The Famous White Belt from Rega

"A $59 rubber band?"

Fortunately I heard that negative comment only once, shortly after Rega introduced their new "white" upgrade belt for all of their turntables. I had a chance to compare one to the stock "black" belt before this accessory was available to the masses. The 'table in question was the venerable Rega P9, top o' the line so to speak; if any analog rig could readily define the differences it would be this highly resolving machine. And yes, the differences were profound during this particular A/B comparison, with the white belt making the sound so much larger and fuller that it seemed as if someone turned the volume up.

Three years later, the derisive comments are much rarer, presumably because so many people have tried the newer belt and seem unanimous in their praise. I had one engineer who was very knowledgeable in turntable design tell me that "if there's any one single component that WOULD make a big difference in sound, it would be the belt hands down." The white belt is manufactured with much higher tolerances that result in a $59 rubber band that is structurally even throughout its orbit with fewer material anomalies. That means the platter spins true, with less slippage, bumps and artifacts to deter the flow of music.

After much ballyhoo, I pulled the trigger on this little beauty while visiting Dan Muzquiz of Blackbird Audio/Gallery last week. I'll be honest and say that there is a modicum of wonder and disappointment when you see what you get for your $59--a white rubber band in a clear plastic envelope. Setting the two belts next to each other, you'll be hard-pressed to notice physical differences beyond the color. When I removed my old stock belt (which wasn't really that old--perhaps two years or so), I was surprised that it looked larger than the white belt, which seemed to imply that it had stretched and needed replacement. When I purchased my very first Rega in 1991--a P3--I was told that there was little servicing needed save for a replacement belt "every few years." Now Roy Gandy thinks a year is more appropriate, and here was the proof.

That brings up an important point: to what extent are the sonic improvements I immediately heard due to the fact that I needed a new belt? Well, I've owned a total of four Rega turntables now--the aforementioned P3 that I had from 1991 to 1998, the P25 I had from 1998 to 2003, the P2 I bought for a second system in 2005 and my current P3-24 which I've owned since I left Washington State in 2009. I've changed a few belts in that time, and not once did I notice a clear sonic benefit. If anything, I merely experienced a little peace of mind knowing that I wouldn't have to worry about a worn belt in the forseeable future.

But after a few days with the new white belt, I'm hearing many of the same things I heard with that initial A/B comparison with the P9. Everything does seem louder, fuller and more forward. I won't search for a technical reason why this is so, it just is. My particular P3-24 is a heavily modded example (which is why I didn't feel so bad when I replaced my Michell Orbe SE with this more modest rig), with the TT-PSU, a Groovetracer machined subplatter and a Funk Firm Achroplat platter. It's no P9, mind you, but it's an entirely different animal from that first P3 I owned 20 years ago. (Another consideration is that my first P3 had the budget Rega Bias cartridge on it, and now I use the excellent Zu Audio DL-103.)

When it comes to the $59 price, however, you really need to stop thinking about rubber bands and you need to start thinking about remarkable gains in performance. While the Groovetracer subplatter probably yields a more profound improvement in sound, it is more than $200. The TT-PSU is closer to $400. Here is a $59 investment that's in the same ball park. That $59 investment seems even more prudent when you discover that the stock black belt replacement is $39 these days, so you're really talking about $20 if it's time to replace the belt (and it probably is!).

Again, if you're looking to increase the excitement level of your lowly P1, you should probably start with a better cartridge than the Ortofon OM-5e and ensure that you've splurged on the glass platter/better felt mat package. A simple belt replacement may or may not get your heart racing. But if you're using a P3 or beyond, it's silly not to have the white belt too. I'm not sure why it took me so long to grab the white belt, but I'll never go back. In fact, I'll probably use the old belt as a rubber band if I need one.

Trenner & Friedl ART Monitors

"I'm still undecided whether the Brio3 is a fantastic little amplifier that outperforms everything at its price point, or if the ARTs are an incredible speaker that makes everything sound great even with modest ancilliaries. I'm sure it's a little of both."

I said these words a few days ago, and it made me think about the Trenner & Friedl ART speakers that have resided in my system for the last six months. While half of a year is certainly not that long to have a piece of audio equipment in for review, I've felt remiss in not offering a formal review on the speaker I've decided is perfect for my needs. I suppose I was reluctant to offer any type of formal review on a pair of high-performance $4250 mini-monitors while my reference amp retailed for just $750. Now that I'm using the ARTs with the Heed Obelisk SI integrated amplifier and the X2 power supply--a combination that is truly synergistic in many ways--I feel I have a better handle on just how great the ARTs really are.

