Two-Channel Stereo (Part 11: Turntables)

For more than twenty years, I listened to LPs on what turns out to be a reasonably well-respected turntable. It’s a Rotel RP900, and in 1993, it sold for $500 (about $850 in today’s dollars). Apparently, some or all of the turntable was made by the British company Rega, now among the best-known turntable makers. Through the years, I used several phono cartridges, most recently the Shure V15Vx, a discontinued item I found on Audio Shark for over $500 in today’s dllars. So, for working purposes, I’ll assume my “analog front end” cost about $1,500—including a $200 phono pre-amp.

As I’ve been listening to more and more vinyl, I wondered whether a greater investment would significantly improve the experience of listening to records. As I wondered, I found myself spending $20-30 in record shops specializing in vinyl—not buying the new pristine artisan pressings that seem to cost $25-40, but used copies that cost a tenth as much (so $30 bucks buys 8-10 LPs in surprisingly good condition).

I poked around the web, trying to understand whether I ought to upgrade my phono pre-amp (a.k.a. phono stage), my cartridge, my turntable, or some combination of the three. I found several retail stores willing to help me answer the question, but it was unreasonable for me to ask the small business to spend hours with me as I swapped out various combinations of the three analog components. I started by experimenting with a better phono stage pre-amp, the Sutherland Insight, and I was very pleased with the improvement. Then, I upgraded the phono cartridge to the Dynavector DV-20X2L, and once again, the listening experience was much better than before. Would a replacement turntable take me much further? Or would the step-up offer only incremental improvement—at a high price? (Audiophiles are forever pondering these questions.)

To organize my thinking, and frame the appropriate questions, I rely upon Robert Harley’s book, The Complete Guide to High-End Audio, now in its fifth edition. Chapter 9 explains “Turntables, Tonearms and Cartridges: The LP Playback System” (thank goodness, for it is among very few reference sources that provide a comprehensive overview). For the serious listener, Harley recommends an investment in the “analog front end” of about forty percent of the total investment in a two-channel stereo system. Practical guidance: “A mid-level turntable and arm cost $800 to $1,500,” often including the cartridge. He goes on: “There are roughly three levels of quality and price above $2000. The first is occupied by a wide selection of turntables and arms costing between $3,000 and $6,000. In this range, you can achieve outstanding performance. Plan to spend at least $1,000 for the phono cartridge appropriate for these turntables.”

Without reading his bible too literally, I was now able to understand the jump from the Rotel turntable would require an investment of at least $1,500 and probably $2,000—plus the cost of the cartridge. That’s a lot of money (not for an audiophile, perhaps, but for the rest of us)—or so it seemed until a friend pointed out that my current turntable, still in service, was easily twenty years old. Is it worth spending the equivalent of $100 per year to own a proper turntable that could “achieve outstanding performance?” Perhaps.

Facing “a wide selection of turntables,” how do you choose the right one? I spoke with any expert who would engage in conversation, but I also spent a lot of time reading articles from what I consider to be the better online publications specializing in high-end audio. Here’s a terrific list called Daily Audiophile, a useful starting point from the uniformly excellent Analog Planet blog, more from TONEAudio’s Analogaholic, one of The Absolute Sound’s helpful Buyer’s Guides (BTW: Mr. Harley runs the editorial side of TAS), and perhaps best of all (and sometimes controversial), Stereophile’s descriptions of Recommended Components, soon to be updated with the Spring, 2017 selection.

Armed with too many notes, I entered the fray of online retail sites, previously described in an earlier article. Utter confusion! Some products still current, others being closed out, some demos with and without cartridges. Unfortunately, visiting each manufacturer’s website was not as helpful as I would have hoped. I was intrigued by the Rega RP6 ($1,495) but I couldn’t figure out why it cost half as much as the Rega RP8 ($2,995), or why the physical base of the more expensive model was shaped like a butterfly, not like a rectangle. It was very difficult to find a meaningful comparison between the RP6 and the RP8 on the web—here and there, an amateur YouTube video, only marginally helpful because (of course) I could not actually hear the turntables properly. And even if I could hear the turntables, I was unclear how to listen to the turntable without being largely affected by every other piece of equipment as well as the sonics of the listening room itself.

