Sony PS-LX5BT: Two-minute review

The idea of a turntable that connects wirelessly via Bluetooth is not a new one — Sony itself has had a lot of success with products like this.

Its latest wireless record player, this PS-LX5BT, is exhaustively specified and priced aggressively — which, it would seem, is the very least that’s required to succeed in this area of the market. Sony obviously knows what’s required, though. The PS-LX5BT features Bluetooth transmission via the aptX Adaptive codec, so if your receiver is similarly specified then lossy 48kHz wireless streams are available.

The company has fitted a defeatable phono stage, too, so the turntable can hard-wire in to pretty much any system you care to mention — and if you’re using its phono stage, there are a trio of gain settings available. It’s pre-fitted and pre-adjusted a moving magnet cartridge. And then Sony's made the whole thing automatic where playback is concerned.

In practice, it all works splendidly. The PS-LX5BT is a flyweight (just 3.6kg with its dust cover in place), which doesn’t bode especially well, but as well as a stable wireless connection, the Sony delivers robust, energetic and thoroughly entertaining sound. It manages to do so without losing sight of detail or flattening dynamics either, and it has a proper facility with rhythmic expression.

It’s not the most robust at the top of the frequency range, and is slightly-but-noticeably tilted towards the low end when it comes to frequency response, but on the whole it’s reasonably well balanced and most certainly gives a good account of itself where low-frequency control and variation in particular are concerned. Which means the PS-LX5BT picks up where the PS-LX310BT left off — as one of the very best pound-for-pound turntables around with Bluetooth to boot.

Sony PS-LX5BT review: Price & release date

• Unveiled January 22, 2026
• Priced $499 / £399 / AU$599

The Sony PS-LX5BT is on sale now, and in the United Kingdom it costs £399. In the United States it’s priced at $499, and in Australia it sells for AU$599.

And not only will the PS-LX5BT have to justify that premium fee over its more affordable (but equally new) PS-LX3BT sibling, it will also have to see off the challenge from brands like Audio Technica and TEAC (to name just a couple) too.

To clarify, the excellent older Sony PS-LX310BT regularly sells for $199 / £179 / AU$395 and while Sony has listed various gains over that 2019 model in this more expensive deck (of the two new models listed), cash-strapped vinyl fans might question how much better it can possibly be, to warrant the extra spend. So let's see, shall we…

Sony PS-LX5BT review: Features

• Bluetooth wireless connectivity with aptX Adaptive compatibility
• Integrated phono stage with three-stage gain control
• Pre-fitted, pre-adjusted moving magnet cartridge

There’s just no arguing with the way Sony has specified the PS-LX5BT. By prevailing turntable standards, it’s about as thoroughly tricked out as these things ever get.

For instance, you get plenty of connectivity options. There are stereo RCA connections at the rear of the plinth for connecting the player to an amplifier — and next to them there’s a switch to turn the integrated phono stage on or off.

So as well as an amplifier with or without a phono stage of its own, the Sony can also connect to a powered speaker or what-have-you — anything at all, in fact, that has a line-level analogue input. The appearance of a three-stage gain control means you’ll always get a decent level of volume when connected with the player’s phono stage switched on. Or you may prefer to connect wirelessly using the PS-LX5BT’s abilities as a Bluetooth transmitter — it’s compatible with SBC, aptX and aptX Adaptive codecs, so as long as the receiver is also compatible it’s possible to stream wirelessly at a lossy 48kHz resolution.

This is a belt-drive design that can operate at either 33.3 or 45rpm, and its straight aluminium tonearm is pre-fitted with an unbranded moving magnet cartridge. It’s also pre-adjusted, although while Sony suggests it has been calibrated to provide a tracking weight of 2.0g (+/- 0.5g) my review sample tracks at a hefty-but-not-fatal 3.13g. Sony is adamant that my sample is an outlier in this respect, and is very keen to get its hands back on it to find out what’s going on — but given that there’s no counterweight for the end user to adjust, you very much get what you’re given in this respect.

• Features score: 5 / 5

Sony PS-LX5BT review: Sound quality

• Energy and drive to spare
• Great facility with rhythmic and dynamic expression
• Slightly tilted where tonality and frequency response are concerned

It’s nice to be able to report that the Sony PS-LX5BT doesn’t alter its fundamental sonic characteristics no matter if you’re connecting wirelessly or using its integrated phono stage. In either circumstance, this turntable is a vibrant, energetic and determinedly front-foot listen, one that puts ‘entertainment’ at the centre of everything it does.

Streaming a copy of Fusa Riot by Bobby Hughes Experience via aptX Adaptive-enabled Bluetooth, the vigorous and attacking nature of the Sony’s sound is obvious. Its low-frequency response is, ultimately, slightly overstated — but it’s neither musclebound nor unsubtle at the bottom of the frequency range. Bass sounds are nicely shaped, carefully controlled (so rhythmic expression is very decent) and carry plenty of detail regarding texture and timbre — so there’s plenty of variation to go along with the overt punch.

The transition into the midrange is smooth, and here too there’s plenty of information available — you’ll never be in any doubt as to what motivates a voice, nor be unaware of its character or technique. As with the lower frequencies, the tonal balance is quite carefully natural neutral, and it makes for a convincing listen.At the top end, the Sony changes its tune just a little. There’s a slight lack of substance to treble sounds, a mild skinniness that can make the top of the frequency range sound just fractionally splashy. There’s still plenty of detail and variation made apparent, you understand — it just lacks some of the robustness the PS-LX5BT is so capable of generating elsewhere.

