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

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

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

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

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

Build & design

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

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

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

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

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

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

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

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

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

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

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

Sound

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

Review published: 9th September 2026

SCORES

• Sound 5
• Build 5
• Features 4

MORE:

Read our review of the Rega Planar 3 RS Edition

Also consider the Technics SL-1500CS

Read our Rega Planar 3/Nd3 review

Best turntables: top record players tested by our expert reviewers

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

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

Build & design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sound

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

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

Review published: 7th September 2026

SCORES

• Sound 5
• Build 5
• Features 5

MORE:

Read our review of the Rega Planar 3 RS Edition

Also consider the Pro-Ject Debut Reference 10

Best turntables: top record players tested by our expert reviewers

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

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

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

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

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

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

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

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

Shipping begins in September.

MORE

Read our full Esoteric F-01/PS-01F review

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

You can also stay up to date with our pick of the best turntables for all budgets, tested by our expert reviewers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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It probably won't surprise you to hear that, here at What Hi-Fi?, we are big fans of turntables and records.

They were, of course, a core part of the magazine when we first launched back in 1976, and no one was more delighted than we were when the format experienced a surprise resurrection starting in the late 2000s.

Now, with physical media as a whole at greater risk than ever before, we are highlighting some of the best turntables that have passed through What Hi-Fi?’s test rooms, as well as some of our favourite records to spin.

All of the turntables below have been tried and tested by our expert reviewers, and all have earned at least four stars to earn our coveted recommendation.

We don’t review records, and of course one of the beautiful things about music is that everyone has their individual tastes and preferences. However, we have selected a couple of our go-to testing choices, old favourites and newer discoveries, covering everything from Steely Dan to Billie Eilish.

Take a look, and let us know in the comments if you have any favourite vinyl discs!

If you're a beginner, have a small budget, or both, then the Pro-Ject Primary E is a great choice. It lacks fancy features such as USB ripping, Bluetooth and automatic operation, but if you're looking for a purist design and great quality sound, then the Primary E can be yours for the cost of only a few records.

If you're considering the Primary One E, the Rega Planar 1 Plus is a very similar offering, but with the convenience of a built-in phono stage. This makes for a fuss-free plug-in-and-play setup, but also superb sound with excellent clarity and subtlety.

A 2025 Award winner, the Pro-Ject Debut Evo Pro 2 is our current mid-range pick. It's highly appealing in looks and sound, with voices and midrange in particular presented wonderfully. If you've got the budget, upgrades such as the High Power it 2 fully grounded power supply improve the sound even further.

If you've really got a budget though, you'll want to consider the Technics SL-1300G. Technics is usually known for its DJ decks, but the SL-1300G shows the audio brand can stand toe-to-toe with the hi-fi competition too, thanks to its ease of use, powerful, punchy presentation and solid build.

We first reviewed the Technics SL-1500C back in 2019, but it remains one of the best record players at its price. It's beautifully made, fuss-free in use and offers a defined, insightful and musical sound. An excellent choice at this level, especially if you'd like a built-in phono stage.

If you're after the convenience of a Bluetooth deck, then few are as appealing as the Pro-Ject T1 Evo BT. Easy to set up, a joy to listen to and lovely to look at, the T1 Evo set new standards for Bluetooth turntables at this price.

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Hands on: Technics SL-1200/SL-1210 MK7 review

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

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

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

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

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

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

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

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

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

MORE

Hands on: Technics SL-1200/SL-1210 MK7 review

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

Best turntables 2026: top record players tested by our expert reviewers

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

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

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

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

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

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

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

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

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

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

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Read our Pro-Ject Primary E review

Five mistakes to avoid when setting up your record player

Our guide to the best Bluetooth turntables we have tested

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

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

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

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

Should do better

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

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

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

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

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

Be careful what you buy

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

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

So what's to be done?

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

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

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

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

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

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

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Quiz! Can you name the first audio product from these 12 iconic hi-fi brands?

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

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

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

But there are a few notable upgrades.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Pre-ordered units are expected to ship in 2027.

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

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

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

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

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

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

Back to basics

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

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

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

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

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

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

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

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If you’re brand new to the grand old art of vinyl collecting but don’t know where to start when it comes to turntables, then this is very much the deal for you.