A snapshot from one of the five Rega Research tour videos on Analog Planet.

One of the voices of sanity in the analog jungle is a writer/editor named Michael Fremer. And he showed up with help—just in the nick of time. Michael visited the Rega factory, and recorded a very detailed video tour (over two hours, presented in five parts), complete with interviews and clear explanations of every part of the turntable manufacturing process. For the first time, I understood how a cartridge is made (at an impossibly tiny scale), why certain strategies are used to design and build the base of each turntable model, why tone arm manufacturer is such an art, the importance of motors and belts, and so on. If you are considering—or dreaming about—a better turntable, this feature-length presentation is well worth your time.

Linn-Sondek’s flagship Klimax LP12 turntable.

Feeling more comfortable with the whole idea of shopping for a turntable, I began to explore more specific options. One dealer was very pleased with turntables from Thorens and Teac, but others were less enthusiastic, and there wasn’t much press attention paid to these two companies. Linn-Sondek, which offers its classic LP12 in a variety of mix-and-match parts, but I didn’t find much energy in the community for current offerings. Everyone seemed to love SME, but prices started around $7,000, more than I could or would spend. Similarly, Music Hall turntables were well-reviewed, but their best turntable was below my threshold, so I moved on. I was intrigued Clearaudio’s Concept and Performance turntables, but never found enough information to seriously consider either one. I was curious about vaguely familiar company called VPI Industries, but there were so many models available online, I just about gave up trying to understand what was available (apparently, the various Classic models—there are several—are still available from online retailers but they are discontinued). Mostly, I had been curious about a model called the Scout, but finding my way through the various Scoutmaster, Scout 1.1, Scout 2 other models required far too much time and effort.

What I really needed to do was listen. I wanted to listen to a series of promising turntables, each connected to same high-quality stereo system, each with the same cartridge, same cabling, same everything—by limiting the variables, perhaps I could make some sort of reasonable decision. That would be best achieved through engagement in the local audiophile community—Saturday listening sessions are not uncommon, but require some research.

Available for about $30 in 180g vinyl (new), or $3 used (source: Discogs).

I was able to sit on a comfortable couch and listen to a good clean recording of “Sometimes in Winter,” an ideal test track on Child Is Father to the Man on the very first album by Blood Sweat and Tears. We started with the newly-redesigned VPI Scout ($2,199), which sounded similar (but better) than my current Rotel turntable. The sound was clear, present, and strong, but the vocals were not front and center, the horns were not as nuanced, and the sense of space could be better. All of this made for a very pleasant listening experience, but I was ready to move up the line to the similar-looking but heftier VPI Prime ($3,999). In just a moment, I heard the difference—the horns were crisp and full, the vocalist had stepped up and was now center stage well-separated from the background, and the overall soundstage was not only larger, but considerably more detailed. Why? Better materials, better components in the turntable, a better motor, a better base—and all of these add up to better sound. At that point, I had, more or less, made my decision, but, of course, I was curious how much more I would hear when I listened to the VPI Prime Signature ($5,999). Of course, the more expensive turntable sounded better—but here, we get into the incremental jumps. The sound was undoubtedly heftier, more substantial, even more clear with improved presence, and an even greater sense of accurately reproduced instrument sounds, especially among the brass instruments. I wanted to remember what I had heard, so I walked away without listening to VPI’s highest quality turntables—the three models of VPI Avenger, or the completely awesome (and very large) VPI Titan.

The VPI Scout, VPI Prime, and VPI Prime Signature. Note the heft of each successful platter and base, the sophistication of the feet, the size of the motors, and in the first two, the thickness of the turntable platter.

