expect an 88-page hardcover book to accompany their CD or vinyl, with an introduction by Paul McCartney and foreword pieced together from John Lennon’s own words.

The Rubber Soul special edition collections are available to order now. Full UK pricing is as follows:

Rubber Soul - Special Edition Standard: 1CD: £13.99

Rubber Soul - Special Edition Standard: 1LP: £29.99

Rubber Soul - Blu-ray Edition: £29.99

Rubber Soul - Special Edition Deluxe: 2CD: £22.99

Rubber Soul - Special Edition Standard: 1LP Zoetrope £31.99

Rubber Soul - Special Edition Deluxe: 2LP: £44.99

Rubber Soul - Special Edition Super Deluxe: 4CD Box Set: £119.99

Rubber Soul - Special Edition Super Deluxe: 4CD Box Set + Posters + Art Cards: £129.99

Rubber Soul - Special Edition Super Deluxe: 5LP + 7" Single Box Set: £189.99

Rubber Soul - Special Edition Super Deluxe: 5LP + 7" Single Box Set + Posters + Art Cards: £199.99

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Check out our pick of the best turntables tested by our expert reviewers

With vinyl records’ resurgence continuing unabated, there are now plenty of options for record fans when it comes to replay. Handsome budget decks and high-end players abound, but this month we are focusing on what could well be the sweet spot for many: turntables priced around the £1000 mark.

We recently compared three such decks that combine classy design with the sonic chops to match that not insubstantial price. One is an existing champion – Rega’s Planar 3 RS Edition is an upgraded package that elevates the standard Planar 3’s performance for a competitive price (£1099 / $1795 / AU$2399). The RS Edition is a beautifully made deck that sounds fantastic. From its improved plinth to included external power supply, the ‘Rega Special’ turntable is a worthy 2025 Product of the Year What Hi-Fi? Award winner.

But last month, two new models arrived in our test rooms to challenge its supremacy, from two other big players in the turntable business. First up is the Pro-Ject Debut Reference 10 (£999 / $1499 / AU$2349), the most premium member of the brand’s long-established and lauded Debut range to date. Accordingly, this new iteration incorporates a new tonearm, platter and sub-platter as it looks to compete in this premium price range.

It’s joined by Technics’ SL-1500CS (£1099 / $1799 / AU$2499), an update to the superb direct-drive SL-1500C. The difference, apart from the added letter? It’s all in the new deck’s motor controller circuit that is designed to provide a purer signal feed, theoretically resulting in a motor that spins more smoothly and accurately.

Both are worthy challengers to the Rega on paper and both have gained five-star reviews. But when it comes down to the all-important listening, will they be rebuked by the champ, or steal away its crown? We had all three in our test rooms together to find out...

The three turntables

All three contenders would be fantastic options for vinyl fans, but for the sheer joy of playing records, the Rega proves hard to beat

Each of the three record players on test here has been put under the microscope and has come out with a glowing five-star report. There is no bad option here. All three are capable of excellent results in any sensibly chosen system, are well-built, and easy enough to set up.

That doesn’t mean that they are all the same, though. Each one has a distinctive character and particular strengths that may appeal more to some than others.

Pro-Ject: an easy-going, stable and clear performance

The Pro-Ject Debut Reference 10, for example, probably has the most showroom appeal. It is the cheapest of the three models, yet the combination of a 10in carbon fibre tonearm, acrylic platter and option of balanced output marks it out as something different.

But, behind all the headline-grabbing materials and interesting features, there is real substance too. The Debut Reference 10 is a fine all-rounder that digs deep into the record groove to produce a superbly balanced and entertaining performance.

We said in our review: "The Pro-Ject’s delivery sounds clear, organised and authoritative, and its presentation is open and spacious, too. Resolution levels are impressive, be it the punchy percussion scattered across Michael Jackson's Bad or the hazy basslines that are the trademark of Nas’ Illmatic."

In relative terms, its character veers towards a more relaxed presentation, which may well suit many, but the deck retains enough of the music’s energy and drive to deliver a truly enjoyable listen.

• Read the full Pro-Ject Debut Reference 10 review

Technics: powerful and muscular sound, with robust build

We admit, we feared for the new Technics SL-1500CS when it was announced. We love the standard SL-1500C. It is a superb deck for the money, and a former Award-winner. It also includes a built-in phono stage, which neither the Pro-Ject or Rega rivals do. So, when Technics changed nothing but the quality of the power-supply signal to the motor unit and added a couple of hundred pounds to the price, we worried.

It turns out there was no need. That apparently small change to the power supply makes a notable difference to the performance. It wouldn’t take long in any half-decent system to spot the improvements during a comparison. The SL-1500CS is notably more expressive and detailed. It simply reveals more of the information in the record groove without adding any weaknesses of its own.

Up against class rivals, this Technics stands out for the authority and stability of its presentation. Lows come through with impressive punch too. However, up against its Rega rival, we find that the Rega Planar 3 RS Edition "tells us more about the recording and edges ahead when it comes to dynamic subtlety and rhythmic precision".

Still, add well-proven build quality, a superb built-in phono stage and fuss-free operation, and we think the SL-1500CS is going to make an awful lot of people very happy indeed.

• Read the full Technics SL-1500CS review

Rega: hugely entertaining, insightful and rhythmically agile sound

That leaves us with the Rega Planar 3 RS Edition. The price may have gone up a bit in the past year (from £999 to £1099), but for us, this remains the finest-sounding record player on the market at this level. It is a complete performer that gets straight to the emotional core of the music thanks to expert handling of dynamic nuances and rhythmic precision.

In our three-way test, we found that the Rega "outguns its Pro-Ject rival, bringing so much snap and verve to Jackson’s Dirty Diana that the Reference 10 can’t quite keep up." Similarly, the Rega deck is "ultimately the more transparent and insightful performer" compared with the Technics.

Good as its five-star rivals are, neither quite manages to tell us as much about the music and recording. We said in our review that "There is a confidence and effortless quality to the way this turntable sounds compared with the standard Planar 3; the RS Edition locks every detail, every instrument, every vocal into place in an assured way that is admirable and wholly enjoyable."

The Rega may not include a phono stage, as the Technics does, or have the Pro-Ject’s headline-grabbing materials and features, but when it comes to the sheer joy of playing records, the Planar 3 RS Edition gets our winning vote.

• Read the full Rega Planar 3 RS Edition review

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You may have seen in the news recently that a vinyl pirate was jailed for three-and-a-half years after police seized the largest haul of counterfeit records ever found in the UK. The man made a whopping £2.7 million between 2017 and 2024 by selling knock-off versions of albums by Ed Sheeran, The Beatles and Taylor Swift, among others.

The counterfeiter used four 70-year-old vinyl presses to copy legit records at the industrial unit in Acton, west London. Police also found 3000 metal stampers and thousands of sleeves and centre labels.

In total, they seized 18 tonnes of evidence during the bust in 2024. The pirate was sentenced a couple of weeks ago.

According to City of London Police, the evidence pointed to "a long‑running, highly organised and entirely unlicensed manufacturing operation capable of producing counterfeit recordings at a scale rarely seen in the modern music industry."

Which suggests that counterfeit vinyl is a substantial problem.

Indeed, the issue is pretty widespread, according to the British Phonographic Industry (BPI), who referred the case to the City of London Police's Police Intellectual Property Crime Unit (PIPCU). Speaking exclusively to What Hi-Fi?, Peter Ratcliffe, the BPI's Director of Content Protection, said that unfortunately the vinyl format was becoming a victim of its own success.

"After 18 consecutive years of growth in vinyl LP purchases in the UK (and likely to be 19 after this year), it's sadly inevitable that some people with more sinister motives will try to exploit this demand and the love people have for the format," he said.

Since 2025, Ratcliffe’s unit has seized 600,000 units with an estimated value of around £8 million – and that's not including the nearly £3 million worth seized during the Acton raid in 2024.

A pretty bleak picture, then. But there are some glimmers of hope.

The BPI has been scoring "some notable successes", Ratcliffe said, "thanks in part to improved field intelligence and operational processes as well as greater industry collaboration".

He added that "we hope the problem is now in decline or at least is becoming contained". Fingers crossed.

Stay well away

We would always advise against buying counterfeit vinyl, even if it is cheaper than the real thing. Not only is the sound quality usually worse, playing a knock-off record can actually damage your turntable.

And that's before you get to the fact that it denies any earnings to everyone involved in creating and distributing the music, from the artists themselves, to everyone who works at the record label and in the independent record shops that we treasure so fondly.

Or, as Ratcliffe puts it, "fake vinyl (and CDs) denies artists and the record labels that support them significant revenues that rightly should go to them, while, of course, it also undermines the retail community and wider music ecosystem and cheats fans out of an authentic experience".

But perhaps most seriously of all, the "ill-gotten proceeds tend to fund other forms of criminality that can impact us all. It is far from being a harmless activity that we should turn a blind eye to".

So even if you're not a fan of the fat cats at major labels, you should still avoid buying counterfeit records.

Thankfully, they're pretty easily avoided, as long as you shop at the right places and exercise a bit of caution. You shouldn’t find any knock-off vinyl at your local independent record shop, for example.

"In general, reputable record shops do not get approached by the counterfeiters," Mark Burgess, the owner of Flashback Records, told us.

"The records are poor quality and illegal, so there is no incentive for us to buy them. You'll find these counterfeits at markets and boot fairs."

And if in doubt? You can always consult our guide on how to spot fake vinyl.

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How to spot fake records: a definitive guide

The best independent record shops in the UK – as chosen by you, the readers

The best turntables to play your (legit) records

If you've been keeping up with the latest Prime Big Deal Day deals, you’ll know there are a few offers on turntables. I, of course, would love there to be more, but Amazon AU isn’t exactly known for its extensive catalogue of hi-fi separates.

Still, with discounts on the superb Sony PS-LX310BT and Technics SL-40CBT up for grabs with a discount, the Prime Day sale (which ends this coming Monday, October 5) could be a prime time to start your own turntable-based system.

And if you need new vinyl records to go with your fledgling hobby, you’re in luck, as Amazon has also discounted a decent selection of albums, spanning multiple genres. And given the fact that vinyl records can be really expensive these days, any discount is welcome. In fact, there’s up to 48% off select albums, with the likes of The Beatles’ White Album, Nirvana’s Nevermind and the live version of Fleetwood Mac’s Rumours all up for grabs; you won’t want to miss out.

If my picks aren't to your taste, be sure to check out the full selection of vinyl available at Amazon AU.

Even if you already own a great turntable and are just looking for some savings on records, these deals should tempt you to complete your collection. Remember, these deals expire on Monday, October 5 or when stock runs out.

Best Prime Day Vinyl deals

The Velvet Underground’s 1969 album, The Velvet Underground, is set to receive a sonic upgrade as the latest addition to UMe’s (the global catalogue division of Universal Music Group) Vinylphyle series.

The Vinylphyle edition features all analog mastering “by an elite group of today’s top vinyl cutting engineers” and comes on 180g black vinyl, pressed at RTI’s pressing plant in California. This release presents Lou Reed’s original “Closet Mix”, which featured on the very first pressings of the album in 1969.

The record is housed in a tip-on gatefold jacket with a four-panel insert, which includes scans of the album’s source-recording tape alongside newly commissioned liner notes by Grammy nominee and rock historian, Scott B. Bomar.

At the time of its original release, The Velvet Underground marked a shift from the fiercely experimental sound of the band’s early recordings to a more melodic, paired back approach – best summarised by songs such as Pale Blue Eyes and Candy Says – which brought Lou Reed’s songwriting talents to light.

UMe’s Vinylphyle series, which the company has dubbed “a premium vinyl experience for people who love vinyl”, launched in November 2025 with four legendary titles: The Velvet Underground & Nico, Exodus by Bob Marley & The Wailers, The Band’s Northern Lights-Southern Cross, and Nat King Cole’s The Christmas Song.

This release delves deeper into The Velvet Underground’s back-catalogue.

The Vinylphyle edition of The Velvet Underground is now available to order at a price of $40 from uDiscover Music. Additional shipping fees will be added for customers outside the US, with shipping expected on 24th September.

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Quiz! Take on our turntable-themed crossword for a spin and see how quickly you can solve the clues

Check out our pick of the ultimate music tracks to test your hi-fi system

Rewind to the 1970s with this Pink Floyd, The Dark Side of the Moon, cassette player boxset

German manufacturer Clearaudio has announced a petite new phono stage, Compact Phono, which the company says is “small enough to fit discreetly into virtually any setup”.

The phono stage measures just 2.6 x 11.5 x 8cm (hwd), but Clearaudio says “its compact dimensions belie a serious phono stage”.

Ease of use has been taken into consideration for a new design, which makes switching between moving magnet (MM) and moving coil (MC) operation easier than on the company's previous phono stages – which required the unit to be opened and internal jumpers reconfigured – with a button on the front panel.

At the heart of the unit are “extremely low-noise, high precision operational amplifiers”, with gain split across two stages: the first handling “the bulk” of amplification to “maximise signal-to-noise ratio”, while the second stage uses targeted filters to limit unwanted frequencies.

A 16Hz subsonic filter removes unwanted low-frequency rumbles, while a 70kHz ultrasonic filter “reliably catches cartridge resonances”. Clearaudio says that the new filtering system provides “broader protection against unwanted signals than the subsonic-only filtering found in earlier designs, while maintaining precise RIAA equalisation and complete signal stability”.

The Compact Phono has also been designed with flexibility in mind and will "accommodate everything from entry-level cartridges to extremely quiet MC systems”.

This is done by the inclusion of adjustable input loading, which provides 47kΩ / 100pF for MM and 100Ω / 100pF for MC. Additionally, switchable gain of 40dB and 60dB allows the unit to be matched to a “wide range of systems”.

Clearaudio says that both gain settings are higher than those offered by its predecessors, while MC operation promises a headroom of 29dB, which is “comfortably ahead of previous models”.

The Compact Phono includes an ±18V power supply, which Clearaudio claims delivers an “extremely stable, noise-free voltage supply” in combination with two linear voltage regulators.

According to Clearaudio, “top-quality” components have been used in the Compact Phono’s circuitry, which is all housed inside a low-resonance metal enclosure with isolating feet – which will minimise rumble as you stomp your feet to your favourite records.

The new phono stage is also more efficient than previous models, for a “lighter, cooler running” operation.

The Clearaudio Compact Phono is available now in finishes of black and silver for a price of £490 / €490 / $639.

At this price, the Compact Phono comes up against tough competition, including the similarly well-equipped, but cheaper, Cambridge Audio Duo MC/MM (£299 / $399 / AU$559) and the Award-winning, slightly more expensive, Graham Slee Reflex M (£540 / $960 / AU$1290).

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Pro-Ject’s Debut range of turntables has been on quite the journey.

The original Pro-Ject Debut broke cover at the end of the 1990s, carving out a stellar reputation as one of the best-value decks for buyers who wanted a terrific budget turntable that delivered that coveted combination of reliability and simplicity.

Like a young executive upgrading their home as they climb the corporate ladder, the Debut line has become steadily more premium over time, with 2023’s Award-winning Debut Pro making the transition to a more upmarket price of £699 / $999 / AU$1079 to significant acclaim.

At a not-trivial £999 / $1499 / AU$2349, the new Debut 10 Reference turntable once again moves the price needle upwards. Sporting a similar overarching design to the Pro-Ject Debut Pro, this new iteration incorporates a new tonearm, platter and sub-platter as it looks to compete in the higher echelons of vinyl society.

The Debut Reference 10 has traded Cup-A-Soup for caviar, but in moving even further upmarket, does Pro-Ject still remember its Award-winning roots?

Build & design

We have few complaints about the construction of the Debut Reference 10. Certain ‘blingier’ design elements won’t be for everyone, but there’s little question that this is a turntable of admirable build quality.

Those blingier elements include a rather whopping aluminium bearing block and counterweight attached to a carbon fibre tonearm, contrasting starkly with the matte finish of the MDF chassis. The turntable is only available in the satin black finish of our review sample, a colourway that, in our experience, is susceptible to attracting fingermarks.

The Debut Reference 10 incorporates a good deal of shining metal in its construction, from the various milled aluminium components – including an optional record puck and that massive shining counterweight – to the height-adjustable damped feet at its base.

The main platter of the belt-driven record player is made from acrylic, designed to contribute to what Pro-Ject describes as a “natural, liquid sound signature” while reducing the need for additional damping materials.

The main platter is paired with an aluminium sub-platter, machined to add mass to the ensemble and further reduce unwanted sonic resonances, sitting atop a main bearing that uses a stainless steel axle with a bronze bushing.

Setting the Debut Reference 10 apart from its forebears is a new 10-inch tonearm – a good deal longer than the 8.6-inch model of the Debut Pro – made using a carbon-fibre and aluminium sandwich construction. According to Pro-Ject, this longer arm helps reduce tracking and inner-groove distortion, thus improving the resultant sonic fidelity.

At the end of the tonearm is Pro-Ject’s own Pick It Pro Balanced moving magnet cartridge, a revised version of the brand’s Pick It model, and built for reduced noise and interference via its balanced signal transmission.