Soundstaging is confidently approached, and the Sony creates quite a large and well-laid-out stage that has plenty of space on it even if a recording is notably complex or involved. It also has a very respectable amount of dynamic headroom available, so if a recording really kicks off the turntable is able to make the upshift in intensity readily apparent.

Switch to the Sony’s integrated phono stage, and with the gain control in the ‘mid’ position the wired sound of the PS-LX5BT is closely related to the wireless equivalent. If anything, the lack of substance at the top of the frequency range is even more pronounced, and the low frequencies gain a little extra confidence (like they needed any) — but on the most basic levels the Sony doesn’t shift its characteristics in the slightest. Which can really only be a good thing.

• Sound quality score: 4.5 / 5

Sony PS-LX5BT review: Design

• 117 x 430 x 366mm (HxWxD)
• Diecast aluminium platter
• Supplied with a clear Perspex dust cover

For a turntable with a weighty specification, the Sony PS-LX5BT doesn’t weigh very much. With its clear Perspex dust cover fitted and diecast aluminium platter in place, it tips the scales at just 3.6kg — which, if you’re the one who lifts it from its packaging and positions it on its shelf, doesn’t inspire a huge amount of confidence. Especially where the rejection of resonance caused by its own operation is concerned.

Still, there’s no arguing with the standard of construction or finish here. It may be priced aggressively, but there have been no corners cut when it comes to the way Sony has put the PS-LX5BT together.

• Design score: 4 / 5

Sony PS-LX5BT review: Usability & setup

• Fully automatic operation
• Swift and stable wireless pairing
• Will play 7in or 12in discs at 33.3 or 45rpm

There’s really very little to it. If you want to connect wirelessly, press the ‘pairing’ button on the plinth — the Sony locates and connects to your waiting Bluetooth receiver quickly.

If you prefer a hard connection to your amp, speaker or what-have-you, plug in the supplied RCA cables and select output at either ‘line’ or ‘phono’ level — if it’s the latter, you’ll be able to decide which of the three gain settings is most appropriate as soon as you hear the turntable in action.

After that it’s just a question of using the dials on the plinth to tell the PS-LX5BT if you want to play a 7in or a 12in disc, and if it should turn at 33.3 or 45rpm. Some automatic turntables are dogmatic inasmuch as they insist ‘33.3rpm = 12in disc’ and ‘45rpm = 7in disc’, but the Sony has heard of 12-in singles and will happily play them without any intervention on your part. Then press ‘start’ and away you go — when it reaches the end of the side the PS-LX5BT will automatically return the tonearm to its rest and stop the platter turning, but there’s a ‘stop’ button if you want to take charge. A button marked ‘up/down’ lets you lift or lower the tonearm without causing the platter to stop turning.

• Usability & setup score: 5 / 5

Sony PS-LX5BT review: Value

• Doesn't feel physically weighty enough to deliver huge value
• …but put that out of your mind, let the music play and there's plenty

No, it doesn’t feel like the weightiest or most robust record player this sort of money will buy you — but in every other respect the Sony PS-LX5BT represents prodigious value for money.

Not only does it have a stack of features, but each and every one of them is beautifully realised and effective — and on top of that it has an energetic and upfront sound that doesn’t forgo detail or subtlety while it’s entertaining you.

• Value score: 4.5 / 5

Should I buy the Sony PS-LX5BT?

Buy it if…

Don’t buy it if…

Sony PS-LX5BT review: Also consider

TechRadar is a big fan of the Audio-Technica AT-LP70XBT — it’s a bit of a bargain when you consider its specification and the plus-points of its sonic performance.

The PS-LX5BT has put its shortcomings into quite sharp relief, though, even if it is a fair chunk more expensive.

Spend a little more money though and the just-add-speakers Pro-Ject Juke Box E1 can be yours — it’s slightly different to the Sony in its approach, and it’s slightly different where its sound-quality priorities are concerned, too. But it could be just the ticket…

How I tested the Sony PS-LX5BT

I connected the PS-LX5BT to an Eversolo DAC-Z10 pre-amp using its aptX Adaptive Bluetooth functionality, and also using its integrated pre-amp via the RCA cables Sony supplies. This allowed me to check the speed, solidity and effectiveness of the wireless connection, as well as the quality of the phono stage and the usefulness of its three-stage gain control.

The preamp was connected to a Cambridge Edge W power amp using QED XLR cables, and the power amp was connected to a pair of Bowers & Wilkins 705 Signature loudspeakers, using QED speaker cable.

• Read TechRadar's Reviews Guarantee
• First reviewed: March 2026

Philips Fidelio FT1 turntable/CD player: two-minute review

There’s no school like the old school, right? Philips certainly seems to think so anyway, because it’s delivered a product you may not have even realised you needed: the Fidelio FT1 is a belt-drive turntable with integrated phono stage and a built-in CD player, that can act as a Bluetooth transmitter and features Auracast connectivity.

And it costs less than a stand-alone turntable or CD player that might easily be considered ‘entry level’.