We've only reviewed the five-star Sony PS-LX3BT earlier this year, but you can already get it for £233 at Sevenoaks and Amazon, a saving of £66 on its original £299 asking price. And let's face it, the only thing better than a great-value Bluetooth turntable is a great-value Bluetooth turntable on a discount.

The Sony PS-LX3BT is ideal for vinyl novices. It's easy to set up, simple to operate, can be used in multiple different ways and, perhaps most importantly of all, it's supremely affordable, especially with that aforementioned discount knocking the price down by over £60. Lovely.

Being a budget Bluetooth turntable, the Sony LS-PX3BT can be connected up to a classic hi-fi system, but you can also hook it up to a Bluetooth speaker or a pair of Bluetooth headphones if that’s how you want to enjoy your record collection.

You’ll get better audio quality if you go the traditional route, and there's even a built-in phono stage if your stereo amplifier doesn’t have one, but there’s something to be said for the simplicity and accessibility afforded by having Bluetooth on board.

Adding to that simplicity is the fact that the PS-LX3BT is a fully automatic deck, meaning you only have to press a button and the machine will spring into life, moving the arm into place and lowering itself down onto your record. When it reaches the end of the record, the arm lifts automatically and returns to its starting position.

If you do want to pair with a Bluetooth speaker or pair of headphones, all you have to do is press the large pairing button on the top of the deck, and your turntable should connect automatically to the speaker or headphones in question.

Admittedly, this is a turntable that doesn’t exactly ooze glamour, but it does exactly what it says on the tin, and at this level, that's what matters most.

In our Sony PS-LX3BT review, we proclaimed: “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.”

It’s a musical-sounding deck, and one that can entertain with any genre of vinyl placed on its platter, from the pop perfection of Michael Jackson to the classic rock of Fleetwood Mac.

Over Bluetooth, the Sony still sounds impressive, delivering music full of life and character, making it a great all-round recommendation for anyone looking to scratch that vinyl itch for the very first time.

The fact that you can now pick one up for £233 at Sevenoaks and Amazon should be music to your ears.

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

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

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

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

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

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

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

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

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

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This £13k Ortofon MC Vertex is the firm's "most advanced moving coil cartridge" ever – and is joined by a new MC X model

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

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

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

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

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

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

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

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

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

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

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

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

No small task

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

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

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

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

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

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

Broadening vinyl’s appeal

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

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

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

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

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

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

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

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

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

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

Build & design

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

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

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

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

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

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

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

Compatibility

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

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

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

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

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

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

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

Sound

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

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

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

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

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

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

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

Verdict

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

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

Review published: 1st July 2026

SCORES

• Sound 5
• Build 5
• Features 5

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

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

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

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

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

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

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

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

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

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

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Assembling a vinyl collection on a budget can be hard work – especially when you’re on the hunt for some wax you’ll really cherish, not just second-hand records with grooves worn thin.

So, as Prime Day rolled around this year, I was eager to see what discounts might pop up on the records that have been missing from my collection.

With all the recent talk of Gen Z’s growing interest in physical formats, I was hopeful that this year’s Prime Day might see a broader spectrum of genres becoming available at a discount. Amazon, surely, are down with the kids… right?

Boy, was I wrong.

Unfortunately, this year’s range of discounted vinyl has been – to put it mildly – disappointing. Better deals were available outside Amazon, such as HMV’s three for £66 bundle, but even still, the bargains were scarce.

Still, never one to give up too early, at least not when browsing records, I trawled through the digital crates so you don’t have to, and came across three Prime Day picks that I think are worth your money.

All Prime Day deals end tonight, so if you’re feeling enticed, now is the time to grab these discounted picks.

We would have liked to provide a more extensive list of vinyl deals, but this year, Prime Day simply hasn’t had much on offer. Either way, we think these three albums will make fantastic additions to any record collection.

Of course, we always advocate for visiting your local record stores, where who knows what deals could be hiding in the crates.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Here are all of the best turntables and music streamers you can buy right now

Regular readers of this website might be familiar with my turntable journey, where I fell hard for the vinyl revival a few years ago and upended my home system (and rearranged furniture) to make space for a turntable system.

