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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Moving magnet vs moving coil: which cartridge is right for you?

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.

The best turntables for listening to Beatles records

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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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All the news from High End Vienna

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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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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High End Vienna 2026: all the news from Europe's biggest hi-fi show

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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All the latest news from High End Vienna 2026

Dali's premium all-in-one system promises hi-fi-level performance in any place, and in any position

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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Also read our review of the Pro-Ject T1 Evo BT

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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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For many of us, vinyl never went away, but there's no denying that the format has seen renewed interest of late. Figures from the British Phonographic Institute (BPI) show a phenomenal 19.9 per cent rise in sales over the last year, which is staggering for a format many had long written off.

To make sense of this, we sat down with Drew Hill, the managing director of Proper Music Distribution (PMD), the UK's main physical music distributor of independent labels, to talk all things vinyl.

WHF: How big a part is vinyl in what you do as a distributor?

Hill: "PMD acts as an intermediary between about a thousand independent music labels and the vast array of record shops in the UK – everyone from the 499 independent record shops to Amazon and HMV. In terms of value for physical formats, it's split about 50:50 between vinyl and CD – CDs outnumber vinyl about 2:1, but obviously vinyl sells at a much higher price."

Has the resurgence of vinyl surprised you?

"I still have to pinch myself. After the first 10 years of it making a comeback I remember thinking, 'This must be the last year.' I mean can we even call it a resurgence after all this time? Doesn't it devalue it slightly? Typically the music business wants to talk it down and pretend it's a temporary thing, because a lot of the big labels placed all their chips on streaming. But I think by now we can safely say that vinyl is here to stay."

How has the demand for vinyl changed?

"It used to be that it was only middle-aged men buying copies of Pink Floyd and Fleetwood Mac, but if you look at the sales over the last couple of years, the bestsellers are things like Taylor Swift and Harry Styles, which I'm pretty sure aren't being bought by men of a certain age. Or maybe some of them are. Just the other day I was in my local record shop in Cheshire and I overheard a 14-year-old girl begging her mum to let her buy Billie Eilish on vinyl. And her mum said, 'But we haven't got a record player.'

"I think it's going back to those days where it was part of your identity, when walking out of a record shop with a bag under your arm really told people something about you and your place in the ecosystem. Vinyl now, it's across the board: it's young and old, it's all sorts of genres… there isn't really a typical vinyl tribe anymore, just people that are into music.

"For a while we wanted to think that people were either digital consumers or physical consumers. I think now we've accepted that while digital is a great way for people to discover music, if you're really into a particular artists or genre, physical media like vinyl is a better way of expressing your loyalty. It's a tangible thing – you can put it on the wall if you haven't got a record player. It's very hard to gift a stream to someone. A lot of people buy two copies of a record – one to play, one to keep in the shrink wrap. It's a real phenomenon."

Did a lot of people write vinyl off?

"Definitely. A lot of people thought that the renewed interest was a one-off. For maybe the first half of the resurgence there were plenty of naysayers not wanting to believe it was here to stay. The major labels had all sold off their distribution divisions, they were all betting on the future being digital. They didn't have a vested interest in physical formats making a comeback. It meant they had to overhaul the production department, do all the supply check stuff. We've seen a complete one-eighty – physical is a part of all of their strategies. They admit they got it wrong. And Record Store Day has been a huge driver of this rekindling of people's love of records."

I guess originally CDs were supposed to be the death of vinyl. And then digital downloads, and then streaming. It's the format that can't be killed.

"We've seen a bit of a resurgence in CD as well. It's typical music business – the vinyl resurgence has driven the price up and up and up, with record companies seeing how far they can push it. But younger fans who are a bit more cash-strapped, they see £35 for a new vinyl, but think, ‘I can get three CDs for £35.’ But it's still getting people back into record shops."

Has the renewed interest changed the nature of record shops?

"I think so. No one else has really commented on this, but I think the record shops have morphed. It's no longer like High Fidelity, where they look down their nose at you. They've realised that's not a great way to treat your customer. They've become a lot more inclusive – they're putting on events, or there might be a coffee shop attached to it. That's been a big part in the whole resurgence."

Are online retailers suffering as a result?

"Bricks-and-mortar definitely has an advantage in the level of service they're able to provide. If I buy a turntable on Amazon, chances are I'm not gonna want another one the next week. So stop sending me emails about turntables. It's the same with music – if I buy a Rod Stewart album for my mum as a present, but the rest of my buying pattern is all hard rock, don't tell me about the new Neil Diamond record. But if you walk into a record shop, they can probably tell straight away what you're looking for. And if they see what you're buying, 99 times out of a hundred they'll go, 'If you like that, you'll love this.' An algorithm can't quite do that. It's still a personal thing, a human thing, rather than a computer."

Going back to the core appeal of vinyl, why do you think people are still buying it?

"I think it's multifaceted. It's now more of a lifestyle format. It's where culture and music and design all meet, and I think that the people who are buying records are the people who want to read the sleeve notes. They enjoy finding out more about the artist that they want to invest their money in. It isn't just that casual consumer listening to whatever Spotify serves up next. It's got a lot of people back into really listening to music.

"The people who are buying it purely for the sound quality obviously know what they're doing. But I do wonder if everyone is as clued up. Turntable sales might be rising, but is the same true of the component parts? Do all those punters that have bought their new cheap Crossley record player realise that you're supposed to change the stylus?"

Do you think vinyl sales will continue to grow?

"In the UK, we saw nearly 20 per cent growth last year. I don't think we'll see that again this year. But then if we'd have been talking a year ago, I probably would have said the same thing. As someone who's been in this industry for 22 years, I feel that surely it can't keep growing at the rate it's growing. But it keeps on surprising me and doing just that."

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Wax Poetics started life 25 years ago as a US magazine dedicated to vinyl 'crate diggers' – those on the hunt for rare records.

Since being taken over in 2024 by two Brits – Alex Bruh and David Holt – it has evolved into a platform for music collectibles, encompassing rare vinyl, demos, prints and other paraphernalia, often sourced direct from the artists themselves.

They were the people behind the original Mariah Carey demo tape that recently sold for $50,000 at auction.

As part of our Vinyl Week 2026, we sat down with Bruh and Holt to talk about what makes vinyl so collectible.

WHF: What is vinyl's appeal as a collectible item?

Bruh: "There's always a natural instinct to own physical items, right? It gives you a connection to the music, it means you're more likely to spend more time with it. My record collection is the story of my life: on this holiday I was into this genre, then you have the grunge years, the disco years… That's what it means for me, but a lot of collectors have their own motivations. It's really different for everyone."

Holt: "I think with the internet, people are too quick to write off old mediums. Everybody thinks that ease and accessibility are people's main drivers, but I would say it's more about experience and quality. And from that perspective, vinyl is still the best medium for the job. It's about more than just the music. We see behind the scenes of a lot of artists' processes, things like creating the artwork, the contracts, and vinyl is the best distillation of that. CDs and tapes do it as well, but streaming definitely doesn't."

Bruh: "The physical formats are the ones that stand the test of time. Demand for vinyl might vary, but it's never going away. What you see now is a counter movement to everything that's going on in the digital space. The more people talk about streaming and AI, the more it drives this subset of people towards the physical formats."

Do you think the rise of streaming has made vinyl more collectible?

Holt: "Yeah, I do. For artists, streaming is quite negative. But for consumers, it's quite attractive, because you can access music very, very easily. Streaming has actually made me buy more records, because it's cut out the wastage. I think streaming is definitely driving vinyl sales.

"But when you just let your streaming roll, and you're not curating it, and it starts chucking AI at you, you lose faith in it. But vinyl is now becoming so popular that maybe it doesn’t need to rely on streaming anymore."

It's almost like a backlash, I suppose. Everything's so ephemeral and digital, people want to actually hold a piece of vinyl in their hands.

Bruh: "I think backlash is an interesting way of putting it. Collecting does have a little whiff of punk rebellion about it. Music is such a strong passion for people, and the experience you get from streaming just isn't the same."

What makes a piece of vinyl particularly collectable?

Holt: "It depends on what makes it collectible to you. If you want an asset that you can sell in 20 years to make some money, then you're looking at scarcity, provenance, hype, all those things. Whereas for me personally, I'm looking for records that soundtrack a moment that I was involved in, whether it's a club night or a gig, or an artist that I'm interested in finding. There are those hard factors of what's valuable in a monetary sense, and then there are the softer, human factors, just the desire to own something that you feel something about.

"I buy loads of records by artists that I like, but I don't necessarily like the records themselves. I'm a completist – I might really respect the artist, but I might think their 80s stuff wasn't much cop. Roy Ayers springs to mind – he's got an awesome catalogue, but doesn't kill it on every record. But I still need to have it!"

Have you auctioned any particularly valuable pieces of vinyl?

Bruh: "We had a test pressing of Afrika Bambaataa's Planet Rock that we got from Arthur Baker, who produced that record. And some of the Masters At Work acetates that came direct from Louie Vega are really limited, they sell for around $700 upwards."

What does the future hold for vinyl?

Holt: "Vinyl still has some problems to iron out, one of which is cost. A new record [can be] £40/50, which is expensive. The major labels need to be less greedy. But I think the demand for vinyl will continue, from the young and old alike. My local record store in north London is always busy, and it's full of people from all different generations. So I think vinyl has got a bright future. The world is moving more towards it again, which I find really heartwarming."

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“Don’t you already have that?” This is a question my wife frequently asks when I’m crate digging and start examining a record.

It's a fair one. She’s usually right and I do indeed already own a copy. And, for anyone not in the world of vinyl, understanding why I may want two of the same album can be confusing.

After all, there are entire swathes of the human race who don’t get physical media in general any more. Why bother with it when you can get it via a streaming service, usually with considerably less faff?

Over the years, we at What Hi-Fi? have discussed multiple possible reasons why vinyl fans, such as myself, have a neurotic need to hoard an ever-growing collection of spinning discs.

Our production editor, Chris Burke, for example, penned a magnificent piece explaining why “old is gold” for him when collecting vinyl last year.

Many of you, our discerning readers, have long espoused various audio benefits, arguing there’s a warmth and fidelity “you just can’t replicate” when listening to vinyl.

There are merits to each school of thought. But as I pondered why I get so fussy about which specific pressing I own, and will usually end up buying more than one copy of an album if I really like it, I realised that my focus is slightly different to both.

Yes, I do value the history of a record. Like the absurdly affluent Dark fan who paid £19,000 for a copy of the first pressing of the band’s Dark Round The Edges album, owning a piece of music history is appealing. It’s the same logic as first edition books, which I also love.

And yes, I also care about audio quality, and understand why some buyers are obsessed with getting newer premium 180g/200g "audiophile" pressings.

But neither is my main focus. Instead, I’d argue, the perfect vinyl is the one that gets me as close to the artist's intended vision as possible – and that doesn’t mean automatically going for an original pressing or a modern “remastered” one in every instance. It’s more nuanced.

For example, let’s talk about The Beatles. One of the biggest bands in the world, so there are a lot of pressings out there, ranging from stereo remasters of early ones to fancy new “hi-res” Dolby Atmos versions claiming to be “the ultimate choice for audiophiles”.

I don’t care about any of them. My focus, especially for their body of work from 1963 to 1968, is on pressings containing the original mono mastering that the band themselves slaved over and released with their personal blessing at the time.

I don’t want a new version that none of them was involved with, even if it is technically better. That’s why I always search for the original mono pressings when visiting second-hand stores or boot sales.

Then there’s the jazz classic, Kind Of Blue, by Miles Davis. Here I’d actually avoid buying the original. This is because, believe it or not, one of the three tape decks used to record it was faulty, so there are very noticeable speed issues on original and older copies. The problem was only retroactively fixed with a remaster in 1997.

Because of that, while I would like an OG pressing for my collection, for actual listening, I own a newer remaster that fixes the original version’s speed issues, so I can hear what each maestro actually played, as they intended.

Or, if you want an even more modern example. This Record Store Day, the album I’ve earmarked as a treat to myself is The Cure's Acoustic Hits (25th Anniversary Edition).

First, because I love The Cure. Second, because front man and main composer, Robert Smith, was involved in the remastering of the original acoustic sessions, which were recorded as a partner for the band’s 2001 Greatest Hits collection. So, in many ways, the modern, cleaned-up version is closer to his intended vision, hence why I want it.

It’s all down to context, and, as is often the case, the devil is in the details when it comes to my preference for which specific pressing of an album I want. The only connecting factor is that I want it to be as close to the artist's vision as possible. Outside of that, there are no sacred cows.

Do you agree? Let me know in the comments below, or on our social media pages and forums!

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AC/DC. Elvis. Charles Schulz’s Peanuts.

What do they all have in common?

Apart from being cultural icons in one way or another, all three have turntables designed in their honour. Elvis’ turntable has his name lit up in LEDs; the Peanuts turntable has Charlie Brown’s round head printed on the acrylic mat, and the AC/DC one? A plinth in the shape of the band’s iconic lightning bolt logo.

These are all special edition turntables made by Pro-Ject, as part of their Artist Collection series. You’ve probably seen many of their visually-striking designs that celebrate iconic artists: Metallica, The Beatles’ Yellow Submarine, The Dark Side Of The Moon, and more. Whether you’re a fan of the band in question or simply love the unique designs – these turntables are more like works of art to be collected, beyond just playing vinyl records.

While we’ve seen the Artist Collection turntables displayed at showcases such as the High End Show, we’ve often wondered what they are actually like to use as a ’normal’ turntable. Pro-Ject and its UK distributor Henley Audio kindly lent us the AC/DC Turntable so we could have a play. We also got plenty of insight from Pro-Ject's CEO Heinz Lichtenegger, who talks us through the design process, the materials chosen, and how it affects the sound.

A collaborative effort

Every Artist Collection limited edition turntable starts with Pro-Ject being approached by the artist or band’s representatives to create a product, and they are brought to life in collaboration with the artist, Pro-Ject’s designers and tech team.

Heinz Lichtenegger, CEO and founder of Pro-Ject Audio Systems since 1991, tells us: “These are true collaborations, not just licensing projects. From the outset, the band brings very specific ideas about the look – we always aim to really express the artist’s character, and then bring in our designer’s suggestions. But all designs must ensure the sound will be great – the Artist Collection products may look different to regular turntables, but they are not toys, they are real hi-fi turntables with serious performance.”

Unboxing the AC/DC Turntable is a treat unto itself. You’re met with the skeletal lighting bolt plinth, which looks pretty snazzy. The famous lightning bolt logo was designed by Gerard Huerta in 1977, first appearing on the international version of the album Let There Be Rock.

The 28mm MDF plinth feels sturdy and there are adjustable feet, but the whole arrangement is also quite light due to its unusual minimal shape. Even before we finish assembling it or power it on, it cuts quite the sharp figure on our wooden hi-fi rack.

A bolt of inspiration

Care is taken to ensure that the plinth is still stable and offers a non-resonant foundation for the platter, while also producing something so visually striking.

The AC/DC’s lightning bolt plinth isn’t the only non-traditional plinth Pro-Ject has made in its history, either. It reminds me of the minimalist design used in the Pro-Ject Elemental (an oft-talked about deck at What Hi-Fi? Towers) and Genie turntables.

“For sure, our experience in making plinths in non-traditional shapes helps here,” says Lichtenegger. “We were one of the first companies to realise that non-rectangular designs can have acoustical advantages, as they help reduce unwanted resonances – just look at today’s speaker designs, where you see many rounded forms.”

In terms of making the unusual and quirky-shaped plinths, Lichtenegger says they’re not too challenging to make, other than needing a lot of CNC machinery to make the shapes, which is expensive.

Pro-Ject is no stranger to experimenting with materials, with various combinations of materials offered throughout the multiple ranges of record players, promising increasing performance with every step up. We visited the company’s factory and HQ a few years ago, and there seems to be no limit to what they’re able to do – as long as you get the core materials right, that is.

Still, there are challenges along the way. “People have very different tastes in both sound and design,” Lichtenegger says of the manufacturing and design process. “So close collaboration is essential.”

Special materials chosen for a special edition

The Artist Collection designs allow Pro-Ject to experiment with materials and assemblies to create a specific look to fit the brief. We spot plenty of unusual elements in the AC/DC edition that we don’t normally see in a standard Pro-Ject turntable.

There is the red-coloured, 10mm glass platter – which adds another stylish flourish to the turntable assembly – and an acrylic sub-platter. On Pro-Ject’s website, you can find plenty of add-on accessories to upgrade your turntable, but these aren’t one of them. We tend to see metal or acrylic platters, for instance.

All of these choices for the AC/DC Turntable make perfect sense once we realise that there is LED lighting underneath, which gives the turntable a stunning red glow. The overall red and black aesthetic is, appropriately, very rock and roll.

Of course, having a glass platter means that you’ll have to put on the included felt mat first before you put a record on; this subdues the red light shining through the glass and semi-opaque acrylic, but the subtle under-lighting still makes a lovely effect. Especially in a dark room, if you’re able to leave it turned on.

The cartridge supplied is the Ortofon 2M Red – a fitting choice – but another unusual element is the 8.6-inch flat tonearm. It’s mostly made of acrylic – a departure from Pro-Ject’s usual aluminium.

Acrylic is light, is easy to machine into specific shapes, and its low resonance properties work well for a turntable. It was an ideal material for the flat construction for the AC/DC Turntable, even if Lichtenegger concedes that perhaps the flat design isn’t perhaps stiff enough. “But on the other hand, it avoids the ‘ringing’ tube effect found in standard tonearms. So, all in all it is a very interesting design and may be used in future projects."

The bearing assembly, lifting mechanism and counterweight designs are all recognisably Pro-Ject. The turntable even comes with two options of belts in the box – a flat one and a circular one. We opt to use the flat one in our assembly.

One thing we particularly like is the detail of the finger-lift – it mimics the exact same lightning bolt shape as the plinth. It’s a nice little detail and is nice to use; moving the tonearm to the groove of a record is a smooth experience.

However, there is one thing that puzzles us: we note that the flat acrylic tonearm's lightning bolt is a considerably different shape to the rest – with different angles, a wider shape in the middle, but tapered off at the ends.