Obviously the FT1 is not that last word in sturdiness or unburstable build quality. It’s perfectly well put together, though, looks quite good in its gloss-black finish (as long as you’re not the one who has to clean it) and arrives with a very decent Audio Technica cartridge pre-fitted to its aluminium tonearm. Add in a control app to complement its physical controls and you’ve got a ‘just-add-speakers (-or-wireless-headphones)’ plug-and-play device that covers several functionality bases.

In practice it’s not without charm. There’s plenty of drive and energy to the sound, no matter the source of the music you’re listening to, and the midrange communicates very freely. Dynamic headroom is significant, and the Philips controls its (solid, detailed) low frequencies well enough to express rhythms with real confidence. It’s strangely flimsy where treble response is concerned, though, and the bass does tend to sound rather estranged from the rest of the frequency range.

It’s nevertheless an enjoyable listen overall, though, and there’s a lot to be said for the amount of sonic enjoyment, as well as extended functionality, your money buys. One of the best turntables on the market? For this money, I really think it's hard to argue against it.

Philips Fidelio FT1 turntable/CD player review: price and release date

• Announced in September 2025, but released early 2026
• Priced $349 / £269 / (approx.) AU$429

The Philips Fidelio FT1 turntable/CD player/ Bluetooth transmitter is on sale now, and in the United Kingdom it sells for £269, while in the United States it’s yours for around $349. In Australia, meanwhile, the going rate is something like AU$429 – or, at least, that’s what today’s exchange rate suggests…

Philips Fidelio FT1 turntable/CD player review: features

• 33.3 and 45rpm turntable with Bluetooth transmission
• Integrated phono stage
• CD playback too

You can’t argue with the functionality that’s available here; certainly not at the asking price. In a chassis that’s actually a little narrower than your average turntable, Philips has managed to incorporate a record player with a switchable phono stage, a CD player and Bluetooth transmission. If you’re old enough to remember the whole ‘music center’ thing, you’re entitled to have a mild flashback just about now.

As far as the turntable section goes, the Fidelio FT1 is a belt-driven device that arrives with an Audio Technica AT3600L moving magnet cartridge pre-fitted to a straight aluminium tube tonearm. It has automatic speed-change via a dial on the plinth, and on the rear of the device there’s a switch to turn the integrated phono stage on or off.

The platter is of die-cast aluminium and there’s a rubber slip mat supplied too. The FT1 is a Bluetooth transmitter, and can convert an analog signal from your vinyl to a digital equivalent and then send it to a pair of wireless headphones or speakers via Bluetooth 5.4 using one of the SBC, AAC or LC3 codecs with which it’s compatible. Philips, understandably, considers its Fidelio FA3 wireless speakers to be the ideal partner for the FT1, but any Bluetooth receiver is fair game. It’s also Auracast-equipped – so it’s able to transmit whatever’s playing to as many appropriate speakers as you have access to.

There’s a compact disc drive built into the FT1 too. The tray into which CDs are loaded emerges from the front right section of the plinth – the tray door also features an LED display which gives confirmation of the selected input and the usual ‘track number, time elapsed, etc etc’ stuff when a CD is playing. The regular CD player modes (‘shuffle’, ‘repeat’, ‘random’ and so on) are available, and the drive itself is compatible with CD-R/RW and MP3-CD as well as your ordinary CDs.

• Features score: 5/5

Philips Fidelio FT1 turntable/CD player review: Sound quality

• Quite direct and energetic character
• Insubstantial treble response and slightly dislocated low end…
• …which can make the midrange seem rather exposed

There are, of course, perceived differences in the fundamental sonic signatures of vinyl and compact disc – but initially, one of the most most striking things about the Fidelio FT1 is just how consistent and itself it sounds no matter the source of the music it’s playing.

For better or for worse, its own sonic character seems to override those of the format it’s dealing with. So a CD of Barry Adamson’s Oedipus Schmoedipus is presented in much the same way as a vinyl copy of Doechii’s Alligator Bites Never Heal. The FT1 is an up-front, positive and quite energetic listen. It keeps a firm grip on the lower frequencies where attack and decay are concerned, so rhythms are expressed with confidence. There’s appreciable drive to its presentation, and a facility with dynamics that makes the up- and down-shifts in volume or intensity in a recording perfectly apparent.

Detail levels are respectable, even where the most minor and/or transient information is concerned. And the Philips discloses quite freely through the midrange, giving Doechii’s idiosyncratic delivery abundant character and attitude as well as revealing the goings-on of her technique and tone. This is further facilitated by the way the FT1 organises a soundstage – the midrange is nudged forwards, which further adds to both the intelligibility of voices and the overall sensation of direct communication.

Where tonality and frequency response are concerned, though, we’re on less solid ground. At the top of the frequency range the FT1 can quite readily become splashy and insubstantial, even at quite low volume levels – there’s a lack of body to treble sounds that never quite becomes edginess or hardness, but certainly serves to make the top end sound a little flimsy.

At the opposite end there’s no shortage of low-frequency substance, and a fair amount of tonal and textural variation – but there’s a sense of remoteness to the bass, a lack of unity with the frequency information above it that makes it sound a little distant.