Nothing here is tricky to set up or to use. The cartridge comes accurately aligned in the tonearm’s headshell, while a detachable acrylic dust cover clicks in and out of place without much trouble. You’ll need to attach the small anti-skating weight and large counterweight to set the cartridge’s recommended 2g tracking force, and while there aren’t any numbers marked on the arm to assist you, Pro-Ject thoughtfully provides a stylus weight scale in the box.

Pro-Ject also provides a decent-quality detachable tonearm lead, which allows an avenue for future upgrading, meaning you can try different leads depending on your personal preference. There is also a mini XLR cable provided to make a balanced connection with Pro-Ject’s own suitably equipped phono stages.

Internally, the Debut Reference 10’s 15V AC motor is decoupled from the rest of the turntable and housed in its own substantial base to prevent vibrations from transferring to the chassis. A small switch on the left-hand side of the deck controls your turntable’s speed electronically, with a click to the left setting it to 33⅓ RPM and a click to the right setting it to 45 RPM.

If you want to go up to 78 RPM, you’ll need to attach the alternative round belt to the outer edge of the deck’s larger pulley, and then move the speed changer to its right-hand setting. The belt does slip off a couple of times as we test out our test turntable’s 78 RPM rotation, but after a few tries, we manage to get everything spinning at the speed we require.

Sound

There’s a weight of expectation sitting on the Pro-Ject’s shoulders as we connect it to our trusty Naim Nait XS 3 stereo amplifier and a pair of five-star Epos ES-7N standmounts.

We need to know exactly what this player can do, so to fully spotlight the extent of the Debut Reference 10’s abilities, we also spend time listening to it plugged into our reference Burmester 088/911 MkIII pre/power combination and a pair of the super-revealing PMC MB2 SE loudspeakers.

These choppy waters aren’t short of rival sharks willing to take a chunk out of the Debut Reference 10, including the Award-winning Rega Planar 3 RS Edition (£1099 / $1795 / AU$2399) and the new Technics SL-1500CS (£1099 / $1800 / AU$2499).

We don’t let the Debut Reference 10 off lightly as we spin our first records, either. We flit between Beethoven’s challenging Ninth Symphony and Dirty Diana from Michael Jackson’s Bad, yet the Pro-Ject takes everything admirably in its stride. Beethoven’s Ninth is handled with precision, authority and stability, while Dirty Diana is suffused with bite and ample lower-end grip.

So easily could the former have sounded muddled and the latter hurried, but Pro-Ject’s impressive performer gives each track just the right amount of rope – not too much for the music to sound strangled and restricted, not too little for things to become slipshod or hurried.

This finely judged balance isn’t the only weapon in the Reference 10’s arsenal. The Pro-Ject’s delivery sounds clear, organised and authoritative, and its presentation is open and spacious, too. Resolution levels are impressive, be it the punchy percussion scattered across Bad or the hazy basslines that are the trademark of Nas’ Illmatic.

The Debut Reference 10 has won us over, but how does it shape up against its key rivals? The Technics SL-1500CS sounds more powerful and authoritative thanks to the deck’s considerable sonic brawn, whereas Rega’s raucously entertaining Planar 3 RS Edition continues to lead the pack when it comes to rhythmic and dynamic expression.

In a pitched battle against the Debut Reference 10, the Rega outguns its Pro-Ject rival, bringing so much snap and verve to Jackson’s Dirty Diana that the Reference 10 can’t quite keep up. For making you want to don your white suit and bust out your best Moonwalk, the Rega remains the king of this particular castle.

That doesn’t, by any means, render the Pro-Ject obsolete or unworthy of praise. This is still a terrifically talented turntable, and with the Rega’s recent price hike taking it from £999 to £1099 in the UK, one that costs a not-inconsiderable chunk of money less.

Drop back to something a little slower-paced, such as Tom Jones’ Did Trouble Me, and the Pro-Ject is back in its element. Jones’ voice is as rich and smooth as a cigar soaked in malt whisky, and the Debut Reference 10 has the requisite weight and warmth to give the gospel tune that lovely feeling of soulful sincerity.

Verdict

Amid such strong competition, there was always a danger that the Pro-Ject Debut Reference 10 might become lost among the crowd. After all, when you’re up against the likes of Rega and Technics, you’re always going to have your work cut out.

Fortunately, the Debut Reference 10 is talented enough in its own right to grant it significant appeal. For its expertly judged blend of sonic authority and spaciousness, not to mention its quality build and ease of use, the Reference 10 is a smart choice for customers not willing to break the £1000 / $1500 barrier.

Review published: 9th September 2026

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Rega Planar 3 RS Edition

Also consider the Technics SL-1500CS

Read our Rega Planar 3/Nd3 review

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The phrase ‘appearances can be deceptive’ could have been coined for the new Technics SL-1500CS turntable. Despite the notable price difference – the standard SL-1500C costs £899 / $1499 / AU$1899 – there is nothing obvious to distinguish the pair on first viewing, bar the new deck’s Metallic Grey finish.

At first we thought the SL-1500CS was intended to replace the original, but Technics sees it as the next step in its turntable hierarchy, with the standard model continuing in production.

Build & design

What’s the difference between the two? It comes down to the direct-drive’s motor controller circuit. The new SL-1500CS design repurposes the company’s Delta-Sigma Drive technology, as seen in its digital amplifiers, to give the motor a purer signal feed. The result is a motor that spins more smoothly and accurately. This may not sound like much, but it affects every aspect of the record player’s performance.

Elsewhere, everything feels reassuringly familiar. The robust-feeling plinth remains a sturdy mix of aluminium, ABS and glass fibre to deliver a rigid, low-resonance structure. It is only available in a single finish, Metallic Grey, and to our eyes at least, looks smart.

The resonance-control theme continues with the SL-1500CS’s platter. It is made of die-cast aluminium and heavily damped with rubber on the underside to produce a more inert support for the record.

The record player’s ‘S’-shaped tonearm is a well-proven aluminium design. Its bearings are smooth and relatively play-free, while the detachable headshell makes cartridge swapping a breeze. The easily adjustable arm height is another tick in the Ease-Of-Use column. The lift/lower lever works well enough but doesn’t feel particularly precise or positive in use.

Technics has included an Ortofon 2M Red moving magnet cartridge as part of the package, and it is a good choice. This much-respected design is an unfussy yet capable performer that tracks securely at a steady 1.8g.

Speed switching is easily done at the touch of a button, with the SL-1500CS offering 78 RPM alongside the usual 33 ⅓ and 45 choices. We like the way the platter gets quickly up to speed without the judder and fuss of most belt-driven rivals.

The SL-1500CS is a semi-automatic design. It can be set to lift the arm at the end of a record side. This takes around ten revolutions to kick in, so don’t worry if it doesn’t happen as soon as the stylus tip reaches the run-out groove.

There is also a built-in phono stage, unchanged from the standard SL-1500C. Most included phono stages tend to be stop-gap efforts that are easily bettered by modestly priced outboard units. That’s not the case here.

We think this Technics phono module is good enough to hold its head high against most sub-£200 phono stages we’ve heard. If the urge to upgrade does strike, the circuit can be taken out of the signal path with the flick of a small switch on the back panel.

Setting up the SL-1500CS is easy. Once the deck is out of the packaging, the user just needs to fit the platter, attach the headshell, and set the tracking weight and bias to match. The Ortofon cartridge is already fitted and aligned in the headshell.

A quartet of large spring and rubber feet provide a degree of isolation from external vibrations, though as with any turntable, a level, low-resonance support is still recommended.

The deck’s tonearm leads are detachable. They do the job, but still leave a little too much on the table for our tastes. They would be our first port of call when the urge to upgrade strikes. All the SL-1500CS’s sockets are deeply inset under the plinth. While this makes for a neater installation, making the initial connections is more fiddly than we would like.

A record player at this level demands a good quality partnering system. We get great results with the Technics feeding an Arcam A15+ amplifier and KEF LS50 Meta speakers. We also installed the Technics into our reference system of Cyrus Phono Signature/PSX-R2 phono stage, Burmester 088/911 MkIII amplifier and ATC SCM50 speakers, to really put a spotlight on its performance.

Our benchmarks are the similarly-priced Rega Planar 3 RS Edition and the standard SL-1500C (fitted with an Ortofon 2M cartridge as standard). The comparisons are intriguing.

Sound

How much difference does improved motor control make? It turns out that the answer is quite a lot. Given how similar the two Technics decks are, the sonic differences are surprisingly large in a suitably transparent system.

The SL-1500CS is a livelier and more energetic performer. Beethoven’s 9th Symphony comes through with greater conviction, with more expressive dynamic shifts and a stronger handle on the individual instrumental strands.

The new model sounds composed and organised, making more sense of the music. We’re having more fun too, thanks to an increased sense of verve and drama.

Both Technics decks are supplied with the same Ortofon cartridge, so there is little difference in tonal character. They both sound even and balanced, though the new model offers notably more insight into the recording.

In general terms, the SL-1500CS proves to be an excellent performer for the money. That improved detail resolution doesn’t just better its cheaper stablemate; it is impressive for the price too. Control and composure are also top class.

We love the Technics deck’s sense of power when playing large-scale music. Its presentation is big, muscular and punchy. Crucially, it avoids sounding brutish; there is too much in the way of finesse to let that happen.

However, given appropriate music, the low-end kicks hard with plenty of weight and authority. Bob Marley’s Catch A Fire comes through with its energy and attitude fully intact. Move up the frequency range, and there is a good degree of clarity, with Marley’s voice coming through with natural warmth, body and emotion.

Add an impressive sense of stability coupled to surefooted rhythmic ability, and it is hard to escape the conclusion that this is one of the best record players we’ve heard anywhere near this price.

Our current class leader is Rega’s mighty Planar 3 RS Edition, of course. This comes fitted with the excellent Nd5 moving magnet cartridge, and sets sky-high performance standards for the price.

Unlike the standard Planar 3, the RS Edition features electronic speed change as well as a smarter finish on the plinth. There is no built-in phono stage, so this isn’t quite an apples-to-apples comparison, but it is close enough to prove useful.

Cutting to the chase, the Rega is ultimately the more transparent and insightful performer. It tells us more about the recording and edges ahead when it comes to dynamic subtlety and rhythmic precision. The Technics counters with more powerful, though less articulate bass and a fine sense of stability, so it isn’t all one-way traffic.

Verdict

If you are after the most sonically capable record player at this level, then go for the Rega. It is a superb product that’s beautifully engineered and a pleasure to use. However, the Technics SL-1500CS isn’t short of appeal either.

It too is superbly made, and feels like it will survive decades of use. If you are the kind of person that loves swapping cartridges, it makes that so easy. Factor in the impressive built-in phono stage and there are enough plus points for the Technics to be considered a worthy alternative to the Rega. The SL-1500CS deserves a high place on any shortlist.

Review published: 7th September 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Read our review of the Rega Planar 3 RS Edition

Also consider the Pro-Ject Debut Reference 10

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Japanese high-end audio manufacturer, Esoteric, has launched a new turntable, the T-01, which includes a contactless magnetic drive system for “uncompromising precision, energy, and realism”.

The T-01 turntable costs £41,999 / $50,000 and includes features from the company’s flagship record player, the Grandioso T1, such as a triple-layer aluminium and MDF cabinet construction and 10MHz external clock synchronisation. The turntable’s clock sync is compatible with the G-01XD and G-05 Master Clock, too.

The turntable also features a Magne-Float platter, which uses magnetic repulsion to reduce the effective mass of the platter from 13kg to 4kg, thereby minimising spindle bearing friction.

The patented drive system, which the company calls “Esoteric MagneDrive” was first used in its Grandioso T1 record player. Esoteric says that the system achieves “extraordinary rotational silence, stability and high-torque performance, revealing music with uncompromising precision, energy and realism”.

According to Esoteric, the “MagneDrive” system was more than five years in the making. It sees a soft Iron induction wheel surrounding the lower part of the aluminium platter, which spins in response to the rotation of a magnetic driver mounted on the drive motor. Consequently, there is no direct physical contact between the platter and motor assembly, keeping the platter isolated from the motor's vibrations.

The turntable has rotational speeds of 33⅓ and 45 RPM, and features a +/- 12 per cent speed adjustment option (in 0.1 per cent increments).

The T-01 consists of a main unit and a power supply unit, which Esoteric says will enhance “sound isolation”.

The turntable will be available with or without a tonearm, priced £38,999 / $46,000 without tonearm and £41,999 / $50,000 with the tonearm included.

Shipping begins in September.

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Or I’ve just listened to £250,000 worth of turntables and this is what I learned

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Another week, another chance to flex your hi-fi and home cinema muscles with a quiz on a topic close to all our hearts.

This time it’s turntables, but we’ve gone down the crossword route – all you need to do is use our playful clues to help fill the squares on the board.

Think you’ve got the knowledge required to complete the challenge? Click play and take it for a spin, and the fastest time will sit proudly on top of our leaderboard!

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Quiz! How fast can you solve our turntable challenge? Test your wordsearch skills now

R.E.M.’s sophomore album, Reckoning, is about to get a sonic upgrade.

The 1984 American rock classic is set to be released on 180-gram vinyl, with audio sourced from the album’s original master tapes, on 18th September. The reissue comes as the latest addition to Intercope-Capitol Records Definitive Sound Series.

The original co-producers of the album, Mitch Easter and Don Dixon, were personally involved with the release, which was mastered by Grammy-award winning engineer, Chris Bellman.

According to a post shared by R.E.M on Instagram, the involvement of the original engineers “helped ensure that every decision remained faithful to the warmth, dynamics, balance and distinctive character of the original 1984 recording.”

Upon hearing the upgraded masters, Dixon commented that he was “hearing details within the recording that had escaped him on previous vinyl editions”.

When it was released in April, 1984, Reckoning found widespread critical acclaim. One of the album’s songs, So. Central Rain (I’m Sorry), secured R.E.M. their first ever spot in the Billboard Hot 100.

As part of Interscope-Capitol Records’ Definitive Sound Series, the band’s debut EP, Chronic Town, and debut album, Murmur, have also been reissued as limited editions. Both releases have since sold out.

The Definitive Sound Series edition of Reckoning is available to pre-order now and will be limited to 5000 numbered copies – so move fast if you want to hear So. Central Rain like never before.

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Technics is celebrating 55 years since the launch of its iconic SL-1200 turntable with a new limited-edition model, the SL-1200 55th Anniversary Edition.

According to Technics, “The model pays tribute to a turntable lineage that has helped define DJ culture.”

Limited to 12,000 units globally, this anniversary turntable will see the conventional SL-1200 design adorned with gold coloured details, including a gold anodised S-shaped aluminium tonearm, a gold-finished tonearm base, a platter with a gold-coloured rim and strobe marks, gold knobs and buttons, and a specially designed gold-themed slip mat.

Each turntable will also feature an individually engraved anniversary badge with its serial number, highlighting the commemorative quality of the release.

The SL-1200 55th Anniversary Edition’s design is based on the standard SL-1200 MK7 DJ turntable, and includes a digitally controlled, single-rotor direct drive, a vertical pitch fader with a range of up to 16 per cent, an adjustable height tonearm, as well as a Reverse Play mode.

Originally released in 1972, the SL-1200 was developed, says Technics, as a “high-performance direct-drive turntable for demanding music lovers”. But the SL-1200 soon found favour among DJs for its reliability beyond the living room, thanks to features such as its die-cast aluminium cabinet, high-torque motor, stable rotation and quick start-up.

The Technics SL-1200 55th Anniversary Edition is planned for global release in September 2026 and will be available in seven colours: gold, blue, red, black, green, white or grey.

The price of this limited-edition model hasn’t yet been confirmed, with Technics saying it will be shared closer to launch.

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Pro-Ject has given Bluetooth powers to its entry-level E1.2 turntable, alongside a new iteration which features a built-in phono stage.

The Bluetooth-capable E1.2BT and phono-sporting E1.2 Phono ape the general design and configuration of the standard E1.2 model, focusing on budget-friendly performance and convenience bolstered by Bluetooth 5.4 streaming or a phono preamplifier, respectively.

The E1.2 BT turntable features a built-in Bluetooth transmitter with hi-res aptX HD codec support, meaning you can wirelessly stream vinyl playback wirelessly to speakers, headphones, or even compatible amplifiers if you so choose.

The Phono edition, conversely, incorporates what Pro-Ject describes as a “high-quality phono preamp for superior signal processing and noticeably improved sound performance”, boasting advanced circuitry designed to reduce noise and distortion while preserving the detail and natural character of your vinyl.

The E1.2 BT and E1.2 Phono share the same heavy die-cast aluminium main platter as their standard E1.2 counterpart, creating what Pro-Ject describes as an “ideal, anti-resonant platform”. In pursuit of more stable playback, the platter has been precision-balanced to grant a more even rotation and improve acoustic performance.

Each new turntable comes equipped with a Pick It MM E phono cartridge, which uses a conical diamond tip to deliver “warm and smooth audio” with low background noise.

The cartridge is attached to a pre-calibrated 8.6-inch aluminium tonearm with a carbon-reinforced headshell and a heavy-mass gimbal bearing for smooth movement during operation.