My original system was modest and patched together: a Rega Planar turntable hooked up to the tiny Fono Mini A2D MkII phono stage and then connected to the Ruark MR1 Mk2 desktop speakers I've had for years. It was a lovely little set up and, most importantly for me, I did find myself using it regularly to play my slowly growing vinyl record collection.

But, as someone who loves traditional hi-fi separates, I was hankering for something more ‘proper’, and last year I finally graduated to a pair of Neat speakers and Naim’s Nait 50 stereo amplifier.

The Naim upgrade meant a couple of crucial things. First, it has a fantastic moving-magnet phono stage built-in, so my system actually ended up being neater as I no longer needed that outboard phono stage.

Second, it has a headphone amplifier with a 6.3mm socket. This section is completely new – it wasn’t on the original Nait 1 amp from 1983 – but the 50th anniversary homage adopts the headphone amp circuit from the five-star NSC 222 streaming preamplifier.

While I haven’t taken advantage of it so far, I have been thinking about finally getting a pair of wired headphones. As the summer days get longer, I find myself wanting to listen to my records late into the night while the rest of the house has gone to sleep – but obviously without disturbing my husband, my cat or my neighbours.

I have been eyeing up the awesome Sennheiser HD820 closed-back headphones for ages. We tested these five-star premium audiophile headphones a few years ago, noting their full-bodied, detailed sound and satisfying punch and agility in the low frequencies.

The problem is, the HD820 are way out of my budget even with the discounted price of £1299 at Sevenoaks. As I kept searching for something more in my price range, I found that the Sennheiser HD 505 wired headphones we tested last year are available at a much more wallet-friendly price of £180 at Amazon – and I’m tempted.

It’s not just the price that’s appealing – although that £50 discount off the original £230 test price is pretty good. That they're also an open-back design is what has caught my eye. I do find listening to closed-back headphones quite fatiguing after a while, so an open-back pair – with their more airy, open presentation – might be more amenable to the way I like to listen to music.

We say in our review that the HD 505 headphones’ “top end is wonderfully smooth, with no undue sibilance or brightness – overall this is as easy-going a listen as you could hope for.” That sounds ideal to me. The more budget pricing doesn’t mean Sennheiser has cut corners either. We found these headphones particularly talented in the midrange, with voices delivered with subtlety, clarity and a refinement that’s impressive at this level.

Grado’s SR325x and the Austrian Audio Hi-X65 are snappier, punchier and more agile open-back rivals (and are pricier), but I think I’ll prefer the Sennheiser’s smoother balance and more comfortable, lightweight build quality overall. During our testing, we found the earcups to be roomy enough that over-heating wasn’t an issue, and they weren’t fussy with partnering equipment, which means they should play nice with my Naim amp.

The HD 505 are a great entry point to Sennheiser’s audiophile wired headphones, and the relatively affordable price helps too. Will they transform my late-night vinyl listening sessions? I can’t wait to plug them in and find out.

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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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I've tested quite a few budget Bluetooth turntables this year, including the Sony PS-LX3BT and the Sharp RP-TT100, but my top pick for overall sonic performance has to be the Sony PS-LX5BT. Like its LX3BT sibling, the PS-LX5BT earned the full five-star haul earlier this year thanks to its commendable sonic talents alongside excellent usability and multiple ways to listen.

Now that it's dropped to £307 at Amazon, Sevenoaks and John Lewis this Prime Day, you're in a great position to pick up five-star quality for £92 less than its standard RRP of £399. That's roughly 23 per cent off a supremely talented Bluetooth deck that we only recently reviewed!

Best Sony turntable Prime Day deal

The PS-LX5BT gives you the full Bluetooth turntable package, with a built-in phono stage, fully automatic operation and great sonic performance on a budget, although if you're looking to save even more cash, the step-down PS-LX3BT is also on sale for Prime Day.

That said, if you pick the LX5BT, you'll get a better cartridge, a slightly different arm tube, slip mat and finish, as well as fully detachable interconnect cables.

This being a fully automatic turntable, operation and setup are simple. The PS-LX5BT is easy to use and responsive to our commands, without needing to manually adjust the tonearm or tinker with tracking weights.

