By Transrotor monumental drives, we are used to. Even more, the compact Pianta baffled Studio (2040 euro).
- Turntable Transrotor Pianta Studio + TR 500 + constant Studio
- Data sheet
At the time I’m sitting in the hearing room and think to myself, how much turntable does actually need the man.” Transrotor-chef Jochen Räke, worldwide as builders of up to meter higher drives famous, tries now even on a small scale: his latest creation Pianta Studio has almost normal format, well priced: the basic version including tonearm TR 500 and MM pickup gold ring 2200 euros 1620.
Where King can choose customer for more, because there is still a record weight for 95 euro and the external engine electronics constant Studio for 420 euros. Of course both of these test ordered stereoplay with, to help determine whether the upgrade is worthwhile.
Räke is really proud of the new material of the 4.9-kilogram plate: a polymer plastic called Polyoxymethylene (POM). He has a high strength and hardness, which he is processing well and is very long term stable in their original form. With the transparent reason mix but the developer was not satisfied and tried with his Bonn supplier variations, to make the material as possible similar record vinyl and nevertheless still accurately processed. The best effect showed a presence of coal dust. By the way the dish got this cute black. He should be very well controlled resonance thanks to the wavy grooves on the underside.
Despite the price favorable to a handcrafted Transrotor, the analog friend must not waive the outstanding workmanship of the forge from the Bergischen. So, both the base plate made of black acrylic or metal parts perfectly on glossy are polished. Even though the camp can be mechanically not as expensive as in the very expensive Transrotor models, it is very accurate and has the tightest tolerances. Thus it is similar to that of the ZET 3 (6/07): a stainless-steel axle on a stainless steel ball rotates in a bronze bushing.
The latest addition to the Transrotor family by his big brothers inherited the engine. It is not a drive off the rack, but a version with two ten-pin units that are balanced fine against each other in Räkes company to achieve extremely smooth running. Housed he is decoupled by silicone damper, in a solid aluminium block and thus separated from the base plate.
In the basic version, the motor is powered by a simple phase shifter circuit. She puts in a small plastic housing with the corresponding transformer.
The constant Studio-motor control is technically almost identical more expensive with the 260 euro constant (6/07). Both have the same Board, which produces the phase offset vibrations to the motor with an analog generator (Wien bridge) and a switching of speed of 33 1 / 3 to 45 per minute allows. The difference is that the Studio version has a slightly simpler case and a smaller, but still clearly oversized transformer. Ultimately you have to forgo only the polished exterior.
The TR 500 pick-up analog foxes known could happen, because he comes from the Japanese OEM manufacturer Jelco Ichikawa, the arms for Sumiko or Graham also manufactures. The TR 500, with a straight tube and glued headshell, are characterized by tricky and tight tolerance camp, as well as a significant processing.
As the pickup 2200 belongs gold ring to the base version, the listening test was thus opens up. Even with this MM system and the phono Ayre P 5 xe (1/09) the Pianta showed Studio by the side of balanced and yet expressive. So he gave about “Saturday Sun” by Nick Drake (‘Five Leaves Left’, Iceland / simply vinyl SVLP 163) atmospheric and let the vibraphone fine swing, which the testers could ever hold that this is a very successful and harmonious combination.
But the pain still there is more to, like changing the engine electronics showed constant Studio. Although still the gold ring was 2200 mounted, had not heard over the precise location of individual instruments and the more stable figure at Tutti points. So, Wagner’s “Tannhäuser” Overture (Solti, Vienna philhamonics; limited as at the beginning of silent Decca) the horns more clearly by the Bassoons ab, while the onset strings covered the Melodieline of the wind of less. The following crescendo sounded more evenly swelling, end up in a untrammeled tutti. The bottom line that consistently earned Studio a big recommendation.
Not quite so full, this was true for the weight of the plates. Although one could hear something clearer contours with the puck, it suffered the fun but a little.
To find the end of the flagpole, the tester, the mounted reference pickup Lyra Titan i (6/06) to the absolute classification of the Pianta Studio with the constant Studio. Now, he revealed his full qualities: “always harmonious tones” and “elegant, unobtrusive music” recorded the tester in unison.
A total of pain with the stereoplay highlight Pro-Ject PerspeX (4/08) drew even. The Transrotor opposed a bulkier bass and slightly colorful centers whose little more detailed gameplay and discreetly deeper soundstage. Which proves that Jochen Räke the big sound in a small master.
Transrotor Pianta Studio + TR 500 + constant Studio
Technical data and test results
|Dimensions (W x D x H)||43,0 x 15.0 x 34.0 cm|
|Target velocity deviation||0%|
|Rumble noise (weighted)|
|Measuring record / coupler||73 / 80 dB|
(maximum 70 points)
(maximum 10 points)
|Practice (max 15 points)||7|
(maximum 10 points)
|Overall rating (maximum 120||good – very good-70 points|
|Price / performance||good-very good|
|tested in issue:||2 / 09|