I really like B&O turntables, have owned many, and currently have two - a modified Beogram 4004 with an MMC20CL, and a stock Beogram 8002 with an MMC1. They are terrifically out-of-vogue in audiophile circles . . . but every "hot-ticket" vintage turntable that people swoon over on these fora have also been spurned at one time or another.
One problem is that the very newest B&O turntables are over twenty years old now, and most of the more collectable ones are 35-40 years old. Like any machine, performance varies WILDLY with condition, and it's hard to anecdotally assess the difference between a top-notch restored turntable, and one that's simply been twiddled-with on somebody's kitchen table. But this no different from the Thorens TD-124, Garrard 401, or Micro RX-5000 . . . I've owned all of these as well, when they out-of-vogue. They were just like the B&Os in the sense that they sounded pretty wretched when they weren't in good working order.
But here are some classic B&O disadvantages:
- Arm, cartridge, and turntable are engineered as a unit, so you can't twiddle with different combinations or setups.
- They're largely automatic, and not really designed for hands-on cueing.
- Most of them have DIN output plugs, with both sides of the cartridge sharing a common ground connection (but chassis is still separate, to the DIN shell). Many phono preamps don't like this, and can have weird noise/RF issues as a result.
- Many people feel that they're a bit bass-light, even though they generally measure very flat through the lower bass. If you're looking for your LPs to sound "warm" as compared to digital sources, you'll be disappointed.
And some of their classic advantages:
- Arm, cartridge, and turntable are engineered as a unit, so they are extremely well matched without having to twiddle. Their tonearm/cartridge resonance envelope is pretty flat and well-controlled . . . "woofer-pumping" is extremely rare even with warped records.
- They're largely automatic, so if you enjoy intoxicants with your music-listening, there's far less chance of damage. Not to mention that most of them since 1977 can support remote-control operation with a B&O system (or a bit of PIC programming)
- B&O cartridges offer exceptional performance at their original price points, and the Sound-Smith versions are pretty damn good too.
- Tracking performance is generally outstanding at all points on the record, even on the pivoted tonearms.
- If you combine the attributes of acoustic isolation, resistance from foot-fall issues, and consistency of performance regardless versus the shelf/stand on which they're placed . . . B&O had arguably the best suspension system of any turntable, at any price, period.
People sometimes criticize B&O for "value", but many of these turntables weren't very expensive, and can be had pretty cheap today. The last was the Beogram 7000, which sold for about $600 new in the early-1990s, with a built-in phono preamp - then one would add an MMC2 cartridge for $225. I've owned this setup, and it completely embarrasses any of the more entry-level offerings from Rega, Pro-ject, Clearaudio, Music Hall, etc. No twiddling, no special shelves or racks, and absolutely no mistracking or acoustic feedback. Made in Denmark, too . . . every one.
One problem is that the very newest B&O turntables are over twenty years old now, and most of the more collectable ones are 35-40 years old. Like any machine, performance varies WILDLY with condition, and it's hard to anecdotally assess the difference between a top-notch restored turntable, and one that's simply been twiddled-with on somebody's kitchen table. But this no different from the Thorens TD-124, Garrard 401, or Micro RX-5000 . . . I've owned all of these as well, when they out-of-vogue. They were just like the B&Os in the sense that they sounded pretty wretched when they weren't in good working order.
But here are some classic B&O disadvantages:
- Arm, cartridge, and turntable are engineered as a unit, so you can't twiddle with different combinations or setups.
- They're largely automatic, and not really designed for hands-on cueing.
- Most of them have DIN output plugs, with both sides of the cartridge sharing a common ground connection (but chassis is still separate, to the DIN shell). Many phono preamps don't like this, and can have weird noise/RF issues as a result.
- Many people feel that they're a bit bass-light, even though they generally measure very flat through the lower bass. If you're looking for your LPs to sound "warm" as compared to digital sources, you'll be disappointed.
And some of their classic advantages:
- Arm, cartridge, and turntable are engineered as a unit, so they are extremely well matched without having to twiddle. Their tonearm/cartridge resonance envelope is pretty flat and well-controlled . . . "woofer-pumping" is extremely rare even with warped records.
- They're largely automatic, so if you enjoy intoxicants with your music-listening, there's far less chance of damage. Not to mention that most of them since 1977 can support remote-control operation with a B&O system (or a bit of PIC programming)
- B&O cartridges offer exceptional performance at their original price points, and the Sound-Smith versions are pretty damn good too.
- Tracking performance is generally outstanding at all points on the record, even on the pivoted tonearms.
- If you combine the attributes of acoustic isolation, resistance from foot-fall issues, and consistency of performance regardless versus the shelf/stand on which they're placed . . . B&O had arguably the best suspension system of any turntable, at any price, period.
People sometimes criticize B&O for "value", but many of these turntables weren't very expensive, and can be had pretty cheap today. The last was the Beogram 7000, which sold for about $600 new in the early-1990s, with a built-in phono preamp - then one would add an MMC2 cartridge for $225. I've owned this setup, and it completely embarrasses any of the more entry-level offerings from Rega, Pro-ject, Clearaudio, Music Hall, etc. No twiddling, no special shelves or racks, and absolutely no mistracking or acoustic feedback. Made in Denmark, too . . . every one.