The PS-LX5BT is supplied with a pre-fitted moving magnet cartridge with a 2g tracking force, with much of the PS-LX5BT's improved performance likely deriving from its more premium cartridge.

For Bluetooth, there’s support for the hi-res aptX Adaptive codec for handling files wirelessly up to 24-bit/96kHz to compatible Bluetooth speakers and headphones, with the PS-LX5BT allowing up to eight devices to be paired at any given time.

Why would you get the PS-LX5BT over the cheaper PS-LX3BT? For us, the costlier deck does a great job of justifying its not-inconsiderable price increase over its more entry-level counterpart, offering a more open, spacious and more detailed sound than the LX3BT.

It also grants more space around instruments and gives the music greater breathing space within its broader, wider soundstage, leading to a more natural and immersive performance. Judged on its own or against its smaller sibling, Sony's affordable player really shines.

All in all, a great turntable with fantastic usability and class-leading sound at a fantastic knocked-down price. Find it at Amazon, Sevenoaks or John Lewis before Prime Day ends.

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

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

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

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The best Beatles albums on vinyl

“History doesn’t repeat itself, but it often rhymes.” So goes Twain’s aphorism.

And as the vinyl resurgence ploughs on, something of that sentiment can be felt in the kinds of products that are undergoing discounts as part of this year’s Prime Day sales.

Most vinyl enthusiasts will know the score: a beloved old turntable and an up-to-date, perfectly functional hi-fi system. Both are great things to have, but sometimes the sonic limitations of retro gear can stand out on more modern systems.

Alternately, you might have bought a budget turntable and have a pair of active desktop speakers, and now you need that crucial phono stage element to get them working together.

For those in either situation, this Cambridge Audio Alva Duo phono preamplifier is a discreet and inexpensive addition that will give your vinyl system the sonic upgrade it deserves. Why repeat, after all, when you can rhyme?

Right now, the Alva Duo is seeing a £50 discount, and is available for £249 from Amazon.

This five-star outboard phono stage is compatible with moving-magnet (MM) and moving-coil (MC) cartridges. In an unusual, but highly convenient twist, the Alva duo also features a built-in headphone amplifier stage and volume dial.

This is great news if your old-school turntable doesn’t have a headphone socket, and means you can blast your records late into the night, without making enemies of the neighbours.

Note: if this is your plan, you’ll also want a solid pair of wired headphones, for which you can consult our top wired headphones of the year.

For any newbies to the world of turntables, adding this Duo phono stage to a pair of active speakers will make sure your records are conveyed with a smooth, full-bodied sound.

Admittedly, our current favourite phono stage, the Rega Fono MM Mk5, will provide a punchier and more rhythmically precise sound for a similar price, but it lacks some of the extra features that make the Duo so irresistible.

Most of the budget to mid-price turntables that we would recommend using the Duo alongside will be likely to use an moving-magnet cartridge as standard, but if you wanted to explore moving-coil options at any point, the Duo allows you to expand your horizons. A word of warning, though: MC cartridges tend to be a lot pricier.

Whether your hooking up a desktop vinyl system or refreshing a golden oldie, we think this deal is worth serious consideration. With a stylish look, dynamic sound and great features, the Alva Duo could be yours for a deal price of £249 from Amazon, Richer Sounds and Cambridge Audio.

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Sony is always good for a Prime Day deal, and this year has been no exception. We've spotted the lowest-ever price on the WF-1000XM6 wireless earbuds, but if you're just getting into the world of vinyl, there's also a significant saving to be had on Sony's outstanding PS-LX3BT Bluetooth turntable.

The affordable deck is perfect for anyone dipping their toe into the sea of vinyl for the first time, and with the excellent plug 'n play spinner falling from £299 to £223 at Amazon, now is the time to strike.

The PS-LX3BT is such an easy to use turntable that we'd highly recommend it to anyone who wants to dip their toe into vinyl waters.

Its automatic operation means you don’t even need to adjust the tonearm, while playing and stopping tracks is made easy via ‘start’ and ‘stop’ buttons respectively. Once your record has reached its end, the arm will automatically return to its resting start position, so you barely have to touch it at all.