Of course, listening in a well-appointed professional listening room is not much like listening at home. I decided to give the VPI Prime a try. We added the Dynavector DV-20X2L that sounded so good on the Rotel turntable, and connected it to the Sutherland Insight pre-amp, also a wonderful friend for the Rotel. And off we go with a DG recording of Emil Gilels performing Brahms’s first piano concerto with the Berlin Philharmonic—with its bombastic opening, now so clearly rendered with absolute distinction between the instruments, and minimal (if any) congestion in the extreme sequences with what sounds like tons of instruments all blasting their hearts out. Shift to the quieter string and wind sequences, and everything is sweet, present, energetic, really wonderful.

But I must be careful. The tonearm (3D printed, by the way, which is very nifty and apparently a great contributor to the quiet of the turntable operation) is balanced on what appears to be (and turns out to be) the polished point of a dart. The adjustments for proper operation require extraordinary care (but they can be learned by the average person, perhaps one less thumb-clumsy than me). The turntable’s aluminum platter weighs twenty pounds, but spins seemingly without any friction at all. The rigidity of the base matters a lot—and there are a lot of theories about both the construction of the base and the necessary weight of the platter—but here, there’s an 11 gauge steel plate holding fast to the MDF base. Overall, the VPI Prime feels very strong and well-made, but the tone arm assembly, with its exposed rear cable and its various knobs and dials, feels as though I’ve entered an unfamiliar technology realm.

And yet, none of that matters. Not when Emil Gilels is playing the piano, and I’m litening to a turntable, a cartridge and a phono stage that were, five months ago, a completely theoretical idea. Now, the sound feels so natural, so effortless, so entirely pleasant, so exhilarating, that I wonder why I waited so long to improve the “analog front end” of an otherwise terrific stereo system.

After a few weeks of listening, I’m back in the record stores, happily rediscovering favorite rock, jazz, Broadway and blues albums from long ago, and grabbing high-quality classical antiques (yes, antiques—$3.99 each) made by Deutsche Grammophon, Melodiya, Angel, Columbia, Philips, Decca, and other labels that will, in time, be lost to a world dominated by Spotify and iTunes. Me, I’ve found something far more satisfying. And fun!

BTW: This article is part of series.

A closer look at the VPI Prime turntable, with a closer look at the tone arm base below.



Two-Channel Stereo (Part 9: Phono Stage [Pre-Amp])

Let’s start simply. You own, or may soon own, a turntable. The turntable is comprised of a spinning platter, a tone arm, and at the end of the tone arm, a phono cartridge with a tiny stylus. The stylus makes contact with the grooves on the record, and if you listen carefully, you will hear music–the sound of the stylus, or needle, running through the various bumps and valleys in those grooves. Now, the trick is to amplify those sounds, retaining both clarity and character, without introducing anomalies.

If you think back to the stereo systems of the 1970s, you could simply plug an RCA stereo cable from the back of the turntable to the back of the stereo receiver, and choose the “turntable” option on the front. The concept has not changed. The receiver contained a phono pre-amplifier to bring the turntable’s incoming signal up to a certain level, which was then amplified to a level that could be heard on a pair of loudspeakers (or headphones).

Today, this setup is still available, but we’ve become more sophisticated. Nowadays, you can buy the tonearm as one device, the phono cartridge as another, high-priced cables to assure the best quality sound running from the tone arm to the phono stage, and then, a separate pre-amplifier, amplifier, high quality loudspeaker cables, and the speakers. In this article, we’re focused on the phono stage, or phono pre-amp (the terms are used interchangeably).

One more thing before we discuss equipment. (This paragraph gets a bit technical.) There are several types of phono cartridges, and your choice of cartridge will affect your choice of phono stage–and vice-versa. The two key terms are Moving Magnet–often abbreviated as MM–and Moving Coil (MC). The difference between them is not simply explained nor easily understood. Most inexpensive cartridges are MM, but there are excellent MM cartridges available. MC cartridges are usually purchased by those with better audio systems, but a good MC cartridge can be purchased for a few hundred dollars. All of this will be discussed in a future article.


Inside the Sutherland Insight phono stage, easy adjustments for Gain and Loading. Once you decide upon a specific cartridge, just move the four little red caps one time, and forget about them.