Both belt-driven players feature electronic speed-switching for 33⅓ and 45rpm via a single button, with Pro-Ject again aiming for a pair of entry-level decks that prioritise ease of use as much as sonic performance.

The Pro-Ject E1.2 BT is available now, priced at £399 / €399 in the ‘standard’ High Gloss Black or Walnut finishes. The five 'Colour' finishes, which include Satin White and a rather sunny Satin Golden Yellow option, will bump that price up to £449 / €449.

The E1.2 Phono is available now in High Gloss Black, Satin White and Walnut colourways, priced at £319 / €359.

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Read our Pro-Ject Primary E review

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When you buy a piece of vinyl, you can be certain of a couple of things. First, it's going to sound better than the version available on streaming. And second, it's yours forever, and won't be taken away from you due to a change in licensing agreements.

But if you assumed your 12-inch would contain all the same tracks – with all the same elements – as the streaming version, then we have bad news for you.

Because recently, vinyl albums have been dropping with glaring omissions, including elements of tracks missing, unfinished mixes, and even entire songs absent. Meaning that the lower-quality version you'll get via streaming services is actually superior in some respects.

Understandably, fans are pretty miffed. And the record labels could be doing a lot more to prevent these mistakes from happening, or at least to communicate to fans that the version they're buying is going to be different.

Should do better

The Guardian recently documented cases of this happening, and it's all mainstream artists from big labels who really should do better: Raye, Charli xcx, Olivia Rodrigo, The Weeknd. It's not just a recent phenomenon: the first vinyl pressings of Beyonce's 2024 album Cowboy Carter were missing five tracks that appeared in its digital incarnation, while other albums (like Lil Wayne's Tha Carter VI) were released in much shorter vinyl versions than on digital.

Why is this happening? It's not just ineptitude on the part of the labels, though that does play a part. Vinyl pressing plants need information like artwork and audio masters from the labels weeks ahead of the album's release date in order to guarantee the place in the queue. The Guardian piece quotes six to eight weeks, but an industry source tells us lead times of eight to 10 weeks are more common at the moment.

That means any last-minute changes – or even entirely new mixes created during those weeks – will miss the cut-off.

Streaming services, by contrast, only need around five days to upload digital files for the audio, artwork and promotional materials.

Another reason is cost. Deluxe double- and even triple-albums cost a lot to release on vinyl, not only because they involve more 12-inch records, but also due to the premium packaging. Though you would think the higher asking price would cover that.

Be careful what you buy

Now obviously it's down to the artists and labels to hit their deadlines, and to make sure they're happy with the finished product before sending it off. Admittedly that can be trickier when it comes to collaborations, as it involves aligning the diaries of lots of very busy people (filmmaker David Cronenberg's contribution to Charlie xcx's album Music, Fashion, Film was one of the most egregious omissions from a vinyl version in recent memory). But that's no excuse.

And if there are omissions from the vinyl album, fans deserve to know about them before shelling out their hard-earned. Vinyl isn't cheap. A new LP costs around £30. To then find out that you're not even getting the finished article is pretty galling, to say the least.

So what's to be done?

Until record labels become more honest and open about any differences between the physical media and digital versions, not much. You can hold off buying an album on release day and wait to see what other fans report, but that's not ideal. Instead, we would petition your favourite artists and labels to make clear any discrepancies so us punters can make an informed purchasing decision. £30 is a lot to spend on an album only to find out that the 'full' version is free on Spotify at a crappy bitrate.

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Oh no! Not even vinyl records are free from AI slop

Another week, another opportunity to take part in a quiz designed by the team at What Hi-Fi? Towers.

This week we've put our hi-fi hat on and designed a wordsearch inspired by our love of the turntable.

We’ve hidden several key components from a record player in our grid and sprinkled in a handful of brands associated with the product category to keep your brain spinning.

See how quickly you can complete the search, and let us know your time in the comments below!

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Canadian manufacturer Kanto Audio has just announced the second generation of its first ever turntable, the Obi3, less than a year after the original was released.

The first-generation Obi3, released in October 2025 for £179 / $179, was an entry level belt-drive turntable, featuring a switchable phono stage and built-in Bluetooth.

The apple hasn’t fallen far from the tree between the Obi3’s generations, with features such as a switchable built-in phono stage, Bluetooth 5.3 connectivity and RCA line-level outputs remaining consistent in the new second-gen turntable. The new Obi3G2 even comes with the same J-shaped aluminium tonearm and pre-fitted Audio-Technica AT3600L moving magnet cartridge as the original model.

But there are a few notable upgrades.

The Kanto Obi3G2 is significantly heavier than the Obi3, weighing 5.5kg compared with the Obi3’s 3.9kg. The company says this extra bulk will help eliminate unwanted vibrations from affecting vinyl replay.

To further help with playback stability, Obi3G2 also features a built-in speed sensor, allowing for continuous speed correction as the record plays. Playback speeds supported are 33⅓ RPM and 45 RPM.

Priced at £180 / $250, the new Obi3G2 is cheaper than our current benchmark for a budget Bluetooth turntable, the excellent five-star Sony PS-LX3BT, which is now available for £233 / $350. Like many turntables in this price range, the PS-LX3BT is fully automatic in operation – where the tonearm automatically cues up at the start of the record with the push of a button – whereas you'll have to position the Obi3G2's tonearm on the record yourself.

There is one convenience added by Kanto: when you reach the end of your record, the Obi3G2’s auto-stop feature will kick into action and stop playback, protecting your stylus from any unnecessary wear.

The tonearm on the Kanto has an adjustable counterweight and anti-skate so there is a degree of setting up required, and there is a ±10% pitch control, too. Kanto Audio says the Obi3G2 is designed to be “a proper manual turntable, without stepping up to a specialist unit”.

According to Brett Smalley, Kanto Audio’s director of marketing: “We wanted the 2nd gen of Obi3 to feel like a high-end turntable at an entry-level price, one you can set up, adjust and grow into.”

The Kanto Audio Obi3G2 is available in five finishes: black, white, green, ice blue and walnut. It is currently on sale in North America, while worldwide sales are set to open in early September.

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Ruka Studio, a Los Angeles based company that was founded by a group of former Apple engineers and designers, is set to launch its first product: a vertically spinning turntable, the TD-1.

Currently priced at $1399, which the company claims is “the lowest price it will ever be”, the turntable features an aluminium body and “switches that click” for playback controls, rotational speed and even Bluetooth pairing.

A magnetic clamp holds records in place, which is good news, given that they appear to hang in the air – equally a feast for the eyes and challenge for the nerves.

The TD-1 includes a swappable moving-magnet cartridge – the company says that buyers can select “which cartridge [they] want” for no extra fee before shipping – and features conventional RCA wired outputs as well as the option for wireless playback via Bluetooth.

The turntable is belt-driven, with a motor that is de-coupled from the platter to minimise unwanted vibrations for a “quieter and smoother listening experience”. The TD-1 is also wall-mountable via a rubber-coated magnetic plate that fixes to the wall.

Those of you familiar with the agony of trying to hang a painting straight will be pleased to hear that the wall-mount features a built-in spirit level. But if this all sounds like too much bother, don’t fret, a record stand and floor stand are also available. No prices have yet been confirmed for the stands, but Ruka Studio’s website says that a ‘table stand’ is also on the way.

The Ruka Studio TD-1 will soon be available to pre-order and waitlist spots for the first production run (of just 500 units) can currently be reserved for $100 on the company’s website. Notably, that $100 credits in towards the full balance of the record player and locks it at a price of $1399. The deposit is also fully refundable.

Pre-ordered units are expected to ship in 2027.

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I’m always on the hunt for ways to find new music, but I have found myself listening to the same few albums on repeat these last few weeks. Maybe it’s because the ease of streaming has made me complacent, or that the endless options at my fingertips are simply too overwhelming.

That’s why I ventured to a listening bar in central London last week in a bid to find my new favourite artist or "earworm". If you’ve never found yourself in one, here’s what to expect.

Listening bars, or hi-fi bars, are dedicated spaces designed for enjoying curated music (usually on vinyl) on a high-quality sound system while relaxing with a drink in your hand.

It's not about a specific genre or style – the music will depend on DJ on the night. It's also not about requests. Instead, the focus is on listening to the selections of a music lover through some great speakers. (That doesn’t mean you cannot go up to the DJ to ask what they are playing, of course.)

On my most recent visit, however, I started to wonder whether we'd drifted away from the original definition. Most obviously, few people there seemed to be paying attention to the music, and at certain points I couldn't even hear the track over the noise of the room.

There was no denying the bar looked the part, sporting the brown wood and leather-clad seating that has become synonymous with these venues. I just couldn't help but feel that it had become a little style over substance – excellent Instagram fodder but without the genuine desire to really enjoy the music.

Back to basics

Hi-fi bars were born from the Japanese jazz kissa cafes that popped up in the late 1920s. This was in the days before home audio systems, so they became somewhere to collectively listen to music with a quiet appreciation.

This idea was reborn when pioneering spaces, such as Spiritland in King's Cross, London, decided to once again make a great-sounding system, and the music being played, the real focus of the venue.

And the idea arrived at an ideal moment. People are again craving that shared experience around music, since streaming platforms and portable audio have made listening more of an individual affair. I just hope the idea doesn't become commoditised.

Thankfully, there are still plenty of hi-fi bars that put the music at the forefront of the experience, and I have been to my fair share. But it does mean you have to be a little more selective.

If a bar has a detailed description of the system, from the amplification to the turntables and speakers, for instance, that should be a good indication that they really do care about delivering an "audiophile" experience.

Some venues, such as the long-standing Shelter in Tokyo, offer a carefully acoustically treated space to listen and others, such as Jazu in Deptford, London, encourage you to get up and dance to their curated setlist, played through their bespoke sound system. And both approaches definitely work for me.

With an increasingly long list of listening bars across the UK, it’s encouraging to see the concept reach more and more people. We just hope that everyone remembers to keep the music, and the system, at the heart of the venue – and we don't end up with listening bars where nobody is actually listening.

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Victrola has launched a new finish for its Bluetooth and Auracast enabled Wave turntable and Tempo Bluetooth bookshelf speakers, meaning that your wireless vinyl set-up could look more integrated than ever before.

The Walnut finished edition has also been fitted with an upgraded Ortofon OM5E moving magnet cartridge with a removable headshell, allowing you to upgrade and replace cartridges to your heart’s desire.

According to Victrola, the Wave turntable is engineered around a low-resonance MDF plinth, which the company claims has been designed to “minimise unwanted vibration and maximise audio performance”.

Like previous models of the Wave, the Walnut edition will also feature an aluminium platter, a silicone anti-vibration slipmat and lightweight aluminium tonearm with an easy-set counterweight for “optimal tracking performance with minimal set-up”.

Integrated Auracast support means that your vinyl can be played wirelessly on an unlimited number of compatible Auracast-enabled speakers and headphones. For standard Bluetooth streaming, the turntable also supports aptX Adaptive and aptX HD codecs.

Notably, the turntable doesn’t only transmit Bluetooth, but also includes a Bluetooth input function, enabling music from compatible devices to be played back through your connected system.

In terms of wired connections, the Wave includes a switchable phono preamp, allowing direct connection to powered speakers, while RCA outputs ensure compatibility with traditional amplifiers and hi-fi systems.

Alongside the new Walnut model, a limited edition collaboration with Jack White’s US label, Third Man Records, will see the turntable available in Third Man’s signature yellow and black colours with a custom slipmat thrown in for good measure.

The Victrola Wave is available now, priced at £349 / $499.

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Vinyl lovers, you might want to look away now. Because AI slop is coming to a record player near you.

That's right, AI music creation platform Suno now lets you press your AI-prompted tracks onto 12-inch records to play on your turntable.

Suno lets you create songs with 'prompts' – record a sample of you singing, tell it what genre you'd like your song to fit, and it'll generate a track. You can also remix original songs in different ways, and edit manually using instruments and its own software.

Each Suno vinyl fits a maximum of 46 minutes of music. Once you've got your tracks, you can upload your own artwork or create it using Suno to design your own sleeve, cover and label.

Each record costs $45 (around £33 / AU$64) plus shipping.

Suno has proved controversial. In 2024, it was sued by the three major record labels who alleged it didn't pay the musicians on whose tracks the AI model was trained. Warner Music settled its case last year and struck a licensing deal with Suno, but Universal and Sony Music remain plaintiffs in the case.

Suno has also just lost a copyright infringement case to Germany's state-mandated licensing agency GEMA. The court in Munich ruled that Suno violated copyrights in its data scraping practices and must now disclose illicit revenue. Suno will be ordered to pay damages which haven't yet been set.

Suno also suffered a data breach in November 2025 that exposed the personal information of over 55 million users.

All of which is exactly the opposite of everything we love about vinyl.

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You might have heard of Tiny Vinyl, the delightful 4-inch records that launched last year. Well now the company has launched a dedicated turntable on which to play them.

The Tiny Vinyl Player is only slightly bigger than a shoebox, and was built with the sole purpose of playing Tiny Vinyls. It is also completely unnecessary, as Tiny Vinyls play on most full-size 33⅓rpm turntables. But where’s the joy in only doing what’s strictly necessary?

The Player wasn’t part of the initial plan for Tiny Vinyl. Co-founders Jesse Mann and Neil Kohler were keen to make the format as versatile as possible. But once sales took off – they just pressed their millionth Tiny Vinyl in only around a year of being on sale – both fans and their biggest retailer Target were urging them to make a dedicated Tiny Vinyl turntable. So here we are.

No small task

Creating a turntable from the ground up – especially one this titchy – is no small task, no pun intended. But, being based in Nashville, the duo are surrounded by music industry peers only too willing to lend their expertise.

“We hooked up with someone who makes the Marshall Bluetooth line of accessories,” says Mann. “He sent us some amazing initial drawings, and then it was off to the races.”

As you can imagine, it posed a bit of an engineering challenge, not least because it boasts its own built-in speakers as well as Bluetooth for playing your vinyls wirelessly on an external speaker.

“We thought adding Bluetooth would be straightforward, but it was a bit of an exercise,” admits Kohler. “It was worth it though – as well as built-in speakers, we wanted the option of playing on your own Bluetooth speaker for more versatility.”

These challenges also opened the pair’s eyes to the intricate workings of a turntable.

“One of the technical things that was interesting to watch from a testing perspective was the rpm (revolutions per minute),” says Mann. “It had to be calibrated to 33⅓rpm, and seeing it being measured with the calibrator to ensure it ran perfectly at that tiny size, that was really fun to see.”

Broadening vinyl’s appeal

Not all the parts had to be created new – the cartridge and needle are off the shelf (though they wouldn’t tell me who makes them). But lots of elements had to be made especially for this product, including the tiny tone arm, the platter and the control panel. The result is something as fun and adorable as the 4-inch vinyls themselves.

“It’s not something you sit down with to listen to The Dark Side Of The Moon,” says Kohler. “It’s not that kind of product, and it was never meant to be.” Rather, it’s an on-ramp to the world of vinyl, helping to broaden the appeal to those shut out by a traditional deck’s greater complexity or higher pricing.

This accessibility is a big part of the appeal. “When we go to vinyl conferences, we’re always surprised by the number of people who thank us for getting more people into vinyl,” says Kohler. “One thing they always say is ‘Thank goodness they’re not on Spotify!’”

The pair have also launched the Frame for displaying Tiny Vinyls on your wall, and the Crate for storing your Tiny Vinyls. The Player sits on top of the Crate in a satisfyingly space-saving way. They are also launching custom, artist-themed Players next year, making another way for fans to connect with their favourite musicians, and all through the medium of vinyl.

The Tiny Vinyl Player is available now from Target for $50 (around £38 / AU$73), with a UK launch hopefully in the autumn.

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In case you hadn’t realised, vinyl is making a bit of a comeback. Who would have guessed that a plastic disc which first arrived on the scene in 1931 would still be bringing so much joy 95 years later?

Although a lot has changed in the world over that time, the format itself and the techniques used to create it haven’t evolved massively. So, is vinyl currently as good as it gets, or could it be improved upon?

We reached out to some of the best turntable engineers in the business to see what they think about the state of the format in 2026.

They say that you should never judge a book by its cover, and we think much the same applies to hi-fi components. Over the years, we have come across no end of impressively specified products that fail to thrill musically while seemingly prosaic alternatives shine.

What of the new generation Vertere Phono-1 LX? On the surface, little appears to be different on this premium phono stage, bar some cosmetic tidying of the casework. Perhaps, more surprisingly, there are no great claims for the inside either, with the basic circuit design remaining unchanged. So, it is natural to wonder whether the change to LX status offers anything meaningful.

Build & design

Delve into the details, however, and the development work put into this new generation phono stage becomes more obvious. The circuit may be the same, but the main PCB is of higher quality than before, ensuring better contacts at soldered joints and superior long-term reliability.

The performance of any hi-fi component is reliant on the quality of its power supply. Here, Vertere has upgraded components to deliver a more stable, lower noise feed to the audio circuitry. Even the mains power input has been improved by using inductors to reduce the amount of RF energy entering the unit.