Pro-Ject’s designer says of this decision: "We indeed had to adapt the shape of the iconic bolt to ensure full functionality. The original logo's proportions wouldn't have aligned with the required geometry, making proper integration into the bearing block impossible. As a result, we adjusted the specific 'zigzag' angles for the tonearm housing, while keeping the original, classic bolt shape for the finger-lift at the front end.”

When asked if any of these materials used in the AC/DC turntable will make it over to Pro-Ject’s standard ranges, Lichtenegger plays it quite close to his chest. “Every new turntable is a learning experience, so yes, we will definitely use some technical ideas in future models. Watch this space!”

Let There Be Rock: listening to the AC/DC Turntable

Setting up the turntable is similar to other Pro-Ject decks: balance the tonearm with counterweight, set the tracking force and bias (1.8g for the 2M Red) and off you go. The interconnect phono cables are included in the box, while the rocker switch for changing the speeds (33 ⅓ and 45 RPM) is positioned underneath the plinth. The red light comes on with either speed choice.

The belt-drive design runs smoothly, and we’re soon playing records from Michael Jackson to Olivia Rodrigo. We sadly don’t have any AC/DC albums in our test rooms to put on, but our Buffy The Vampire Slayer musical soundtrack’s red vinyl matches the AC/DC deck beautifully.

We should note here that we don’t review or star-rate limited special edition products like these, as their intention and appeal is different from standard full-production models. Our time with the AC/DC turntable is therefore brief, but still enough to make an impression.

The AC/DC Turntable sounds tidy, clean and precise. These are hallmarks of Pro-Ject’s sound we’ve heard in the budget Primary E to the Debut Evo 2 – both Award-winners. The soundstage is pleasingly big and admirably stable, with the instruments and vocals all in focus.

Notes land in an organised manner, with ample detail and a good sense of punch to pop tracks like Rodrigo's Logical and MJ's The Way You Make Me Feel. The fast, complex drum patterns in Speed Demon sound taut and, well, speedy. The bass could be fuller and weightier, but it’s a nimble presentation that keeps things flowing nicely.

Sarah Michell Gellar’s unpolished vocals in the Once More With Feeling soundtrack sound clearly defined, with the Pro-Ject AC/DC deck able to relay that crisp diction and story-telling lyrics. We do wish there was a bit more expression and natural warmth overall – some of the subtlety of the excellent (and less costly) Evo 2’s performance would be lovely to hear here.

Ultimately, we find the AC/DC Turntable is a great showpiece and plenty of fun. True, its price puts it up against more focused purist alternatives that ultimately sound better.

But we're not sure how much that really matters in this case. Judging this turntable solely on sound quality would be ignoring its spectacular aesthetics and connection to the legendary band. The AC/DC Turntable does its job – it feels premium and special, it has an impressive effect, and it’s fun to use.

Balancing the design and sound quality is no doubt a tricky act. On these special artist editions, Pro-Ject is adamant about using premium materials throughout and ensuring they make good design choices. These limited edition turntables do come at a premium –the AC/DC Turntable officially retails at £1149 / $1699 / AU$2499 – that is the result of a collaboration with one of the best-selling rock bands of all time.

The aim is still to make a turntable that plays records to a high standard, with hundreds of hours of design work and many samples required to get the end result that everyone was happy with.

“At Pro-Ject, great sound is always non-negotiable,’ affirms Lichtenegger. “We would never approve a design that only looks great. So, in some of the Artist products it was a real challenge to make a turntable that looks incredible and iconic, while still delivering high sound performance. In our view, we achieved it.”

"They are not toys, they are real hi-fi turntables with serious performance"

Even after we had finished listening to the AC/DC turntable, we’re reluctant to pack it away. Like other limited edition products that have passed through our listening rooms – such as the Naim Nait 50 amplifier – we enjoy leaving it set up and displayed in our hi-fi rack. There is something about the design that is simply enthralling.

It just looks cool. And that’s the point, isn’t it?

The process of making these special Artist Collection turntables is “lots of fun” Lichtenegger says, and the feedback from buyers echoes the desired effect. He says customers’ feedback tend to include a lot of 🤘🤘🤘 [sign of the horns/rock on] emojis. “Which," he says, "I take as a good thing from AC/DC fans!”

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Audio-Technica is a cartridge manufacturing giant, so when the company overhauls one of its core moving magnet ranges, we can’t help but be interested.

The AT-VM740xML sits in the upper echelons of the new VMx range, which includes entry-level polymer-bodied models alongside premium die-cast aluminium options. There are mono variants too, though only available in the polymer housing.

Design

The Audio-Technica AT-VM740xML is the first rung metal-bodied option, with the difference between it and pricier siblings coming down to stylus profile and cantilever material. For example, the ’740xML uses a Nude Microlinear stylus profile with an aluminium cantilever, while the range-topping AT-VMx760xSL (£519 / $599 / AU$849) is specified with a Nude Special Line stylus profile and a boron cantilever.

A stylus profile has a big effect on the cartridge’s ability to track the record groove accurately, while the greater rigidity of boron aids the transmission of vibrational energy. Thankfully, the stylus assemblies are easily interchangeable, so it is possible to start with the AT-VM740xML and upgrade at a later date.

Audio-Technica is proud of the twin-coil per-channel generator system used in the VMx range, claiming it mirrors the structure of the original cutting lathe more accurately than the conventional alternative and improves efficiency.

Look inside the ’740xML’s metal housing, and you will find a central shield between the left and right channels to reduce crosstalk, which helps with stereo imaging and reduces distortion. The cartridge’s internal coils are now made of purer copper than that used on the previous generation VM series to improve performance.

A reduction of coil turns is said to aid dynamics, but this also results in a relatively low output of 3.2mV (1kHz, 5cm/sec). That output level isn’t anything to worry about though, as this Audio-Technica will play well with any moving magnet phono stage on the market.

Ease of set-up

This is an easy cartridge to fit. It has threaded holes in the body, so there is no messing around with small nuts when securing it to the headshell as before. Alignment is easy thanks to the ‘740xML’s multitude of straight edges.

Our testing is done with a Technics SL-1000R record player; its detachable headshell makes things even more painless.

The rest of our system is a Cyrus Phono Signature/PSX-R2 phono stage feeding a Burmester 088/911 MkIII amplifier and ATC SCM50 speakers. This high-end set-up isn’t typical of the kinds of systems that the AT-VM740xML will be used in, but it does a great job of putting a spotlight on the cartridge’s performance.

We also use a Cyrus 40 AMP with KEF LS50 Meta speakers to hear how the Audio-Technica responds in a more appropriate system context.

Our comparison cartridges are the Sumiko Rainier moving magnet (£129 / $199 / AU$299), Audio-Technica’s own AT-OC9XEN moving coil (£268 / $399 / AU$699) and the Nagaoka MP-200 moving magnet (£399 / $549 / AU$649).

Sound

Given a few days to bed in, the AT-VM740xML turns in great results. We play around with the tracking weight within the recommended 1.8-2.2g range and settle in the middle at 2.0g as the best compromise between tracking ability, tonal balance and general liveliness.

The AT-VM740xML isn’t the most exuberant or dynamic cartridge we’ve heard at this level, but it remains an engaging proposition nonetheless. As we work our way through a range of music that takes in Nitin Sawhney’s Human set, Holst’s Planets suite and The Boatman’s Call from Nick Cave & the Bad Seeds, it becomes clear that this is a clear and well-balanced performer.

It sounds a little cleaner and more precise than the expressive Sumiko, tracking basslines with greater dexterity and grip. There is a decent amount of weight and authority at lower frequencies, and that helps to deliver the essential sense of menace in music such as Holst’s Mars well.

Moving up the frequency range, we admire the Audio-Technica cartridge’s clarity through the mids and its articulate way with vocals. Nick Cave sounds suitably gruff yet vulnerable during Into Your Arms, while the instrumental backdrop comes across as wonderfully cohesive, maintaining the song’s delicate momentum and melancholic feel.

Dynamics, particularly subtle shifts in intensity, are communicated well, and we like the way this cartridge renders the texture and tonal richness of instruments. It sounds understated and natural, making it easy for us to get lost in the music rather than think of the mechanics of hi-fi.

It helps that the tonal balance is even and avoids over-egging any specific part of the frequency range. Bass is powerful, taut and tuneful while the highs combine bite and refinement well. Feed the cartridge a poor record, and it won’t hide the fact, but equally the Audio-Technica won’t make a meal of things either.

Stereo imaging ability is equally pleasing. As we listen to the Holst suite, we can’t help but enjoy the focus and stability of the soundstage. It remains stable as the music becomes more demanding, which isn’t always a given.

Rhythmically, things are sure-footed rather than enthusiastic. There is a good sense of drive to the Nitin Sawhney set, along with the ability to tie things together so that the music’s message comes through clearly. Songs such as Fragile Wind hit hard emotionally and are delivered with the lightness of touch they deserve.

Pay more for something like the Nagaoka MP-200 and you will get even greater resolution and dynamic fluidity. The MP-200 is certainly a more subtle performer, particularly when it comes to dynamic shading. But, given that the AT-VM740xML comes in at around half the price, this is more an observation than a complaint.

By the standards of its direct peers, this cartridge is a capable all-rounder that is as informative and musically coherent as we’ve heard at this level.

Verdict

The AT-VM740xML is an accomplished design. It is easy to fit and unfussy in nature, while being sensibly priced. We think it will work without issue when partnered with any good sub-£1000 record player, and has a blend of attributes that will see it shine in most cases.

Add the easy upgrade path into the equation and the only logical conclusion is to recommend it highly.

Review published: 17th April 2026

SCORES

• Sound 5
• Build 5
• Compatibility 5

MORE:

Read our review of the Sumiko Rainier

Also consider the Nagaoka MP-200

Best cartridges: budget and premium options for your turntable

We asked, you answered. For our annual Vinyl Week celebration, we went looking for the UK's best independent record shops, and we thought we would consult those in the know: you, the readers.

You did not disappoint us.

You gave us recommendations from all over the UK, including Worcestershire, Malborough, Guildford, Cardiff, Manchester and beyond.

So whether you're looking for a new 12-inch or to pick up a bargain secondhand LP, these shops should be on your list.

The best record shops 'indie' UK

Some record stores inspire a devout following, but rarely do they contribute to a major life decision. Unless they're Kingbee Records in Chorlton, Manchester, that is.

Reader Mal Rowley describes it thus: "Fantastic shop. The holy trilogy of excellent taste, fair pricing and frequency of new stock. Been going for 30 years and not a week goes by without a find. Never stale."

They go on to add: "One of the reasons I bought a house here." We assume this is said with tongue firmly in cheek, but if it's half as good as Mal says, maybe it should start appearing as a feature on Rightmove listings.

Reader 'jamesrfisher' says his favourite is Resident in Brighton, originally because it had the first Public Service Broadcasting album as an in-store. "Since then it has expended its vinyl selection and taken over the store next-door," he writes. "It's a Brighton institution" thanks to its "great staff" who are "all very helpful." Sounds right up our alley.

Sticking with the south coast, Clocktower Records in Bridport also gets a big thumbs up. Reader 'Tobes' writes: "Great range, friendly staff. Just ask for Roy!" And tell him we sent you.

See the gallery of record stores below:

Cardiff's Spillers Records – which claims to be the oldest record shop in the world – also gets a mention. Reader 'mikerees52' describes it as "a great place to shop for lots of different genres." Seeing as Robert Plant recently dropped in to receive his plaque as a Record Store Legend, we've no doubt it's a quality record shop.

Not all the shops on our list have such A-list pulling power, or such historical significance, but that doesn't make them any less worthy of inclusion. A record store is all about its stock, the community it attracts and the service it provides. And according to one reader, Ben's Collectors Records in Guildford excels in these areas.

The store is "brilliant for anything second hand, some sealed originals and hard to find vinyl and CDs," writes reader 'DaveC'. It also offers "exceptionally affordable prices" while owner Ben is "very helpful and has an amazing musical knowledge."

If customer loyalty is the true test of a record store, then Sound Knowledge in Marlborough passes with flying colours. Reader Thomas Hartwell writes that it "has been my go-to for about 30 years! Wonderful staff and they host gigs too." What more could you want?

So there you have it, some of the UK's best independent records stores, as chosen by you, the readers. If you're ever in the vicinity, make sure to pay them a visit.

Did we miss your favourite? Write in and let us know.

MORE:

We pick 8 of the best Record Store Day 2026 releases – The Cure, Nas, Miles Davis, Pavement and more

Check out the best turntables around

And the 20 best turntables of What Hi-Fi?'s lifetime

How to buy second-hand vinyl: a beginner's guide

A few years ago, I somewhat infamously declared that I would never own a turntable.

My main arguments were that turntables just aren’t really compatible with life with a toddler, and that I simply couldn’t afford to embark upon a new hobby as expensive as collecting vinyl.

Quite rightly, I was called out by a few people for not even trying out the whole experiment.

So, for Vinyl Week 2026, I decided to give it a go, and, despite everything about my current set-up being objectively wrong for vinyl, I’ve ended up loving it for reasons that have surprisingly little to do with sound quality

What’s more, if my family has anything to do with it, the turntable will be staying.

Analogue over the airwaves

Since I wrote that last piece about my issues with turntables, my family and I have moved to a bigger house that is theoretically roomy enough for more lovely home cinema and hi-fi kit.

My then dangerously inquisitive and clumsy toddler is also now a relatively sensible seven-year-old who can be fairly relied upon to take care of the various electronic bits and pieces that often find themselves living in or visiting our lounge.

On the other hand, though, I promised when we moved to this new house that I wouldn’t turn the living room into a full-bore cinema, and so my carefully hybridised hi-fi and AV system, which featured 11 speakers and a subwoofer, went into storage and was replaced with a much neater and tidier (and remarkably impressive) Sony HT-A9 system consisting of four wireless speakers and an optional subwoofer.

As brilliant for our needs as the HT-A9 has been, it presented an immediate obstacle to my vinyl experiment: it doesn’t have an analogue audio input. In fact, it doesn’t have any digital audio inputs, either – it’s a pure, simplified, HDMI-only affair.

While RCA-to-HDMI converters do exist, I don’t much like the sound of using one of those. Besides, all of my HDMI sockets are already occupied.

Thankfully, very good Bluetooth turntables now exist, and Bluetooth is something that the HT-A9 does support. So, after a quick call to Kashfia Kabir, my cracking counterpart on What Hi-Fi?’s hi-fi side, a loan of the five-star Pro-Ject T1 Evo BT had been arranged.

A vinyl introduction and spousal approval

An added benefit of going wireless was that I didn’t need to make space for the turntable on the overburdened rack at the front of the room by the TV.

Instead, I could place it on another unit towards the back of the room, next to books, family photos and some sort of fancy air freshener arrangement that I’ve chosen never to ask about.

Rather than object to this invasion of the less gadgety end of our living room, my long-suffering wife immediately approved with a “that looks great!”

I think it helped that the Pro-Ject is a very handsome turntable, particularly in the walnut finish of our review sample, but one of the great things about record players in general is that, unlike almost any other source component, they tend to aesthetically enhance a room.

My son, who is so used to me boxing and unboxing bits of kit in our living room that he hadn’t even taken any notice of proceedings until this point, then looked up from his Nintendo Switch to ask, “What’s that?”

“It’s a turntable”, I replied. “It plays music”.

“Does it play CDs?” he asked.

“No, it plays vinyl records, which are similar but also entirely different,” I said, slightly surprised he was even aware of CDs.

Having predicted this degree of inquisitiveness, I then played my trump card and handed him a flat, square Amazon package to open. Inside, he found a brilliantly bright and colourful copy of the KPop Demon Hunters soundtrack.

Excited, he asked, “Is it a CD?”

“No, son, it’s a record”, I replied, before carefully extracting the black disc (I couldn’t afford the fancy coloured version), holding it close to him, pointing to the groove and briefly trying to explain how vinyl works.

“It’s cool that you get this extra stuff with it,” he said, turning his attention away from the boring dad-splanation and towards the poster and card that came in the package.

And fair enough, I thought. Part of the joy of vinyl is undeniably the artwork, the physicality of it and the fact that little extras are often included.

Besides, his attention quickly returned to the record as I placed it on the platter, set it spinning and moved the tonearm into place.

Bluetooth surprises and limitations

Kash had warned me that Bluetooth turntables can be a bit of a pain in the bum. None of them (at least as far as I’m aware) have screens to assist in the pairing process, for starters, so making the connection can be tricky.

I was pleasantly surprised, then, that when I put the Sony HT-A9 into Bluetooth pairing mode and flicked the Bluetooth switch on the Pro-Ject, the two simply connected almost immediately. And, in fact, whenever I now turn the turntable on, the HT-A9 automatically powers up and switches to its Bluetooth input. Neat.

After a tiny bit of lovely, soft, vinyl crackle, Takedown started blaring out of the Sony speakers, and within a few seconds, both my wife and son declared that it sounded great.

I didn’t have the heart to point out that I’d spotted – and heard – a problem.

You see, because the HT-A9 is a home cinema system, it tells you what’s playing on the connected TV, and in the top-right corner of the screen, it was telling me that the Bluetooth signal being received had a data rate of just 327Kbps.

That’s MP3 quality, and while I had to agree with my family that a certain amount of vinyl charm was still present in what we were hearing, and that it sounded surprisingly dynamic given the amount of compression going on, it wasn’t doing anywhere near justice to the source – or getting close to the quality of streaming an uncompressed digital track to the system.

The problem, it turns out, is that while the Pro-Ject turntable supports aptX HD, the Sony system doesn’t support aptX at all. Instead, it predictably favours Sony’s own LDAC codec, which the Pro-Ject does not. This meant that the devices were falling back on basic, very compressed, SBC Bluetooth.

The solution? There isn’t one really. At least not with my system as it stands.

Bitten by the bug

Importantly, though, this limitation wasn’t actually ruining our enjoyment of the listening experience, and we spent a full afternoon swapping out records and properly focusing on music in a way that, as a family, we very rarely have before.