For now, you should know that every cartridge offers its own electrical characteristics.For purposes of selecting an appropriate phono stage for your needs, you’ll be concerned with “gain” and “load.” Gain is easy to understand–it’s the amount of amplification required from the phono stage for that particular cartridge. Gain is expressed in decibels, a familiar term. Load is more complicated, involving some understanding of impedance, capacitance, etc. No worries. Let’s move on.

I’m now spending so much of my listening time with LPs, I was becoming more aware of how good my CDs sounded, and I was wondering why my LPs didn’t sound as good. No real complaints–the current setup has served me well for twenty years. Still, I suspected there was room for improvement in the “analog front end” of my stereo system could be improved. But where to start?

I like my turntable–and apparently, so do the people who service it from time to time. I consulted my various advisors, and everyone felt I could stick with the Rotel RB900 for a long time. Nobody felt turntable replacement was the place to start.

How about if I swapped out my Shure V15vx–a classic, well-regarded MM cartridge that cost a few hundred dollars new. How old was it? How many records had I played? Did I treat it with care and love? Was the stylus dirty? Could the whole thing sound better if I just spent more on a new cartridge? Which one? I started reading reviews online–but the reviews led me to believe that the phono stage mattered more than I realized.

So here’s the challenge. You can’t listen to a phono stage in isolation. You need to listen to a phono stage connected to a turntable with a particular cartridge on the one hand, and a pre-amplifier, amplifier, various cables and loudspeakers on the other. To some extent, you can ask your local dealer to swap out the phono stage and leave everything else as-is, and try to discern the differences. Fortunately, I found a dealer who was as curious about the difference as I was, so I started there. Before we started the tests, we tried our best to match the sound of my existing stereo system in his showroom–and did that fairly quickly. And we started to listen. Remember: my starting point is a $200, 20-year old phono stage.

I know what I want to hear. I want a single cello to sound like it has heart and soul. I want a violin section to sound like individual instruments, not a like a mass of high sounds. I want a clarinet to sound like a clarinet. I want to hear the difference between brass instruments in a jazz ensemble, and I want the drummer to tap every so gently and to hit it hard and make me smile. All subjective. All in my head. All pretty easy to hear–or not.

Phono stage pre-amplifiers come in many shapes, sizes, designs, even colors.

Phono pre-amplifiers come in many shapes, sizes, designs–even colors. I prefer a more traditional look.

The tests didn’t take very long, in part because I had carefully read just about available review on the internet. It was more of a checklist exercise, with confirming glances shared between us–nope, this wasn’t it, nah that wasn’t the one either. I had high hopes for the Lehmann Audio Black Cube Original ($629), and the Creek OBH 15 MKII MM/MC Phono Preamplifier ($595), but neither sounded substantially better than my current setup. I had read good things about Vincent’s PHO 700 Phono MM/MC w/Outboard Power Supply (now on sale for $499), but I felt my existing setup offered greater fidelity, despite the Vincent’s impressive clarity (these terms are very, very squishy but I knew what I heard). In my research, I found 85 different phono stage boxes at Music Direct, and I was intrigued by those in the $700-800 class–perhaps this price point was a better choice for me. I explored the Jolida JD9 II Standard Tube Phono Preamp ($699), and the Musical Surroundings Phonomena II+ ($75o) but again, I didn’t find the significant jump I was hoping to hear. Confused and frustrated, I wondered whether I ought to shift my focus back to the phono cartridge purchase, but I wanted to do this exploration in a systematic way. I’ve always been a big fan of Balanced Audio Technology, but their products are designed for far more discriminating listeners. I tried their least expensive phono stage, the VK-P6 ($3,499)–and smiled.