Elsewhere, there is a new two-way earthing switch that is claimed to offer a longer service life than the three-way option fitted to the previous generation of Phono-1 MkII L, as well as simplifying the choice for listeners.

Given the hum issues that record players can suffer with, we’re glad Vertere continues to take grounding seriously and understands that a one-size-fits-all solution doesn’t really work in every situation.

As before, the Phono-1 LX is nicely made and pretty compact at 5.5 x 21 x 24cm. It should slot into any equipment rack with ease. This new generation model looks a little smarter than before, thanks to the new textured paint finish on the lid and the removal of the previous generation’s top panel securing bolts.

Put old and new side by side, and it is surprising just how much difference such small details make.

There are now four finish options for the front panel: black, silver, orange, and another black acrylic option styled to match the company’s DG-X record player.

Compatibility

The Phono-1 LX is compatible with both moving magnet and moving coil cartridges, having a gain range of 40-63dB selectable in 12 steps via a series of dipswitches on the base.

While this is enough for most cartridges on the market, if you do have a very low-output moving coil, Vertere has you covered. It is possible to order a high-gain version of this phono stage with an extra 6.4dB of gain at no extra cost.

As far as cartridge loading goes, this Vertere phono stage offers a generous range of resistance (78 ohms - 47kOhms) and capacitance (100pF - 1.02uF) options, so that it is possible to optimise the results from just about any price-comparable cartridge on the market.

Aside from the slight awkwardness of the small dipswitches – the company provides a tool in the box to make using them easier – the Phono-1 LX is about as straightforward as phono stages get in terms of usability.

On the back, there is a single set of connections, both input and output are single-ended, and a couple of earthing posts. The Vertere’s front has just a simple on/off toggle and a small power LED.

Given the price point, this Vertere deserves a top-class record player. For testing, ours is the Technics SL-1000R turntable with a choice of moving coil (Kiseki Purpleheart, Ortofon MC X30) and moving magnet (Vertere Dark Sabre, Nagaoka MP-200) cartridges.

The rest of our system is Burmester’s 088/911 MkIII amplifier and ATC SCM50 speakers. We also try a second, more price-appropriate set-up of PMC Cor integrated amplifier driving a pair of Epos ES-14N speakers.

Sound

We start by comparing the Phono-1 LX with its predecessor, the Award-winning Phono-1 MkII L, and it doesn't take long to realise that, despite sharing so much DNA, the new model is a clear step forward. Considering just how highly we rated the old one, this comes as quite a shock.

Regardless of the cartridge we use, the newcomer sounds more transparent and detailed. As we listen to Beethoven’s Fifth Symphony, it is hard to miss the improvement in clarity.

Instrumental textures are rendered more convincingly, and it is easier to grasp the scale of the orchestra and recording venue. There is little to criticise when it comes to control and composure, even when the music becomes demanding.

Stereo imaging is precise and nicely layered. We are pleased with the stability of the presentation and the Vertere’s ability to convey image depth in an authentic manner. Of course, the partnering record player has to resolve all this information in the first place.

The Phono-1 LX’s dynamics are stronger too, with the orchestra coming through with greater verve and impact, making for a more entertaining listening experience. We are surprised by how much more authority is on offer, with the new generation sounding considerably more solid and powerful through the midrange and lows.

These gains pay dividends when switching to Catch A Fire by Bob Marley & the Wailers. We enjoy the Vertere’s rhythmic drive and cohesion with this album, and the way it delivers Marley’s voice with such finesse and passion. The album’s basslines hit hard but display a pleasing amount of articulation and grip. In comparison, the last-gen version sounds thinner and more tentative.

The Phono-1 LX’s tonality remains convincing and refuses to skew too far off kilter at either frequency extreme when provoked. There is enough top-end refinement here to avoid things sounding aggressive, even with less-than-perfectly produced records, but feed the Vertere something well-recorded, such as Quincy Jones’ Back On The Block set, and it shines.

Verdict

The Phono-1 LX may look much the same as its Award-winning predecessor, but it has taken a notable step forward in performance. It is more expressive and pulls us into the music with even greater ease.

Provided you have a talented record player and a system capable of great transparency, this Vertere phono stage is an easy recommendation.

Review published: 1st July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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Vertere has upgraded its Award-winning phono stage once more. The Vertere Phono-1 LX is the new and refined version of the excellent Phono-1 MkII L, and features improvements both within and cosmetically, promising to be the product's "most significant evolution yet."

The latest generation of the Phono-1 handles both moving coil and moving magnet cartridges, and features a wide range of adjustments so that it can be used with just about any price-compatible cartridge fitted to your turntable.

The Phono-1 LX's upgrades include a new, higher-quality PCB board that's built for long-term reliability, while retaining the same internal circuit. The internal DC power supply uses upgraded components to deliver a more stable, consistent and lower noise feed to the audio circuitry, while the mains power input has been improved to reduce the amount of interference entering the unit.

Additionally, a two-way earthing switch ('Earth Lift' or 'Earth Connection') now replaces the three-way switch in the older model for easier use and longer service life.

All together, Vertere promises these upgrades will result in less noise, higher dynamic range, "razor-sharp" spatial imaging and "a vocal texture so lifelike, the performance feels present in the room."

Considering we already think quite highly of its predecessor, we're intrigued to find out just how much of a difference these upgrades bring to the performance.

Vertere has also taken the opportunity to further polish up the unit's design, with the aim of offering "a visual presence worthy of the engineering within."

So that the Phono-1 LX is more visually consistent with Vertere's high-end, five-star Calon phono stage and its Award-winning DG-X turntable, the phono stage's casing now has a finely textured metallic finish, the LED power indicator is now a blue-green colour, and the top fixing screws have been removed for a seamless look.

As before, the Vertere Phono-1 LX comes in four finishes: silver, black, orange and black acrylic. The price has gone up a fair bit this time, with the new phono stage now costing £1650 / $2399 / AU$3250.

We have a sample of the Phono-1 LX that we've been testing, so stay tuned for a our full review very soon.

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Above, you can see the Pro-Ject T1 Evo BT, sitting on a bookcase at the back of my living room. It's a fairly recent addition to my system, but one that I've quickly fallen in love with.

A big part of that is because it is, in fact, my very first turntable. I've been involved in lots of turntable reviews in my 19 years at What Hi-Fi?, but it's taken until this year for me to get a deck home.

Honestly, it's pretty much transformed my music-listening, taken me back to the pre-streaming years when I would buy an album and listen to it on repeat until its tracks had been absorbed at an almost molecular level.

My family has been loving it, too: the artwork, the process of placing a record on the platter and lowering the arm, the rich sound quality – it's all so tactile and rewarding.

As you can imagine, though, my vinyl collection is currently minuscule – just eight records – so I decided to add a fairly inexpensive streamer to my system, too.

The WiiM Pro Plus came highly recommended by my colleagues Kashfia Kabir and Harry McKerrell, and I now know why: its detailed, crisp and rhythmic delivery is great for the everyday streaming I'm doing between vinyl plays.

The good news is that both of these bits of kit, both of which I use at home and wholeheartedly recommend, are currently available with big discounts: the Pro-Ject T1 Evo BT is available for £399 at Richer Sounds, and the WiiM Pro Plus is down to just £175 at Richer Sounds.

The Pro-Ject T1 Evo BT is one of the best entry-level decks we've tested.

We awarded it five stars for its wonderfully balanced performance, praising its ability to sound detailed, insightful and rhythmic while remaining approachable for vinyl newcomers. It also helps that it's beautifully made, with a premium finish that makes it feel much more expensive than it actually is.

Bluetooth support is the icing on the cake, giving you the flexibility to pair it with compatible speakers or headphones if you want to – I've got it wireless connected to a pair of KEF Coda W Bluetooth speakers, as it happens.

The WiiM Pro Plus earned the same five-star verdict for very different reasons.

It's an astonishingly capable music streamer for the money, with support for just about every streaming service you could want while delivering a sound that's clean, expressive and engaging. It extracts an impressive amount of detail from recordings, with plenty of drive and precision to keep music sounding lively and entertaining.

What I particularly like about this pairing is that it means you don't have to choose between analogue and digital. When I want the ritual of putting on a record, the Pro-Ject is ready to go. When I just want instant access to millions of songs while I'm lazing on the sofa or working from home, the WiiM takes over seamlessly.

Of course, there are better turntables and better streamers available if you're prepared to spend significantly more. But if you're looking to build a hi-fi system that covers both vinyl and streaming without spending a fortune, this combination is hard to beat.

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During Prime Day, I always get asked, “are there any good cheap turntables?”

It’s not surprising given how vinyl, and retro hi-fi in general, seems to be growing in popularity with young people (heck, I caught my niece rocking wired headphones the other day!).

And, because I’m lazy, I have decided to address the sea of questions asking exactly that during this year’s Prime Day, here, in one handy article.

And it’s both good and bad news. Yes, there are two very good cheap turntables available right now that will delight hi-fi newbies or people looking to add a cost-effective record player to their existing system. But the deck we recommend most hasn’t had a Prime Day discount.

First up, for people who value audio quality above all else, but are on a tight budget, we have our standard recommendation, the Pro-Ject Primary E.

This is the cheap turntable we have recommended in our best record player guide for years, and the top option right now. It’s available on Amazon, and pretty much all of the specialist hi-fi retailers, for its bog standard £229 (ignore the save £20 icon on some shops, it’s been that price for ages).

The turntable offers the best audio quality you will find for less than £250, and has a pleasingly simple plug and play nature. That’s why we have recommended it for so long; our review verdict sums it up:

“There is a whole cavalcade of budget turntables flooding the market – from Crosley, Lenco, Audio-Technica, Majority and more – with fancy features, electronic speed change, and built-in preamp speakers in snazzy, trendy-looking designs. We can see their appeal, but remain unconvinced when it comes to their sound quality.

“We have no such reservations about the musically entertaining Pro-Ject Primary E. For a beginner’s vinyl revival path who has this kind of budget and is more fussed about getting the best sound from your records than about features such as record ripping and automatic operation, the multiple Award-winning Primary E could be just the ticket.”

That’s as true now as it was in 2018 when we first wrote it.

And if you’re getting a sense of déjà vu, there’s a reason: I have written a version of this piece every Prime Day since I joined What Hi-Fi?.

The only downside for the Pro-Ject Primary E is the lack of an in-built phono stage. This means you need to have an amp or system with one built in, as well as a pair of speakers, to get it running.

If that’s a problem, I am pleased to report there has been one cool development since my last warning against bogus turntable deals; we have a new cheap unit with a built-in phono stage to recommend.

Say hello to the Sony PS-LX3BT, a five-star entry-level turntable we recommend to proper hi-fi newbies who don’t own, or want, a separate system. The unit has a solid built-in phono stage, an equally easy plug-and-play nature as the Primary E, and comes with the added allure of Bluetooth connectivity.

The unit is available for £220 (save £79) on Amazon, though the retailer is reporting only having one left in stock. The next best price is on Sevenoaks Sound and Vision which is selling it for £223.

The Sony PS-LX3BT is a stellar option for people who want a just-add-speakers set-up – if you don’t already own a stereo pair, we recommend the Award-winning Dali Kupid, which cost £299.

The only reason we don’t recommend the Sony over the Pro-Ject overall, is that, during testing when we ran the two head to head, we found the Primary E is still the top dog for audio quality at this price. If plug and play simplicity is your main priority, however, the Sony is the one to get.

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With all the madness of the Prime Day sale, you might have missed that today is Global Beatles Day. Started in 2009 as a thank you to the world-conquering band, it's a celebration of all things The Beatles. And we thought we'd get in on the act.

Why 25th June? That was the day in 1967 when the band performed on Our World, the first live multinational multi-satellite television production that saw them broadcast in 14 countries simultaneously, being seen by up to 700 million people. That's when you know you've made it.

If that's got you in the mood, or you just want to revisit some classic albums, here are the best Beatles LPs and the best turntables to play them on.

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Bang & Olufsen has unveiled its Beosystem 3000c Dune Grey Edition, a compact music system comprising a restored Beogram 3000 Series turntable alongside a pair of modern Beolab 8 wireless speakers.

As part of the Danish brand's 'Recreated Classics' initiative, the limited edition Beosystem 3000c setup pledges to "bring together the tactile ritual of vinyl and the flexibility of contemporary listening in one compact music system".

At the centre of the setup is an original, restored Beogram 3000 Series turntable, the first of which launched in 1985, sporting a lightweight tonearm and B&O's 'Optimum Pivot Point' technology for reducing vibrations from interfering with playback.

In case you're unfamiliar, the Beolab 8 are wireless speakers with built-in network streaming capabilities, supporting Tidal and Spotify Connect alongside Chromecast AirPlay 2, and Bluetooth 5.3. To get a standalone pair, you'll tend to pay around £2199 / $2749 / AU$4499.

The Dune Grey Edition of the Beosystem 3000c pairs grey aluminium with dark walnut details on both the speakers and the turntable, a combination "inspired by the tones and textures of the Nordic coastline".

Getting hold of a system will put you in a rather exclusive club. The Beosystem 3000c Dune Grey Edition is limited to 100 pieces worldwide, with each unit individually numbered, engraved, and accompanied by a certificate of authenticity.

According to Mads Kogsgaard Hansen, Director of Product Circularity at Bang & Olufsen: “Our Recreated Classics programme goes beyond the preservation of nostalgia. It is about honouring the fact that exceptional audio designs continue to matter to people over time. The Beosystem 3000c represents a more intentional way of listening, built around ritual, presence and emotional connection to music".

The Beosystem 3000c Dune Grey Edition is available now from selected B&O stores, priced at £22,800 / $30,000 / €27,000.

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Best turntables: the finest record players for your vinyl

The annual High End Show always treats us to the very best and latest from the world of hi-fi, but this year, the move to a new venue in Vienna, Austria, seems to have invigorated the industry as a whole. There were several new launches and upcoming previews to feast our eyes upon.

We saw big anniversaries, a couple of comebacks and new designs and concepts, all of which showed that the world of hi-fi is in pretty good health.

You can head to What Hi-Fi?'s Instagram channel to see more from the show floor, but below is a curated list of our main hi-fi highlights from the High End Show 2026.

Bowers & Wilkins 800 Series Diamond D5

Bowers & Wilkins is turning 60 this year, and it's gone big with the celebrations. The iconic British brand has updated its flagship 800 Series Diamond speaker range, with the fifth generation imbued with a huge list of improvements, advanced technology and more luxurious finishes.

B&W says this range has been five years in the making and "is the most advanced loudspeaker range we’ve ever made and the ultimate embodiment of John Bowers’ True Sound philosophy". It aims to "deliver a flawlessly accurate rendering of the original recording."

The 800 Diamond D5 range comprises seven models, starting with the 805 D5 standmounters (£10,000 / $15,000) and culminating in the range-topping 801 D5 (£43,000 / $65,000) floorstanders. We heard a demo of the 801 D5 and got a taste of their powerful, authoritative bass and vividly detailed sound – and came away wanting more.

Read our first impressions: I've had a first listen to Bowers & Wilkins' new flagship 800 Series Diamond speakers – and now I'm desperate to hear more

JBL Summit Everest

JBL wants to be on top of the world with its flagship Summit Everest speakers, which are an appropriately mammoth pair, comprising two 38cm woofers and twin 25cm mid/bass drivers, and a large 'Sonoglass' horn working alongside a trio of 5cm compression drivers.

These are the 80-year-old brand's biggest and most expensive speakers: they cost $160,000 per pair, measure 144 x 99 x 69cm (hwd) and weigh 237kg. Phew.

In our demo, they sounded big, powerful and bold, and seemed to handle small-scale recordings with as much gusto and dynamism as more dramatic and demanding tracks.

If our review of the punchy, capable and much smaller five-star Summit Ama are anything to go by, then the Everest should be something quite special.

Read our first impressions: Are JBL’s range-topping Summit speakers worth $160,000? I've had an exclusive listen to find out

Ruark Audio R710

If all of the above seems a bit too rich and too gigantic for your tastes, let us offer something a little more home-friendly.

Ruark Audio's five-star R610 streaming amplifier impressed us hugely with its blend of stunning design, ample feature set and engaging sound, and now it is upping the ante with the step-up R710.

The R710 features the same streaming features and connections as the R610, but boasts a more powerful 200W per channel, a larger cabinet and display screen, and, most important of all, an integrated CD player.

Ruark says it was a popular request with CDs back in demand, and the R710 could be your one-stop music console that can play just about anything. All you need to do is add speakers.

Yours for £2199, the R710 blends “analogue charm with digital convenience” and looks gorgeous in the flesh with the wood details and tactile RotoDial controller on top. The CD drive being hidden in the wooden slats at the front is a clever touch, too.

MORE: Ruark’s gorgeous streaming amplifier blends “analogue charm with digital convenience” and features an integrated CD player

Jamo Concert Element 50

Another brand that is keeping lifestyle-friendly designs at the forefront of its offering is Jamo, whose return is marked with a variety of ranges, from the traditional Concert Legacy speakers to the small, portable, Bluetooth-friendly Hyg range.

But the model that caught our eye is the Concert Element 50 bookshelf speaker, which is intentionally not designed like a traditional speaker to blend into living spaces.