And that made me realise that there are benefits to having a turntable that go beyond audio quality. My son had literally never interacted with physical music media until this point – music to him had always been instant, invisible and infinitely skippable – and his fascination with the artwork, the spinning record and the turntable mechanism was a joy to behold.

We were suddenly listening to whole albums again, as well, and after my little boy got over his shock that he couldn’t simply skip a track he wasn’t keen on, this became a blessing, too.

So, as I mentioned, both my wife and son, to my great surprise, are very keen to keep hold of the turntable as long as possible, and my son has said that he’d like to start collecting vinyl.

I’m absolutely thrilled with that. No, I can’t afford to support an extensive record-collecting habit, but a new album every 2-3 months or so? I can probably do that. And I’m reminded that that is pretty much how I collected and consumed music when I was young, albeit on cassettes and then CDs.

Next steps

Of course, keeping the (or ‘a’) turntable does still present a problem: while my family might love the way it sounds currently, I’m much more aware of how much it’s being compromised, and I can’t live with that.

I don’t want to start from scratch, though, and, as I’ve mentioned, the Sony HT-A9 system has been brilliant for us.

The solution I’ve come up with, then, is to look into adding a pair of wireless, powered hi-fi speakers just for music.

I’ve long admired KEF’s LSX models, and while these don’t support aptX, they do have an optical input, into which I could connect an aptX HD-compatible Bluetooth receiver.

The brand’s newer Coda W speakers are bigger and less visually exotic than the LSX II LTs, but they do support aptX HD. They could be a solution, although they don’t have built-in streaming capabilities, which would be handy to have as well.

Alternatively, I could save some money and look at the Ruark MR1 Mk3 speakers, which also support aptX HD right out of the box. I’m slightly concerned that they may not be beefy enough for my relatively large living room, but I won’t know unless I try.

So, yes, it’s system upgrade time, and you could say that taking the Pro-Ject turntable home has actually created a headache for me. I don’t see it like that, though.

For starters, researching and trying out new bits of kit is the biggest thrill of this hobby of ours, and my system has been static for a while now. It’s nice to have a new project.

Most of all, though, this experiment has inspired my wife and I to change the way we consume music, at least some of the time.

My son, meanwhile, has discovered a whole new way to interact with music that reminds me of how I fell in love with artists and albums when I was young, and that’s something I’m keen to nurture and support as much as possible.

So, while a few years ago I was adamant I’d never own a turntable, I'm now figuring out how to build a system around one – and, more importantly, how to share it.

MORE:

Check out all of our Vinyl Week coverage

Here are the best Bluetooth turntables you can buy right now

Have a read of our full Pro-Ject T1 Evo BT review

High-end Japanese audio manufacturer TechDAS has added to its range of high-end turntables with the new Air Force IV record player.

Expanding upon the brand's established line of pneumatic decks, the new model uses an air bearing to isolate the rotating platter from the turntable's main body, teasing "unparalleled sound" thanks to its unique construction and high-quality materials.

Central to the Air Force IV is a heavy machined alloy platter, resulting, says TechDAS, in an "extended frequency range and noticeably enhanced dynamics".

Combined with the company's air bearing system, that 9kg platter aims for a low noise floor, while a tapered spindle absorbs swaying from an off-centre LP. As seen in other TechDAS turntables, including the big-money Air Force One (just £75,000!), the Air Force IV will suck records flat onto its platter using vacuum clamping, helping to give the cartridge an easier ride.

The Air Force IV features a low vibration AC motor, which is separated from the main chassis in order to prevent any unwanted vibrations affecting vinyl playback. The supplied belt, meanwhile, is made of polished polyester fibre, ensuring a more stable rotation for your records.

The Air Force IV sits on four suspension feet made using specialised damping materials, again seeking to more effectively block external vibrations from interfering with playback.

Capable of playing at 33 1⁄3, and 45 RPM speeds, the new deck can also accommodate up to three tonearms, so you can mix and match to get your sound just how you like it.

The TechDAS Air Force IV is available now, priced at £19,998.

MORE:

Check out 10 of the world's most expensive turntables

I visited one of the world's largest record shops, and it's like Disneyland for audiophiles

Hi-fi engineers discuss where there is room for improvement in record player design

It’s Vinyl Week here at What Hi-Fi?, and while we’ve covered records from a wide range of artists and genres, there’s one special subset that I think deserves a bit more credit.

As someone who spends much more time in our dedicated home cinema testing room than our hi-fi stereo listening space, I find myself listening to a lot of film soundtracks.

I often use soundtracks from the likes of Dune, Interstellar and Blade Runner: 2049 to test the best soundbars, smartphones and home cinema amplifiers, and this has begun influencing my day-to-day listening habits, too.

The likes of Hans Zimmer, Ludwig Göransson, Jóhann Jóhannsson, and Trent Reznor and Atticus Ross are amongst my most frequently played artists on Apple Music, but a few recent trips to record stores prove that their influence extends way beyond streaming.

Now, I’m a huge proponent of physical media, as I’ve often rambled about here. 4K Blu-rays, especially special edition box sets and steel books, are my weakness, so the idea of adding a physical soundtrack to supplement my physical movie library is as incredibly tempting as it is financially concerning.

I think that there’s also something to be said for the preservation of movie soundtracks that vinyl is supporting in the same way that Blu-ray and 4K Blu-ray are doing for movies and TV.

Rifling through the options at shops – including HMV, Rough Trade, and even Tower Records in Tokyo – unearthed everything from home cinema test room favourites. Yes, I’m talking about Blade Runner 2049, alongside likes of Barbie, Inception and Top Gun Maverick, and recent releases including Stranger Things, F1: The Movie, and Wicked.

However, there are also scores from cult classics and indie movies that are nestled in between them. I spotted the soundtracks for The Rocky Horror Picture Show, Taxi Driver, Lost in Translation, Blade II and, perhaps unsurprisingly, every Quentin Tarantino and Wes Anderson movie imaginable.

As is the case with 4K Blu-ray preserving titles that can often be swallowed up and spat out into obscurity thanks to the streaming algorithms, it looks like vinyl records are ensuring that film soundtracks are given an equal opportunity to stand the test of time.

If you’re a cinephile looking to scratch the physical media itch, and 4K Blu-ray isn’t cutting it, then I’d recommend heading to your nearest record store to see what gems they have in stock.

MORE:

Check out the best turntables here

Read our full Sony PS-LX5BT review

And here are the 14 best film soundtracks to test your hi-fi system

When you’ve been around for 50 years, you think you’ve seen it all. Throughout What Hi-Fi?’s half-century history of reviewing audio products, we’ve seen all kinds of turntables, CD players, iPod docks, in-car stereos and more.

This, however, is a first: a turntable with a CD player hidden inside it. While other combined turntable-and-CD-players do exist, we’ve never encountered a 2-in-1 design like this before.

Ticking many elements of today’s audio trends and demands – love for physical media, the convenience of Bluetooth, ease of use, and affordable price – this kind of integrated design could well be the perfect audio source for those who are strapped for space, strapped for cash and want the best of both physical format worlds. Without all the fuss of separates, that is.

It’s an intriguing, innovative design. Does it work?

Features

Starting with the turntable side of things, the Mixx Analog+ is capable of playing 33⅓ and 45 RPM speeds and both 7 and 12-inch records. It’s a belt drive design, and comes equipped with an Audio-Technica AT3600L fitted to the metal tonearm.

It’s a cartridge we know well and have encountered before on other budget decks, and the tonearm is all set up for the AT3600L moving magnet cartridge, so it’s ready to play straight out of the box. You can replace the cartridge if damaged, but it will be a like-for-like replacement as there is no scope for adjustments on the tonearm.

The Analog+ is fully automatic in operation, with a few tricks up its sleeve. Press play and the tonearm will automatically lift, move and start playing the record – without you ever needing to touch the arm. Just remember to put on the rubber mat and take off the stylus guard before pressing play, and set the correct size of the record so the automatic mechanism knows where the start of the record is.

At the end of the record, the tonearm will return to its arm rest – a handy feature that means the needle won’t be left digging a groove indefinitely if left unattended.

The turntable also has a nifty repeat function that lets you start over a side, and you can forward and rewind tracks. The latter isn’t an exact science – the arm simply moves a pre-determined short distance on the record rather than finding the precise spot where the next track starts.

For greater control, you can also hold down the skip buttons (either on the unit or on the included remote) to move it further and just about direct it to exactly where you want the needle to fall.

In fact, Mixx advises you not to touch the arm at all, so as not to damage the auto mechanism. The automatic operation is smooth in action, although the motor is quite noisy when the arm is moving. Thankfully, it goes quiet when the needle touches the groove.

Take the record off, and you’ll find the top-loading CD player built into the platter of the deck. It’s neatly accessible through the cut-out mat and platter of the Analog+, so you don’t have to disassemble any other part of the turntable. It’s a neat design.

Simply push down on the bottom edge of the lid to open, and there is a handy ‘Function/FN’ mode on the deck to switch between the turntable and CD modes. The display at the front of the deck shows you the track number being played and the time remaining. When in vinyl record mode, it shows the speed and size chosen.

The Analog+ can play CD, CD-R and CD-RW discs, and you can even leave a CD in its player without affecting the record playback on top. As long as you remember to switch to the right playback mode, one format shouldn’t affect the other’s replay.

That’s not all. The Mixx Analog+ has a built-in phono stage, which means you can plug it directly into a pair of active speakers or an amplifier’s line level inputs. Unlike rival decks such as the Sony PS-LX3BT or Pro-Ject T1 Evo BT, you can’t bypass the Mixx’s phono stage for an upgrade. We don’t expect customers for this kind of integrated product to go down the traditional separates route or to invest in an outboard module, so keeping things simple is no issue here.

Another convenience that’s added here is Bluetooth streaming, which lets you wirelessly stream your records or CDs to your favourite Bluetooth speaker or wireless headphones. The standard AAC and SBC codecs are supported, and pairing the Mixx with compatible Bluetooth-enabled speakers such as the Ruark MR1 Mk3 is swiftly done.

Just remember to toggle the RCA/Bluetooth output switch at the back of the turntable depending on whether you’re going the wired or Bluetooth route.

Build & design

The Analog+ looks smart and is nicely made. It has a fairly slim but solid MDF plinth, with rubber buttons laid out sensibly on the metal-fronted panel and reactive to every press.

Using it is as practical and straightforward as using a standard CD player, which makes it easy to get along with right from the start – even the automatic vinyl section feels intuitive.

There is clearly a lot of thought gone into the design of the Analog+ – it makes the Sony Bluetooth turntables look a little plasticky and clunky in comparison – and both turntable and CD player sections work smoothly during our testing.

The LED display showing vinyl modes and CD tracks is crisp and easy to read, and all the controls – speed change, play/pause, skipping tracks, repeat – are mimicked in the handy remote control. Apart from physically changing the CD or vinyl record, you’ll never have to leave the sofa to use this modern player.

The Analog+’s tonearm doesn’t have a finger-lift (a nice way to discourage you from manually moving the arm), although we do wish there was a safety clip for when it’s back in the armrest.

We like being able to see the CD spinning through the clear lid – although if you suddenly spot that the CD has stopped moving but music is still playing, don’t panic! There is a memory buffer that allows the CD player to store and play a track from memory, meaning it’s perfectly normal for the disc to stop every minute or so without interrupting playback at all.

Sound

We hook the Mixx Analog+ up to our usual reference system of Arcam A5+ amplifier and Epos ES-7N speakers, but also use it with the more price-compatible Ruark MR1 Mk3 powered speakers as part of our testing.

It’s worth mentioning that any additional elements to a standard turntable – integrated phono stage, automatic operation, Bluetooth – all tend to affect overall performance, and that’s before we even get to the fact this deck has a CD player incorporated inside it. The closest rival to the Analog+ we have is the Sony PS-LX3BT (£299 / $400 / AU$469), but this doesn’t have a silver disc spinner built in.

We start with the CD player, with Hans Zimmer’s The Dark Knight OST spinning. Even with our expectations for this kind of integrated player curbed, we find the CD player’s performance is quite poor and muddled. Nothing sticks out unduly throughout the frequency range, but there isn’t much in the way of clear detail, distinct separation or snappy rhythms.

It’s quite a small-scaled and dynamically squashed window through which it performs, which doesn’t remotely capture the dramatic flourishes and nail-biting tension of the soundtrack.

We move over to the turntable, and things improve. Olivia Rodrigo’s GUTS album sounds fairly solid and stable, with a better sense of liveliness than its CD counterpart. For a product of this type, it sounds quite balanced. Detail levels are decent and it sounds pretty clear, too. The infectious pop record comes through with a sense of punch and flow, with the midrange in particular getting the best spotlight. It’s not really able to dig out deep bass for impactful swings in the rhythm, however.

Dynamically, the Analog+ is still quite limited in scope, no matter which format you listen to. In comparison, the Sony LX3BT turntable rival offers far greater subtlety and clarity to detail, a better sense of space and more precise, fluid dynamics. It’s simply a more musically interesting and involving listen.

Is the Mixx Analog+ more suited to casual listeners who prioritise convenience over sound? We plug it into the Ruark MR1 Mk3 speakers – through both RCA and Bluetooth – and find that while the connection side of things goes without a hitch, the player’s limited performance remains the same.

If you were hoping for the sound quality of entry-level separates of either a CD player or turntable in this 2-in-1 design, you will be left disappointed.

Verdict

We have to hand it to Mixx Audio. The brand is fairly young and the Analog+ is its most premium product yet. To design something so different from anything else on the market – and in an appealing, modern package – is worth applauding.

While the Mixx Analog+ has plenty going for it in terms of usability and features, and could be a neat solution for those who want an easy, all-in-one player that can play CDs and vinyl records from one unit – the sonic compromises are too big to ignore.

We hope a second-generation version, or a step-up model, will take more care with sound quality. Then it could get really interesting.

Review published: 16th April 2026

SCORES

• Sound 2
• Build 4
• Features 5

MORE:

Read our review of the Sony PS-LX3BT

Also consider the Sony PS-LX5BT

Read our Marantz CD6007 review

Best Bluetooth turntables: wireless record players tried and tested by experts

What Hi-Fi? Vinyl Week 2026 is in full flow, and we are celebrating all things related to the format as we build up to Record Store Day 2026 on Saturday, 18th of April.

We are rolling out a mix of reviews, features and buying advice, whether you’re a seasoned vinyl-spinner or taking your first steps as a budding collector.

As part of the celebrations, we’ve reached out to some of the biggest players in the turntable space to ask their opinions on turntable design and where they think the biggest scope for improvement is. Here’s what they had to say…

While the team at What Hi-Fi? HQ have been working hard on everything turntable-related for Vinyl Week 2026, I’ve been preoccupied in Japan with Denon and Marantz to see their latest innovations in hi-fi and home cinema.

While most of that is top secret, I did get a chance to explore some of Tokyo, including a stop in Shibuya. Home of the famous crossing that crops up in countless films, including (but not limited to) Lost In Translation and The Fast and the Furious: Tokyo Drift, the trendy, bustling high street is also home to one of my favourite shops of all time.

Tower Records Shibuya, for those unfamiliar, is a goliath of a retailer, offering up eight whole floors of vinyl, CDs, cassettes, merch, accessories and hi-fi equipment.

It’s a fantasy land for those obsessed with music, with every genre from J-Pop to hip hop, folk to metal, and indie to film soundtracks represented. Each floor has a theme or gimmick in this regard, which makes browsing this overwhelming shop surprisingly easy and fun.

My go-to floors are the sixth and seventh, with floor six being dedicated almost entirely to vinyl records across every imaginable genre. During my recent visit, I found everything from Charli XCX’s Brat to Jeff Buckley’s Grace, and even the soundtrack to Blade II.

There are entire sections dedicated to specific artists – yes, the Taylor Swift section is the first thing you see when you enter this floor, and it is spectacular – though you'll find a huge mix of artists and genres organised alphabetically in rows along this floor.

Funnily enough, there was a whole wall dedicated to film and TV soundtracks right by the entrance, which supports my argument that more home cinema fans should get into vinyl to preserve their favourite soundtracks.

It’s a feast, and it’s easy to get lost in there both physically and figuratively. However, that’s not necessarily a bad thing, as the latest releases are also playing over a pretty bold sound system on this floor, which had me Shazam-ing away gleefully in between flicking through old and new vinyl.

For a change of pace, you can head to the seventh floor, which is dedicated to CDs. There is every imaginable genre and artist here, and if you’re unsure, then you can find a pair of headphones and a “listening box” attached to most of the shelves.

These are loaded up with snippets of the nearby albums, and there are usually a few to cycle through. This try-before-you-buy idea is also a great way to find an artist or album you’d otherwise never have considered.

Sure, I could scour my streaming service of choice to discover these albums, but physically sifting through CDs from artists that I'd never heard of before felt way more authentic and tangible.

And I think Tower Records Shibuya's authenticity is what keeps me coming back. There is a genuine love of music on display here, from the oversized posters promoting upcoming tours and festivals that adorn the exterior of the building to the practically infinite selection of music found within.

If you're obsessed with all things physical media and have some room in your suitcase for a few records, then I couldn't recommend adding Tower Records to your Tokyo itinerary enough.

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Wind the clock back by 20 or 30 years, and there was essentially one main way you'd be listening to a turntable. Provided you didn't have a model with speakers built into the unit, you'd be connecting your deck to a traditional hi-fi system, using a separate amplifier and stereo speakers to create that classic vinyl setup.

That's no longer the case. In this era of wireless streaming, Bluetooth support and integrated systems, there are so many ways you can enjoy listening to your turntable – especially modern ones with versatile features – beyond plugging it into a classic hi-fi set-up.

Just look at the recently reviewed Sony PS-LX3BT and PS-LX5BT, and the five-star Pro-Ject T1 Evo BT, all of which offer Bluetooth streaming, as well as built-in phono stages. The premium end is catered for, too, courtesy of Cambridge's very capable Audio Alva TT V2. Vinyl is here to stay, and in 2026, there are more ways to enjoy your records than ever.