Bob Clarke of Profundo, the US distributor for both Heed and Trenner & Friedl, put it best. "You probably won't want to ever trade in the ARTs as you upgrade your system," he told me at the 2011 CES. "They will really continue to blossom as your amplification gets better and better." Bob should know, since he uses the ARTs as his own reference speakers mated to the expensive VivA tubed amplfication from Italy.

If you think my enthusiasm for the ARTs borders on hyperbole, then consider the following:

1. Terry Combs, owner of Sound Mind Audio in Dallas, uses his ARTs in conjunction with the dedicated 78rpm system I talked about in the latest Vinyl Anachronist column for Perfect Sound Forever. Terry carries a lot of expensive speaker brands, but he keeps coming back to the ARTs for his own listening enjoyment. "If someone told me I had to listen to the ARTs and only the ARTs for the rest of my life, I'd say okay...thanks!"

2. Before I listened to the ARTs, I was extremely enamored with a couple of British mini-monitors from a beloved and respected manufacturer. Since I've owned the ARTs, I've listened to these speakers on several occasions and actually came away unimpressed for the first time. The ARTs ruined them for me.

3. While listening to Trenner & Friedl's $170,000 Duke flagship speakers at CES, I came away thinking how similar the ARTs were in tonal accuracy and their ability to reproduce detail in a forthright and utterly musical manner. I have to admit that the Dukes are the finest loudspeakers I have ever heard, but when I returned home from Vegas and gave my ARTs an extended listen, I loved the little guys even more. The family resemblance, in other words, was amazingly strong--even considering the $165,000 difference between the two products.

In some audiophile circles I frequent, I received a bit of flak from so-called objectivists who felt that the ARTs aren't that impressive when you look at their numbers, especially considering their price. One audiophile and longtime acquaintance, who prefers Vandersteens and vintage tubed amplification, asked me, "Are you trying to say that you couldn't find a decent full-range loudspeakers you liked for $5000?" (The slightly inflated price was the result of his estimate of a good pair of stands for the ARTs.) I thought about that question for a while, and realized that the answer was no, there was no full-range speaker in that price range that I felt bettered the ARTs in overall musicality. In my relatively small listening room (actually a small spare bedroom in a rather large house), the ARTs are able to sound dynamic, authoritative and BIG. They are able to throw up a gigantic soundstage, just like a full-range speaker. They play loud. They produce an amazing amount of bass for a mini-monitor. And they never fail to sound musical.

I guess it eventually all comes down to bass, since the ARTs are nearly perfect in all other respects. The ARTs do go down to 44Hz, plus or minus 6dB. It's that 6dB spec that has the objectivists in a tizzy; if it was only 3 dB, then that would apparently be okay. I tend to focus more on that 44hZ spec, since I believe that it can be further reinforced with proper room placement and amplification. Besides, I think about some of the huge British loudspeakers I've owned over the years. The Spendor SP100s I had for several years are flat down to about 45 Hz. The $13,000 Harbeth 40.1s I used for about six months are flat down to about 39 Hz. Those are giant speakers with huge footprints. The ARTs are downright miniscule in comparison. While that 6dB blip is the reason why I can't honestly say that the ARTs are in the same ballpark low frequency-wise with those other speakers, they're relatively close. Close enough, in other words, that I really don't care about the gap.

After living with the ARTs for the last six months, I'd say that I have the right amount of bass for at least 90% of the music that I listen to...maybe even 95%. There are certainly times when I know that a bass line is missing altogether, such as some of the subterranean bass guitar runs in the Flobots' excellent Fight with Tools CD. But the ARTs get so much right in the bass department that it's not that big of a deal. Double basses, for instance, are reproduced with the right amount of weight. Kick drums are visceral and potent.

The ARTs' ability to throw up a giant soundstage certainly helps. As I've said before, lack of deep bass is less noticeable in a humongous soundstage. The ARTs deliver the type of soundstage that easily transcends room boundaries. I've been told that they breathe even more in larger rooms than mine, but that undermines my point about the ARTs excelling in small rooms. I've never heard a speaker, small or large, that does so much with so little. To illustrate this, I recently had Colleen Cardas of Cardas Audio listen to my system (The ARTs, by the way, are internally wired with Cardas cable). Colleen's first comment was "Wow, this room is small." Her second comment, after listening to a few selections, was "This sounds like really expensive systems do."

In other words, if you want great sound in a small room, start with the ARTs.

So what about the five to ten percent of my music that needs more bass? Well, I suppose I could consider a subwoofer down the line. While visiting Dan Muzquiz, a Trenner & Friedl dealer in San Diego, I heard the ARTs mated to a Mingus subwoofer--a discontinued model from none other than T&F (I hope you've noticed by now that most T&F speakers are named after jazz greats, and the ARTs are named for Art Pepper). This was a thrilling full-range combination that gave me everything I could ever want--the same coherent musicality, the same unbelievable soundstage and the same thrilling dynamics. There was just a bit more bass. Not a screaming amount, just a bit.