The ability to stream wirelessly to headphones or speakers, or to physically connect to a system of some sort, is of course very welcome. But if you’re switching between the two you’ll need to be prepared to ride the volume control (either in the app, on your wireless speakers/headphones, or your amplifier), because the FT1 is noticeably quieter through its line-level output than it is through its Bluetooth equivalent.

• Sound quality score: 3.5/5

Philips Fidelio FT1 turntable/CD player review: Design

• 130 x 420 x 370mm (HxWxD, without dust cover)
• Plastic shell contains 20% recycled materials
• Detachable clear plastic dust cover

You can’t expect the Earth when ‘design’ is concerned when it’s obvious Philips has devoted the bulk of its budget to piling on the features – and sure enough, the FT1 is as pragmatic a piece of design as you’re likely to encounter.

The main box, on which the turntable platter sits (and in which the CD-related stuff lives) is built of hard, extremely glossy black plastic that features a fair amount of recycled post-consumer material. It’s shiny and reflective, as is all too obvious from my photographs – and even though the detachable dust cover is clear, rather than black, it’s just as keen to pick up fingerprints as the rest of the device.

Although the dust cover of my review sample doesn’t sit absolutely centrally on the plinth (it’s offset to the right just about enough to trigger my latent OCD), there’s no arguing with the standard of construction and finish here. Nothing feels vulnerable, even though the entire unit weighs less than 4kg, and the CD tray opens and closes smoothly.

The FT1 isn’t absolutely silent when it’s loading a disc or the turntable’s ‘auto start’ feature kicks in as the tonearm is taken from its rest and moved over the vinyl – but keep the asking price uppermost in your mind and there’s really not that much to take meaningful issue with here.

• Design score: 4/5

Philips Fidelio FT1 turntable/CD player review: usability and set-up

• Control app and physical buttons
• Auto-start and -stop
• Rapid Bluetooth pairing

Setting up the Fidelio FT1 is neither complex nor taxing. The die-cast aluminium platter needs to be put on its spindle, and the belt that’s attached needs to be put over the drive pulley. The tonearm needs its counterweight to be fitted and adjusted – Philips recommends a tracking weight of 1.5g or so. There’s a guard on the cartridge which needs to be removed. That’s your turntable section ready to go – for CD playback, just remove the transport tape holding the drawer closed and that’s all you need to do.

The FT1 can be hard-wired to an amplifier using stereo RCA connections – make sure the integrated phono stage is switched either on or off, depending on the input you’re connecting to. There’s a 3.5mm analog output on the rear panel too (not the most convenient location, but let’s not get bogged down in that), in case you’d like to connect a pair of wired headphones. Otherwise, the Philips can be quickly and easily paired with wireless speakers, wireless headphones or any other kind of Bluetooth receiver.

Control of the system is available via some physical buttons on the plinth. There’s a relatively big ‘power on/off’ button and a speed-control dial (choose between 33.3 and 45rpm). In addition, there are buttons handling Bluetooth pairing, source selection, Auracast, play/pause, and the opening and closing of the CD drawer.

The FT1 can be integrated into the Philips ‘Entertainment’ app, too. Here you’re able to duplicate the functions of the physical controls (apart from ‘power on/off’, weirdly), adjust volume, programme the CD player, adjust the clock or set a timer, check for software updates and plenty more besides. It’s not the most intuitive app around, in all honesty, but stick with it and it proves very useful indeed.

• Usability and setup score: 5/5

Philips Fidelio FT1 turntable/CD player review: Value

• Three separates in one, plus Bluetooth transmission
• If you can deal with a few sonic shortfalls, it's a lot of kit for the money

On the face of it, it’s hard to argue with the value represented by swapping $349 / £269 for an automatic turntable with integrated phono stage and CD player, especially not one that’s a Bluetooth transmitter and Auracast device too.

But of course, you didn’t buy the Fidelio FT1 just to admire its specification (or to constantly be dusting its high-gloss finish), did you? If you can live with its insubstantial treble response and, to a lesser extent, with its rather remote way with the low frequencies though, the Philips has plenty going for it.

• Value score: 4/5

Should I buy the Philips Fidelio FT1 turntable/CD player?

Buy it if...

Don't buy it if...

Philips Fidelio FT1 turntable/CD player review: also consider

The beauty of the Fidelio FT1 is that it’s currently Number One in a field of very, very few - and certainly the ‘Philips’ badge is more credible that that worn by any of its nominal competitors. So unless you want to trust your vinyl collection to a brand you’ve either never heard of or that has a less-than-stellar reputation, the FT1 is probably the way to go.

That's unless you can stomach the idea of a Bluetooth-equipped turntable – the Sony PS-LX310BT is a particularly impressive example, the Majority Folio is also worthy of a look – and an affordable CD player as a separate purchase. But then, of course, you can’t stream your CDs wirelessly…

How I tested the Philips Fidelio FT1 turntable/CD player

• Tested over the course of three weeks
• Tested its vinyl and CD performance, wired and wirelessly

Naturally I listened to both vinyl and compact discs during the course of my testing. I connected the FT1 wirelessly to a pair of matching Philips Fidelio FA3 wireless speakers (review incoming!), and I also connected it to my reference system using RCA cables and with its integrated phono stage switched on.