Bluetooth speakers

Kids these days. They want the style and social cache of a sleek turntable, but also the modern convenience of Bluetooth without all of those trailing wires infesting their bedroom or student digs. Talk about wanting the world on a plate.

Luckily, you can have your cake and eat it when it comes to a modern vinyl set-up. Get yourself a Bluetooth-ready turntable – our list of the best Bluetooth turntables will see you right – and you can beam your music out wirelessly to a compatible Bluetooth speaker as your records spin merrily away. It's something we tried with the Sony PS-LX3BT Bluetooth turntable and a JBL Charge 6 portable speaker, and in all honesty, the result was surprisingly good.

As we wrote in our review: "The resultant sound hangs together admirably. Nas' Illmatic sounds alive and characterful, with bolder tunes such as N.Y. State of Mind still punching through with verve and intent."

It's not how we'd recommend listening to your vinyl on a day to day basis, but if you want to impress your mates or just get your tunes firing quickly and easily without getting your whole system set up, pairing it to your Bluetooth speaker can be a great way to go.

Wireless headphones

Many Bluetooth turntables sell their wire-free abilities as being perfect for connecting up to a pair of wireless headphones to give your listening sessions a bit more privacy.

Again, we don't necessarily feel that beaming out your lovely vinyl records via lossy Bluetooth is going to provide you with the absolute pinnacle of sound quality, but it actually makes a lot of sense if you have a Bluetooth-ready record player and want a quick and easy way to switch from speakers to something more private.

Let's say it's getting into the evening, and while you've been pumping out your records with great aplomb to a nearby set of speakers (wired or otherwise), the rest of the family is just about ready to go to bed. You don't want the tunes to stop, nor do you want to disturb your relatives and spend the next few weeks sleeping in the shed.

The solution? Dig out your best wireless headphones – such as the excellent Sony WH-1000XM6 – and keep your listening confined to over your ears. It also means you aren't physically tethered to your turntable with a cable; you can roam free and head into the kitchen (within range, of course) and listen uninterrupted to your records.

Some decks even offer hi-res codec support – aptX HD on the premium Cambridge Audio Alva TT V2 (£1700 / $1999 / AU$3699) to even aptX Adaptive on the Sony turntables. This lets you stream your tunes in 24-bit high-resolution audio (up to 48kHz on HD; 96kHz on Adaptive) to compatible cans, such as the Sennheiser HDB 630 (£400 / $500 / AU$1000). Note however, that these are still lossy Bluetooth methods, so won't give you absolute sonic fidelity.

Powered and active speakers

Now this would make for a very nice little modern hi-fi system. Get hold of a pair of KEF Coda W (£799 / $1000 / AU$1450) active speakers, connect them up to a turntable, either via Bluetooth or via the supplied phono input, and you've got yourself a neat, great-sounding vinyl set-up that won't take up much space on your desktop, rack or wherever you keep your turntable.

With active speakers, you've got a couple of options regarding how you listen. Bluetooth is convenient if you have a compatible turntable, such as the versatile Pro-Ject T1 Evo BT (£479 / $599 / AU$870), and don't want the clutter of cables.

If you can't stretch to the Coda W, don't worry. Budget and compact powered/active speakers with Bluetooth, such as the Award-winning Ruark MR1 Mk3 (£399 / $579 / AU$899) and five-star Onkyo GX-30ARC (£339 / $349 / AU$649) are great candidates for plugging in your turntable via Bluetooth for a neat system that you can fit onto your desk.

The same goes for any active speakers that don't include a phono stage – such as KEF's LSX II LT (£899 / $999 / AU$1695) wireless speaker system. That's a tidy system that gives you high-quality, hi-res wireless streaming in a pair of stylish speakers. There's no phono input here, so using Bluetooth for the turntable connection makes for a convenient, compact vinyl-and-streaming system.

Don't want to use Bluetooth? Many powered/active speakers that include a phono stage have an audio input, so you can always use a wired connection for better sound quality and/or in case the deck you're using doesn't support Bluetooth.

With some turntables, such as Sony's latest duo of affordable Bluetooth decks, their built-in phono stage is so good that it doesn't matter if your active speakers have a phono stage or not. Alternatively, to use the Sony's superior phono stage and bypass that of the Ruark/Onkyo speakers, simply plug the turntable into the 3.5mm audio input (not the phono input) – you'll just need an RCA phono to 3.5mm interconnect cable.

If Bluetooth isn't a priority, but you want affordability and a built-in phono stage to hook up to your active speakers, then the Rega Planar 1 Plus turntable (currently around £399 / $595 / AU$899) is a tip-top sonic pick.

Bluetooth-ready radio

Yes, you can listen to vinyl on a good old fashioned wireless, wirelessly.

It's an unconventional way to enjoy your records, but many digital radios now boast Bluetooth reception as standard and sound great with music, too, such as the Award-winning Roberts Revival Petite 2 (around £100) and the Ruark Audio R1S (£299 / $380 / AU$649). Simply connect your Bluetooth turntable to the radio's Bluetooth, and off you go.

Vinyl records playing on a radio via modern Bluetooth technology? It's the sort of thing that would have blown Marconi's mind.

In truth, it's no different to beaming your tunes to a Bluetooth speaker, as demonstrated above, although radios don't tend to feature higher-quality codecs. It does lead to some wonderfully quirky combinations – we tried the ultra-portable Audio-Technica Sound Burger with the Revival Petite 2 radio, which was surprisingly fun.

You might even end up getting a very nice sonic return if you're happy to pay a little more for a radio with great sound quality, such as the Revo SuperConnect Stereo (£489 / $599 / AU$899) or the Ruark R2 Mk4 (£479 / $590 / AU$920) for a talented if unconventional vinyl set-up.

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As you would probably guess, as a member of the What Hi-Fi? Team, I love listening to music, ideally with the best setup possible. I’m lucky enough to be able to regularly listen to a range of excellent hi-fi and home cinema kit in our dedicated test rooms.

But at home, I don’t have the budget or the space for a turntable to play my limited collection of vinyl records. Lucky for me, though, there are other ways to enjoy vinyl with a great sound system.

Hi-fi bars, also known as listening bars, originate from Japanese kissa culture, which can be traced back as far as the 1920s. These are intimate, living room-like spaces where audiophiles can listen to music on vinyl as the core focus rather than treating it as background music.

This idea then spread slowly from Japan across the globe. In the UK, there are now countless listening bars to be found with a variety of musical styles and sound system setups. That includes well-known entries such as Spiritland, Kaiho, and Space Talk.

To see if this could be the antidote to my lack of vinyl experience at home, I ventured to Behind This Wall – a listening bar tucked away in an unassuming basement in Hackney, London. It calls itself “a lo-fi bar with hi-fi intentions”.

It claims on its website that the system was put together like a home stereo system and now is “an ever-evolving, loosely amalgamated and slightly rebellious organism.”

The system certainly consists of an eclectic collection of hi-fi kit, including a custom Technics SL120 turntable, a vintage Yamaha P2050 amplifier, and a pair of Elipson Planet L speakers (which we gave four stars to in a review way back in 2012).

Upon entering, I am greeted by relaxing, vintage decor that feels like being in a swanky living room. The low-lit setting consists of a bar and cushioned seating areas to chill with a drink in hand.

I turn up quite early in the evening and am the first one through the door, so it’s the perfect setting to sit and enjoy the tunes. I can imagine that on busier days, the tracks might be a little harder to hear, so that is worth considering when choosing what time to come.

The vinyl album being spun is a unique find – Le Mystere Des Voix Bulgares by The Bulgarian State Radio and Television Female Vocal Choir. In fact, it’s a challenge to find the exact version online on vinyl, although I have spotted it for sale on eBay.

The disc, released in 1986, consists of beautifully haunting Bulgarian folk music, which makes for atmospheric listening. While I find myself speaking to my partner from time to time, it is easy to become engrossed in the music like I would if I were listening on my own system at home.

Behind the bar, the staff clearly have a passion for the music as they tell me about how they have been listening to the album outside of work just for the fun of it. The records played are hand-picked by the staff and DJ, with fresh music coming in each month.

Also on display are Eberhard Schoener's 1977 genre-blending Trance-Formation album, as well as Bobby Caldwell's What You Won't Do For Love, which offers a more light-hearted jazz vibe.

Hi-fi bars are certainly something I can see myself returning to in the future, especially if I were seeking out genuinely interesting music to add to my roster rather than relying on a streaming algorithm.

Some bars specialise in certain musical genres, such as Jumbi in Peckham, which offers “the sounds and flavours of the Afro-Caribbean diaspora”. That musical expertise, paired with a top-notch bespoke sound system, makes these listening bars a worthy recommendation for budding audiophiles to experience proper hi-fi listening before investing in their own setup.

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The great appeal of the recently-reviewed Sony PS-LX5BT, and indeed its cheaper PS-LX3BT sibling, is how many ways there are to listen to the turntable.

You can stream to wireless headphones via Bluetooth or plug it in to a classic stereo set-up, while the deck's built-in phono stage means you can hook the deck up directly to a pair of active/powered speakers if you're not keen on traditional hi-fi separates.

For those who simply don't have the space or funds for multiple boxes or a classic hi-fi set-up, and can only house, say, a pair of powered or active speakers on a desk, then you're in luck. Because the both the PS-LX5BT and PS-LX3BT have the talent to create a great-sounding and compact desktop vinyl system.

That's because the phono stage built inside the Sony automatic turntables is really rather very good. That's a real boon, especially if you're dealing with powered or active speakers whose abilities can slightly fall short when it comes to their own built-in phono stage.

Take the KEF Coda W, an immensely gifted pair of active standmounts, but whose phono stage is not what we consider to be a great performer. As we said in our review, hooking a Rega Planar 3 RS Edition to the speakers offers "a clear and enjoyable listen", but it's "lacking in terms of dynamics and clarity compared with the KEFs’ other inputs".

Using the Sony PS-LX5BT turntable's phono stage is the natural way around this issue, and means that you don't have to buy any external phono preamps or even invest in a separate stereo amplifier if you don't wish to. The phono stages of both decks are so good, they'll ably give your KEF speakers a vinyl boost, and make for an attractive, compact mini-system in the process.

These talents extend to other powered or active models we've tested over the past few months and years, too. We're immensely keen on the Award-winning Ruark MR1 Mk3 (£399 / $579 / AU$899) powered desktop speakers, and while we praised the phono stage quality rather highly in our review, we found that the one in the PS-LX5BT and PS-LX3BT is markedly better in terms of clarity and dynamics.

Pairing either one of those decks with the Ruarks would make for a wonderfully neat, engaging little vinyl system – again, no amps or other separates, just the compact MR1 Mk3 and one of the Sony turntables.

The cheaper Onkyo GX-30ARC (£299 / $349 / AU$649) would also be a lovely fit. Again, the desktop-friendly Onkyos have their own phono stage baked in – and it's actually rather good, truth be told – but you'll eke out greater sonic gains if you switch to the phono stage of the new Sony turntable. The Onkyos can sound just a touch removed and analytical, so using either Sony deck just helps to give a bit more punch and pizzazz to proceedings.

Both the Sony PS-LX5BT and PS-LX3BT are impressively versatile turntables which sound excellent for the affordable price you'll pay for either model. We would point out that, while they share the same phono stage, the more costly LX5BT's better cartridge and better mat mean it sounds clearer, more open and more detailed than its cheaper companion.

Plus, if you want to integrate either deck into a more 'traditional' hi-fi set-up, you can bypass it its internal phono stage, too. They both have the natural sonic talents to stretch to accommodate some really rather good amplifiers, as evidenced by how well they play ball with the excellent Arcam A5+ amp (using its own phono stage) in our tests.

Nevertheless, it's gratifying to know that if you just want a simple, two-component system that can be set up in a matter of moments, both Sonys' built-in phono stages are talented enough to cope – and are even better than those of some of the best active and powered speakers available on the market.

Much of the appeal of both the PS-LX5BT and PS-LX3BT was clearly to provide a fast, simple and user-friendly way of getting your records spinning with the minimum of hassle – it's an ideal solution for vinyl newbies or those short on space. Pair either five-star deck with the KEFs, the Ruarks or the Onkyos, and that's exactly what you'll be getting.

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Record Store Day is coming, and if you've never dabbled in vinyl, now is the perfect time to start. But for many people, the world of turntables and vinyl records can be a daunting place: for the uninitiated, there's a lot of jargon to get your head around.

That's why we've put together this handy list of terms relating to record players and the vinyl they spin, along with explanations of what they mean. This is by no means an exhaustive list, but it should serve as a starter to get you acquainted with all the main bits of a turntable.

A friendly record shop should be able to explain what terms mean and what you need to know about them, but it doesn't hurt to go in with a little knowledge in advance. Happy shopping!

33 1/3 RPM
A rotational speed for vinyl records. It rotates the vinyl 33 and a third times every minute, which is the standard speed for 12-inch LPs.

45 RPM
A faster rotation speed (45 revolutions per minute, or RPM) used for singles, which are commonly referred to as 45s.

78 RPM
The even faster speed of 78 RPM, used for the vintage shellac records that were popular until around the 1950s.

Amplifier
See phono preamp/phono stage.

Anti-skate weight
See bias weight.

Automatic operation
An automatic record player will move the tonearm into position and place the needle on the record's groove at the press of a button. It will also move the tonearm back to its resting position once you press stop or the record reaches its end. Whereas a manual record player requires you to manoeuvre the tonearm into position yourself. Semi-automatic turntables require you to move the tonearm to start and stop playback, but will do it themselves once a record reaches its end (a feature that's known as automatic return).

Azimuth
The vertical angle of the stylus relative to the record's groove.

Belt drive
Belt drive turntables have the motor offset from the platter, and use a belt (or belts) in a pulley system to rotate the platter. This isolates the platter from unwanted vibrations, but can make for an inconsistent rotation speed. Contrast with Direct drive.

Bias weight
A sideways force applied to the tonearm to counteract the inward pull caused by the record groove. Also known as anti-skate weight.

Bluetooth
Wireless technology found in some turntables that lets you stream records through compatible Bluetooth speakers and wireless headphones.

Cantilever
The part that carries the vibrations from the stylus at one end to the magnets or coils at the other (depending on which kind of cartridge is used).

Cartridge
The component that holds the stylus, and transforms the information it picks up from the record's grooves into electrical signals. Also known as a phono cartridge, it comes in two main types: moving magnet or moving coil.

Counterweight
The adjustable weight at the back of a tonearm that dictates the force with which the stylus sits in the record groove.

Deck
Another term for turntable.

Direct drive
Direct drive turntables have the motor directly under the platter. This allows for faster start-up speeds and better rotational stability, though it can mean more unwanted vibrations. Contrast with belt drive.

Dust cover
The plastic lid that protects your record player's components – and the vinyl itself – from dust, dirt and airborne debris.

Electronic speed change
This lets you change the playback speed between 33 1/3 and 45 RPM by pressing a button or flicking a switch, rather than manually moving the drive belt.

EP
Stands for extended play. A record that is longer than a single but shorter than a full album.

Gatefold
A more premium form of vinyl packaging that folds out to encompass more artwork and sometimes a double LP.

Groove
The spiral track that runs from the edge of the record inwards towards the centre.

Headshell
The section at the end of the tonearm that holds the cartridge.

LP
A long-playing record i.e. a full album. Contrast with EP.

Mat
Usually made of cork, felt or rubber, the mat is a circular disc that sits on the platter but beneath the vinyl record. It protects the record from vibrations and minimises static. Also known as a slip mat.

Moving magnet
A type of cartridge in which the magnet is fixed to the cantilever and moves while the coil of wire is fixed in place. Contrast with moving coil.

Moving coil
A type of cartridge in which the wire coil is fixed to the cantilever and moves while the magnet is fixed in place. Usually found in more expensive cartridges, but tends to deliver lower output levels than moving magnet designs. Contrast with moving magnet.

Phono cartridge
See cartridge.

Phono preamp/phono stage
The component that amplifies and equalises the signal received from the cartridge in order to create the sound that can be heard through the speakers. A phono stage can be built into a turntable, an amplifier or set of speakers, or it can be a standalone unit.

Platter
The circular rotating disc upon which the record sits (on a slip mat, naturally) during playback.

Plinth
The body of the turntable itself, which houses and supports all the components.

Plug and play
A more accessible style of turntable that works straight out of the box with no need to add an external phono preamp, balance the tonearm or calibrate the cartridge. Some even have built-in speakers, though the sound quality will suffer.

RPM
Revolutions per minute. The speed at which the record spins – either 33 1/3, 45 or 78 RPM.

Sleeve
The packaging of a vinyl record.

Slip mat
See mat.

Spindle
The metal rod in the centre of the platter, it centralises the vinyl record in place during playback.

Stylus
The hard point, or needle, attached to the cartridge that tracks a record's groove to read the information stored within and transmit it to be converted into sound.

Sub-platter
Provides support for the main platter and connects to the motor via a drive belt.

Tonearm
The movable support that the cartridge is attached to.

Tracking force gauge
A tool that measures the downward weight that a cartridge exerts on a vinyl record. Setting this weight correctly will avoid skipping and possibly damaging the record.

Tracking weight
The downward weight that a cartridge exerts on a record, as measured by a tracking force gauge.

Turntable
Another term for record player or deck.

Vertical tracking angle (VTA)
The angle of the stylus in relation to the surface of the record, which dictates how the it sits in the groove.

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Good news, everyone! Sony is back making Bluetooth turntables, introducing two new decks into the fold: the Sony PS-LX5BT and its slightly cheaper sibling, the PS-LX3BT.

The just-reviewed PS-LX3BT did a sterling job in combining Bluetooth streaming, a built-in phono stage, fully automatic operation and superb sonic performance at a very affordable price. While the PS-LX5BT promises all of those same features from a more premium deck, it will have its work cut out if it wants to justify the step-up in price from its five-star sibling.

After all, the differences between the two fully automatic turntables are subtle: a step-up cartridge, slightly different arm tube, mat and finish, and detachable interconnect cables. For those seemingly minor differences, you’ll be paying roughly £100 / $100 / AU$150 to get your hands on the more premium model.