The Element 50 features a concentric circle of drivers and a shallow 18cm cabinet, so it can fit neatly into bookshelves and cabinets. The fabric grille is removable and can be swapped out for different colours.

We liked how fresh and fun this design feels, and with a price tag of £999/$1099 per pair, Jamo is aiming high for sound and design alike.

MORE: Jamo's Concert series gets an encore with two new ranges from the newly resurrected brand

Dali Vega

Dali's all-in-one wireless system is one of the more interesting and innovative designs we saw at High End Vienna. The Dali Vega can be placed on a tabletop or wall-mounted in landscape or portrait orientations, and is designed to be “the most versatile and user-friendly audio source in the home”.

There are thoughtful touches – from the rather lovely control dial to the OLED screen that flips according to the orientation – while there are modes that detect where the Vega is placed and adapts the sound accordingly.

The music system (it's not a soundbar, there's no Dolby Atmos here) has a 400W digital amp powering 8 channels, and runs on the reliable BluOS streaming platform.

With its distinct style and hefty price at £2599 / $4500, it's a more expensive all-in-one system than the Naim Mu-so 2 and Ruark R410, but it could well go toe-to-toe with the even pricier Focal Mu-so Hekla. We're excited to find out after the Vega is available in October.

Read our first impressions: Dali Vega hands-on review

Cambridge Audio Evo 300

Cambridge Audio took to High End Vienna with its most powerful streaming amplifier yet.

The new Evo 300 boasts 300W per channel of Hypex NCOREx Class D power and a new ESS Sabre DAC for playing hi-res files up to 32-bit/768kHz PCM and DSD512. It's packed the gills with every popular network streaming feature you can think of, along with HDMI eARC and a moving magnet phono stage.

As before, it retains the lifestyle-friendly design with swappable side panels and a larger, full colour display that looks crisp and punchy in person.

In our brief demo, we found that the Evo 300 delivered an open, expansive sound with a good amount of bass weight, although we'll have to spend more time with it in our test rooms to get a full picture.

The Evo 300 is also Cambridge's priciest streaming amp yet, costing £3499 / $3999.

Read our first impressions: Cambridge Audio Evo 300 hands-on review

AudioQuest DragonFly Copper

One of our favourite products from the show wasn't big, expensive, flashy or outrageous. It was the latest small but potentially mighty USB DAC/headphone amp from AudioQuest's celebrated DragonFly range, and we couldn't be more excited.

The now-retired DragonFly Cobalt has been one of our most recommended, easy-to-use DACs for many years, and the new DragonFly Copper is set to take on that mantle.

It has the same small form (albeit with a shiny copper exterior), with a USB-A port at one end and a 3.5mm headphone jack/audio output at the other.

The Copper claims to be the most powerful and efficient DragonFly yet, and it will be on sale from September with a modest cost of £230 / $250. If it can match – or improve upon – the performance we enjoyed from the superb Cobalt, then it could be on to another winner.

MORE: The DragonFly Copper hovers into view as AudioQuest's most powerful and efficient DAC yet

Clearaudio Rammstein

We're used to seeing eye-catching artist collaboration turntables from Pro-Ject (who did debut a new Harley Davidson special limited turntable for €2590), but Clearaudio is also dipping its toe into this arena with its inaugural Artist Series.

The first artist for this collaboration? German metal band Rammstein. The Rammstein turntable stands out with a substantial MDF block chassis with metallic lacquer finish, with internal LED lighting in red or white illuminating the band's name.

The turntable is based on the five-star Concept's engineering, and comes fitted with the T1 tonearm and a specially branded moving magnet cartridge.

Only 1000 units will be made worldwide, and it will be available to buy from October with a price tag of £1990 / $2600. A nice touch is that each turntable will ship with a wooden crate that can be used for vinyl storage, too.

MORE: Clearaudio unveils five (!) new turntables, including a new range and a Beatles tribute deck

Arcam A50 Signature

Another brand celebrating a big birthday is Arcam, who is turning 50 this year (the very same age as What Hi-Fi? in fact) and at Vienna, it went for a more subdued approach in its mature age.

The A50 Signature sits at the top of the Award-winning Radia amplifier range, and is created in collaboration with Arcam co-founder John Dawson, who insisted on looking forward instead of revisiting past designs or creating a nostalgia-driven amplifier.

The A50 Signature wants to be the ultimate expression of Arcam's Class G design, and uses a dual-mono architecture with 150 watts per channel into 8 ohms.

Plenty of care has been taken with the internal circuitry to deliver the purest audio performance possible. It follows the same minimal design language and ample feature set as the Award-winning A15+, with Dawson wanting to ensure that the A50 Signature "remains relevant to how people listen today."

His signature can be seen on the rear cowl and on the PCBs (printed circuit boards) inside, but that's all the flourish you'll get on this £2499 / $3000 stereo amplifier.

MORE: Arcam celebrates 50 years of hi-fi with a new signature amplifier and a premium CD player

Musical Fidelity A1 CD

We'll end this list on a product that isn't a reality yet, but still had us talking about it during the show.

Musical Fidelity showed off a prototype CD player based on a mid-90s design that was affectionately nicknamed "The Frog." Why? Because it used Class A single-ended triodes in the output stage, with the valves sticking out at the back of the unit like the amphibian's eyes.

Like the original Musical Fidelity CDT CD player, this conceptual A1 CD features the same casing and design as the iconic A1 amplifier, with a top-loading disc tray, updated to look sleeker, along with redesigned buttons.

We don't have any more information about pricing or availability of this disc spinner, but it's a charming design, and one we hope becomes a reality soon.

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Yosuke Koizumi is Audio-Technica’s Cartridge Global Product Manager. He started working at the company in 2002 and joined the cartridge development team after a year of training.

Around 8 years ago, Koizumi was promoted to manager status, giving him the responsibility for developing the brand’s cartridges and turntables.

We had the chance to sit down with Yosuke Koizumi at the High End Vienna show and find out more about the technology behind Audio-Technica’s new range-topping AT-MCD1 moving coil cartridge (£9999/$11,000).

What do you think differentiates Audio-Technica from its rivals?

I think our generator structures are very different from our rivals. When it comes to moving coil cartridges, we have two sets of coils arranged in a V shape, which we think gives better results. Also, when it comes to moving magnets, we have two magnets rather than the usual one.

How did the AT-MCD1 come about?

Around four years ago we launched our 60th anniversary model, the AT-MC2022. It was a limited run of just 60 pieces, and all of them sold out very quickly. After that, Audio-Technica continued to receive enquiries about that product and so we decided to make a successor.

The company didn’t just want to do the same thing again, so we spent almost two years developing the design further. The AT-MC2022’s one-piece diamond cantilever/stylus tip was improved with the stylus profile changing from Microlinear to a new Shibata shape.

Why use diamond for the cantilever material?

The cantilever material needs to be stiff and lightweight to be able to track the record groove properly. Aluminium is usually used, or maybe Boron in premium cartridges, but we think diamond is a better choice in performance terms.

Diamond’s speed of transmission is very fast (around the speed of sound) because of its rigidity, but its density means that you have to be careful when using it to avoid the cantilever becoming too heavy. One improvement we made on the AT-MCD1 is that we reduced the amount of material on the front edge of the cantilever to reduce weight

Diamond is a very hard material. The Shibata stylus tip is polished into shape rather than machined, which is a laborious process.

How important is the stylus tip profile?

We wanted to improve the sound over the AT-MC2022, so the idea came to change the stylus tip from Microlinear to a Shibata shape.

Our existing Shibata shape is very nice with good midrange and bass frequencies, and very good dynamics, but the stereo imaging isn‘t quite as spacious as we wanted. The new Shibata profile keeps all the good points of before, but has more expansive soundstaging and greater nuance in its presentation.

How does body material affect performance?

In the AT-MCD1, we mixed several materials: titanium, aluminium and an elastomer for its damping properties. Using only titanium gave us a compressed presentation, while aluminium on its own gave the sound a metallic edge when playing cymbals or high hats because of added resonances. The combination of these metals and the elastomer gives much more balanced results.

Wouldn’t it be better to get rid of the cartridge body altogether?

We think the cover is important because it prevents dirt and dust from getting into the generator system. Also, it provides a degree of damage protection for the diamond cantilever.

Is the AT-MCD1 demanding of the partnering phono stage?

Of course, a very high-class phono stage is recommended. But the cartridge has an output of around 0.55mV and a 12 ohm impedance, so it is relatively normal and not difficult for a phono stage.

Which area is there scope for the biggest improvements in cartridges?

One thing is the rubber damper. It is a part that we have done many things to improve, but there remains plenty of scope to make progress. It is a component that looks very simple, but it affects every part of a cartridge’s performance.

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One of the drawbacks of physical media is that it degrades over time. Cassette tape stretches, CDs get scratched, and vinyl… well that’s possibly the most delicate format of all.

But now you can bring your old records back to life for a very small fee, thanks to this offer from Keith Monks. The renowned record-cleaning company is offering a free 100ml sample of its discOvery 33/45 cleaning fluid, complete with an application roller and instructions for use.

All you have to pay is the £5 postage.

This fluid usually costs £50 for a litre bottle.

Keith Monks, is a very well regarded name in the vinyl cleaning world. It created the world’s first professional record cleaning machine, and its products are used by The British Library and the US Library Of Congress.

Sadly it isn’t giving away one of its machines (which cost upwards of £2000), but a 100ml bottle of cleaning fluid from its discOvery range. The recipe dates from 1976, and contains only pure botanicals and renewable natural ingredients, along with laboratory-grade, triple-filtered demineralised water. There’s no alcohol, or artificial chemicals or additives.

It claims to remove “static, surface noise, grit, grease, fume residue, and residues left by other fluids”. It coats the vinyl in a thin, protective layer to prolong the life of both the record and the stylus. The discOvery 33/45 being given away is for use on standard vinyl, with one litre cleaning up to 200 12-inch LPs.

As well as getting the 100ml bottle for a fiver, you’ll get 15 per cent off your next accessories order. You pay via PayPal to kmonksrcm@gmail.com. Keith Monks will post a bottle anywhere in the world for the same price.

So will it work? Now’s your chance to find out.

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Forget vinyl, reel-to-reel tapes are the last word in sound quality – and they’re making a comeback

The resurgence of physical media is starting to sound like old news. We’ve been reporting on the artists and trends behind rising vinyl sales for almost a decade, while 2024 was, according to Music Week, the first year in more than two decades to see overall physical sales register year-on-year growth.

In the same year, a survey by Key Production showed that a greater proportion of Gen Z was listening to music in physical formats than any other age group.

Since then, physical revivals have blossomed in the strangest of places. In 2025, for instance, cassette sales rose by 200 per cent and companies such as We Are Rewind and Gadhouse released brand-new cassette players, infusing old tech with modern twists such as Bluetooth and USB-C charging.

US vinyl sales also hit $1 billion in 2025, according to the Recording Industry Association of America, with a significant proportion of sales coming from Gen Z customers.

An Audio Tech Lifestyles report from Futuresource Consulting even reported that nearly 60 per cent of Gen Z were buying vinyl – even though almost 30 per cent of respondents didn’t own a turntable.

Connor Winyard, a 28-year-old sales assistant at Sister Ray Records, London, says the store’s customer base is “a half-and-half split between Gen Z and people of older generations”.

Speculating on what motivates Gen Z to buy physical formats, Winyard says, “I’d like to think it’s because people are increasingly disassociating from subscription models and are tired of not being able to physically own anything. That’s definitely how I feel about it. But I think younger buyers mainly either want to put CDs in their cars or just think that they are cool items to own.”

Ashli Todd, owner of Spillers Records in Cardiff, believes Gen Z’s motivations for buying vinyl have more to do with impact on artists.

“I think the message about physical music being a far more beneficial way to support an artist is really getting through,” she says. “The rough deal that artists get from streaming services has been much discussed in the press, and rightly so. It’s very much a heart-on-the-sleeve sort of situation. You come across people who are collecting records before they’ve had a chance to buy a record player.”

As a Zoomer myself, I can attest to my generation’s growing appetite for physical media. In the flats of countless friends, modest record collections have been cobbled together from parental hand-me-downs and record-store trips. In my own house-share, a communal collection has steadily grown to fairly respectable numbers.

So if Gen Z is leading the rise of physical sales, what impact is that having on the charts?

Take a look at this week’s vinyl albums chart: at number one sits 26-year-old Maisie Peters, shortly followed by Yungblud, at the ripe old age of 28. This week’s top ten also includes The Roystone Club (who are all in their mid-20s and, notably, made their 2025 debut album available on cassette), Bleachers, Olivia Dean, Hayley Williams and Marmozets.

The closest we come to a legacy offering is Ed O’Brien’s new album Blue Morpho at number four, and Paddington – The Musical’s cast recording, which, frankly, I’m unsure how to categorise.

Compare this with the same period’s chart from 2024, and the differences are stark. The top ten at that time saw Paul Weller, David Bowie, Fleetwood Mac and Lenny Kravitz all holding dominant positions.

Looking to the best-selling vinyl albums list for 2026, the trend is only reinforced. So far this year, Harry Styles and Olivia Dean have occupied the top two, while Sabrina Carpenter, Charli XCX, and Geese have all made it into the top ten.

Admittedly, Fleetwood Mac’s Rumours and Arctic Monkeys’ AM have survived the changing tides in sales, but those are the only two top-ten albums more than a year old. They are also nostalgic favourites among Gen Z.

In contrast, 2024’s best-selling vinyl albums chart saw the likes of Oasis, Fleetwood Mac, the Cure and Coldplay in its top ten – a far higher proportion of older acts.

These shifts have a real effect on the ground. At Spillers Records, for instance, Gen Z’s tastes have started to inform stock choices. “Record Store Day has helped to give us confidence in stocking artists like Olivia Dean, Taylor Swift and Billie Eilish,” says Todd. She explains that Dean’s Live at the BBC 7-inch Record Store Day release was “huge” for the store.

“We’ve seen repeat custom from people who might not otherwise have thought about going to their local independent record shop,” says Todd. “Those artists being involved with Record Store Day gives us confidence in what we stock and also gives certain customers confidence in coming into their local indie, which probably isn’t what they’re used to.”

We can’t be sure if the records Gen Z buy are making it onto turntables, but it seems that the generation’s taste for physical media is nonetheless having a palpable impact on the way music sells.

Whether these vinyl discs end up bluetacked to bedroom walls, or played until their grooves wear down, increased physical sales means greater payouts to artists and retailers alike – byproducts that are pretty hard to sniff at.

Could it be that after an adolescence invaded by screens and ever more pervasive social media, Gen Z is returning to record stores in order to sate a craving for a real-world, tactile connection? In doing so, they might be keeping music alive.

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We're at High End Vienna 2026 and while there's been plenty of new products announced (including the Bowers & Wilkins 800 Series Diamond D5, Cambridge Audio Evo 300 and Arcam A50 Signature), we've also seen previews of new products that are on the horizon.

One of those is the upcoming Dual CS 629Q, which is due in mid-2027, and we've seen a prototype of the new model on display at the show.

The CS 629Q is a fully automatic turntable, and boasts a newly developed direct-drive motor with that is specifically designed for integration with Dual's automatic mechanism.

The brand says the new drive has been engineered for "exceptional smoothness and precise speed stability" with the record player offering "effortless operation."

As with the CS 529 BT (launched in 2024), the automatic controls include start and stop, repeat and electronic speed selection (33/45/75 RPM), with the new model now gaining a pause feature.

It also comes with Bluetooth streaming and an app that allows you to control the automatic turntable from the comfort of your sofa. Handy.

Dual's first fully automatic direct drive turntable was the CS 701 from 1973, while the CS 650 RC (from 1979/80) came with a remote control. The new premium CS 629Q combines the brand's historical core ideas and updates it for the present day, with Dual aiming to blend audiophile sound quality with intuitive, contemporary operation.

The Dual CS 629Q is expected to launch worldwide next year, with an expected price of €1800.

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If you want to upgrade your record player, and you have a spare £12,999 (around $17,000 / AU$24,000) knocking about, this new high-end Ortofon cartridge could be for you.

The MC Vertex is the "most advanced moving coil cartridge" that Ortofon has ever made. Its new materials and tweaked geometry promise to give more accurate groove tracing and signal generation. Don't worry, there's a more affordable option for us mere mortals, too, with both models being unveiled at the High End Vienna 2026 show.

At the heart of the MC Vertex is the new Vertex diamond, whose scanning radius of 4 μm and extended contact radius of 110 μm makes for a more even pressure distribution along the walls of a record's groove. This means more stable tracking, lower wear and more consistent detail extraction.

The cantilever that the diamond is mounted on is also made of solid diamond. Because it's extremely rigid with a low mass, it will transfer energy efficiently and so remain controlled.

And the cartridge housing and internal core? Sadly they're not diamond – that would be asking a bit much – but titanium, and were produced using Selective Laser Melting for greater control of geometry, mass distribution and internal damping. All of which should make for a structure that's mechanically stable, and that reduces unwanted resonances for a clean, accurate signal reproduction.