I used it with wired and wireless headphones. That’s the thing about products with as much functionality as this – it takes ages to investigate every aspect of their performance…

• First reviewed: February 2025
• Read more about how we test

Goldring GR3 turntable: two-minute review

Just two decades or so since it last had a turntable in its product line-up, Goldring is back. The GR3 has been developed in collaboration with acknowledged experts and it really looks the part in a ‘black high-gloss lacquer’ sort of way.

It’s got plenty going for it where specification is concerned, too. This is a belt-drive turntable with manual speed-change, and it arrives with a very capable Goldring E3 pre-fitted and pre-adjusted moving magnet cartridge at the end of the aluminium tube tonearm. It’s supplied with a couple of pairs of QED cables to make plugging it into a system as painless as can be. And it’s fitted with an internal phono stage to ensure it is compatible with as wide a range of systems as possible – if the phono stage had an ‘off’ switch it could be fair to say the GR3 has everything you could possibly expect or require.

Connected to an appropriate system, the Goldring GR3 is an articulate, informative and confident listen with just enough drive and attack to stop it sounding leisurely. Dynamic headroom, soundstaging and timing all impress, and the amount of detail the GR3 can extract from the groove is also noteworthy.

In a slightly less appropriate system, though, the latent high-frequency stridency the Goldring hints at becomes a little more evident – a minor lack of treble substance can become apparent. When weighed against all the things that are enjoyable about the GR3 sound, though, ‘minor’ is the word to bear in mind and it bears serious consideration to sit among the best turntables available.

Goldring GR3 turntable review: price and release date

• $1,299 / £699 / AU$1,599 (approx.)
• Launched in October 2025

The Goldring GR3 launched towards the end of October 2025, and in the United States it's priced at $1,299. In the United Kingdom it goes for £699, while in Australia it will set you back around AU$1,599.

Goldring GR3 turntable review: features

• Low-vibration belt drive motor
• Integrated phono stage
• Pre-fitted Goldring E3 moving magnet cartridge

The plain fact is that the Goldring GR3 has a few more features than is the norm where a record player costing this sort of money is concerned. So where has that half-a-star gone from the ‘features’ score below? I’ll get to that, but for now let’s establish what’s what.

The motor that moves the belt that spins the platter is a low-noise, low-vibration design. The tonearm is a 237mm one-piece aluminum tube with a three-point arm mounting system - and it’s pre-fitted with an extremely well-regarded Goldring E3 moving magnet cartridge, a design that’s well on the way to becoming a classic.

The GR3 is also supplied with two pairs of relatively high-quality interconnects, manufactured by Goldring’s sister company QED. One is a 1.5mm stereo RCA design, the other a 3.5mm / stereo RCA alternative, so connecting the GR3 to a full-size system or a pair of powered speakers should be no problem.

The Goldring’s stereo RCA outputs are fed by an integrated phono stage, and it’s here that the GR3’s final half-a-star goes astray. I’m absolutely in favor of record players with integrated phono stages, don’t get me wrong; it makes for ultimate flexibility, and it means the deck can slot into pretty much any system you care to mention. But the phono stage here is always on and cannot be switched off, so if you own a system with a phono stage of its own (and surely any number of people ready to spend $1,299 on a record player must do), you must avoid your own phono stage for the one fitted here. You don’t even get to compare and contrast.

Just a simple ‘on/off’ switch is all that’s required, Goldring. Is it too much to ask?

• Features score: 4.5/5

Goldring GR3 turntable review: Sound quality

• Tremendous rhythmic positivity
• Extracts plenty of fine detail
• Lacks a little top-end substance

There are some aspects of audio reproduction at which well-sorted turntables seem to excel. And the Goldring GR3 is almost a caricature of a record player in this respect; the areas where it’s at its most convincing and most enjoyable are all textbook turntable strengths.

Take rhythmic expression, for instance. The GR3 manages the low frequencies during a listen to Patti Smith’s Horses with absolute confidence, closely observing the attack and decay of individual bass sounds so that rhythms and tempos are described in the most naturalistic, fluent and convincing manner. There’s plenty of variation in the low end here, ample detail regarding tone and texture is available, but it’s the effortlessness with which the Goldring describes even quite tricky, off-kilter rhythms that lets you know you’re in safe hands.

The unity and togetherness with which the GR3 presents the whole recording is another one from the Big Book of Turntable Cliches. Detail levels are high throughout the frequency range, and (with the slight exception of the very top end) tonality is very consistent too – and there’s a real sense of singularity and performance about the way the Goldring handles the entirety of the music. As with rhythmic expression, there’s a complete lack of stress or apparent effort in the way this turntable handles the timing of a recording.

There’s decent dynamic headroom available for when the going gets especially hectic or intense. The GR3 is able to create a large and quite persuasive soundstage and there’s more than enough room available for each strand of a recording to make itself heard. The Goldring communicates eloquently through the midrange, and has just enough positivity to its overall presentation to prevent the words ‘laid back’ seeming like something that might come in useful at some point.

It’s only at the top of the frequency range that the GR3 seems anything less than nicely balanced and assured. Unlike the rest of the frequency range, which is described with quite carefully neutral tonality and a fair amount of substance, the very high end sounds a little thin and malnourished. It stops well short of hardness or edginess, don’t get me wrong, but its relative lack of body puts it at odds with pretty much everything that’s going on beneath it.