That seems like a rather steep advance, so has the PS-LX5BT done enough to make itself recommendable over its more affordable alternative?

Build & design

While it’s a step up from the PS-LX3BT in terms of price, telling the PS-LX5BT apart from its cheaper sibling does take more than a mere glance. Given its identical shape and layout, you’d be forgiven for getting one deck mistaken for the other in a game of spot the difference.

That extra money has gone somewhere, though. The darker finish of the PS-LX5BT is a little more appealing than its cheaper counterpart, while the provided rubber mat is slightly thicker and of a noticeably better quality. Also, whereas the PS-LX3BT has captive audio interconnect cables, the cables on the PS-LX5BT are detachable, offering the potential for improved performance if you wish to swap them out for a better set of interconnects.

This being a fully automatic turntable, operation is not a complex affair. The PS-LX5BT is easy to use and responsive to our commands, without you ever needing to touch the tonearm (bar unclipping it from the arm rest). Playing and pausing tracks is performed via ‘start’ and ‘stop’ buttons respectively, and once your record arrives at the end, the tonearm will automatically move back to its start position without the need for a manual reset. Handy.

Elsewhere, the belt-drive design features an aluminium tonearm with a precision pivot bearing, as well as an aluminium die-cast platter, all of which are made to a satisfying solid standard.

The PS-LX5BT is supplied with a pre-fitted moving magnet cartridge with a 2g tracking force, and we suspect that a good deal of the money you’ll pay, and hopefully the performance you’ll receive, is down to this step-up model over the one on the LX3BT. Additionally, you can remove the cartridge from the tonearm in this turntable, although you can only do a like-for-like replacement here, as you can’t adjust the tracking weight or bias for a different cartridge, which limits its upgradability somewhat.

Even with these minor tweaks adding to its prestige, the PS-LX5BT doesn’t necessarily exude high perceived value. It’s well made and reasonably substantial, but this is clearly a turntable that’s been designed for usability first and aesthetics second. Everything is functional and a tad utilitarian, and doesn’t have the glamour or sleekness of, say, a price-comparable Rega Planar 1 Plus (currently £399 / $599 approx / AU$899).

That, of course, is much of the point. Record players such as these are supposed to be minimum-fuss affairs, and, thanks to those large, hard-to-miss buttons for starting and stopping your records, as well as the dials for switching between 33 ⅓ and 45 RPM speeds and 7 and 12-inch records, that aim is achieved admirably by Sony’s simple, intuitive layout.

Still, we do have a few very minor quibbles. The player’s on/off button is found at the back, making it hard to access, while a permanent ‘on’ light might have been useful for taking the guesswork out of whether your PS-LX5BT is actually ready to use. Minor things, but worth noting.

Aside from that, this isn’t a turntable that’s likely to cause many problems for the user. Thanks to its automatic design, all you have to do is pop the rubber mat onto the platter, select your favourite record, hook up your cables to an amplifier or active speakers, switch your deck on and press start. Bob’s your uncle, you’re a vinyl aficionado!

Features

The PS-LX5BT sports Bluetooth streaming powers to satisfy modern users with varied listening devices. There’s support for the hi-res aptX Adaptive codec for streaming files wirelessly up to 24-bit/96kHz to compatible Bluetooth speakers and headphones, with the PS-LX5BT letting you have up to eight different devices paired at any one time.

Bluetooth streaming is reasonably easy to get up and running: just press the Bluetooth button in the front left corner of your turntable to put it into pairing mode and wait for it to connect to your nearby wireless device. As we found with the PS-LX3BT, however, there are a few minor pitfalls of which to be aware.

The Sony deck won’t play anything if you’re stuck in pairing mode, for instance, and sometimes you might need to switch out of said mode with a forced reset, either by turning your turntable off and on again or by changing the input on your connected amp and switching back to the correct phono one. That worked for us, anyway.

Those few kinks aside, it isn’t tricky to get sound beaming from your turntable to, say, a nearby JBL Charge 6 portable speaker or pair of Sony WH-1000XM6 over-ears. Nor, in fact, is it particularly challenging to get the PS-LX5BT cooperating across all modes of use – everything is clearly laid out, boldly labelled and, for the most part, doesn’t require any fiddly setting up in the first place.

Like its cheaper sibling, the PS-LX5BT comes fitted with a built-in phono stage, making it more versatile to use. This means you can connect it to an amplifier that doesn’t have its own internal phono stage, or even plug it directly to a pair of active speakers.

The operation is switchable too, meaning you can opt to bypass the Sony’s phono stage entirely to use either a separate external phono stage or one built into your stereo amplifier. Just remember to toggle the ‘line/phono’ switch found at the back of the record player for your chosen set-up.

Sound

Most of our listening to the PS-LX5BT is performed with a pair of Epos ES-7N speakers alongside the Award-winning Arcam A5+ amp (£749 / $1200 / AU$1595). We’re also keen to see if the LX5BT is a major upgrade from the PS-LX3BT, so we do a little switching between the two to discern whether those minor additions have paid sonic dividends.

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.

The PS-LX5BT is clearly the better option sonically, but even in isolation it’s an excellent turntable that soon proves itself worthy of consideration. The Sony spinner’s organised, authoritative sound deftly balances poise and punch, as evidenced by the manner in which it handles the heavier tracks peppered across Nas’ Illmatic LP.

Some acoustic guitar-focused loveliness courtesy of Will McNicol gives the PS-LXB5T a chance to show off its handling of subtle instrumental textures, and the Sony rises to the task with aplomb as accompanying violins and resonant cellos sing with authority. These are mature, finely-composed compositions, something which the PS-LX5BT seems to understand as it reflects such characteristics in its mature, even-handed delivery.

Sony’s well-priced player can cut loose and have a good time when called upon, too. We spend a good chunk of time ploughing through some contemporary drum’n’bass courtesy of Rudimental’s Rudim3ntal album, with the PS-LX5BT capably switching gears as it sheds its opening night tuxedo and dons its roadman tracksuit to bring weight, muscle and rhythmic propulsion to track after heady track.

Bluetooth performance is solid, too. Naturally, you’ll get more detail and clarity when going wired, but as we beam Arcade Fire’s Pink Elephant record to a nearby JBL Charge 6, we’re impressed with how much of the music’s inherent feeling is retained. Voices remain authentic and natural sounding, while instruments and textures are still clear, nimble and punchy enough to keep us invested in our tunes.

If you want to push things further, then switching to an outboard phono stage will proffer even greater sonic gains. When moving over to the phono input of the Arcam A5+, it’s clear that the Award-winning stereo amplifier’s phono stage is clearer, more detailed and more musical than the one built into the Sony deck.

Verdict

The PS-LXB5T is an excellent do-it-all turntable. More purist alternatives, such as the Rega Planar 1 Plus, will reward you with a more musical, engaging sound and, to our eyes, a more attractive design, but that’s a deck with no Bluetooth and a manual operation.

On paper, the cheaper PS-LX3BT might appear to be the better-value buy. But if you’re looking for longer term satisfaction thanks to a noticeable step up in sonic performance and versatile features, the PS-LX5BT more than justifies its place within the market.

Review published: 15th April 2026

SCORES

• Sound 5
• Build 4
• Features 5

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When Dire Straits released Brothers In Arms in 1985, it was kind of a big deal. Not because it was the first album to be certified ten times platinum in the UK and spent 14 non-consecutive weeks at Number One in the album charts (and nine weeks at Number One on the Billboard 200 in the US). Not because it remains the eighth best selling album in UK chart history. And not because it's a great record.

It is all of those things, but its real significance for hi-fi fans is that it will be forever associated with the compact disc, being the first CD to surpass a million copies in the nascent digital format and ushering in the future of music listening. In fact, you could say the album was made for CD – being one of the first albums to be recorded and released fully digitally. While most music was still being made to analogue tape, Brothers In Arms was recorded to a Sony 24-track digital tape machine, a decision born of main-man Mark Knopfler's constant striving for better sound quality.

Dire Straits' perfectionism and skill in producing – Knopfler (who had already produced no less than Dylan) and Neil Dorfsman helmed the process – together with the new, crystal clear audio promised by the new digital format made this the perfect marriage. And it pushed the compact disc from niche interest (CD players were expensive in the early ’80s) to mainstream dominance almost overnight, as audiophiles embraced its hi-fidelity sound, convenience and hardiness.

Living in the Eighties

But, as a teenager in 1985, I didn't have a CD player. Not very many people did, certainly not that I knew. Indeed, I remember a school friend bringing one of the famously 'indestructible' new discs into class, covering it in Tippex and saying, "Bet it won't play now."

CD players themselves were luxury items, and sometimes those early machines were thought of as less reliable than tried and tested record players. Even Dire Straits keyboardist Guy Fletcher recalls their label Phonogram (part of Philips) sending the band a load of CD players which "all broke within a week… Philips' technology was cutting edge, but it wasn't very robust".

So, naturally, I listened to the album on vinyl. I loved it, of course, and had no idea what I was missing out on by not hearing the recording in its apparently intended format.

In case you've never heard it (and I'd urge you to go and listen to it, on any format, right now) Brothers In Arms is a beautifully produced, musically brilliant, wonderfully crafted album that spawned a number of bona fide ’80s bangers. In general its sound is characterised by Mark Knopfler's unique guitar playing, but there's also rich orchestration with various synthesizers replicating the likes of pan pipes, accordions and more. There's also both slap and fretless bass going on – musically it's proper 1980s value for money – something for everyone.

And, talking of which, as it's just celebrated its 40th anniversary, there are a few special vinyl and super-affordable remastered CD options out there. Whichever format floats your boat.

Brothers in… tonearms?

Which brings me back to my point. While vinyl was not-dead-but-resting, I also bought Brothers In Arms on CD – which, since I became a die-hard vinyl revivalist, has sat in the attic gathering dust.

My Gen-Z daughter, like many of her peers, loves CDs (they're cheaper, for starters), and was going through my attic-bound CD collection when she unearthed several Dire Straits albums. I was inspired to listen again to the digital version of Brothers In Arms, with a handful of tracks A/B tested against my beloved vinyl copy.

Note that this is far from an exact experiment. I wasn't listening through What Hi-Fi?'s reference system in our treated, optimised listening rooms. My own gear is 'entry level', comprising an Audio-Technica AT-LP5x, an ageing Cambridge Audio Azur CD player, played though an Arcam A5 amplifier feeding Acoustic Energy AE1 Mk2 speakers.

What would I find? Would the rose-tinted specs be crushed underfoot and the veil fall from my ears as I embraced the pristine clarity and cleanliness of the higher digital resolution? Or would my obstinacy over vinyl's warmth keep my listening rooted in the ’80s?

Well, grab hold of yourselves, because we're about to answer the question once and for all – is vinyl better than CD? (Of course we're not, it's just for fun, folks…)

Money For Nothing

As Sting's "I want my MTV" vocal starts up along with atmospheric fretless bass slides, thunderous drum fills and otherworldly synths that rise to a crescendo before breaking into that timeless guitar riff, there's almost immediately no contest.

The CD version presents a much sharper, cleaner, noiseless background on which the instruments find more accurate placement and clarity, and drum beats land with greater precision.

But, dropping the needle on my 1980s vinyl pressing, I'm struck by the relative warmth of the guitar sound; in musician's terms, it's like comparing the warmth and overdrive of a valve guitar amp with a transistor equivalent. That warmth is immediately familiar, and I'm almost, though not quite, moved to air guitar. Still, I have to concede that CD wins this one.

Your Latest Trick

Again, with the CD version there are levels of detail present that seem, if not lost, muted on vinyl. Maybe I'm imagining it, but there are licks in the intro's guitar work I'd not picked out before, and even some lyrics present themselves with greater clarity and nuance.

Instrumental strands feel more precisely separated – but maybe in this instance, that isn't necessarily the best thing for listening. Your Latest Trick's sax-led smokey jazz bar feel is undoubtedly better served by vinyl's textural qualities: the drums sound warmer, the saxophone feels moodier, and in particular the cross-stick on the drums sounds slightly more behind-the-beat jazzy. Knopfler's laid-back drawl feels richer, too. Vinyl wins!

Brothers In Arms

Of course, one of the potential downsides of vinyl is the inevitable crackles and pops, which when heard in contrast with CD's cleaner canvas now distract a little too much from that atmospheric intro. In comparison, CD's low-noise backdrop allows the thunder that rolls across the ominous start to the track to sound richer and more detailed.

But in some ways the cold precision of the digital version rather detracts from the achingly sad melancholy. Drummer Omar Hakim (well known for his beat precision) lays down some cross stick here that, actually, sounds too metronomic. Listening to the LP, the track's synth accordion sounds more lush too, as does the Hammond. I'm going to call it a win for vinyl on this one.

Why Worry

Hate to sound like a stuck record (arf), but again on vinyl, the warmth in that guitar sound, and the synths, gives the track a textural richness that is just a little preferable to the coldness of the digital version. And now the most fun part, as it's the last track on side one, I get to turn the record over! Vinyl wins! Wait, I have to get up out of my chair? Daaamn.

On CD, though, the instrumental placement is astonishing, as if the guitar is in the room with you. That crystal clarity of the digital recording provides a contrast that's intentionally stark. In that way it's like the stark lines of a cubist painting rather than the warmer, more textured work of an impressionist.

Way more detail is unearthed on CD, especially from the piano and gentle, sparing guitar licks – while the drums sound particularly detailed, in that you can more clearly hear the sympathetic ring of the kit. I've never heard the fretless bass so clearly, either. Then again, I hate fretless bass, so I'm going to call this one a draw.

Walk Of Life

On CD, the hit song's famous organ refrain, and the way the second synth line comes in at the start, are almost startlingly evident; in fact, those multiple synth lines that comprise the track's intro are all really cleanly and clearly defined, while there's more resonance in the vocal "woo-hoo"s, too.

Comparatively, the vinyl version sounds a little muddier – the same synth lines are all there, but it feels more muted, more homogenised. And across all the tracks via CD, it's just easier to pick up more of Knopfler's intonations, the tone and character in his vocals. Got to admit, this one's better on CD.

Either way, aren't physical formats brilliant?

So, when you add it all up, it's a dead heat. There's no denying that CD resolution, detail retrieval and clarity is way better than vinyl; but there is still a warmth and tactility in the vinyl version that personally I can never quit.

Obviously there are subjective factors at play – for me, that record means a lot to me in the format I grew up with, and I've never felt the same connection to CDs as with my vinyl collection. I will always prefer the physicality of records, and collecting them appeals more to my heart, despite my brain discerning the clear difference in ultimate sonic quality.

Either way, whether you're a bigger fan of vinyl or CDs, both are good excuse to get down to your local record store and support sales of physical formats.

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The price of groceries, the threat of World War III, my wife’s insistence that Emerald Fennell's “interpretation” of Wuthering Heights isn’t “that bad”: there’s a lot to get angry about right now.

Which is why, middle-aged, reformed mosher that I am, I’ve found myself revisiting several of the bands I used to use for a cathartic vent as a teenager recently.

From the swooning, bellows of AFI's Davey Havok, to the politically charged screams of Zack de la Rocha, a steady stream of late ’90s and early noughties albums have been spinning on my turntable over the past few months.

But one in particular has been on repeat recently, Rage Against the Machine's second album, Evil Empire.

Why this album, over Rage’s wider body of work? Well, there are a couple of reasons.

First, it’s about to celebrate a pretty big milestone, turning 30 years old on the 16th of April. Second, I can’t help but feel it's a bit of an unappreciated, forgotten gem, even among Rage Against The Machine fans.

Even among fans I know, while everyone remembers the singles, especially Bulls On Parade (which I celebrated in our last Now Playing column), these days, most of the attention goes to the band’s self-titled debut album. And in some ways, I get why that's the case.

1992’s Rage Against The Machine is 100 per cent one for the history books, with the band's funky bass and drums intermingling with Tom Morello’s unique guitar style and Zach de la Rocha’s furious hip-hop vocals to create something truly unique.

Honestly, at the time, there was next to nothing like it, outside of maybe Faith No More’s Epic. As a sprog, it blew my mind.

And as a cohesive piece of work, it is better. Every track stands in its own right, but the album flows seamlessly from banger to banger, making it easier to listen to from start to finish.

• Buy Evil Empire by Rage Against the Machine at Amazon

This is likely why, until recently, I only owned the first album on vinyl and relied on streaming and my old CD copies for Evil Empire and The Battle For Los Angeles.

I say until recently, as after a quick trip to the record shop last month, I finally treated myself to a copy (sadly, it isn’t the first pressing; instead, it's a copy of the 2012 European 180g re-release I unearthed while crate digging).

And after revisiting it on the format, I feel I've finally given the proper time of day, listening to it from start to finish, in my comfy chair – not rock’n’roll, I know, but my knees aren’t up to thrashing or pogoing anymore…

For starters, the pressing made me realise quite how compressed most of the streams are, especially when listened to on Bluetooth headphones, which is how I've generally listened to Evil Empire as an adult. Rage Against The Machine may be famous for being loud, aggressive and rowdy, but there’s actually a lot of virtuosity to the band’s playing.

Much of which is lost in poor streams which push the sound loud, but cut out subtle details – the specific phrasing of Morello’s siren-esque lead guitar, minor vibrato in de la Rocha’s voice, swells in volume in Tim Commerford’s thundering bass, the attacking rhythmic precision of drummer Brad Wilk's grooving percussion.

You hear so much more, especially with the dynamics, listening to the album properly, rather than on a cheap stream.

This is especially true of Evil Empire, which has some stellar hidden gems. Roll Right, whose intro evokes a sense of UFOs flying overhead, with Morello’s guitar rapidly jumping in volume and from left to right, is one highlight.

Or my personal favourite, Revolver, whose experimental intro sounds like a complete mess when listened to via a low-quality stream, but on vinyl is truly immersive, laying the groundwork for the thundering groove-metal riff that erupts from it.

Then there’s the overall added depth you get, with the extra dynamics making the frequent breakdowns and exploding riffs just hit harder and have the impact the band wanted.

There’s so much to appreciate on the album. Which is why, not only do I recommend any Rage Against The Machine fan take the time to revisit Evil Empire, 30 years on, I’d also call on them to do it with a decent source and hi-fi set-up. Trust me, you won’t regret it.