There's also a refined magnetic system with a non-magnetic armature that reduces moving mass and eliminates unwanted magnetic interaction. This combines with high-purity silver coils to ensure the signal generation remains stable and linear with an improved transient response and precise tracking across the frequency range.

Ortofon's own Wide Range Damping system is onboard to help control mechanical behaviour. This uses a platinum disc between two dampers made from proprietary Ortofon rubber compounds to manage resonance across the audible frequency range but without compromising the dynamic response.

And if the MC Vertex is a little dear for you, Ortofon has also announced a follow-up to the MC X40, which is much more affordable.

The MC X50 (above) costs €1499 (around £1300 / $1700 / AU$2400), and claims to be the MC X Series' "most advanced implementation". The stylus and cantilever have been refined from the MC X40, to provide more control and consistency in tracking a record's grooves.

The nude Micro Ridge diamond pairs with a boron cantilever for high stiffness and a low moving mass, resulting in a fast and controlled response time. The rubber suspension is made by Ortofon with a compound that was developed purely for the MC X50, and works with the diamond stylus and boron cantilever for stable tracking and consistent contact with the groove.

Ortofon's more affordable cartridges have reviewed very well – the MC X30 won an Award last year, as did the Ortofon Quintet Blue in 2023. So it'll be fascinating to see how its mega high-end MC Vertex performs, and if the MC X50 can maintain the brand's high standards at the mid-range level.

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Audio-Technica has launched a new flagship moving coil cartridge at the High End Vienna 2026 show, and at £9999 / €11,000, it's also one of the most expensive cartridges we've encountered from the Japanese manufacturer.

The AT-MCD1 cartridge is designed to deliver "an exceptional level of precision and realism" and builds on over 60 years of Japanese audio engineering and craftsmanship. It takes design points from the limited edition AT-MC2022 cartridge made for the 60th anniversary, and refines it further for greater detail, speed and smoothness.

Key to the AT-MCD1 cartridge's design is the integrated, one-piece diamond cantilever and stylus tip, an unusual construction which allows for "ultra-precise signal transmission."

The 0.2mm square diamond cantilever claims to deliver precisely focused vocals, controlled low frequencies and refined highs, as well as "fast attack and decay with outstanding clarity." We're also promised more realistic and fatigue-free listening thanks to unwanted high frequency resonances being reduced.

This lab-grown diamond is created through CVD (Chemical Vapor Deposition) to offer excellent uniformity and high reliability, making it an ideal material for use in a cantilever.

The AT-MCD1 is also the first Audio-Technica cartridge to feature a newly-developed Shibata stylus, whose refined profile (R2.7 x r0.08 mil) allows the stylus to trace "even the most intricate groove modulations with more accuracy".

Combined with the "highly responsive" diamond cantilever, the AT-MCD1 is able to relay subtle details of a recording, delivering a "lifelike listening experience."

The cartridge body structure is light and rigid, and combines titanium, aluminium and elastomer materials, which help to control resonances. Each housing is mirror-polished by hand, and then receives an ion-plated finish that adds durability as well as the black finish of the MC cartridge.

Additional features include a dual moving-coil generator that offers high separation and a wide frequency response, while a high-efficiency magnetic circuit offers higher output voltage.

The cartridge also has PCCOCC (high-purity, long-crystal copper) coils, gold-plated terminal pins, and threaded mounting holes to make it easier to install on tonearms and compatible headshells.

Each AT-MCD1 cartridge is individually engraved with a serial number and comes packaged in a solid cherry wood case, which certainly feels necessary for the asking price of £9999 / €11,000. Imagine the high-end turntable it will be mounted on...

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What’s better than one brand new turntable? Five, of course.

Clearaudio has announced an entire quintet of record players at this year's High End Vienna showcase, including an entirely new product range and a few special-edition spins on some of the brand’s established decks.

That entirely new range comes in the shape of the Elevation Series, designed to cater to users seeking “exceptional sonic performance” alongside outstanding consumer-focused usability. The new series currently consists of the Elevation 45 and Elevation 55, with each model equipped with an interchangeable outer frame. This allows, says Clearaudio, for each player “to evolve with the owner’s home and tastes” over time.

Both belt-driven players feature a flywheel-augmented drive system “for exceptional rotational stability” alongside continuous optical speed-monitoring via Clearaudio’s ‘Natural Flow’ control algorithm.

Both are compatible with both 9-inch and 10-inch tonearms, and while the Elevation 45 uses a 45mm platter built for “speed and detail retrieval”, the Elevation 55 uses a heavier 55mm platter designed to produce “maximum dynamic authority”. Users can also upgrade platter sizes, in keeping with Clearaudio’s aim of an accessible, more customisable line-up.

What about those special editions? Clearaudio has also unveiled the Innovation Revolver Special Edition to celebrate the 60th anniversary of one of The Beatles’ most iconic works, with the new model adding a monochrome spin on the brand’s established high-end Innovation turntable.

That monochrome design pays tribute to the iconic black and white cover of The Beatles’ acclaimed seventh studio album, with a new plinth design sandwiching aluminium with a precision-engineered composite stone, the latter of which was chosen “for its resonance control and playback stability”.

The Innovation Revolver Special Edition comes equipped with Clearaudio’s own ‘Tracer’ tonearm and Concept moving-coil Signature cartridge, and you even get a newly mixed special-edition pressing of Revolver with restored artwork thrown in to the bundle.

If you’re more into heavy metal – quite literally – maybe you would prefer a Rammstein-themed turntable instead. Developed from the outset as a fully independent model and combining the engineering of Clearaudio’s Concept record player with a design forged in collaboration with the German metal legends, the rock ’n’ roll spinner uses dimmable LED lighting and an illuminated Rammstein logo to pay tribute to the group’s “monumental stage aesthetic”.

On the more technical side, the new turntable uses Clearaudio’s established T1 turntable and a moving-magnet cartridge for “dynamic, detailed playback”.

Keep going, we’re not done quite yet. As if that wasn’t enough, there is also a gaming edition of the Clearaudio Compass joining the German brand’s swelling ranks.

Built around the standard Compass to which we awarded a healthy four-star review last year, the GT edition features a colourful pixel design and a dimmable LED strip beneath the acrylic platter, resulting in a design “that fits naturally into a gaming setup”.

According to Clearaudio’s CEO Robert Suchy: “Vinyl is reaching a bigger, more passionate audience than at any point in our lifetime, and this range is our answer to that moment. We have never had more to offer more music lovers, and I couldn’t be more excited to share it.”

All of Clearaudio’s latest turntables will be showcased at this year’s High End Vienna show. Prices and availability are as follows:

- Elevation 45: £5000 / €5000 / $6500. Available late 2026.
- Elevation 55: £7000 / €7000 / $9100. Available late 2026.
- Innovation Revolver Special Edition: £10,500 / €11,900 / $17,900. Available summer 2026.
- Rammstein Turntable: £1990 / €1990 / $2600. Available October 2026.
- GT Compass Gaming Turntable: £1499 / €1499 / $1949. Available summer 2026.

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If you’re a regular reader of What Hi-Fi?, it’s likely you know more than a few things about records.

Vinyl is a format that continues to captivate, despite being well over 100 years old and experiencing some rather steep highs and lows.

So we have dug up some facts that even the most ardent record fan might not know.

Want to learn more about one of the longest-running consumer-audio formats of all time? Step right up…

Heavier records don’t always sound better

You will probably have noticed the 180g sticker (and higher price tag) on several records these days. Records mostly came in at the 120-140g mark in the 20th century, with the marketing trend for 180g records only coming in during the late ’90s.

Heavier records do come with some practical advantages, such as better resistance to warping. However, despite a consensus emerging that heavier vinyl is “audiophile-grade”, there is no inherent sonic benefit to 180g vinyl.

If a record was too light and unable to remain stable, then that would certainly impact sound quality – though you’re highly unlikely to find a record this light in the wild. Once a record is heavy enough to remain stable, adding extra weight will not actually make a difference to the process of the turntable reading a record.

In the opposite scenario, where the record is too light to remain stable, the stylus would fail to stay firmly in the groove, which would certainly impact sound quality. As long as the record is flat and the groove remains concentric with the centre, adding extra weight should not affect the sound.

We asked several hi-fi manufacturers if a record’s weight can impact sound quality. Interestingly, there was no consensus on the ideal vinyl weight and its impact on sound quality. Some argued that heavier records do make a difference, citing reasons such as reduced vibration transfer to the stylus, greater stability and less resonance during tracking. Others dispelled it as a myth, suggesting that a heavier disc simply gives customers a perception of higher quality. What was unanimous, however, was that the quality of the recording and the care taken during the mastering/pressing are far more important – a really well-recorded and produced 140g record is always going to sound better than a badly recorded and produced 180g record.

45rpm records sound better

This time, we do actually have a record type that sounds better and a clear reason behind it.

The 45rpm record was introduced in 1949, only a year after the 33⅓rpm record. The 33⅓rpmLP prevailed for albums, while the 45rpm record was the go to for the ‘singles’ format.

However, the 45rpm records actually sound better. Because the record spins faster (45 rotations per minute vs 33⅓), the needle travels over more vinyl surface area per second. Therefore, the wiggles in the record grooves are more spread out, making them easier for the stylus tip to track.

Think of it like a flipbook with 20 pages rather than 10. You’d have to flip the book faster for the characters to move at the same speed, but the animations would be far smoother as there is more detail to work with.

A phono stage doesn't simply amplify

Yes, a phono stage is necessary to amplify the extremely quiet signal from a turntable cartridge to a level that allows you to connect it to your sound system. But did you know that it also balances the sound frequency?

To counteract the physical limitations of the vinyl format, records are pressed with weakened bass and boosted treble according to the RIAA equalisation curve. The phono stage then applies the reverse of this curve during playback, restoring the original tonal balance and ensuring the sound is accurate and full-bodied.

UK record sales have increased by more than 3000% since 2007

It’s no understatement to say that records have had a bumpy ride in terms of popularity.

According to the Recording Industry Association of America (RIAA), vinyl sales in the US peaked in 1978 with sales of over 500 million units sold, eventually dropping to less than 1 million units in 2006 when the format was widely believed to be dying. It’s rather impressive, then, that the number of units sold in the US has since climbed back to 43.6 million in 2024.

Historic vinyl sales data is a bit harder to come across in the UK, though we reached a similar low in 2007 with 205,000 records sold according to the BPI. Luckily, we have also experienced a similar increase, with 6.7 million vinyl records sold in the UK in 2024 according to the ERA.

Record grooves are roughly the same width as a human hair

Despite reaching lengths of over 500 metres on a 12-inch LP, the grooves on a record are usually only 0.04-0.08mm wide, or 40 to 80 microns. It's remarkable that we can retrieve that data at all.

What’s even more fascinating is that this data retrieval is achieved with a tonearm, which is usually nine to 12 inches long – making the tonearm 3000 to 7500 times longer than the grooves it is navigating.

Monty Python broke a key record rule

How many grooves does a record have? Two, of course – one on each side. It’s the same continuous groove across the entire width of the record.

There are exceptions, though. Monty Python’s Matching Tie And Handkerchief has two separate spirals on one side. Depending on where you drop the needle, you will hear one of two different sets of tracks.

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As part of our regular ‘Ask The Industry’ column, we reach out to some of the biggest engineers in the world of hi-fi and AV to give us their invaluable insight into subjects close to their hearts.

They have dedicated years to product design, learning, researching and developing all in the name of producing the best products possible.

This month, we are talking turntables, more specifically, turntable design and what some of the best engineers in the business have learned since they started immersing themselves in the subject. Here’s what they had to say.

Even with our Nostradamus-like powers of prognostication, we freely admit that the arrival of a new Sharp Bluetooth turntable was not on our 2026 bingo card.

It’s been around 20 or so years since Sharp, the brand we now more readily associate with TV and home cinema gear (and sponsoring Manchester United in the early ’90s), put out a new record player. Yet the established Japanese manufacturer has clearly been keeping one eye on the surging vinyl revival as it unveils its new RP-TT100 deck.

Sadly, you don’t simply get to walk back into the arena after a long absence and expect to dominate the competition. It just happens that Sony has also decided to get back onto the proverbial turntable horse in 2026, with its five-star Sony PS-LX3BT and PS-LX5BT also offering automatic operation, Bluetooth powers and built-in phono stages, albeit at higher prices than the Sharp.

Comebacks can be tricky things – just ask Katy Perry – so it’s time to find out if Sharp still has that cutting edge, or if it’s been left behind by the ever-spinning world of turntables.

Build & design

Considering its entry-level price tag, the Sharp RP-TT100 is a rather nice turntable to behold, and we’re pleased with the levels of quality the Sharp manages to exude.

It’s arguably a more attractive proposition than the Sony PS-LX3BT (£249 / $400 / AU$469) – whereas the Sony can come across a tad ‘Fisher-Price’, we can see the appeal of the RP-TT100’s more compact and sleeker profile.

That modest aesthetic appeal is paired with lots of user-friendly simplicity. Sharp’s slender turntable is well laid out and simple in its set-up and operation, with the only tasks required to get it started being to attach the rubber belt to the platter and place said platter, along with its mat, onto the main plinth.

Once that’s done, you’re pretty much ready to rock and roll. The cartridge comes pre-attached to the tonearm, and this being a fully automatic model, there’s no tinkering with tonearm tracking weights, either.

The budget-friendly turntable features an aluminium platter and a metal tonearm, as well as a matte black housing and a Perspex dust cover which can be attached via a series of plastic clips. The supplied cartridge is an Audio-Technica AT3600L moving magnet that tracks securely at 3.5g.

Elsewhere, the Sharp’s combination of clean design and usability makes operation a breeze. A host of buttons in the bottom right corner are available for power, Bluetooth pairing, returning and then lifting/lowering the tonearm, and playback – all of which are responsive and nice to use.

What we perhaps didn’t expect to find is a dial in the left-hand corner which will skip forward or backwards on your record by around a minute via left or right turns respectively. Better still, there’s an included remote control (yes, with a turntable!) for putting your deck into pairing mode, switching it on/off, skipping forward and back and returning the tonearm to its original position.

You may use the slim remote and think it’s not working, but bear in mind that the buttons need a really firm, deliberate press if you want to get the desired response.

Features

On the RP-TT100, you’ll also discover twin toggles for switching between record sizes – either 7 or 12 inches – and selecting either 33⅓ or 45 RPM speeds, both accompanied by small LEDs to let you know which option you’ve selected.

Bluetooth 5.4 is on the menu for streaming to compatible Bluetooth speakers and wireless headphones. Although, there’s none of the hi-res streaming codec support for the likes of aptX HD or Adaptive that you might find on the Sony PS-LX3BT or PS-LX5BT turntables.

Still, connecting to standard Bluetooth is hardly a chore. It’s a simple process to get the deck into pairing mode: just press the button with the large Bluetooth rune emblazoned upon it, and your nearby device should connect automatically.

If it doesn’t, make sure your receiving Bluetooth device of choice is also in pairing mode, something we manage by pressing the Bluetooth icon on our trusty JBL Charge 6 speaker and waiting a few moments for it to make a connection.

Despite its modest outlay, the RP-TT100 is fitted with a built-in phono stage, which is always useful if your amp or active speakers don’t happen to have one.

You can, of course, just bypass the Sharp’s phono output to use either a separate phono stage or your amplifier’s, making sure to toggle the switch on the back of your turntable from ‘line’ to ‘phono’ if you’re using an external phono stage.

Last but not least, a USB-C port is available for converting your records into digital files via a computer.

Sound

We want a revealing system to get the measure of the Sharp RP-TT100, so most of our listening is done with the turntable’s line-level output connected to the Arcam A5+ (£749 / $1200 / AU$1595) integrated amplifier to test the player’s phono stage. The speakers we use are the five-star Epos ES-7N (£1890 / $2850), and we also partner it with the more price-appropriate Ruark MR1 Mk3 (399 / $579 / AU$899) desktop powered speakers.

We place our first record – Will McNicol’s Volume Two series of folk/jazz recordings – onto the RP-TT100 with a little trepidation. This is Sharp’s first turntable in a long time, one stuffed to the brim with plenty of features for under £200. In the back of our minds, we wonder how much of the budget was left over for focusing on actual sound quality.

This feels like the scene in Oppenheimer where the team of scientists are nervously performing their nuclear ‘Trinity’ test for the first time, yet our trepidation soon turns to relief as we discover a budget turntable that is, at the very least, competent. It makes a sound and doesn’t gash our favourite records, so that’s a good start.

Will McNicol makes for a nice, easy place for the RP-TT100 to begin, and the Sharp deck makes a solid account of itself as it clearly and efficiently runs through each acoustic track with stability and composure.

No, these aren’t hugely complex arrangements, but they’re delicate and subtly emotive, all characteristics which the RP-TT100 just about reveals as it goes about its business with quiet confidence.

Detail levels are reasonable for the price, and while lesser decks at this level can sound coarse or hard-edged, the Sharp reins itself in admirably. Leading edges of violins, acoustic guitars and cellos are defined yet not over-etched, with the RP-TT100’s composed, uncluttered temperament giving McNicol’s Before The Light space simply to exist and shine.