In a sympathetically matched system it will hardly be an issue but with carelessly chosen or similarly inclined partners the GR3 could conceivably bare its teeth a little more readily than is ideal.

• Sound quality score: 4.5/5

Goldring GR3 turntable review: Design

• Belt drive with manual speed change
• Phenolic resin platter
• High-gloss black plinth

Goldring, up to a point, is being quite open about the fact the GR3 was developed in collaboration with a third party. This is the Goldring’s first turntable in over two decades, after all, so the idea of getting some outside help is probably sensible. “A renowned British hi-fi manufacturer” is how Goldring rather coyly describes its associate.

If you’re in any way au fait with the work of any renowned British turntable brands, the design of the GR3 is going to look pretty familiar – heck, if you’re in a similar line of work to me you’re probably likely to recognize the arrangement of the packaging the GR3 arrives in. But if you’re going to collaborate, then why not collaborate with the best around?

Anyhow, the GR3 is a belt-drive design, and is fitted with a phenolic resin platter. The platter is designed to increase inertia and maximize the flywheel effect (thus maintaining consistent rotational speed) by having the bulk of its considerable mass at the outside.

The plinth is built of anti-resonant composite fiber, and is finished in the sort of high-gloss black that collects fingerprints like a particularly zealous scene-of-crime investigator. It stands on three pliant, resonance-suppressing feet, and can be fitted with a supplied clear Perpsex dust cover. With the lid closed, the GR3 is 120 x 450 x 360mm (HxWxD), and weighs around 5.5kg.

• Design score: 5/5

Goldring GR3 turntable review: usability and set-up

• Cartridge is pre-adjusted for all but downforce
• Can easily be connected to many types of system
• Manual speed change

The Goldring E3 moving magnet cartridge is fitted to the tonearm before the GR3 leaves the factory, and it’s pre-adjusted for all but downforce. Dial in the recommended 2g and you’re ready to play.

Connecting to a system is very simple, too. Use one of the supplied cables to take line-level left-and-right channel information away from the turntable and into an ‘aux’ or other line-level input on your set-up – anything from a powered speaker to a full-on hi-fi system is fair game.

After that, make sure the belt is around the correct part of the pulley in order to get the rpm you need. The power switch is on the underside of the plinth, almost directly beneath the legend ‘Goldring - established 1906’ on the surface. Take the guard off the cartridge and lower the needle onto the vinyl… then sit back and enjoy.

• Usability and setup score: 5/5

Goldring GR3 review: Value

• Great build and finish
• Articulate sound
• Very acceptable cartridge

A good standard of build and finish, a very acceptable cartridge thrown in, and specification that makes system-matching the work of a moment all go towards suggesting there’s value for money available here. Add in the confident, articulate way the Goldring GR3 sounds and its case is approaching ‘watertight’.

• Value score: 5/5

Should I buy the Goldring GR3?

Buy it if...

Don't buy it if...

Goldring GR3 review: also consider

How I tested the Goldring GR3

• Tested over the course of two weeks
• Connected to a Naim Uniti Star network streamer/amplifier and Bowers & Wilkins 705 S3 Signature speakers
• Listening to various types of music

I connected the Goldring GR3 to the line-level analog input of my Naim Uniti Star network streamer/amplifier using the supplied QED RCA/RCA cables.

The Naim was connected to a pair of Bowers & Wilkins 705 S3 Signature speakers on FS-700 S3 stands using QED XT50 speaker cable.

And then I listened to a lot of records for quite a long time, which was not the hardship it sounds like, I have to admit. I used a Rega Planar 2 with Carbon MM cartridge and a Technics SL-1300G with Goldring 1042 cartridge as reference devices.

• First reviewed: January 2026
• Read more about how we test

Sony PS-LX310BT: Two-minute review

I'd heard of the Sony PS-LX310BT by reputation, before I'd heard it with my own ears: TechRadar’s own esteemed audio editor, consider it one of the best turntables for entry-level vinyl fans. And that’s how it ended up in the living room currently being lived in by me, a person who thought a ‘B-Side’ was just a track designed for insects.

Let's get something abundantly clear: the big selling point of the Sony PS-LX310BT is chiefly its price; this is an affordable turntable that may not offer the same sonic dexterity as pricier options, but also doesn’t cost you the same as a mid-level car to purchase it. And it's got a great rep – not just at TechRadar but among those who know about these things.

For me, the price isn’t the only factor that makes this a great entry-level position. Once you’ve set the thing up – which may take one or two missteps compared to the easiest options I’ve tested, but is still fairly simple – it’s a dream to use.

Press button to play. Press button to stop. If you love vinyl audio for its hands-on approach, you might feel redundant when it comes to this Sony deck, but turntable newbies will find it a lot less scary to operate because you'll never actually need to touch the tonearm, or lower a headshell and needle onto a delicate sliver of vinyl and potentially hear it scratch.

It’s easy to like the look of the PS-LX310BT too. Sure, it’s understated in the exact same way that almost every other turntable is, but a design like that screams ‘sonic excellence’ irrespective of price.

It goes without saying that deep-pocketed audiophiles should skip over this option; it doesn’t offer the audio nuance (or the five-figure price point) that top-end vinyl aficionados will be looking for. And some novice buyers will find that it doesn’t offer the connectivity options required for them, with Bluetooth and RCA but no simple 3.5mm out. But for most newbies, it’s a dream.