I was right–the phono stage was the right move! I just needed to accept the idea that a mysterious box–a phono stage–was worthy of a larger investment. I continued to explore–the internet is amazing for this sort of thing but you must be patient and give yourself time to absorb and compare–and I came upon a company called Sutherland. Like B.A.T., Sutherland seemed to be very serious about engineering. The company’s website showed a whole line of phono stages that were remarkably well-reviewed. The most reasonably priced model, the Insight, cost $1,399. Along with its $10,000 big brother, the Insight was included in the useful list of Stereophile Recommended Components for 2016 with a $$$ notation which means, roughly, performs beyond the price expectation.

goldmarkkarlKarl Goldmark was a contemporary of Brahms, and he wrote a lovely piece called the Rustic Wedding Symphony. Four bucks bought a fine recording by Leonard Bernstein and the New York Philharmonic. I like to use this as a test because it begins with a slow-and-steady sequence by the double basses and cellos, really low and distinct. The bass section is followed by a more animated sequence with violins and violas–a distinctly different sound. Enter the winds: bassoon, clarinet. Everything is clearly in its own section. And then comes the allegro with lots of instrument sounds: flute, oboe, clarinet, bassoon, horn, trombone, plus the violin and viola. Lots of variety in a relatively short time. Lots of opportunity for total enjoyment of the music and assessment of the rendition of individual and grouped instruments. (And, there is a free score available from the New York Philharmonic! With the conductor’s markings!!)

insighthero-1024x438Not wanting to make my phono stage exploration a career, I was hoping to hear what I wanted to hear. First up listening with the Insight: the low sequence. The double basses and cellos were strong, rich with quiet power, full of resonance and mystery, very natural. But the instruments were less clearly delineated than I hoped. The animated violins and violas can sound a bit screechy, but they were controlled here, again not quite as distinct from one another as I dreamed they’d be, but certainly satisfying — and the bit of screech faded with the first twenty or thirty hours of use (equipment needs to be broken-in). I loved how the soundstage was cast–the low strings were far over to my right, and the violins and violas were definitely in their own section to the left of the conductor, and for the violas, back a bit. Next, the winds–warm and lovely. And here comes everything! Would the variety of woodwinds, horns, strings all jumble into one conglomeration, or retain their individual identities? On my old (inexpensive) phono stage, they made for pleasant listening, but they were not clearly defined. Here, they were. Again, not perfect, but far more than acceptable, and filled with promise–I was beginning to imagine what an upgraded phono cartridge could deliver (in fact, I have upgraded the cartridge–that’s the topic of the next article in this series–matched it carefully by listening to good advice, and I’m now even more satisfied with the discrimination between instruments, the clarity and richness in some of the higher and low ranges–more on this coming up). The more I listened, the more I smiled. So: I was listening to records and hearing, and feeling, so much more than I had before. What a thrill! Seriously, I kept listening, trying one record after another as if I had discovered something magical.

After a month of listening, I am a kid in a candy store. Or, more accurately, a record store. When I have some free time, I drive out to a record store–yes, they’re still around but you may have to do some web searching before you go shopping–and I buy a bunch of LPs. Used LPs–high quality, often classical, some rock, some international, some this, some that–mostly costing less than $4. I get home, I wash each record (new obsession, more about that in a future article), and I just listen. I close my eyes and listen to the subtlety of a Smetana string quartet for 27 uninterrupted minutes. It’s the strangest thing–I am listening to the same stereo system that I have listened to for two decades, I changed one piece of equipment (okay, two because I have now changed the cartridge, too), and I am mesmerized.


What’s inside the box? I sure wish I understood what I was seeing, why this design provides excellent sound. Best of intentions–I would love to spend the time learning, but inevitably, I spend my time listening instead. Which is, after all, the whole point.

So what have I learned? A quality phono stage can make the whole analog front end sound a whole lot better. I was not so impressed with most of what I tried, so the choice of a specific box from a specific manufacturer is well worth the time and trouble. My old tendency to buying lower in the product line from a small manufacturer that specializes in much higher-end products within a single category is, once again, a strategy that seems to work. The phono stage is only part of a puzzle–there are definitely places in the musical spectrum that felt inadequate when I listened through my (lesser) Shure cartridge that greatly improved with a better cartridge.

lpsMost of all, I confirmed the importance of patient listening–confirming what I thought I heard by listening to the Goldmark symphony by also listening to jazz by Lee Morgan, vocals by Ricky Lee Jones and Linda Ronstadt, rock and roll jams on the obscure Music from Free Creek (with music by Eric Clapton, Dr. John, Jeff Beck), bringing some old Delaney & Bonnie & Friends recordings back to life. There is a consistency about the listening experience that not only sounds and feels right–amazing how much pure instinct and right brain judgement is involved in confirming my sense that the Insight is the right choice–instinct and behavior. If I notice that I’m just standing next to the turntable, intending to lift the stylus but deciding to listen to just one more song, I know I’m making a good decision.