Speaking of tonearms, the Sony deck features an aluminium model with a precision pivot bearing, as well as an aluminium die-cast platter and a rubber mat. You also get a pre-fitted moving magnet cartridge with a tracking force of 3.5g, but as there’s no quick way to remove it from the tonearm, your options for upgrading are limited.

The PS-LX3BT offers Bluetooth streaming with support for the aptX Adaptive codec for hi-res streaming up to 24-bit/96kHz to compatible Bluetooth speakers and wireless headphones. That's a great bonus if you have, say, a JBL Charge 6 or Flip 7 knocking around and want quick and simple streaming to impress your mates.

Impress is the word. Within a proper hi-fi setup, the PS-LX3BT sounds punchy, alive and focused, with a balance that blends muscle and drive with enough space to give your music room to breathe. Affordable Bluetooth record players can often sound compromised, especially at the cheaper end of the market, but that's not a criticism we could level at this Sony.

All in all, an excellent starter point for users seeking a lethal blend of performance, usability and flexibility. Check it out at Amazon this Prime Day.

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The human conscience is a funny thing. Most of us, I suspect, can relate to how easy it is to know something is wrong and go on doing it on a regular basis, regardless.

But in this age of convenience, I am starting to feel my moral concessions piling up. Every day, there are a number of things I do that are inarguably within my power to change... and to change fairly easily, at that.

And so, starting with the small things, I'm trying to act.

To get started, I'm targeting music streaming. Specifically, I'm moving away from it.

Since streaming platforms like Spotify and Apple Music became available, as a music fan, I have fallen for the model hook, line and sinker. Millions of songs at my fingertips, for only a tenner or £12 per monthly subscription. No wonder it's the dominant way we listen to music now.

But as someone with many musician friends, I have seen first-hand the impact that certain platforms' revenue models have on the way musicians are – or more accurately, are not – reimbursed for their art.

I did indulge in a modest turntable set up at home, but with physical media often seeming too expensive these days, I've found myself reluctant to make the leap entirely.

That's why, this Prime Day, I've been on the hunt for a vinyl deal that will equip me with a library that doesn't consist solely of second hand Dire Straits and Simon and Garfunkel records. Nothing wrong with either artist, but I'm looking for some diversity.

Thankfully, for those in my situation, HMV is running a multi-buy deal in which you can buy three vinyl records for £66.

I know this discount might not sound like much, but with many vinyl records' full prices sitting at £40 and beyond, this deal has the potential to cut the cost of your record collection in half.

What's more, the selection on offer at HMV is vast. Much more so than what's available at Amazon, which barely has any deals on vinyl records or CDs this year.

While browsing, I spotted a number of the What Hi-Fi? review team's favourite classic albums, including Amy Winehouse's Back to Black, Radiohead's In Rainbows and Jeff Buckley's Grace, alongside more contemporary titles such as Geese's Getting Killed and Olivia Dean's The Art of Loving.

Among the most expensive records involved in the deal are The Cure's Show at £49.99, The Verve's red vinyl edition of A Northern Soul at £45.99, and Elliott Smith's Figure 8 at £43.99. On those three records alone, you could make a whopping saving of £73.97 with this HMV offer.

This is a fantastic deal for anyone looking to add some big name titles to their record collection, and also a great way to invest in the artists making the music you love.

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The Pro-Ject T1 Evo BT is a budget Bluetooth turntable done right, and it's back down to its lowest price thanks to Prime Day.

Well, sort of. Down from £479, you can get the T1 Evo BT for £399 at Richer Sounds, although if you do want to do the whole Prime Day thing, you can get the same deck from Amazon for £439. Ironic, then, that the best deal this Prime Day is from a non-Amazon site...

The Pro-Ject T1 Evo BT is an appealing, accessible and fuss-free Bluetooth turntable. In fact, it even makes an appearance on our best turntables guide as the best Bluetooth turntable we recommend.

It's ideal for beginners, as the T1 Evo BT is one of the easier turntables to set up. You'll have to fit the platter, mat, belt and dust cover yourself, but this is hardly a tricky task even if you've never done it before.

As the name suggests, Bluetooth 5.0, which can be toggled on or off via a switch on the right-hand side, is supported. Connecting to Bluetooth headphones and speakers is easy and seamless, resulting in a solid, stable sound, as a result.