Sony PS-LX310BT review: Price and release date

• Released in April 2019
• Typically sells for $449 / £179 / AU$399
• Now available for around $199 / £179 / AU$395

The Sony PS-LX310BT was released in April 2019, so it’s not exactly one of the newest turntables on the market – although six years in analog audio isn't a long time at all. And perhaps because of this, it’s still officially ranged by Sony, as one of only two turntables on its store.

The recommended retail price of the deck is $449 / £179 / AU$399 – that’s not a typo, it’s a lot pricier in the US – although at the time of writing, it’s hard to find it for full price. Instead, I’ve found the PX-LX310BT going for roughly $199 / £179 / AU$395 in sales, which seem to happen very frequently.

It goes without saying that you should try to pick this turntable up in said sales if you can. But either way, the price marks this as a fairly entry-level turntable; it’s not the cheapest I’ve ever seen, but it’s still a more affordable option for people who don’t need audiophile-grade kit, and it still looks the business.

Sony PS-LX310BT review: Specs

Sony PS-LX310BT review: Features

• Not the easiest set-up (but also not the hardest)
• Simple and easy to operate, though a tiny bit slow
• Some connection options, but not 3.5mm

Newbies setting up the Sony PS-LX310BT might find it a little fiddly during the set-up process; you only have to attach the platter and mat and set the pulley belt, but I somehow managed to unknowingly twist the belt during placement which took a tiny amount of deconstruction to fix. I also religiously forget to remove the stylus cover every time I want to listen, but I can’t mark Sony down for that.

At least Sony doesn’t require you to do anything to the cartridge or counterweight or anything like that, and the entire set-up process took me under 15 minutes. And once you’ve done the initial set-up, it’s really easy to listen thanks to Sony's use of an automatic system in the PS-LX310BT. Press ‘play’ to play, or ‘stop’ to stop, and the tone arm will move all on its own.

I do find the turntable a little slow to react to these button presses, and if I wanted music on quickly I’d place the arm myself – because I'm experienced in such things. Thankfully this is a valid option too, with the platter spinning automatically if the tonearm is raised.

Connections wise, there are wired or wireless options. Wirelessly, you can connect devices such as headphones via Bluetooth, and I found it a quick and reliable connection. You can connect up to eight devices this way, but I don’t know anyone who isn’t a tech journalist who owns this many wireless gadgets. Wired, you can use the built-in RCA cable which plugs into the left and right jacks of an amplifier or stereo speaker. There’s no 3.5mm jack in the turntable for you to plug in your wired headphones. In this way, it slightly limits who can use the wired connection – you need compatible tech, or at least an adaptor.

• Features score: 4/5

Sony PS-LX310BT review: Sound quality

• Energetic audio
• Some detail missing
• Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

There’s a lot of energy in music played through the turntable; evidently the understated design contrasts the music played out. The Police’s Zenyatta Mondatta felt playful and fun, and Al Stevens’ ode to the feline annum reveals the singer’s vocal range and zest well, with glissandos and harmonies far more audible than if you just listened on Spotify.

You’re sadly not getting quite the level of clarity that you would on a… well, a non entry-level setup, with some detail lost, especially in the mids. But it’s still decent for the money, and there’s a reason that cut-price music-lovers have been turning to the PS-LX310BT for over half a decade.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

• Sound quality score: 4/5

Sony PS-LX310BT review: Design

• Minimal, understated look
• Buttons hidden on front edge
• Dust cover could open further

The Sony PS-LX310BT has a minimalist look, going for the black on black (on silver) look, small unadorned dials and buttons and a businesslike tonearm. I like ornamentation as much as the next guy, but this product hits that ‘audio equipment’ serious aesthetic pretty square-on.

The turntable measures 43 x 36.7 x 10.8cm, and weighs 3.5kg; it wasn’t too heavy to stop me toting it around my apartment when I wanted to connect it to various speakers and devices dotted in different rooms. That height includes the dust cover, which you don’t have to use (TechRadar's audio editor never fits them, and removes them if they're pre-fitted), but I’d recommend. My ‘tiniest-violin-in-the-world’ opinion is that it would have been nice if the dust cover would open a little wider, to make getting vinyl records onto the mat a little easier.

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Sony has hidden most of the PS-LX310BT’s buttons on the front edge. This is where you’ll find the buttons to play, to stop and to move the tone arm up and down. On the top there’s only the Bluetooth pairing button,, a dial to set the vinyl speed and the speed rotary knob. There is also a little hidey-hole on the right edge for the 45RPM adaptor, something I only noticed after 10 days of the adaptor being plonked awkwardly on the turntable’s body.

• Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

The ease of use and svelte design are two such departments, but these are hardly small perks, with the aluminum platter, bespoke (though un-removable) cartridge and lightweight tonearm keeping better care of your records than some super-cheap options might.

My only small value concern is this: you either need to connect it to a Bluetooth device, or something which accepts RCA-in, so your wired headphones will need an adaptor to work. But that's hardly a deal-breaker.

• Value score: 4/5

Should I buy the Sony PS-LX310BT?

