![]() ![]() The attraction to the designer are obvious – here we have a magic 'spring' that, because there are no physical components, cannot transmit 'bad' vibrations or 'ring' and so are the perfect isolating material. By opposing two magnets N to N or S to S and pressing them together the force needed to bring them together increases. The use of magnets as a suspension medium has been a lure for many Hi-Fi designers. What I do have a problem with is the use of the magnets in the feet and far more so in the drive flywheel. No in actual fact the magnets are too small to lift the full weight of the platter but rather take some of the load off the bearing, which in theory should reduce wear/friction and thus noise. In fact the platter does not 'float' – and in my opinion a platter which can bounce up and down its bearing shaft is a dim idea anyway as it destroys the fundamental fixed relationship between platter bearing and arm pivot. The platter claiming to 'float' on two opposing magnets, one around the base of the main bearing, the other on the bottom of the platter. Apart from the small magnet used to hold the arm in its rest position these are only used on the turntable itself. One feature I have to address is the use of magnets in the design. Having praised for beyond-criticism build we now come to the nitty-gritty of design, where compromises and choices are inevitable and where, in this case, those choices are often unusual.įirst the turntable. If you want a high-quality turntable that looks fabulous you need go no further. The integrated nature of the design guarantees the aesthetic match. Work-of-Art wouldn't be an exaggeration and in a very strong field I have to say it is simply the prettiest turntable I have ever had here – from the moment it was unpacked it drew nothing but very complimentary comments. It is a gorgeous turntable, the polished alloy of platter, drive, chassis and arm all match. What all this doesn't tell you is the simply exquisite build quality. I've tried to keep the result as coherent as I can and to impose a logical flow but forgive the occasional 'leaps' from one subject to another! Construction. It's not been an easy review to write as so much of the design is unusual and the various design compromises taken need some explanation and frankly criticism. ![]() Because this is a significant entry in the marketplace from a major player I've looked very hard at what the turntable offers. Which brings us nicely to the turntable and arm combination under review – the Signature 12. ![]() This expansion upmarket has meant they start to take on some well established players and with their latest turntable they have made a serious assault on the high-end. These continue to offer good value at each price point and with their turntables usually packaged with an arm of their own manufacture and, depending on market, a cartridge (normally Ortofon) – a rather painless way for the customer to either enter, or upgrade in the vinyl marketplace. From those beginnings, producing simple but well made turntables for the masses (and many newcomers to vinyl), Pro-ject have expanded with a bewildering range of turntables reaching ever higher up the cost/quality ladder. They arrived just when the world thought that Rega, with their Planar 2 and 3 had cleaned up the 'budget' Hi-Fi turntable market - then Pro-Ject came along to provide serious competition. Pro-Ject are a company that have been around a long time – over 20 years. Pro-Ject Signature 12 Turntable The Gina Lollobrigida of Vinyl ![]()
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