Well, part of a good decision. Based upon many listening sessions, I’m confident that the Sutherland Insight makes sense, but only with a properly matched phono cartridge. That process is the subject of the next article in this series.

Complete list of articles in the series

A Re-Introduction to Two-Channel Stereo (Part 2: Basic Loudspeakers)

So we’ve begun. A brief explanation of older and modern two-channel stereo systems with a quick stop by two web sites, one to buy a pair of low-cost powered loudspeakers and the other to buy a turntable with a built-in phono amplifier to boost the strength of the signal coming out of the tiny phono cartridge. The system is adequate for a small room, and for very casual background music. The music sounds, well, just okay: clear enough, but not very lifelike. Certainly better than the sound you’ll hear from most of what’s available on streaming services, or from your iPhone, but quite low on the scale of what is achievable.

Throughout this series, we’ll seek out incremental steps as we improve various parts of the stereo system, sometimes taking big steps, sometimes modifying just one piece of equipment, sometimes several at a time. We’ll consider the various technologies and options now available–some offer substantial leaps in quality, and others offer more refinement and incremental joy.

For this step, let’s keep the turntable as-is: a $250 investment including the cartridge and some amplification of modest quality. But let’s separate the loudspeakers from their built-in amplification. This opens a wide gamut of opportunities to employ both new and used loudspeakers, each with its own particular personality, or acoustic characteristics. For example, some loudspeakers will offer improved bass but less clarity in the higher treble ranges, or greater detailing, or a more realistic sense of instrument placement in the panoramic sound field made possible by combining the sounds from the stereo system’s left and right channels (a bit of stereophonic magic that can be even more profound in surround sound systems involving five or more loudspeakers–an exploration for another day).

A very simple black box: the NHT Super Zero loudspeaker, a long-time favorite.

A very simple black box: the NHT Super Zero loudspeaker, a long-time favorite.

So, what we want is a pair of good-sounding, reasonably inexpensive loudspeakers offering just enough of each of those key ingredients. If you’re buying new loudspeakers, NHT offers a pair of their very popular Super Zero 2.1 loudspeakers for about $350. The company has been making reasonably priced, good-sounding loudspeakers since the 1990s. What I like about them: they’re clean, free from any obvious or annoying flaws, well-balanced in their bass, mid-section and high ranges and accurate. They are not $3,500 speakers, so don’t expect deep and clear bass, or silky strings, or extraordinary nuance in the vocals, but for most listening purposes, they are very satisfactory, and very enjoyable.

As a rule, loudspeaker manufacturers attempt to organize their product lines by price points. Many offer a “bookshelf” speaker for several hundred dollars to meet basic needs. PSB’s Alpha B1 costs $300 for the pair, and you’ll find a similar pair from Peachtree Audio, their SX60, for $350 to $400, and these compete with Monitor Audio’s Bronze 2, currently marked down from $500 to $378–all of these speakers are/were available from Audio Advisor, a leading web direct marketer, alongside speakers and other audio gear at prices from the hundreds to the thousands of dollars.

Here's an selection of bookshelf speakers offered by Audio Advisor. In the second row, note the speaker on a speaker stand. And on the top row, note the use of small speakers as part of a home theater setup.

Here’s an selection of bookshelf speakers offered by Audio Advisor. In the second row, note the speaker on a speaker stand. And on the top row, note the use of small speakers as part of a home theater setup.