This is all rather positive, so it’s time to see if we can push Sharp’s low-cost player a little further. Lukas Graham’s sincere and emotive Happy Home comes next, and this is where issues begin to arise.

The Sharp struggles to track the song’s dynamic swells with any real gusto, all while failing to bring out enough of the emotion from Tom Jones’ Did Trouble Me to make the Welsh crooner sound sufficiently engaging.

As we load up Beethoven’s Pastoral Symphony, we further expose the Sharp’s limitations. The RP-TT100 gives it a good go, but it simply doesn’t have the dynamic stretch or the sense of presence or scale to give Ludwig his due. Rhythmic patterns aren’t teased out with any real clarity or verve, leaving much of the drama of the piece to fall by the wayside.

Switching over to the slightly more costly PS-LX3BT reminds us just how good Sony’s five-star competitor is at this level. Across all aspects, it proves itself a punchier and more dynamic contender, with the Pastoral Symphony sounding lively and engaging thanks to the rival Sony’s more adept handling of rhythms and dynamics.

We’ve been listening to the RP-TT100 via its built-in phono stage, and as you might expect, moving over to our Arcam A5+ amp’s phono stage does make everything sound better.

The Arcam's phono circuit is simply more detailed and spacious, making tracks such as Fleetwood Mac’s Dreams or Bach’s Siciliano in G Minor sound more layered and musically sophisticated, even if the Sharp’s core limitations still remain.

Elsewhere, the RP-TT100’s Bluetooth performance is solid, and even with the standard codec, we’re pleased to discover that records such as Leon Bridges’ Gold-Diggers Sound and Fleetwood Mac’s Rumours are cohesive and reasonably detailed when beaming out to a pair of Sony WH-1000XM6 over-ear headphones or a JBL Charge 6 Bluetooth speaker. All other things being equal, we’d struggle to ask for much more at this level.

Verdict

On paper, the RP-TT100 is a lot of turntable for not a lot of money, something which gives it broad appeal to vinyl newbies who want a cheap turntable that’s easy to set up and simple to operate.

Sadly, there’s a certain level of sonic performance that we look for in any product, regardless of budget. The RP-TT100 may be sonically competent for the price, but its fundamental sonic limitations make it hard to recommend, especially when spending a little more cash on a Sony deck will reap far greater sonic rewards.

Review published: 1st May 2026

SCORES

• Sound 3
• Build 4
• Features 5

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Read our Sony PS-LX3BT review

Also, check out our Pro-Ject T1 Evo BT review

Our pick of the best Bluetooth turntables for every budget

If you've heard a lot of The Beach Boys on the radio recently, this is why: Pet Sounds is about to celebrate its 60th anniversary. And how better to celebrate such a landmark record than with its most audiophile edition ever.

Pet Sounds is the latest in the Vinylphyle range of reissues. This brings back classic albums in 180g black vinyl pressings, which are billed as "a premium vinyl experience for people who love vinyl".

Other albums in the series include The Velvet Underground & Nico (by The Velvet Underground), Exodus (Bob Marley & The Wailers), I Want You (Marvin Gaye) and Peter Frampton Comes Alive! (Peter Frampton).

Pet Sounds was a landmark album in pop music. It contains the songs Wouldn't It Be Nice, God Only Knows and Sloop John B.

Like other Vinylphyle releases, the Pet Sounds reissue features all analogue mastering from the original sources by some of the best engineers in the business today. The albums are pressed at Record Technology, a world-class audiophile vinyl pressing plant in Southern California.

These pressings are similar to jazz label Blue Note's Tone Poet series, with packaging that's as premium as the vinyl – think tip-on wrapped gatefold jackets in a satin matte finish, printed on clay-coated board, with archival poly sleeves and four-panel inserts. There are new liner notes too, with contributions from notable music journalists, personalities and fans.

The series is from UMe, the the global catalogue division of Universal Music Group.

Pet Sounds is out on Vinylphile on 15th May.

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Turntables ruled the roost when What Hi-Fi?'s first issue landed in October 1976. As we're celebrating our 50th anniversary this year, we've been taking some lovely nostalgic strolls down memory lane, and looking back at some of the most iconic hi-fi and home cinema products throughout our lifetime.

Of course, turntables predate us considerably, with plenty of brands – Dual, Garrard, Pioneer – starting life long before we did, while many others, such as Rega, Linn and Michell, were still in their infancy during this decade. Here, we're looking back at the very first turntables made by some of the world's most legendary hi-fi brands; first efforts that, in many cases, continue to define each brand's legacy and products even today.

Our list below looks at the first record players made by Audio-Technica, Pro-Ject, NAD, Roksan, Wilson Benesch and more. Bonus points – and please comment below – if you ever owned one of these original models.

Rega Planet (1973)

In 1973, Rega’s co-founder Roy Gandy set out to make something structurally solid. According to Rega’s historical records, sound quality was secondary at that time (gasp!).

Gandy wanted to produce a reliable turntable that he knew would last, but would also look different. “Why can a turntable not have three outrigger points spinning round, that people might buy as a piece of sculpture?” he asked.

Thankfully, better overall performance was also soon the goal. And as Gandy took his prototypes to potential manufacturers, the outcome was the Rega Planet, with its three-spoke, steel and aluminium platter and Acos Lustre tonearm.

• We take the Rega Planet for a spin in our test rooms
• A behind-the-scenes tour of Rega's factory

Linn LP12 (1973)

Still going strong 50-plus years after its inauguration, Linn’s debut turntable has some stamina – even if it has had more updates over its lifetime than Trigger’s broom.

The company’s very first product, designed by founder Ivor Tiefenbrun (who argued the source was always the most important part of any system), the LP12 is still one of our all-time favourite decks.

Interestingly, the first version came without a plinth, but soon moved to the more recognisable version (pictured). The LP12 remains arguably one of Scotland's finest hi-fi exports ever.

• We visited the company's Glasgow HQ for The Making of: Linn Sondek LP12

Michell Reference Electronic (1977)

While the 1982 GyroDec is probably the company’s signature deck, its first was the Reference Electronic. This deck was hatched from Transcriptor’s Hydraulic Reference, which famously appeared in Stanley Kubrick's A Clockwork Orange.

In the late 1960s, Michell GyroDec founder John Michell started manufacturing parts for Transcriptor turntables, eventually making them under licence.

When the companies parted ways in 1977, Michell began its own production. And so, the Reference Electronic, which came with a coloured mirror finish or marble plinth, was born.

• Read our recent Michell Gyro SE/Cusis S review

Wilson Benesch Turntable (1989)

It’s ironic a company now making loudspeakers costing six figures was founded on a shoestring less than 30 years ago. Wilson Benesch dedicated its first year to research and development, and the outcome was the Wilson Benesch Turntable. Clearly the creativity went into the design and not the name.

The Turntable featured two world-firsts: a carbon fibre composite sub-chassis and carbon fibre tonearm, the A.C.T. One. Carbon fibre was used for its torsional stiffness and damping of structural vibration within the system. The material now goes some way to defining the brand, having been used in its designs ever since.

The Turntable's success allowed Wilson Benesch to reinvest in new product development, paving the way for the company’s first pair of loudspeakers.

• Read our Wilson Benesch The Full Circle review

Pro-Ject 1 (1991)

The Pro-Ject 1 laid the foundations for what has been a virtually unblemished record of success for the company. The 1 was essentially a modified version of the Tesla NC-500, originally made as an affordable turntable for distribution in the Eastern Bloc.

After the fall of the Berlin Wall, Pro-Ject founder Heinz Lichtenegger modified a batch to sell in his shop in Vienna. When these proved a success, he re-opened production at the original factory in the Czech Republic. It’s the same factory Pro-Ject turntables are made in today, and still houses the original Tesla machines.

The 1 range still lives on today, the 1 Xpression Carbon being the latest version. Because of its legacy, Pro-Ject can still supply all the 1’s original parts – so, if anyone has one...

• 12 of the best Pro-Ject turntables of all time
• Read our recent Pro-Ject Debut Evo 2 review

VPI HW-19 (1980)

With a suspended sub-chassis and an aluminium platter with lead attached underneath, the HW-19 was VPI co-founder Harry Weisfeld’s first work and marked the first chapter of the US company’s story.

Three versions followed over the next two decades, during which the design moved to an acrylic platter and acrylic-stainless steel sub-chassis. It's a far cry from the brand's impressive deck aesthetic today.

The HW-19 is no longer in production, but upgrades are still available for it.

• Read our VPI Prime Signature review

Technics SP-10 (1970)

The superb Technics SL-1000R, the company's “most premium turntable ever” (and also part of What Hi-Fi?'s reference system), is actually a reimagining of the company’s very first deck. Built in 1970, the SP-10 was the first to use a direct-drive system, and it spawned a long line of legendary turntables.

The motor rotated at the same speed as the record, therefore eliminating the need for a speed-reducing mechanism (such as a belt) and the mechanical vibrations it caused.

In short, direct drive meant lots of torque, instant start-up and excellent speed accuracy.

• The history of Technics

Clearaudio Reference (1993)

The Clearaudio name might conjure up the classy, matt-black aura of the multi-Award-winning Concept, but the German brand first entered the turntable market several years prior with the Reference.

The Reference’s chassis had a resonance-optimised shape, rather than the typical rectangular build. Made from acrylic, with brass metal parts (later stainless steel), distinctly placed feet, heavy arm pillars and resonance control weights, the Reference considered materials and geometry at length.

And a year later, the more advanced Clearaudio Master Reference brought a new power supply and tonearm, among other developments.

• Inside the Clearaudio factory: building £145,000 turntables and assembling cartridges by hand

NAD 5120 (1983)

NAD’s turntable debut could possibly date back to a 1981 model, but this mystery proved beyond our detective skills – so the 5120 belt-drive turntable goes down as the company's first.

Instead of isolating the turntable from external vibrations by placing the rigid unit on rubber feet, NAD instead fixed the platter and tonearm on a separate sub-chassis floating on springs. Unusually, the 5120 originally came with a flat tonearm – though this was soon changed to a conventional design.

The NAD 5120 was notable for its interchangeable tonearm assembly, allowing use of more than one cartridge or arm, and its de-coupled, spring-suspended counterweight which absorbed resonance by vibrating at the same frequency.

“Despite its ugly ducking looks, this inexpensive deck gives a performance that far exceeds its price,” read the What Hi-Fi? review.

Pioneer PLA-1 (1955)

Pioneer is renowned for its DJ turntables, but the company's first deck appeared several years before the club disc-jockey was a thing.

Back then it was described as an ‘induction rim-drive’ (i.e. an idler-wheel drive) turntable, with a rubber wheel connecting the motor shaft to the edge of the turntable platter. This drive method was later replaced by the popular belt and direct drives.

The PLA-1 offered three speeds, weighed 13kg and was priced ¥29,900 (about £190).

Garrard 301 (1954)

From 18th-century jewellers to manufacturers of military rangefinders in WW1 and, eventually, turntable manufacturer, Swindon-based Garrard Engineering & Manufacturing Company has some story.

Its first deck, the Garrard 301 Transcription Turntable, came in oil- and grease-bearing versions and was used by the BBC’s radio stations (pictured). The equally notable 401 followed in 1965, introducing a redesigned exterior, more powerful motor and different braking speed control and bearing.

In 1979, Garrard was bought by Brazilian firm Gradienete and production moved to the other side of the world. Today, British company SME owns the Garrard brand, and is looking to develop the brand further in the near future.

Roksan Xerxes (1985)

Despite being named after a Persian king, the Xerxes wasn’t the company’s most oddly-named product of the 1980s – that award goes to its 'Hotcakes' speakers.

The Xerxes was notable for a number of technical innovations. Its motor rotated on a spindle to even out speed irregularities, and it had a clever suspension system for the platter/sub-platter, using rubber blobs instead of springs. It also made its lightweight platter heavier on the outside, to maximise inertia.

Roksan entered a turntable market dominated by the Michell GyroDec and Linn LP12, but we boldly predicted it would give the latter a run for its money.

• Read our Roksan Xerxes 20 Plus review

Audio-Technica Sound Burger (1983)

It might surprise you to know that Audio-Technica's very first turntable was the very unconventional Sound Burger. Released in 1983 – just as compact discs and CD players were taking off – this battery-powered, compact "stereo disc record player system" was unlike any other deck we had seen. The slimline design had a 9cm platter, could play singles and albums, had a built-in phono preamp, weighed just 1.2kg, and came with a pair of foldable wired headphones.

We noted in What Hi-Fi?'s June 1983 issue (second slide, above) that the original Sound Burger looked like a toy at first, but it was "full of surprises" and the reviewer quickly warmed to its quirky but well-made charms. Despite a rich, "congested" midrange, and somewhat one-note bass, the sound was "exciting and clear" and could "give some conventional turntables a run for their money" – especially considering its great-value price of just £89.

While never reaching mainstream success, the Sound Burger was resurrected for Audio-Technica's 60th anniversary, this time with Bluetooth streaming powers. We found the styling and build quality to be well thought-out when we reviewed the most recent model, and its mid-forward sound has a lively, appealing sense of flow that is simply fun to listen to.

• Read our Audio-Technica Sound Burger review

Oracle AC (1979)

Oracle’s first turntable was simply called ‘Oracle AC’, but is often considered part of the long-spanning Delphi line launched the following year. There were eventually six variants, with the MkV in 1995 seeing bigger developments in its manufacturing.

This first belt-drive turntable was competing with the Linn LP12. At $800, they cost roughly the same, but Oracle didn’t use a two-piece platter. Instead the belt ran on a rim located underneath the platter, making it fiddly to change speed manually.

The Oracle's sub-chassis was suspended by a three-point mount on stretched springs and, to help eliminate horizontal movement of the suspended platter, its centre of gravity was moved to the same height as the suspension fixings. It also featured a screw-down clamp to pin the record firmly to the mat.

Dual 1009 (1964)

Considering Dual's long history with record players, it's surprisingly tricky to pin down exactly what Dual's first complete turntable was. Brothers Christian and Joseph Steidinger began the company in 1907 making precision parts for gramophones and watchmakers. But it wasn't until the "Dual-Motor" was created in 1927 – a combined spring-loaded clock mechanism and electrical motor – and became so successful that the company adopted the Dual name in 1935.

An early model most certainly would have been a portable gramophone, and we're told two complete 'turntable systems' called W1 and W3 both appeared in 1934. It's hard to track down more information about them. Much of the development of Dual products in the early ’30s was driven by two engineers, Emil Knecht and Herman Papst – they would go on to design the first European direct-drive turntable, the Dual CS 701, in 1973 – and by the '50s, Dual became the biggest manufacturer of turntables in Europe.

But the first modern 'hi-fi' turntable from Dual? That would be the legendary Dual 1009 from 1964 – considered to be Dual's first "audiophile" record player. This four-speed deck was fully automatic, and had a sterling reputation for its robust build quality and reliability of the automatic mechanism.

• Read our Dual CS 518 review

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We've been recommending the Sony PS-LX310BT fully automatic, Bluetooth turntable for the best part of seven years, and a sequel has long been anticipated. When the day finally came, it was well worth the wait.

Sony's long-awaited return to turntable production came earlier this year, via two new models – the PS-LX3BT (£299 / $400 / AU$469) and the PS-LX5BT (£399 / $500 / AU$599) – both of which grant superb all-around versatility and performance for the price.

We've tested both new record players to five star success, and they have now made it onto our list of the best Bluetooth turntables. Given just how much they have impressed us during their time in our test rooms, the bar has been raised for other potential candidates seeking a place on our exclusive rundown.

A budget deck that does it all

It's best to think of the PS-LX3BT as the more direct de facto successor to the outgoing PS-LX310BT, which for so long had held top place in our guide to the best Bluetooth turntables.

The PS-LX310BT is no more, but its spiritual successor has more than enough talent to pick up where it left off and deliver a versatile and enjoyable performance.

Bluetooth abilities are, of course, on-hand, with the PS-LX3BT offering support for the aptX Adaptive codec for hi-res streaming up to 24-bit/96kHz to compatible Bluetooth speakers and wireless headphones.

Bluetooth pairing is reasonably straightforward to operate, as is the rest of Sony’s well-priced deck. Those large, chunky buttons are easy to use for playback and moving the tonearm, while setup is made simple thanks to the player’s fully automatic operation and pre-fitted moving magnet cartridge. You even get a very capable built-in phono stage, so as a plug-and-play turntable, most of the effort has been taken out of the process. Simply connect the deck to a pair of powered/active speakers (cables are included), and you've got yourself a tidy, compact vinyl system.

More purist decks will offer a step-up in performance, naturally, but for a record player with so many features, we are impressed with how good it sounds for the price. Sure, it likely won't win awards for its utilitarian looks, but we applaud Sony for concentrating its efforts on the sound quality.

There is clarity, a good level of resolution, sonic organisation and overall cohesion. There are plenty of Bluetooth turntables on the market, but very few are able to deliver a sound that is as capable and musically enjoyable as the PS-LX3BT at its price point.

To quote from our review: “We’re taken with just how composed, controlled and well-organised the Sony sounds, marvelling at the effortless cohesion and solidity it brings to the entirety of Michael Jackson’s Bad album.” Result!