Okay, so I've beat the bass issue like a deceased equine, and it's time to talk about why the ARTs are so great. What else is there to say? Now that the Heeds are in place, I'm experiencing a sound that is easily the equivalent of some of the $50 to $75K systems I had at my disposal while reviewing gear for TONEAudio. I tallied up my system the other day, and came away with a slightly inflated (aka MSRP) price of $18,000. That includes the exquisite Clear Light cables from Cardas Audio, which account for a bigger percentage of the total than I usually reserve for system cabling. There are also some weak links in the system, such as a modest Rega P3-24 turntable and Zu Audio DL-103 cartridge, and a very modest Denon CD player. (I'm not really interested in getting an expensive CD player as long as I'm using our custom Blue Computer Solutions music server, although I might be getting one in the near future for review). I truly believe that the ARTs are great enough to make those pieces perform at their very best.

The ARTs elevate the performance on the entire system, which explains my reluctance to point out the shortcomings of the Rega Brio3. (For the record, the Heeds underlined the fact that the Rega is a little gainy in the treble, and it isn't the most resolving amp in the world). The fact is, the Rega/T&F combination was much better than I expected. So in my humble opinion, the ARTs may be one of those rare components that can transform an entire system for the better.

I haven't even mentioned the fit and finish of these remarkable mini-monitors. The cherry veneer is deep, textured and rich. The Corian baffles are translucent and make the speaker seem to glow from within, much like the music the ARTs produce. These are absolutely gorgeous speakers, a rare mini-monitor that radiates beauty without resorting to odd shapes or glued-on doodads. The proportions are unique; while the ARTs look tiny when faced dead on, they are unusually deep, a result of the fact that they are designed using the Golden Ratio. In other words, the ARTs are uniquely striking without being gaudy. The pride of ownership with these little gems is through the roof.

So will I keep the ARTs forever and ever? That's hard to say, since I once said the same thing about my Spendor SP100s. All I can say is that if I do replace the ARTs one day, it will be with a speaker that is MUCH bigger and MUCH more expensive. And it will probably be sporting a Trenner & Friedl badge as well.

Initial impressions--Funk Firm Achroplat II and Achromat

I've just spent some time comparing the Achroplat II and Achromat replacement platter and mat with my Rega P3-24. The Achroplat II, as I've previously mentioned, is a new version that has been machined to fit with the GrooveTracer machined subplatter (a modification that I could not live without, quite frankly), and I've come to the conclusion--for now--that the Funk Firm products offer an extremely worthwhile increase in performance over the stock glass platter and felt mat from the Rega.

In the past I've always warned against replacement mats and platters for Regas. Acrylic platters, in particular, tend to rob Rega turntables of their fast, energetic nature. In a nutshell they sound a little dead and lifeless in comparison and create an overall sound that resembles something like a lesser VPI. My running joke has always been that if you want your Rega to sound like a VPI, you should have bought a VPI in the first place. I'm happy to report, however, that both the Achroplat and the Achromat retain that vital Rega sound and only increase my enjoyment of the sound.

The Achroplat II is the more radical of the two mods (at a slightly higher price, as it should be). I listened to the first three tracks of Anja Garbarek's Smiling and Waving LP, an LP I often choose for listening sessions for its combination of detail, delicacy and marked contrast between its naturally recorded elements and electronic/sampled touches. The Achroplat excelled in expanding the size of the soundstage in every direction, and for reaching further into the grooves and extracting more details. If you're looking for a more expansive, detailed sound for your Rega, this is the way you should go.

The Achromat, which I used with the stock glass platter without the felt mat (obviously), offered a distinct yet equally intriguing option. While it didn't retrieve the same amount of detail and transient decay as the Achroplat, it offered a smooth, warmer sound that is more in line with the typical sound you may get from tubed amplification. After going back and forth with the Achroplat, I discovered that I could live with either sound. I must say, however, that this opinion may change as I listen to different types of recordings.

When I substituted the felt mat for the Achromat, I didn't immediately retch and vomit. The stock solution is still extremely musical, but I did sense a smearing of some minor details in the mix, and I noted that the overall presentation sounded a little more homogenous and didn't quite leap out at me with the same immediacy as the Funk Firm products.

Then there's one more slightly important consideration: the white Achroplat looks extremely cool, and I like the way it makes the Rega looks like a much more serious 'table--something like the Funk Firm Vector TTs. Does this matter? I always maintain that it does in terms of pride of ownership, if not ultimate sound quality. Dyed-in-the-wool audiophiles may not admit this is important, but often it secretly is!