A phono stage is built in for those looking to reduce costs, but there are line-out terminals if you'd rather outsource such duties to an amplifier or standalone phono preamp. Support for 33 ⅓ and 45 RPM speed settings means you have a plethora of options with that £20 vinyl credit.

However you listen to the T1 Evo BT, you'll quickly be rewarded with a smooth, fluid sound.

"What hits us immediately as we spin our first record is the feeling of weight and smoothness the T1 Evo BT exudes," our Pro-Ject T1 Evo BT review reads. "It’s a refined and easy-to-enjoy spinner that demands little from the listener, excelling when we pull out a pressing of Nas’ Illmatic and bask in the groove-laden warmth of tunes such as N.Y. State of Mind and The World Is Yours."

If you're looking for a convenient, easy-to-use entry to the world of vinyl, or indeed are upgrading from a budget set, then the five-star Pro-Ject T1 Evo BT is very much worth considering, especially now that it's £399 at Richer Sounds.

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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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Let's be candid about it – Father's Day can sneak up on the best of us. But for those of you looking to splash out on dad this weekend – and you've left it very last minute to buy something meaningful – this Ortofon MC Quintet Blue moving coil cartridge might be just the thing.

If your dad has a turntable that is in dire need of an upgrade, then one way to refresh it could be by updating the cartridge. The five-star Ortofon Quintet Blue is a former What Hi-Fi? Award-winner that will do the trick, and you can even make a decent saving thanks to its current discount.

Available for just £399 from Peter Tyson, this deal could complete or upgrade your old man's vinyl setup. But act fast, as there's only one left in stock!

Ortofon has been making moving coil cartridges for almost 80 years. In that time, the company has produced more than 100 different models, and this experience makes itself known in products like the Quintet Blue.

Moving coil cartridges tend to be more pricey than moving magnet designs, but the Quintet Blue walks the line between affordability and precision by implementing an elliptical tip and aluminium cantilever into a design that is otherwise reminiscent of Ortofon’s more premium Black cartridge.

Weighing 9g, the Blue should sit comfortably at the end of most tonearms, and is easily mounted via a squared-off ABS body with captive threads.

The cartridge’s output voltage of 0.5mV (1kHz, 5cm/sec) is also fairly respectable for a moving coil, which tends to output lower voltages than a moving magnet design, but it is still low enough that you'll need a dedicated moving coil input on your amplifier or phono stage.

If you are buying the MC cartridge for Father’s Day, it might be worth checking whether your dad’s system already has these features.

So let's talk about the sound. In our review, we described the Quintet Blue as a “terrific performer”, adding that we were impressed by its “refinement and ability to render treble textures”.

Rhythmically, we found it “surefooted” with a “fine sense of drive”, but did note that it fell slightly behind the similarly-priced Goldring 2400 moving magnet cartridge when listening to heavy rock music.

If your dad has been looking to add a moving coil cartridge to his record player, as dads sometimes do, this bargain could be just the thing for those willing to spend a little extra on Father’s Day.

Whoever you're buying for, there’s only one left in stock, so don't hang around if you want to pick up this Ortofon Quintet Blue MC cartridge for just £399 from Peter Tyson.

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And our best turntables 2026: top record players tested by our expert reviewers

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.

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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.

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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.

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Musical Fidelity A1 CD

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

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

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

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

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

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

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

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

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

How did the AT-MCD1 come about?

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

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

Why use diamond for the cantilever material?

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

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

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

How important is the stylus tip profile?

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

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

How does body material affect performance?

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

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

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

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

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

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

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

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

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

All you have to pay is the £5 postage.

This fluid usually costs £50 for a litre bottle.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Heavier records don’t always sound better

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

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

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

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

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

45rpm records sound better

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

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

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

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

A phono stage doesn't simply amplify

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

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

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

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

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

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

Record grooves are roughly the same width as a human hair

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

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

Monty Python broke a key record rule

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

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

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

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

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

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

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

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

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

Build & design

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

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

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

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

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

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

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

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

Features

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

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

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

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

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

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

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

Sound

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

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

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

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

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

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

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

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

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

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

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

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

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

Verdict

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

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

Review published: 1st May 2026

SCORES

• Sound 3
• Build 4
• Features 5

MORE:

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.

MORE:

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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