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Our guide to the best turntables money can buy

The Sony PS-LX310BT has been sitting proudly on our list of the best Bluetooth turntables for a number of years now, and for good reason. The five-star record player debuted all the way back in 2019, and yet in the years since its release, it’s been nigh-on unrivalled for its hugely appealing blend of simple usability, sonic prowess and outstanding value.

Picking up the PS-LX310BT’s mantle is the new Sony PS-LX3BT which, along with its more premium sibling, the PS-LX5BT, sees Sony make a much-anticipated return to Bluetooth turntable production.

The new LX3BT model promises the same combination of usability, flexibility and overall value as its predecessor, and if it can juggle a quite impressive number of proverbial balls while keeping costs low, and performance a priority, Sony may be onto another low-cost winner.

Build & design

The Sony PS-LX3BT isn’t the most alluring turntable in the world by any stretch of the imagination. Lift it up and you’ll be surprised by how light and somewhat insubstantial it feels in your hands, while that rather functional all-grey finish isn’t exactly going to set pulses racing unless you happen to be taking a break from watching paint dry.

Yet what were we expecting for this kind of money? At this level, we’re simply seeking a deck that’s easy to operate and simple to navigate, and that’s exactly what Sony has delivered – a fully automatic turntable that you can get playing straight out of the box.

In truth, we find the PS-LX3BT simple and unfussy in its set up and operation. The automatic operation means you don’t even need to touch the tonearm here. Playing and stopping tracks is made easy via ‘start’ and ‘stop’ buttons respectively, and once your record has reached its end, the tonearm will automatically return to its resting start position without the need for manual resetting.

The trio of control buttons on the player aren’t luxurious to the touch – if anything, they feel cheap and a little tacky – but they're so large and clearly marked that even your nan could operate them.

The new player features an aluminium tonearm with a precision pivot bearing, as well as an aluminium die-cast platter and a rubber mat. At the end of the tonearm is a pre-fitted moving magnet cartridge with a tracking force of 3.5g, but as there’s no easy way to remove the cartridge from the tonearm, your options for upgrading are pretty limited – though it is possible to replace the stylus.

This being an automatic turntable, there’s very little for you to do aside from take your new purchase out of the box, set it down onto a stable and level surface, hook it up to an amp and dig out your chosen vinyl. There’s no need to set tracking weights or fiddle with cartridges – plug it in, switch on the power button, release the tonearm from its fastener, press ‘start’, and the PS-LX3BT will do the rest.

Okay, the trickiest task you may have to contend with might be attaching the removable transparent lid, but even then, it’s hardly rocket science. If we were being picky, having the on/off switch at the front of the deck might be a little more user-friendly than having to lean over to search out the power button housed right at the back, and an ‘on’ light might have been nice for indicating when the turntable is powered up, but neither are huge issues.

This isn’t glamorous design, but it is pleasingly functional and well-suited to users who might not have much, or any, previous experience of owning a record player.

Features

Look above your trio of start, stop and up/down buttons on the PS-LX3BT and you’ll see chunky dials for switching between record sizes – either 7 or 12 inches – or picking either 33⅓ or 45 RPM speeds.

The deck also has Bluetooth, offering support for the aptX Adaptive codec for hi-res streaming up to 24-bit/96kHz to compatible Bluetooth speakers and wireless headphones.

Dear old nan might find getting to grips with the nuts and bolts of her new-fangled Sony deck easy enough, but she’s possibly in danger of coming unstuck when it comes to Bluetooth. It’s generally a simple process to get the PS-LX3BT beaming out to receptive headphones or portable speakers – just press the large Bluetooth button to put your record player into pairing mode and your nearby wireless device should connect automatically – but there are a few potential pitfalls to watch out for.

If you’re unwittingly stuck in pairing mode, for instance, you’ll get no sound from your deck. We also found that getting out of said mode sometimes requires a bit of a manual reset, either by turning the turntable off and on again, or by moving away from the connected input on your amp and then switching back.

Quite impressively for a turntable of this type and price, the PS-LX3BT is equipped with a built-in phono stage, which is handy if your amplifier doesn't have one. This also means you can plug the turntable straight into a pair of active speakers, without needing to go down the traditional hi-fi separates route.

Alternatively, you can bypass the Sony phono output to use either a separate phono stage for an upgrade path or one built into a compatible stereo amplifier, such as the one found in the Rotel A8 or Arcam A5+ amps. Just make sure you’ve toggled the switch on the back from ‘line’ to ‘phono’ if you’re using an external phono stage.

Sound

We want a revealing system to expose the PS-LX3BT’s talents, so perform much of our listening with the Sony’s line-level output connected to the Award-winning Arcam A5+ (£749 / $1200 / AU$1595) integrated amplifier to test the turntable’s built-in phono stage. The speakers we use, meanwhile, are the Epos ES-7N (£1890 / $2850).

For a deck that does a lot on a shoestring, it’s perfectly fair to keep one’s expectations reasonably modest. Even with that in mind, it doesn’t take long before the PS-LX3BT confounds our expectations admirably. A sprinkle of textural insight here, a good dose of punch there – this is a far heartier metaphorical meal than we’d perhaps anticipated.

If our gastronomic metaphors are getting a little muddled, there’s very little that’s muddled about how the PS-LX3BT goes about presenting our music, as we move from classic pop through to drum’n’bass and a bit of good old fashioned prog metal. 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.

With that solid sonic foundation in place, the Sony deck has more than enough room to further showcase its talents. Jackson sounds like his iconic self as he howls, screeches and croons his way through the likes of Dirty Diana and Man In The Mirror, with the PS-LX3BT granting genuine energy and personality to the King of Pop’s irrepressible vocal stylings.

In fact, the Sony has a genuine sense of musicality, and at this level that was never a guarantee. Rudimental’s recent Rudim3ntal record is appropriately forthright and punchy through the PS-LX3BT, while Nas’ Illmatic walks a satisfying line between hazy smoothness and authoritative punch. The highest compliment we can give? We’ve completely forgotten we’re listening to a fully automatic turntable that only costs £299 / $400 / AU$469.

Okay, there were always going to be limitations. Whack on Avenged Sevenfold’s barmy avant-garde metal workout Life Is But A Dream, and just occasionally you’ll hear the Sony start to creak under the pressure as it strains to keep up with the constant pace changes across what is an often bafflingly bizarre and complex record.

Still, the overall ability displayed really is commendable, and that’s before we’ve tested out Bluetooth performance. We beam some of Illmatic out to a pair of Sony WH-1000XM6 over-ear headphones, a JBL Charge 6 Bluetooth speaker and even a pair of Ruark MR1 Mk3 desktop speakers and, lo and behold, the resultant sound hangs together admirably. Nas sounds alive and characterful, with bolder tunes such as N.Y. State of Mind still punching through with verve and intent.

While playing the Sony via its line-level output connected to the Arcam A5+ produced many nods of appreciation from our testers, switching things over to the Arcam’s built-in phono stage does take things up a notch. Through the Arcam’s phono input, the performance is more open and dynamic, all while adding greater leading-edge precision to the likes of Jackson’s Billie Jean and Man In The Mirror.

That said, switching back to the Sony’s built-in phono stage doesn’t evidence a disastrous drop-off. Music is a little smaller in its scale and loses some of the Arcam’s clarity, but as we quickly readjust, we find that our affections for the PS-LX3BT’s core performance haven’t been dampened much by hearing what the A5+ has to offer.

Sony’s phono stage is still a good one, especially when you consider how much the PS-LX3BT can do for such a modest outlay. To make an impromptu desktop system, we connect a pair of Ruark MR1 Mk3 to our test turntable, moving back and forth between the Sony's phono stage and that of the Ruarks, and discovering that the PS-LX3BT’s phono input is clearer, more open and more detailed than that of the MR1 Mk3.

Verdict

Right now, it’s hard to think of a turntable that does so much so well yet costs so relatively little. If what you seek is a plug-and-play automatic turntable with Bluetooth powers, impressive ease of use and a sound that’s accomplished and enjoyable, the Sony PS-LX3BT is a top-to-bottom delight.

For all those nervously setting out into choppy vinyl waters, this is the boat that will see you sailing blissfully through. Highly recommended.

Review published: 14th April 2026

SCORES

• Sound 5
• Build 4
• Features 5

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What's better than getting your hands on some brand-new vinyl? Getting your hands on some brand-new special edition vinyl, that's what!

Every year, Record Store Day looks to raise support and awareness for independent record stores and the medium of vinyl itself by serving up an extensive selection of exclusive releases and limited edition records.

This year, the official Record Store Day 2026 takes place on Saturday 18th April – so mark out time that day to get down to a participating vinyl store and get your hands on some rare goodies.

To mark the occasion in conjunction with our own Vinyl Week 2026 celebrations, we've highlighted some of the most enticing releases that will be going on sale this RSD 2026. You can peruse the full, lengthy list of exclusive RSD releases at your leisure – below are the ones the What Hi-Fi? team is hoping to nab and add to our vinyl collections.

• Check out the full list here at Record Store Day 2026

Live at Metropolis by Kokoroko

One thing that struck me about this year’s Record Store Day list is the sheer number of releases. The rise in popularity of RSD and vinyl in general has unsurprisingly seen an increase in artists looking to offer something to fans during the event – but it also means there are plenty of releases that perhaps aren’t that special.

Happily, Kokoroko have risen to the occasion and offered something unique. Live At Metropolis, coming out on Brownswood, the label founded by the DJ and broadcaster Gilles Peterson, is four songs recorded in one take and cut live to vinyl at Metropolis Studios in London.

This four-track EP features Higher from the Get The Message EP, Idea 5 from the band’s 2025 album Tuff Times Never Last, plus a never-before-released cover of The Sweet and Innocent’s Express Your Love. And a mysterious fourth track, which is always good.

One-take recordings have been released by everyone from Miles Davis to The Beatles, delivering an authentic version of a piece of music that seems like the perfect fit for a special vinyl release.

Words by Joe Cox

Discover the Record Store Day release here

Laura Marling Live at Albert Hall, Manchester

Folk singer-songwriter Laura Marling has one of those voices that I could listen to forever. Full of rich depth, maturity, stark emotion and delicacy all at once, her songs throughout the years have never failed to charm me with her bewitching, confessional and melodic power.

This double LP edition captures her acclaimed performance at Albert Hall in Manchester in 2025, with one half focused on just her solo with a guitar, while the second part features a four-piece string quartet and a choir as she performs the 2024 album Patterns in Repeat in its entirety. Beautiful.

Words by Kashfia Kabir

Discover the Record Store Day release here

Lo-Files by Bring Me The Horizon

A hi-fi magazine recommending a compilation of lo-fi covers? Sacrilege! Heresy! Fetch the pitchforks and burning torches!

It's a bit of an oxymoron, fair enough, but the idea of a 23-track album of lo-fi renditions of one of this generation's most popular heavy metal groups just seemed too quirky and incongruous to ignore.

This new collection features tracks from pretty much every era of BMTH's catalogue, from 2013’s Sempiternal through to 2024’s POST HUMAN: NeX Gen, reimagined into more laid-back reinterpretations by some of the most popular lo-fi producers around.

Has your headbanging been getting in the way of your study time? Consider this the perfect middle way for all you Type A rockers out there.

Words by Harry McKerrell

Discover the Record Store Day release here

Acoustic Hits by The Cure

The Cure are cool. Anyone who says differently can get in the sea. Acoustic sets are also cool. So what happens when you combine the two? The Cure’s Acoustic Hits record, that’s what.

It’s top of my wish list right now, as while I’ve got nearly all of the band’s long, diverse portfolio either on vinyl or CD (even the post-Bloodflowers stuff), I never got around to investing in the 2001 Greatest Hits collection, which the Acoustic Hits album was originally a companion for.

Why bother getting a greatest hits record when I already have the songs on the actual albums, right?

But with a newly remastered pressing out, one done by legendary frontman and primary composer Robert Smith, from the original 2001 cuts the band recorded at Olympic Studios in London, the timing feels right to complete my collection.

The album features alternative takes on most of The Cure’s classics. These include a rather splendid reimagining of Friday I’m in Love – the song my wife and I got married to – as well as a beautiful new version of Just Like Heaven.

Trust me, if you’re a fan of the band, you’re sure to find something you like among the 14 tracks in this Acoustic Hits vinyl.

Words by Alastair Stevenson

Discover the Record Store Day release here

Perfect Sound Forever by Pavement

Hi-fi fans will know that "Perfect Sound Forever" was the advertising slogan used by Sony and Philips when launching the first-ever CD player in 1982.

Pavement fans will know that the band's third EP of the same name has never undergone a re-pressing since it its original release in 1991, and this special 10-inch white vinyl edition includes seven early tracks from one of the best US bands to come out of that early '90s underground indie/alt rock scene.

These tracks capture Pavement's early sound that helped them achieve cult status, with heavy distorted guitars, somewhat sardonic half-sung/half-spoken vocals, and a raw, lo-fi sound that became entangled with 90s slacker culture. Home is my personal favourite.

Words by Kashfia Kabir

Discover the Record Store Day release here

God's Son by Nas

We regularly give Nas' seminal classic Illmatic a spin when putting a new turntable's talents to the test in our listening rooms, and across the hip-hop icon's reasonably extensive back catalogue, it's hard to find many duds.

Inspired by Nas' struggles following the death of his mother, God's Son is one of his most personal and emotive records, shrinking the lens down from the struggles of black urban life and class consciousness to something smaller and more intimate, but no less effective.

2026's special edition is the first colour pressing outside of the US, described by Record Store Day as "a record that has scarcely been available in Europe since 2002". Owning a Nas vinyl album is cool, but owning a Nas vinyl album that's historically been super tough to get hold of is super cool.

Words by Harry McKerrell

Discover the Record Store Day release here

KPop Demon Hunters soundtrack, HUNTR/X Edition

Look, I want the goodies.

Netflix's KPop Demon Hunters is a global phenomenon and now an Oscar winner for its hit single Golden, and I have been utterly charmed by the music and the animation of the film: a fun, fast-paced story of warring K-Pop bands blended with Korean folklore and supernatural elements, and the triumph of friendship.

I've had my eye on the standard vinyl for ages, but its price felt quite steep. With the RSD 2026 release, you get plenty of extra goodies to make it worthwhile: a fold-out poster, sticker sheet, snapshot cards (3 of 12 versions), and a 'special effect' vinyl featuring original art by one of the film's artists, Marion Bordeyne. Her neon-splashed artwork is gorgeous, and I can't wait to get my hands on this exclusive release.

Words by Kashfia Kabir

Discover the Record Store Day release here

From Bebop to Blue by Miles Davis

We know there are jazz and blues fiends who will sniff out collectibles like pigs hunting for truffles, and no special editions are more worth seeking out than those produced by the mind and mouth of the legendary Miles Davis.

From Bebop To Blue offers a silver and black triple vinyl package of three LPs which track the younger Davis' journey to becoming the titan he would eventually come, featuring the likes of Boplicity, So What and All Blues.

The whole set features exclusive text and specially integrated photos, as well as key dates, places and personnel behind each track. A proper collector's gem aimed quite unashamedly at enthusiasts and collectors alike.

Words by Harry McKerrell

Discover the Record Store Day release here

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Dirt. I have it on vinyl. I'm not talking about the classic Alice In Chains album, although I do have that record. No, I'm talking about literal filth in my grooves, some of which may well have accrued for 40 years.

Now obviously over the years I've 'cleaned' my records – meticulously (but admittedly only occasionally) wiping with cloths and sprays to get rid of dust, hairs and fingermarks from the surface of records. I've held them up to the light to check their cleanliness relative to before, then put them back on the turntable and assumed it was the best that could be done.

But, it's only now that I truly appreciate just how deep down and dirty records can get. Recently, I was given a Spincare 'Record Cleaning Machine' (around £60 on Amazon) as a birthday present.

This involves mixing cleaning fluid with filtered water in a kind of tiny bath with plastic rollers (adjustable for record size) at either end, and soft cleaning pads in the middle.

You immerse your record to just below the label, turn three times clockwise and three times anti-clockwise, wipe the water from them with a lint-free cleaning cloth and put them on a drying rack for 10 or 20 minutes.

These types of record cleaning devices have been around for years, of course, but it's the first time I'd tried one myself.

A restorative effect?

I expected this ritual to have more or less the same results as wiping records over with spray and a cloth, but cleaning the records this way not only removed a lot of the pop and crackle that dust and dirt invariably causes, it actually had a restorative effect.

I've written before on What Hi-Fi? about looking after your old records, and bemoaned my copy of Nirvana's Nevermind, bought from Jumbo records in Leeds the day it came out. Within a week, back in my student flat with its wonky floors, I'd scratched it. And for nearly 35 years I'd resigned myself to the fact that Smells Like Teen Spirit would never not jump in the middle.

But, since putting the 1991 classic through the Spincare, miracle upon miracle, it no longer jumps at all. It turns out that it was not actually damaged per se, but rather it was dirt/dust/smudges or whatnot making it jump.

My similar-vintage copy of The Breeders’ Last Splash, jumpy on the first track for as long as I can remember, has been similarly cured. And, after putting a huge swathe of my vinyl collection through the Spincare, I was finding yet more albums that benefitted substantially from a good bath-time.

The obvious point here is that not only can your eye not really see the state of what's in a record's grooves, but sticky fingers (not the Rolling Stones record, although that came up nice too), dust ingrained in the grooves, cat hairs, even fibres from paper record sleeves, can so easily affect your vinyl replay. And it clearly doesn't take years to gather there. Nevermind was just two weeks old when it somehow amassed enough grot in its grooves to have me think it must have been damaged by tonearm-jump.

I've since cleaned most of my records, some with genuinely noticeable results – and let's just say my wife really did not look after her part of our collection. I've had my work cut out with several Dylan records and 'classics' from Poison and the Quireboys. But you know what? They've all had a new lease of life.