The cost of the Achroplat II is $249. The Achromat is $149. If you're looking to get a little more performance out of your Rega P3-24, then these upgrades are more than worthwhile. I want to keep at least one of them, but which one? I'll know for sure after I've listened for a while longer. But if you're intrigued, then give Dan Muzquiz of Blackbird Audio Gallery a shout at 619-449-2787, and he'll hook you up.

One for the ladies...

 
Colleen Cardas of Cardas Audio just sent me a link for Scheu Analog, a German audio company that makes high-quality turntables. This particular turntable, called the Diamond, is being aimed at that rare and elusive market segment known as the Female Audiophile. Here is some of their copy:

"Pink, classic, seductive, simply ladylike--that is Diamond. A turntable designed specially for ladies--an innovative new product from Scheu Analog!"

Other than the color, I'm not sure what distinguishes this turntable from those made for grunting, belly-scratching male audiophiles. If I say that it's easy to operate, would that be sexist? How about if I phrase it like this: women are probably less likely to put up with the inconveniences that male audiophiles take for granted. For instance, macho purist audiophiles are more likely to put up with cartridge loading that can only be done by opening a component case with a flimsy Allen wrench, re-inserting jumpers and setting tiny DIN switches. Or, hairy, smelly male audiophiles thinking nothing about eschewing tone controls, balance controls and even cueing levers for the sake of ultimate sound quality. Or, strong, insensitive hunks are more than willing to sacrifice the integrity of their lower back muscles by shifting their 450 pound full range speakers a quarter of an inch further from the back walls of their listening rooms to achieve that last iota of imaging and soundstaging.

If you check out the comments section of the Scheu website (at http://www.acoustic-dimension.com/Scheu/Diamond/Scheu-analog-diamond-main-page.htm), you'll see at least one man who kind of digs the look of this turntable. And for those of us who aren't quite so secure about their masculinity, a version of the Diamond is available in drab, dreary black.

All kidding aside, Scheu 'tables are highly regarded, and I'm sure the Diamond offers a level of sound quality that will appeal to both men and women. That said, Scheu is not the first audio company to offer one of their products in pink--Rega recently announced a pink version of their venerable P3-24 turntable! So pink is the new black!

Trenner & Friedl ART monitors -- Impressions #1

Today I listened to one of my true reference LPs, the RCA Living Stereo re-issue of Clair de Lune from Raymond Agoult and the London Proms Symphony, which is always a treat. Recorded in England in 1959, this recorded is one of the most beautiful classical albums I've ever heard, and the sound quality is rich, natural and very earthy. Now that I have my Trenner & Friedl ART monitors settled in on their Quadraspire stands, and now that they've been broken in for almost a month, I'm starting to do some serious listening. I put the LP on the platter of my modded Rega P3-24 and cued side one.

For me, Clair de Lune has always been a soothing album, as in sooooooootthhhing. There are a few crescendos here and there, but for the most part this album is meant to be relaxing. (For those who are unfamiliar with the album, it's a collection of moon-themed classical piecs from the likes of Massenet, Tchaikovsky, Elgar, Bach, Gluck and of course Claude Debussy.) Starting with the first side, however, I noticed how exciting this music actually is. On Tchaikovsky's Chants sans Paroles, for example, I was actually startled once or twice by the wide dynamic swings.

The ARTs may be small, but they don't sound small. For me, that's the mark of the best audio equipment, the feeling that the soundstage is limitless and that you're listening--and looking--into something that's life-sized. While the tiny ARTs don't go as low in the bass as a true full-range speaker, they do present a big enough soundstage to preserve that feeling of sheer size. Even the double bass section was presented mostly intact, with even the deepest notes sounding melodic.

Along with this size goes dynamics, and this is where the ARTs surprise me like no other mini-monitors. I had to lunge for the volume once or twice because I just wasn't prepared for the sudden, emotional swells in this music. The ARTs also capture all the detail of the quiet passages. In fact, one thing I noticed yesterday when I was listening to my German ARS pressing of Fleetwood Mac's Rumours was that all of the fade-outs were longer on each song, and I was able to hear more of the tiny details at the very end. I don't think I've ever heard a speaker that could do that, except for maybe some huge panel speakers that cost quite a bit more than the ARTs.

That's my thoughts for the day on the ARTs. Fantastic little speakers so far.

See? It really is lime green.

This pic is more to settle a bet than anything, but after reading my most recent Vinyl Anachronist column at Perfect Sound Forever (available at http://furious.com/perfect/vinyl75.html), someone emailed me and challenged me on the fact that I had a lime green Rega P3-24 at home.

Well, here it is. It has the TT-PSU electronic power supply upgrade, the GrooveTracer machined aluminum subplatter and sapphire bearing and the Zu Audio DL-103 cartridge, so it's not exactly a garden-variety P3 (although it would look great in a garden!).

So there, pal. Pay up.