What a difference a cartridge makes

On the face of it, the step-up PS-LX5BT isn’t that different from the PS-LX3BT. It looks pretty much the same in terms of size and shape, has a similar tonearm, the same buttons and the same functionalities. Bluetooth, a phono stage, automatic operation; it's all here.

So why are you paying £399 / $500 / AU$599 over the £299 / $400 / AU$469 of the cheaper model? Well, because minor tweaks make the PS-LX5BT the logical step-up, and also worthy of a place on our list of the best Bluetooth turntables.

The moving magnet cartridge fitted to the PS-LX5BT is a step up over that found on the cheaper player, and it also features a slightly different arm tube, a thicker slip mat and detachable interconnect cables. That doesn't seem like much for a £100 / $100 / AU$150 advance, we admit.

Yet it all adds up. As we say in our review: “What we find is that the PS-LX5BT is noticeably better, and does a fine job of justifying its not-inconsiderable price increase over its more entry-level sibling. The costlier deck is more open, spacious-sounding and more detailed than the LX3BT. It grants more space around instruments and gives the music greater breathing space within its broader, wider soundstage.”

Even in isolation, it’s an excellent turntable that proves itself worthy of consideration if you're after a deck that has the conveniences of Bluetooth, automatic operation and built-in phono stage in one unit. Thanks to its organised, authoritative yet punchy sound, it is very easy to recommend.

The LX5BT is brilliantly versatile record player that also works well plugged into a budget hi-fi separates system, and one we rate highly if you like the convenience of the PS-LX3BT but with even greater sonic headroom.

Sony’s return to making Bluetooth-enabled, fully automatic turntables has been a triumph. While you could well go for a price-comparable purist alternative, such as the Rega Planar 1 Plus (which includes a phono stage) that will deliver further gains in subtlety, rhythmic precision and dynamics, both the PS-LX3BT and PS-LX5BT's versatility and ease of use give them their own unique appeal, especially for vinyl newbies.

Given their overall quality and aggressive pricing, they come highly recommended if you're after their particular set of talents.

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Prog rock is a staple in hi-fi circles, and for good reason. Explore it, and you’ll find everything from experimental, album-length tracks chronicling epic space wars to short and sweet, gentle ballads celebrating young love on a UK council estate. The only connecting factor between them is a progressive virtuosity focused on pushing sonic boundaries.

And, when done right, this means it's a genre that can really stretch any hi-fi system, which is why it makes sense you all talk about it so much on our forums and social media pages. It’s also why more than a few of the What Hi-Fi? team have a soft spot for the genre and frequently listen to it for fun as well as work (testing).

But, its eclectic nature can make it tricky to navigate for newbies. Here to help offer our two cents on the top prog rock albums for hi-fi fans, we’ve created this list detailing our personal favourites.

On the off chance you think we’ve missed one, or just want to flag one for us to check out, get involved with the conversation using the comments section below, or let us know on our social media and forums. We’re always on the hunt for new music to check out!

The Moody Blues – Days Of Future Passed (1967)

The Moody Blues may technically not qualify as “prog” in many circles. But the band’s 1967 masterpiece Days Of Future Passed is often viewed as a proto-prog album that helped create the genre – kind of how MC5’s Kick Out The Jams helped make punk what it is, despite not being punk.

Though it’s the band’s second album, we’d argue it’s the point they really found their sound. It’s the first one where they recorded using a Mellotron keyboard, a unique sonic signature that has since become synonymous with The Moody Blues. Add to this a stellar mix of songs that set a consistent tone and flow from one to another, and it’s a delight to listen to from start to finish.

From the opening Dawn Is A Feeling right up to the closing note of the final track, Nights In White Satin, once you get Days Of Future Passed spinning, it’s hard not to fall in love with it.

Buy The Moody Blues, Days of Future Passed (1967) on Amazon

King Crimson – In The Court Of The Crimson King (1969)

If you asked any pundit to name a prog rock band, there’s a strong chance King Crimson would be the first name you hear, and there’s a very good reason for that.

The band is often viewed as one of the starting points for the genre, with its 1969 masterpiece, In The Court Of The Crimson King, continuing to be touted as a high point for prog to this day. Forgoing the heavy blues and rock influences of the other big bands of the time, it’s an eclectic album that mixes elements of psychedelia, jazz and classical music.

21st Century Schizoid Man remains a particular favourite among the What Hi-Fi? team. The seven-minute epic has stood the test of time remarkably well, with its complex, textured composition really pushing the limits of any hi-fi set-up.

Listen to it on a poor set-up and you’ll lose half the track, especially during the more cacophonous sections. But spin it on a decent one, and you’ll be treated to a tour de force, showcasing prog at its experimental best.

Buy King Crimson, In The Court Of The Crimson King (1969) on Amazon

Yes – Close To The Edge (1972)

Most people will likely think of the radio-friendly single Owner Of A Lonely Heart when asked about Yes. But if prog is your jam, the band’s fifth studio album, Close To The Edge, is where you want to start. Despite some of the band describing making it as a “torturous” experience, akin to “climbing Mount Everest”, there’s no denying the work paid off in spades.

With tracks inspired by classical music and JRR Tolkien’s The Lord Of The Rings books, the iconic album is a masterpiece, both in composition and recording. Side one’s titular track is the most interesting, and one that our team frequently favours.

The 18-minute epic starts slow, featuring a textured intro with nature sounds and a gentle keyboard part, before exploding to life as the band launches an improvised “jam” section. The rapidly changing dynamics and frequent shifts from 10, 12 and 16 bar sections make it an exciting listen that will keep you on the edge of your seat from start to finish.

Buy Yes, Close To The Edge (1972) on Amazon

Emerson, Lake & Palmer – Brain Salad Surgery (1973)

Emerson, Lake & Palmer are a band we know our readers love. Mainly because whenever we write about what test tracks we’re using in our regular Now Playing column, at least one of you will suggest the band’s much-loved, From The Beginning, from the trio’s Trilogy album.

But, it’s actually the band’s fourth studio album, Brain Salad Surgery, that remains a favourite among the What Hi-Fi? Team. On the one hand, this is because of its eye-catching artwork, by H.R. Giger. But it’s mainly thanks to its stellar three-part track, Karn Evil 9, which saw the band expertly utilise synthesizers to create an, at the time, mind-blowing dystopian sci-fi epic that continues to influence prog bands to this day.

The groundbreaking use of synths, intermingled with the trio’s inherent musical virtuosity, makes for a sonic experience that any music fan should listen to, from start to finish, at least once. Trust us, there are far worse ways to spend half an hour.

Buy Emerson, Lake & Palmer, Brain Salad Surgery (1973) on Amazon

Genesis – Selling England By The Pound (1973)

Genesis was the starting point for both Phil Collins and Peter Gabriel, two powerhouse performers who went on to global acclaim with decades-spanning solo careers. But, if prog is what you’re after, it’s their work on Genesis’s fifth album, Selling England By The Pound, that really shines.

Though the album received mixed reviews at the time, it remains a favourite amongst What Hi-Fi?’s staff. Shamelessly British, crammed with cheeky inside jokes, it can be a lot to take in all at once, and it definitely jumps around a lot.

But it remains a quintessential piece of prog history that’s full of stellar, thoughtfully composed, experimental tracks, ranging from the whimsical The Cinema Show to the mind-blowingly complex Firth Of Fifth. Even if you don’t like all of it, newbies to prog are sure to find at least one song they like.

Buy Genesis, Selling England By The Pound (1973) on Amazon

Carmen – Fandangos In Space (1973)

What happens when you combine flamenco and prog? Fandangos In Space, that’s what. It’s the debut album for flamenco-rock sensation Carmen.

Produced by Tony Visconti, who worked with numerous big names, including David Bowie, over his career, there’s nothing else quite like it. Mainly composed by singer/guitarist David Clark Allen, the album merges classical flamenco guitar and percussion, with rock guitar and Mellotron keyboard parts.

Add to this bombastic lyrics about everything from bullfights to gypsy curses, and it becomes quite the spectacle and an enthralling, albeit atypical listen, even for prog fans, who are used to some degree of experimentation.

We’re particularly big fans of the album’s main ballad, Lonely House, which has powerful vocals and a pure, emotional depth that sounds sublime when played through a decent system. If you’re a fan of either genre, we’d strongly recommend giving it a listen, as a result.

Buy Carmen, Fandangos In Space (1973) on Amazon

Pink Floyd – The Dark Side Of The Moon (1973)

Yes, fine. The Dark Side Of The Moon is probably the cliché to end all clichés at this point, so much so that it’s nigh-on impossible to attend a single hi-fi show this side of the western hemisphere and not hear a cheeky slice of Gilmour and co. floating out from one of the exhibition rooms.

The thing is, some things become clichés because they deserve to be, and few records have earned the right to be overplayed quite like Floyd’s timeless opus. Both a brilliant test album and a stellar musical work in its own right, TDSOTM is the quintessential prog classic, tackling those big, meaty themes such as greed (Money), mental instability (Brain Damage) and existential dread (Time) with exhilarating confidence infused with a hazy, dreamlike quality that enraptures and unsettles in equal measure.

Just about the moodiest, most melodic and masterful release of that golden ‘70s era of classic rock, Dark Side Of The Moon truly deserves its flowers. There’s a reason everyone from your nan to your teenage nephew has it in their collection – if it isn’t there already, it’s time to make it a part of yours.

Buy Pink Floyd, The Dark Side Of The Moon (1973) on Amazon

Rush – Moving Pictures (1981)

There are very few bands around with as big and diverse a music library as Rush. And because of that, we know full well that picking 1981’s Moving Pictures as the best the band’s ever done will cause some debate. But here we are, it’s our favourite, and we’re not ashamed to admit it.

For starters, it has one of the most iconic songs in history on it. We speak, of course, of Tom Sawyer. Frontman, bassist and general prog rock legend Geddy Lee describes the track as "the quintessential Rush song", and we get why.

Featuring an iconic groove percussion section that intermingles with spacey guitars and the track’s now-iconic fuzzy synth parts to its rapid shifts in dynamics and rhythm make it a delight that’ll keep your feet tapping from start to finish. And that’s just one track from this holistically amazing album.

Buy Rush, Moving Pictures (1981) on Amazon

Marillion – Clutching At Straws (1987)

A lot of prog rock has fairly lofty themes; intergalactic space wars, the meaning of life, those sorts of things. Which is why English neo-prog rock band Marillion’s masterpiece Clutching At Straws feels like such a breath of fresh air for the genre, despite releasing all the way back in 1987.

Telling the story of Torch, a normal man who’s failed in nearly every aspect of his life, it chronicles his musings, usually in a pub or bar, as he numbs himself with alcohol.

Though the band’s previous album, Misplaced Childhood, and its iconic single Lavender, often gets more attention, for the What Hi-Fi? team, Clutching At Straws is a more concise, mature, holistically solid body of work that showcases why the band is still talked about and active.

Whether it’s the bittersweet Sugar Mice, which features lofty yet vulnerable vocals, expertly showcasing singer Fish’s range, or the explosive, seemingly jubilant Incommunicado, the entire album is a complex rollercoaster ride for your hi-fi system and emotions.

Buy Marillion, Clutching At Straws (1987) on Amazon

Dream Theater – Images And Words (1992)

30 years after forming in college, Dream Theater remain at the forefront of prog rock, having released a steady stream of increasingly complex, sometimes mixed, albums that showcase the raw virtuosity of the Berkeley-trained band. But, for the What Hi-Fi? team, while it may not be the most “proggy” of the band’s work, it’s Dream Theater’s breakout album, Images And Words, that gets the most playtime.

Whether it’s the iconic, atmospheric, and radio-friendly Pull Me Under, or our personal favourite, Metropolis - Part 1: The Miracle And The Sleeper, the album is a stellar listen. One that’s full of tracks with difficult arrangements delivered with laser precision by the band, which is as tight as Scrooge McDuck from start to finish.

Buy Dream Theater, Images And Words (1992) on Amazon

Tool – Lateralus (2001)

If you like your prog with a slice of metal, rather than rock, Tool’s Lateralus is a fantastic option. It’s the album where the band cemented its iconic sound, fully stepping away from its grunge (especially Alice In Chains) inspired origins, into its conceptual, progressive metal style.

Though you’d never describe it as an easy listen, due in part to the complex, thought-provoking nature of the songs, it’s a carefully curated album that merits repeated listening.

From the opening track, The Grudge, you’ll be treated to a challenging album full of songs showcasing Tool’s iconic propensity for complex rhythm changes, booming breakdowns and haunting vocals. This, plus the album's clever arrangement, which sees each song sweep over you, taking you on a reflective journey with the band, makes it one of the most iconic releases of its time – and a pretty good stress test for any hi-fi system's dynamics and rhythmic precision to boot.

Buy Tool, Lateralus (2001) on Amazon

The Mars Volta – De-Loused In The Comatorium (2003)

Featuring two founding members of post-hardcore legends At The Drive In, The Mars Volta’s 2003 debut album, De-Loused In The Comatorium, was a big deal at the time. And while it was a marked departure from guitarist Omar Rodríguez-López and singer Cedric Bixler-Zavala's past work, it remains one of the best prog rock albums of all time.

The concept album is based on a short story written by lead singer Cedric Bixler-Zavala and sound manipulation artist Jeremy Ward, about a man who falls into a coma after overdosing. The album features an eclectic mix of inspirations, ranging from Latin jazz to psychedelia and heavy metal, throughout its playtime. And while the rapid genre changing jumps between each track did create a Marmite divide between At The Drive In fans, for prog fanatics it’s a great showcase of what makes the genre great.

It’s also a particularly sad album, whose magic, for us, hasn’t been replicated – since Ward, who contributed heavily to the sound, tragically died of a heroin overdose a month after the album was released.

Buy Mars Volta, De-Loused In The Comatorium (2003) on Amazon

Coheed And Cambria – Good Apollo, I'm Burning Star IV, Volume One: From Fear Through The Eyes of Madness (2005)

If you like your prog with a heavy dose of over-the-top sci-fi plotlines, then Coheed And Cambria are well worth a listen.

The band is famous for basing its albums on epic stories, many of which have been detailed in comic books and novels, full of twisty turns and occasional stomach-churning moments. And as the numbers in the title suggest, Good Apollo, I'm Burning Star IV, Volume One: From Fear Through The Eyes of Madness is part of one such epic; The Amory Wars.

As a cohesive piece, it’s a fantastic listen that showcases why Coheed are often viewed as the shining stars for prog that helped reignite mainstream interest in the genre during the early 2000s.

Whether it’s Claudio Sanchez’s wailing, Geddy Lee-inspired vocals, or the tight, interlinked rhythm and lead guitar parts, which expertly navigate between chugging rock riffs and noodling prog excess (adding the occasional emo-esque breakdown in between), you’re sure to find something to love.

And as a bonus, it’s also the first Coheed album with decent production value, losing the fizzy compressed sound of the previous two albums, which held the band back in more serious hi-fi circles.

Buy Coheed And Cambria, Good Apollo, I'm Burning Star IV, Volume One: From Fear Through the Eyes of Madness (2005) on Amazon

Porcupine Tree – Fear Of A Blank Planet (2007)

There are few names as synonymous with prog as Porcupine Tree, and its frontman and founder, Steven Wilson. Go into any hi-fi show and there's a strong chance you'll not only hear at least one of the band’s tracks playing, but also see him speaking about sound quality. He’s a smart man who likes his hi-fi, after all.

But of the band’s long catalogue of work, which dates all the way back to 1987, it’s their 2005 album, Fear Of A Blank Planet, that gets the most love from the What Hi-Fi? team. In part, this is because its concept, which explores the impact modern tech, and the general state of the world, is having on young people, remains more important than ever.

However, it’s mainly due to the fact that it was intentionally composed not to have a “radio single” and is instead designed to be listened to from start to finish. This gives it a more polished, flowing structure than past Porcupine Tree albums. Featuring rapid mood and genre swings, that mix classic 1970s elements with post-grunge and general rock, we’d strongly recommend it to any music fan, prog or not, as a result.

Buy Porcupine Tree, Fear Of A Blank Planet (2007) on Amazon

Anathema – Weather Systems (2012)

Having started life as a doom metal band in the 1990s – one that toured with Cannibal Corpse – Anathema has slowly developed into a staple favourite within the prog community. And while the band's eighth album, We’re Here Because We’re Here, may be generally considered the pivotal moment that cemented the change (with the aforementioned legend, Steven Wilson, having mixed it), its follow-up ninth album, Weather Systems, is the team's favourite.

Despite not having any of the immediate, jump-out singles of its more famous predecessor, the album feels deeper and more joined together, with the band claiming it’s intentionally been written to “deeply move the listener” and take them on an explorative journey – one covering all the big questions we have around life, regret and, eventually, death.

Starting from the slow-burning acoustic intro, Untouchable Part 1, the album ebbs and flows, creating a dream-like, ethereal state. The constant shifts in dynamics, ranging from anguished, shouted pleas to sombre reflections that will truly move even the most stoic of listeners, continue all the way up to its masterfully recorded conclusion, Internal Landscapes.

Buy Anathema, Weather Systems (2012) on Amazon

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