I put “bookshelf” in quotation marks because you should NOT place these small speakers in a bookshelf because they will not very good. Instead–and here’s the first of many lessons learned from audiophiles–allow several feet of open space around the loudspeakers so that nearby surfaces do not reflect the sound. Initially, this may sound like complete nonsense, and admittedly, you may not hear any substantial degradation in a low-priced stereo system, but once you do notice, you’ll be redesigning your listening area until you eliminate the uncomfortable sound. Since loudspeakers cannot be suspended from mid-air, you will want to invest at least $100 in loudspeaker stands for your bookshelf loudspeakers. Or, you will want to invest in tower speakers–larger rectangles that are several feet high and often represent a step-up in sound quality (and price). More on that upgrade in an upcoming article.

One further note: the placement of loudspeakers matters. A lot. An expensive pair of speakers can sound just awful if they are not carefully placed. And an inexpensive pair of speakers can sound surprisingly good if they are in the optimum position within the listening area. To begin, nothing should be closer than a foot from any wall or large piece of furniture, and ideally, two or three feet. Then, imagine an equilateral triangle with you at one point, the left speaker at another, and the right speaker at another. Generally, the front panel of those speakers should face you very directly. (Avoid the temptation to angle the speakers.) Why bother? The stereo effect will be far stronger: instruments and vocalists will suddenly become clear and distinct images–the bassist over there, the piano over there, the singer center stage, etc. It’s an amazing thing–the way even modest loudspeakers can “image” when they are properly placed. And yes, you may need to do some rearranging of furniture for the optimum effect. If your loudspeakers sounded better in the store, placement is probably the secret sauce. Experimentation is part of the process because every room is different and because furniture, carpeting and other stuff affect the traveling sound waves as they move from the loudspeakers to your ears. Despite what others in the household may say, this process is always worth the time and trouble–and is often a good reason to find a room where you can be left alone to listen to your music.

Do you need new speakers? Your money may go further if you purchase a high quality pair of used speakers–but you must choose very carefully.

I found this pair of Thiel 2.2 loudspeaker on eBay for $490. You'll need a better amplification system to make the most of these speakers--we'll cover that in a future article--but these were considered very good in the 1990s (the larger 3.6 speakers were even better, but they require even more sophisticated equipment--also the topic of a future article). No surprise that these speakers require a local pickup in the SF Bay area where the seller is located.

I found this pair of Thiel 2.2 loudspeakers on eBay for $490. You’ll need a better amplification system to make the most of these speakers–we’ll cover that in a future article–but these were considered very good in the 1990s (the larger 3.6 speakers were even better, but they require even more sophisticated equipment–also the topic of a future article). No surprise that these speakers require a local pickup in the SF Bay area where the seller is located.

If $350 is within your budget, you might also consider a pair of used loudspeakers purchased from a very reliable local dealer. It is not unreasonable to search for a pair of twenty year old loudspeakers that may have cost up to $1,000–offering a great deal more quality–but the search may require several months of patient web searches and store visits, and some driving (figure a 100-300 mile radius, even if you live near several large cities). You’ll need to study to find the manufacturers whose products were reliable, high quality, and available in the used marketplace–and, unfortunately, information on the web is neither consistent nor abundant on these topics. If you have a friend who cared about loudspeakers in the 1990s or 2000s, a joint exploration is recommended. And I cannot emphasize the importance of a very reliable, trustworthy dealer quite enough. If you’re willing to take the time, you could certainly explore these and other quality brands: Thiel (for some ears), Magnepan (flat panel speakers employing a unique technology), Dynaudio (extremely accurate), KEF (good all-around), B&W (now marketing as Bowers & Wilkins), Celestial (good all around), and the list goes on (please add your favorites in the comments area below).

If you want to dig deeper, spend some time exploring this historical survey of superior audio equipment. It’s part of a massive website published by the longtime high-end (expensive, fine-sounding) stereo enthusiast magazine, Stereophile.

To some extent, the loudspeakers you find in the U.S. may be similar to those found in the U.K., France, Germany or Japan. Each region of the world has its own loudspeaker makers, and remember: the larger the speaker, the more costly the shipping. In the U.S., you will find a lot of European speakers and a lot of American-made speakers, but the selection is likely to be more local in other countries.

Now that we’ve got the loudspeakers, we’ll need to purchase an amplifier, perhaps an integrated amplifier to start. That’s coming up next.



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