Other methods are available

To test an alternative approach to vinyl cleaning, I also tried Secret Chord Analogue Record Restore (around £150). More than just cleaning the vinyl, the claim of this Australian product is that by brushing a special proprietary gloop onto each side of a record, leaving it to dry and set, and then peeling it off, any dirt and dust would be taken away with it, leaving your vinyl all shiny and new.

Does it work? To a point, although the process is somewhat fiddly, especially taking the layer of resin off, which is not as easy as it looks and comes off in little bits unless you really paint it on thick in the first place. Sadly, the first record to receive this was a recently acquired but frankly awful-condition copy of The The's Soul Mining – which Record Restore could not, with the best will in the world, restore.

Several dirty but essentially undamaged records have, however, come up nice after the Record Restore treatment, but really it's horses for courses. The main thing is, whichever method you choose, don't underestimate the effect of dirt, visible or otherwise, on your records.

I also now give my records a going-over with an anti-static brush. One or two of my albums, particularly picture discs, use nasty plastic covers that, while you can see through to the record itself, can cause static on the surface of your vinyl – which is another common cause of crackling and popping.

You don't need to spend a fortune on a record cleaning machine, either; although you can – on the likes of the Keith Monks Prodigy (around £1295), or Pro-Ject's VC-S3 Premium Vinyl Record Cleaning Machine (£399). But, as I found, the simple, budget Spincare did the job at a mere fraction of the money.

Whichever method you chose, I'd urge you to give your collection a properly good clean. You might just resurrect an old favourite or two to good-as-new.

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Never heard of the Rega Planet turntable? We wouldn’t blame you. It was the company’s first product and was introduced in April 1973. Rega made it for only four years before phasing it out for the more conventional-looking and hugely talented – and now iconic – Planar 3 model.

And the rest, as they say, is history.

The inaugural Planet was originally supplied without a tonearm, which wasn’t unusual back then. Most buyers went for something such as the highly regarded SME 3009 arm with good results. However, Roy Gandy, Rega’s co-founder, wanted to sell complete units, and the search for a suitable tonearm for his new deck led to a company called Cosmocord.

Cosmocord had plenty of stock of the Acos Lustre tonearm, and a deal was struck whereby it would supply the tonearm to Rega and take care of the distribution of the complete deck. The record player became the Acos Rega Planet while the agreement lasted (around a year), and then the Acos branding was dropped once Rega took charge of its own distribution.

Take a close look at the sample provided to us by Rega, and it is remarkable just how much of the Planet’s design is still reflected in the company’s current turntables.

To our eyes, the Planet ooks for all the world like an early Planar 3 with a fancy trio of pods to support the record. And, to a large extent, that’s exactly what it is.

That distinctive platter-less design was inspired by the premium Transcriptors decks of the day, with Gandy deciding that his first product needed something distinctive to stand out in what was already a crowded turntable market.

Early versions of the outriggers used chrome-plated brass, which was later changed to silver anodised aluminium with an inlaid rubber ‘o’ ring, as on our sample. The outrigger arrangement still looks stunning, and it is hard to keep our eyes off the deck when the pods are spinning with no record on top.

There is, however, a reason that just about every turntable on the market uses a flat platter to support the record. Those pods leave large parts of the record unsupported, and those sections pick up airborne vibrations, which adversely affect sound quality.

This is why the company moved to a more conventional platter design (though ultimately in glass rather than aluminium) for the Planer 3 that followed.

The Planet’s plinth will look entirely familiar to those who know Rega’s turntables. In this earliest incarnation, it is a chipboard piece that is black laminated on all its surfaces. This makes the structure relatively light and rigid – parameters that the company’s turntable designs have continued to prioritise over the years.

Gandy’s early experiments with plinths led him to conclude that excess mass was a bad thing, due to high noise-transmission and energy storage.

There was a long search for an appropriate motor. Rega eventually settled on one made by Philips and imported into England by a company called Impex. The motor was principally used in pinball machines, but it had qualities that Gandy wanted.

It ran at a lower speed than the others he had tried, which meant he could use a larger pulley and smaller centre drive hub. The result was a quieter operation with less vibration.

It took months of development to engineer a suitable way to mount the motor onto the solid plinth. In the end, a combination of a rubber ‘o’ ring and a suitably positioned metal plate did the trick. This arrangement allowed accurate motor alignment and good decoupling, while providing enough motor-body movement to compensate for any irregularities in the drive belt.

Those belts were bought as 3mm continuous cylindrical lengths of rubber, cut to size and then hand-glued end-to-end by Gandy. Enabling the drive system to cope with belt irregularities was certainly sensible.

As for the Planet’s feet, these were from a company that made rubber door stops. Originally, Gandy bought off-the-shelf designs, but after a number of weeks (and regular orders, we suspect), the company made bespoke feet for Rega. These were deeper and softer for added clearance and better isolation from support vibrations.

How does the Rega Planet sound today? Our test sample is straight from Rega’s vaults and is an early Acos Rega Planet fitted with the Acos Lustre arm. The cartridge fitted is Rega’s current entry-level moving magnet, the Carbon, which is a solid, balanced performer for its modest £35 / $75 price.

We connect the Planet to our reference system of Cyrus Phono Signature/PSX-R2 phono stage, Burmester 088/911 MkIII amplifier and ATC SCM50 speakers, as well as a more price-compatible combination of Rega Brio Mk7 and KEF LS50 Meta speakers. Regardless of the partnering system, the Planet turns in a charming though not flawless performance.

Speed stability could be better, and the Planet isn’t the most dynamic performer. It’s fair to say that any current Planar turntable, including the entry-level Planar 1, gets more out of the record groove. Yet, we can’t help but enjoy ourselves.

We spend a few days working through our record collection, taking in large-scale classical symphonies such as Beethoven’s Fifth, old jazz classics such as Kind Of Blue by Miles Davis and modern pop productions such as Billie Eilish’s Happier Than Ever set. The Planet succeeds in putting a smile on our faces.

This is no sonic microscope. It doesn't dig out the last grain of information from the record groove – and the fitted Carbon MM isn’t going to do that, either. However, the Planet is a fun and interesting listen.

The information it does dig up is presented in a cohesive and balanced way. Music flows when played on this record player and, even by current standards, communicates the emotional content well. The latter point may seem like a throwaway line, but it is still surprising just how many hi-fi products, almost regardless of price, fail in this important respect.

While rhythmic precision isn’t impeccable, we get a good sense of musical momentum and involuntarily tap our feet with tunes that encourage such behaviour. Large-scale dynamic swings, such as in the Beethoven symphony, are soft pedalled, but lower-level intensity shifts still come through satisfyingly.

The tonality of a record player is largely dictated by the cartridge, and the Carbon is a nicely balanced performer. It doesn’t go overboard at either frequency extreme, avoiding any annoying peaks or troughs in frequency. The Carbon may be modestly priced, but it steps out of the way of the music better than most moving magnets at its price.

That sentiment applies to the Rega Planet as a whole. It isn’t massively revealing or insightful by modern standards, but put on your favourite record, and we’re sure you’ll enjoy it. When that record ends, we think the temptation to put another one on will be strong.

Ultimately, when a piece of hi-fi encourages you to listen to another piece of music, it's doing its job well. Judged in this context, the Rega Planet still does the job.

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How much are you willing to spend on a vinyl? Twenty bucks? One hundred?

This is a question every collector faces whenever they make a trip to the record store, or rummage for LP gold at a pop-up fair, as I regularly do whenever Dig a Little visits my local pub.

And, for many of us, it’s an important one, especially when haggling with a trader and it's all too easy to get caught up in the moment.

If you're not smart, you’ll end up like me, overpaying for an album you’ve already got multiple copies of, just because it’s a pressing you don’t have – and not necessarily a better sounding one.

It's this inability to find a ceiling for my own spending habits that led me to pitch and write this feature, chronicling efforts to track down the most expensive vinyl in the world for our Vinyl Week event.

And while it may not be the most expensive ever, after a quick Google search, research on Discogs and a chinwag with various specialist auction houses, the idea led me to discover Dark’s Dark Round The Edges album, which sold for £19,000 at Omega Auctions in 2022.

Not heard of it? You’re not alone. Even speaking to fellow collectors and the editors at our sister publication, Louder, I was met with a series of blank faces. Adding insult to injury (for Dark fans), editor of Prog magazine, Jerry Erwing, tells me:

“It's more atypical of fuzzy psych of the era rather than prog. Listening to it, what does strike me is that, as with so many of these kinds of albums that somehow amass cult following, followed by great fiscal power, how unerringly ordinary and, to be brutal, boring it sounds!”

So, how does an album that most people haven’t heard of and is, as Jerry says, “unerringly ordinary” come to sell for nearly twenty grand?

What makes Dark special?

Speaking to Omega Auctions' Director of Operations and Consignments, Dan Muscatelli-Hampson, the obvious starting point is the album’s rarity.

Only 12 copies of the original pressing were made, and the one sold at auction was originally gifted to the owner by one of the British psychedelic rock band's members when it was first released in 1972.

“It was released in very limited quantities. This example, specifically the black and white gatefold sleeve, was produced in a run of only 12 copies. It acquired cult status amongst collectors through the years since release,” Muscatelli-Hampson tells me.

Muscatelli-Hampson adds that, even with that in mind, the auction house originally valued it significantly lower, and that album sales this high are still incredibly rare, even with "Holy Grail" finds like Dark Round The Edges.

“Pre-sale, we placed an estimate of £6,000-£10,000 on the record," he explains, "this was based on our experience through the years of working with rare and valuable records. We always expected that we would likely beat that auction estimate on the day.

“A sale price of £19k and quantities limited to 12 is in no way common. The vast majority of records are produced in large quantities, and the average values are far lower than that. Collectors will pay premiums for records that were produced in smaller quantities or that did not sell well at the time, and so therefore there are less available on the market. Where these factors are combined with the quality of music being high (such as on the Dark LP) – that’s where you can get into the ‘top tier’ of price bracket.”

Editor’s Note: I still have an LP of my university band, Sad Potato’s debut, self-titled album. As far as I know, it’s the only one in existence, and I am very happy to part with it for a cool £19,000. I'll even sign it for you.

But why this one in particular?

But aren’t there other albums this rare, from bigger-name acts? That was the question I was left with, the answer to which still eluded me.

Doing a call round with independent record store owners, I discovered that there’s a key factor, other than its rarity, that adds to the allure of rare vinyl. One that, as Flashback Records CEO Mark Burgess notes, only really makes sense if you’re in the fandom.

“In terms of your basic question, there is a basic answer, which is market forces. A record is worth what someone will pay for it, essentially,” he says.

“Copies come up for sale very rarely, so when they do, there is a bit of a frenzy around the sale and buyers get super-competitive, which will push the prices up at auction. There are many other records of equal rarity which do not command the same sort of price tag as the Dark.”

Burges goes on to point out that, in this sense, albums like Dark’s aren’t being bought like traditional vinyl, and that as a trader it’s better to think of them as antiques, ones which will likely continue to go up in value.

“These artefacts are now more than 50 years old and are starting to become valuable as ‘antiques’. The sort of person who spends £19,000 on an LP will probably never actually play it – they probably just wanted it as a trophy in their collection, for personal satisfaction and to impress their friends. They can also be pretty sure that the value won’t go down any time soon,” he says.

“The supply of these rare records is getting tighter and tighter as time goes on, and the rarity value of these items in good condition is only going to go up. So the rare market is booming across many genres, not just ’70s Rock. Reggae seven-inches', Delta blues 78s, ’90s rock and indie vinyl, Northern Soul and early stereo classical LPs are just some areas where there are very sought-after rarities.”

Steve Sexton, Senior Buyer at Sister Ray, mirrors the sentiment, arguing it’s largely about fandom and “owning” the history as much as the music.

“We’re all collectors, so the Dark album going for such crazy amounts is maybe the logical pinnacle of that. There’s a strata of customers who will want the first press 1A/1B matrix of records, in the ’60s market especially,” he says.

Is it worth it?

And this brings me to my final question: is an album ever really worth £19,000? Here, the answer is difficult. There are plenty of people willing to pay vast sums for the records they love. That’s clear if you look at Omega Auctions vinyl section, where numerous albums have been sold over the years for multiple thousands.

But, is it worth it? Here, as a collector, I think there is no universal answer. As noted by Relevant Records owner, Andy Powell, it all depends on the individual and specific record you’re looking at:

“There are plenty of Holy Grails kicking around, depending on what your bag is – it’s in the eye of the beholder.”

Do you agree? If so, which album would you be willing to part with vast sums of cash for? Let us know in the comments below, or on our social media and forums.

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If you are serious about collecting vinyl, odds are you have heard of Discogs. It's one of the most popular sites to sell and buy second-hand vinyl, as well as keep track of your own collection.

A lot of these vinyl records, however, are on the expensive and rare side of the market. Whether it's a limited edition release or a hard-to-find first pressing, there are all sorts of reasons why an album can cost more than a turntable.

In honour of Vinyl Week 2026, let's take a look at the top ten best sellers from March on Discogs. Can you guess which album takes the number one spot?

10. Kissteria: The Ultimate Vinyl Road Case by Kiss

Sold for $3400 (approx £2530)

Fans of Kiss will certainly be tempted by this jam-packed vinyl collection, which launched back in 2014. It includes 34 albums from the face-painted rockers, such as Hot in the Shade, Hotter Than Hell and Alive!.

As you would expect at such a price tag, there are also exclusive offerings to please the top echelon of fans. Take the two LPs of You Wanted The Best, You Got The Best, which are exclusive to the box set. There's also a fair bit of merchandise thrown in, including oodles of promo posters, as well as a Kiss-themed vinyl cleaning cloth and turntable mat.

It all comes packaged in a rather chunky road case so you can live out your rock-star-touring dreams.

9. High Spirits by Joe Harriott Quintet

Sold for $3619 (approx £2695)

Released in 1965, this post-bop album is no longer currently available on the marketplace, as the most recent listing was snapped up for quite a sum of money.

The vinyl was originally released in mono, where all instruments and vocals are centralised in the mix, making it quite the find for audiophiles.

8. Girls Are Against Me by The Utopias

Sold for $3947 (approx £3000)

This seven-inch vinyl from The Utopias certainly does not get you much song for your money. There are only two tracks on the list, those being Girls Are Against Me and I Want To Go Back To My Dream World.

That adds up to just over five minutes of listening time. Both of these tracks are difficult to track down, either on streaming or on physical media, which explains the hefty price tag.

7. Sex Drive by Necros

Sold for $4299 (approx £3200)

Craving some hard-core punk? This 1981 release from Necros will certainly satisfy those urges. There are only four tracks on the vinyl, but it is one of only 100 copies that was originally printed and still includes the insert.

Missed this one? Fear not, there's another one on sale at the time of writing from £2590...

6. Sonates Pour Clavier Et Violon by Johann Sebastian Bach

Sold for $4481 (approx £3335)

That's enough hard rock, let's move even further back in time to some old-school classical works. We listen to plenty of Bach's repertoire in our test rooms due to his complex yet moving compositions that challenge every sound system.

This 1957 mono release was printed in France and features a cloth-bound gatefold sleeve to keep it pristine in your collection.

5. Led Zeppelin by Led Zeppelin

Sold for $4597 (approx £3420)

Leaping into the top five is Led Zeppelin's 1969 debut album, which first flew the band to stardom.

This coveted turquoise edition is a first pressing from the celebrated rock group, and is sought after as only a limited number were produced before the label switched the colour of the text from turquoise to orange.

4. Barbie by Kenny & The Cadets

Sold for $6000 (£4465)

If you're a Beach Boys trivia expert, you may well already know that a few members crafted a one-off recording in the early 60s before the band really took off and adopted the name Kenny & The Cadets.

That release was Barbie, which is reminiscent of future Beach Boys tracks such as Surfer Girl. You can also listen to the bonus track What Is A Young Girl Made Of, making this track an excellent (yet expensive) addition for a Beach Boys fanatic's collection.

3. Super-Sonic Jazz by The Sun Ra Arkestra

Sold for $6666 (approx £4960)

It's easy to see why this disc sold for such a hefty price. The sold copy was a first pressing with the original cover, placing it among the earliest LPs issued by El Saturn Records – a label founded in the mid-1950s by Sun Ra, Alton Abraham and Artis Abraham.

The disc was also the first full-length album released by the label, cementing its importance in music-making history.

2. True Blue by Tina Brooks

Sold for $7241 (approx £5390)

I can practically hear all the jazz collectors sitting up in their seats. This is Tina Brooks' only record produced with the jazz legend at the helm in his lifetime, despite recording several others for the label. Others that he recorded did get posthumous releases, luckily.

That's only part of the reason the 1960 record might have sold for such a high price: fans on jazz forums have also speculated that the label pressed fewer than 1000 copies.

1. The Dark Side of the Moon by Pink Floyd

Sold for $11,842 (approx £8815)

We have written a few of these lists now, and a name that pops up time and time again is Pink Floyd.

And this edition of Dark Side of the Moon is a real draw for hard-core collectors because, according to the seller, it is one of the first 300 copies produced. They even claim it belonged to a former EMI employee.

It is by far the priciest record sold on this list – any by quite a margin. Most of us will have to look on longingly at the lucky so-and-so who had the disposable income to be able to own and now listen to this best-selling album in practically its original form.

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It’s been about three years since the vinyl bug hit me. Since then, I’ve undergone two turntable system evolutions (many of you will be pleased to know I have a proper separates vinyl system now), and bought a lot of vinyl records.

The varying quality of vinyl pressing has been the most surprising element to me. I’ve been buying records from pretty much everywhere you can find them: HMV, Amazon, second-hand fairs, online at Rough Trade and other indie record stores, and even specialist pressings imported from the US. And while most have sounded perfectly fine (and some rather exceptional), I have been disappointed by a fair few of my vinyl purchases.

I don’t regret any of my purchases, but I can’t help but feel a drop in excitement when I put on a record – new or old – and it simply doesn’t have the depth of detail and dynamic range that I know I can usually hear from the vinyl format.

Some of the newer album releases I’ve listened to on repeat on streaming, for instance, haven’t really translated well over to the official vinyl pressing – such as a rather poor pressing of Wet Leg’s Wet Leg, and even Waxahatchee’s Tiger’s Blood, while second-hand crate-digging has left me with wildly different qualities too.

With prices still fairly high, it feels a bit of a gamble to buy a record that may or may not sound tip-top through my rather nice hi-fi setup at home.

The one type of genre that hasn’t failed me at all is video game soundtracks, as well as film and TV soundtracks.

Video game soundtracks have been an unexpected genre with high reward when released as a vinyl pressing. This is an immersive genre where the animation and artwork are the priority, but music can be just as integral to the gameplay. It lends itself brilliantly to the vinyl format and its packaging.

The result is that plenty of these video game soundtrack vinyl releases have absolutely stunning artwork, which brings back much of the joy of owning vinyl records with beautifully designed gatefold sleeves that you can pore over – or display as artwork – while the album is spinning on your record player.

Admittedly, most video game music perhaps isn’t as complex to reproduce compared with real instruments, but the ones I’ve bought so far have never failed to entertain. Games where the music is part and parcel of the game, like Florence and Sayonara Wildhearts, sound fantastic through the sonic lens of a great turntable system. My copy of Florence, with its beautiful cello and piano compositions, sounds lush, clean and open – full of insight and subtle dynamics.

There are plenty of games – such as Stardew Valley, Undertale, Hollow Knight, The Last of Us – where the soundtrack immediately is entangled with hours of gameplay. Played on vinyl, video game soundtracks can be mesmerising – you can be immediately transported back into the environs of the game, truly appreciate the music on its own (sometimes even for the first time), and they often prove to be lovely music to relax to.

Moreover, you also end up with some clever artwork. A Little To The Left (pictured above) is a beautifully designed indie cosy game about patterns and organisation, and the vinyl cover has two modes: a disorganised version and an organised one, and you simply put the cut-out cover on the one you wish to display. Clever.

It definitely helps when there is an organisation or record label who puts a lot of effort into the vinyl pressing to ensure it’s of a high quality. Merchandising company and artist collective iam8bit is the gold standard for these premium, collectible vinyl soundtracks – meaning you’ll get a high standard of vinyl pressing and gorgeous artwork that makes it worth the price. Many of these special issues drop for a limited run, too, so they aren't always easy to get ahold of.

Mondo is another company where they take very good care with their record pressings, and they have some great film, game and animation soundtracks available on gorgeous vinyl.

My most prized vinyl album is the limited edition (and long sold out) Mondo release of Buffy The Vampire Slayer’s Once More With Feeling musical episode soundtrack – you’ll probably have seen the red vinyl splashed across most of our turntable reviews, as it’s such a good quality pressing that we regularly use it for testing.

My Buffy vinyl came with exclusive gatefold artwork and a ‘Slaybill’ of liner notes; most of the Mondo releases similarly have exclusive artwork that creatively captures the mood and essence of the film. The excellent Home Alone soundtrack vinyl by Mondo, for instance, has the McCallister house and some of Kevin’s booby traps drawn on the gatefold.

The RSD 2026 vinyl release of the KPop Demon Hunters soundtrack includes new original artwork, a poster, stickers and collectable cards – which is why it’s my RSD wish list. I love the soundtrack too, of course, but the additional artwork and goodies are a great incentive, and why I’m more likely to try to get the RSD version rather than the standard vinyl.

For me, it’s what makes collecting vinyl a lot more fun, and it makes justifying the higher prices more amenable as I get some lovely pieces of art alongside the music I love. As I already own my favourite 90s/00s albums on CD, I end up having more fun finding albums that either originally came out during vinyl’s pre-CD peak, or searching for a fun, collectable soundtrack with great artwork and goodies. It’s why I find myself checking iam8bit and Mondo more regularly than I ever do Rough Trade or Discogs.

There are exceptions, of course. My copy of Clint Mansell's Moon soundtrack doesn't come with any goodies, but it sounds lovely on vinyl. Some of my best music vinyl purchases have come from the brilliantly named “interesting but just a little bit tatty” section in my local second-hand music shop (The Sound Machine in Reading), and these ones – Tom Waits’ Small Change and Son House’s Death Letter Blues – are some of the best-sounding records I own, with astonishing detail, dynamism and soul. It’s the kind of quality I keep chasing with every purchase.

Buying and collecting vinyl can feel a little like a lottery these days, especially if you care about the pressing and sound quality; most of the time, I do try to get past it and simply enjoy the album on my system. But it’s hard to ignore when you’re confronted with a disappointing, low-quality pressing with squashed dynamics.

So when I do find myself setting time and money aside for some new vinyl purchases, it’s the beautifully put-together video game and film/TV soundtracks I’ll search through first and put high on my wish list. So far, they’ve never let me down.

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Here's reason to celebrate: UK vinyl sales have reached an 18-year high. But not only is the format thriving, the shops selling it are, too – bricks and mortar stores have increased their share of vinyl sales by nearly a third since 2021, now accounting for 41.2 per cent of all purchases.

So when the UK high street is struggling, just how are record shops bucking the trend? As part of our Vinyl Week 2026 event, we went in search of answers.

A house made of dreams

One of the UK's most forward-thinking record shops is Dreamhouse Records in Leyton, east London. As well as selling sit-in coffee and having an alcohol licence, it runs regular film nights, a monthly dance hall night, hosts DJs, live bands and album launches, puts on live music for the weekly Saturday market outside the shop… the list goes on.

It all helps get people through the door and hearing music they might not have heard of before. But crucially, it also establishes the store at the heart of the community – which is where owner Jon Clifford firmly believes record shops belong.

"It's essential," he says. "People come in here as much for the sense of community as they do for the records. A lot of people come in just to chat about music. And I'm more than happy to do that. If you're just clicking online and waiting for a piece of vinyl to come through the post, you get none of that."

In fact, he says it's the reason he opened a record shop, after years of weekends spent dragging various family members around his favourite ones.

"It’s not just a transaction," he says. "I've got loyal regulars who have really bought into what I'm trying to do here. A very high percentage of my sales aren't just somebody bringing a record up to the counter then paying and leaving. It's a conversation."

And it's these conversations – and the good times they entail – that spread the word about the shop. "We're not in Oxford Street, we're in a side street in east London, the footfall isn't massive," Clifford says. "But if you create a good sense of community, people come back, and they tell other people about it. So it's really crucial to a record shop's survival."

Of Grave concern

For Richard Churchyard, the owner of Raves From The Grave in Frome, the community action extends to sponsoring the Frome Town FC football team, the Frome FM radio station, and the Frome Festival, as well as promoting local musicians. This publicity has helped offset some of the confusion caused by the shop's name.

"The name Raves From The Grave came from my surname," he says. "It's been a downside in some ways, because people think we only sell old music, or dance music. But after nearly 30 years in business, they've worked out that’s not the case."

As well as playing an active part in the community, it also hosts plenty of events, including listening parties for big album launches from the likes of Pulp and Gorillaz, a coffee cart for Record Store Day, DJs playing in store, and more.

"Things like that really help the shop stand out," Churchyard explains. "We're very established now, we get people coming from miles around because they don't have a shop like us near them."

But of course, since opening in 1997, it has notched up its fair share of regular customers too. "You know that certain people are going to come in every Saturday and pick up the new releases, and they always have a chat," Churchyard says. "Some of them stay for two or three hours, because there's always plenty of music for them to explore."

Staying Relevant

Like a lot of other record shops, Relevant Records in Cambridge has an onsite cafe that was part of the store's inception (though it's no longer run by the store). But it also goes big on local talent, featuring Cambridge-based musicians on its website and stocking their vinyl. "We're into the grassroots thing," as owner Andy Powell puts it.

"A lot of local bands want to put out vinyl in small quantities," he says. "And we'll always stock them."

The shop has been a fixture on Cambridge's Mill Road for 12 years, and is as much a place to drop in and talk music as it is to buy the latest releases. "It's always been a bit of a social hub, especially at the weekends," Powell says.

Like other independent record stores, it provides a much more fulfilling experience than buying vinyl online. "If you're into the physical media side of things, which a lot of people are, then there's no comparison – shopping in-store is much more of an experience." And not just because of the social aspect. "You might see something you didn't know you wanted and end up buying it. That's always a risk."

Thankfully it's a risk that lots of people are willing to take.

Sound reasoning

Of course Cambridge is a relatively metropolitan place, with lots of diverse influences making for a healthy local music community. Other record shops face a different challenge. As the only independent record store on the Isle of Man, Sound Records has a much smaller pool to choose from for the Sound Sessions it records for its website. Though it is casting the net wider.

"The island is pretty obscure for touring artists because we're pretty small, but we do get quite a few people come through, mostly legacy acts, but some local bands bring people over when they're co-headlining," says the store's owner, Gareth Simon.

Not that being small is any impediment to success. By placing itself at the heart of the local community, Sound Records has developed a strong reputation in the six years it's been in operation, especially with local musicians. That's helped in no small part by the shop stocking music accessories like guitar strings alongside vinyl.

"We help out local musicians any way we can," Simon says. "We're doing a shop-exclusive pressing of a local band called Silo, who are getting decent attention from Radio 1 and 6Music. But it's more about helping the aspiring musicians who haven't got that coverage, and that's really satisfying."

The nature of the island actually helps the store stand out, Simon says, as "there aren't that many interesting shops, particularly for younger people. So people do appreciate having a record shop like ours".

Buying vinyl online not only lacks the curated aspect, it lacks human interaction, too, which can throw up some interesting insights on people's listening habits.

"The teenagers that come in love vinyl just as much as the customers in their forties and fifties," Simon says. "The older lot were obviously there for vinyl the first time round, and the kids have figured it all out – they see vinyl as a way to express their interests in a physical form. But a lot of those in the middle, say late-twenties to late-thirties, a lot of them have no frame of reference. They've really missed out on physical media as a whole, they're like a lost generation. It's a real shame."

Our advice to them? Get down to your local independent record shop and see what you're missing.

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There are plenty of well-remembered classic turntables. The Thorens TD160, Linn LP12 and Technics SL1210 come to mind, and we wouldn't have to work hard to add another dozen famous names.

However, we're not interested in those well-loved decks here. Instead, we've dug deep into the past 50 years of What Hi-Fi?'s history to find a few gems that seem to have slipped the collective hi-fi consciousness.

Not all of these record players were sonic class leaders, but they all have something that has us longing for an evening playing records in their company.

Bang & Olufsen 1800 (1984)

What Hi-Fi? is all about performance above most things, but even we aren’t immune to the stylish charms of Bang & Olufsen’s 1800 record player. This was a belt drive budget turntable, costing around £99 back in 1984, yet still managed to pack automatic operation and all the style the brand is so famed for.

Surprisingly, considering its ultra-slim plinth, the 1800 featured a fully-sprung sub-chassis to make it less sensitive to external vibrations. There was no platter mat as such; here, it is replaced by thin rings of Nextel that were claimed to reduce any static charge on the record.

The 1800’s arm was a thin, wand-like affair. It was fitted with one of B&O’s MMC (Moving Micro Cross) cartridges, a range of moving magnet cartridges designed specifically to work with the low-mass arms fitted to the company’s record players.

Most 1800 turntables would have been bought to complement Bang & Olufsen’s electronics, and so they featured a DIN output. Users would need a suitable DIN to phono adaptor if they had a more conventional third-party amplifier.

What did the B&O 1800 sound like? Our review at the time talks of a sweet, clear and organised presentation, built on a taut and tuneful bass performance. Lows were considered a little lightweight and perhaps the treble lacked a touch of precision compared to the best at the price, but the combination of the 1800’s elegance, ease of use and tidy sound makes it something of a budget classic in our view.

Cranfield Elite Rock (1982)

Linn’s LP12 had become a dominant force in the UK high-end turntable market by the early ’80s, and its suspended sub-chassis design was mirrored in many other decks of the day. So, the arrival of the Cranfield Elite Rock, with its solid design, heavy plaster-loaded structure and silicon damping trough was something of a shock.

The Rock originated from research done by the Cranfield Institute and was packed with innovative engineering solutions. However, it was the use of silicon fluid (sitting in the trough over the record) to damp arm resonances that proved the most controversial aspect of its design.

This added another step before playing a record, as the trough needed to be swivelled out of place to put the record on the platter, then pushed back. Also, if you weren’t careful, it was possible to spill the silicon fluid onto your records, which was messy.

The thing is, the whole arm-damping idea really worked, giving the cartridge a much more stable base to work from. This arrangement also made the sonic differences between tonearms less significant, and so the Rock got great results from affordable but capable options such as Rega’s RB300.

If you think that records sound warm and smooth, listening to the Elite Rock will prove a real shock. It had a dry and precise balance with some of the tautest bass of any record player.

Detail levels were exceptional, as was the Rock’s composure when playing demanding music. The Elite Rock may not have been the best finished high-end deck on the market, but it was right up there with the very best sounding options at the time.

Dual CS505-2 (1984)

Back in the early ’80s, if you wanted a good-quality, affordable turntable but couldn’t stretch to Rega’s Planar 2, you bought Dual’s CS505-2. This was a well-engineered and decently made budget deck that delivered a sound well above that achieved by most rivals.

The low price, around £75, didn’t stop Dual from offering a suspended sub-chassis, though, which served the deck well when positioned on less-than-perfect supports. The CS505-2 also included an auto-stop and arm-lift function at the end of a record side, making it more convenient to use than the competition.

Sound quality? Pretty good, with the Dual sounding enjoyably energetic and decently detailed. There was a good sense of balance about the CS505-2’s presentation and enough composure to stay organised when the music became demanding.

Sure, if you had more to spend, better sound was possible, but for the money, for a few years at least, nothing budget bettered the Dual as an all-round proposition.

Michell Syncro (1984)

Michell’s Syncro was introduced as a more affordable alternative to the company’s high-end Gyrodec. The Syncro was still a suspended sub-chassis design, though, which made it less sensitive to external disturbances than more rigid options such as the Rega Planar 3.

The Syncro’s platter was made of glass and covered by a felt mat. It was driven by an AC motor via a long rubber belt. Changing speed was a manual affair and involved moving the drive belt from one step of the motor pulley to the next.

While the Michell could be bought without an arm, it was usually fitted with a Mission 774LC or Linn LV-X in the early days, and a version of the Rega RB300 tonearm later on. Regardless, the Syncro was considered a lucid and detailed performer that could dig deep into the fabric of the recording.

This record player was a well-engineered and capable alternative for those who couldn’t stretch to the range-topping Gyrodec. Looking at it now, we can’t help but be tempted to search eBay for a sample in good condition.

Roksan Radius (1989)

Roksan’s first product was the legendary Xerxes turntable, released in 1985. The Xerxes was a truly ambitious and innovative record player that set the cat among the pigeons in the UK high-end market.

While the Xerxes established the brand, it was a pricey product, and the company needed a more affordable offering to help with growth. That new deck was the Roksan Radius (£399).

This was aimed at a more mainstream audience and came with the new Tabriz tonearm. Speed change was electronic, and the deck used a simplified version of its big brother’s clever isolation system.

The result was a truly capable performer that not only delivered a class-leading performance but did so in a package that was easy to use and much more affordable..

The Radius’s sound was agile and informative. It had a lovely top-to-bottom consistency and a low-frequency performance that prioritised tunefulness and articulation over outright weight and warmth. If you find one in good condition on the second-hand market, you won’t be disappointed.

Pink Triangle Tarantella (1998)

It is hard to believe that the Tarantella is almost 30 years old. Its styling still feels so fresh. This talented deck was something of a revelation back in the late ’90s, combining a striking appearance with class-leading sound quality at an entirely reasonable £850.

Our sample was fitted with the then-ubiquitous Rega RB300 tonearm and proceeded to dominate its price class for a number of years. The Tarantella sounded clear, detailed and musically coherent; a blend of talents that meant that it sounded at home with all types of music.

True, build quality wasn’t perfect, but if you got a good one, it was a pleasure to own. Speed control was electronic rather than manual, and the plinth-mounted LED lights made it look stunning in a darkened room. All in all, this is a modern classic.

Pro-Ject Elemental (2014)

Pro-Ject has long been the master of great-value turntables, and the Elemental was one of its finest. This was a wonderfully minimalist design that cut back on every luxury, leaving just the essentials. Elemental was truly an apt name.

Costs were saved by reducing the plinth size. It was just big enough to house the arm and cartridge. There was no means to level the deck and no form of suspension to isolate it from its surroundings.

However, there was an artificial stone mass anchor below the main bearing to add structural stability and act as an energy sink for noise generated by the main bearing and motor.

The platter was made of MDF and drive was delivered by a smooth-running DC motor. Speed change was manual, of course, but at least the Ortofon OM cartridge was factory fitted and the arm adjustments for bias and tracking weight already set. This was truly a plug-and-play turntable.

Sound quality was great for its £150 price, with good detail and a fine sense of organisation. This was a nicely balanced performer for the money, with a well-rounded presentation that would work well in the kind of budget systems it was designed for.

In the end, despite great reviews, its stark appearance proved too much for customers. Pro-Ject soon reverted to conventional rectangular plinths for its budget offerings, which we think is a shame.

Wilson Benesch Full Circle (1999)

While Wilson Benesch is now best known for its terrific range of high-end speakers, its first product was a record player. It was simply called The Wilson Benesch Turntable and was a determined effort to get more out of the record groove by using careful engineering combined with cutting-edge materials (such as carbon fibre) for the sub-chassis and tonearm.

That first record player was a well-received product, but by the early ’90s it was clear that the turntable market was in decline – thanks to the introduction of the Compact Disc – and so the company focused on speaker production.

However, it didn’t ignore vinyl replay altogether, releasing the Circle turntable around the turn of the century. When it was partnered with the company’s carbon fibre tonearm and cartridge, the package was called The Full Circle.

The Circle replaced the original record player’s suspension system with cantilevered carbon fibre rods. The deck was built around a layered construction that separated the motor (and all its inherent vibrations) from the sensitive cartridge/record interface.

The result was a beautifully simple-looking design that was superbly made and class-leading in performance. So much so that it garnered multiple Awards and five-star reviews from us over its production run. We think it remains an attractive and sonically competitive product to this day.

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