Buy it if…

Don’t buy it if…

Sony PS-LX310BT review: Also consider

How I tested the Sony PS-LX310BT

• Tested for ten days
• Inputs included a series of vinyl records
• Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

As mentioned, after running it in for 48 hours, I listened on multiple devices including a pair of speakers via the RCA connection, a smaller speaker via Bluetooth and a pair of headphones, also via Bluetooth.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

• First reviewed November 2025

Sony PS-LX310BT: Two-minute review

I'd heard of the Sony PS-LX310BT by reputation, before I'd heard it with my own ears: TechRadar’s own esteemed audio editor, consider it one of the best turntables for entry-level vinyl fans. And that’s how it ended up in the living room currently being lived in by me, a person who thought a ‘B-Side’ was just a track designed for insects.

Let's get something abundantly clear: the big selling point of the Sony PS-LX310BT is chiefly its price; this is an affordable turntable that may not offer the same sonic dexterity as pricier options, but also doesn’t cost you the same as a mid-level car to purchase it. And it's got a great rep – not just at TechRadar but among those who know about these things.

For me, the price isn’t the only factor that makes this a great entry-level position. Once you’ve set the thing up – which may take one or two missteps compared to the easiest options I’ve tested, but is still fairly simple – it’s a dream to use.

Press button to play. Press button to stop. If you love vinyl audio for its hands-on approach, you might feel redundant when it comes to this Sony deck, but turntable newbies will find it a lot less scary to operate because you'll never actually need to touch the tonearm, or lower a headshell and needle onto a delicate sliver of vinyl and potentially hear it scratch.

It’s easy to like the look of the PS-LX310BT too. Sure, it’s understated in the exact same way that almost every other turntable is, but a design like that screams ‘sonic excellence’ irrespective of price.

It goes without saying that deep-pocketed audiophiles should skip over this option; it doesn’t offer the audio nuance (or the five-figure price point) that top-end vinyl aficionados will be looking for. And some novice buyers will find that it doesn’t offer the connectivity options required for them, with Bluetooth and RCA but no simple 3.5mm out. But for most newbies, it’s a dream.

Sony PS-LX310BT review: Price and release date

• Released in April 2019
• Typically sells for $449 / £179 / AU$399
• Now available for around $199 / £179 / AU$395

The Sony PS-LX310BT was released in April 2019, so it’s not exactly one of the newest turntables on the market – although six years in analog audio isn't a long time at all. And perhaps because of this, it’s still officially ranged by Sony, as one of only two turntables on its store.

The recommended retail price of the deck is $449 / £179 / AU$399 – that’s not a typo, it’s a lot pricier in the US – although at the time of writing, it’s hard to find it for full price. Instead, I’ve found the PX-LX310BT going for roughly $199 / £179 / AU$395 in sales, which seem to happen very frequently.

It goes without saying that you should try to pick this turntable up in said sales if you can. But either way, the price marks this as a fairly entry-level turntable; it’s not the cheapest I’ve ever seen, but it’s still a more affordable option for people who don’t need audiophile-grade kit, and it still looks the business.

Sony PS-LX310BT review: Specs

Sony PS-LX310BT review: Features

• Not the easiest set-up (but also not the hardest)
• Simple and easy to operate, though a tiny bit slow
• Some connection options, but not 3.5mm

Newbies setting up the Sony PS-LX310BT might find it a little fiddly during the set-up process; you only have to attach the platter and mat and set the pulley belt, but I somehow managed to unknowingly twist the belt during placement which took a tiny amount of deconstruction to fix. I also religiously forget to remove the stylus cover every time I want to listen, but I can’t mark Sony down for that.

At least Sony doesn’t require you to do anything to the cartridge or counterweight or anything like that, and the entire set-up process took me under 15 minutes. And once you’ve done the initial set-up, it’s really easy to listen thanks to Sony's use of an automatic system in the PS-LX310BT. Press ‘play’ to play, or ‘stop’ to stop, and the tone arm will move all on its own.

I do find the turntable a little slow to react to these button presses, and if I wanted music on quickly I’d place the arm myself – because I'm experienced in such things. Thankfully this is a valid option too, with the platter spinning automatically if the tonearm is raised.

Connections wise, there are wired or wireless options. Wirelessly, you can connect devices such as headphones via Bluetooth, and I found it a quick and reliable connection. You can connect up to eight devices this way, but I don’t know anyone who isn’t a tech journalist who owns this many wireless gadgets. Wired, you can use the built-in RCA cable which plugs into the left and right jacks of an amplifier or stereo speaker. There’s no 3.5mm jack in the turntable for you to plug in your wired headphones. In this way, it slightly limits who can use the wired connection – you need compatible tech, or at least an adaptor.

• Features score: 4/5

Sony PS-LX310BT review: Sound quality

• Energetic audio
• Some detail missing
• Avoid Bluetooth if you can

Not wanting to upset audiophiles (and being indecisive), I tested the Sony PS-LX310BT alongside multiple devices, including wired and Bluetooth.

There’s a lot of energy in music played through the turntable; evidently the understated design contrasts the music played out. The Police’s Zenyatta Mondatta felt playful and fun, and Al Stevens’ ode to the feline annum reveals the singer’s vocal range and zest well, with glissandos and harmonies far more audible than if you just listened on Spotify.

You’re sadly not getting quite the level of clarity that you would on a… well, a non entry-level setup, with some detail lost, especially in the mids. But it’s still decent for the money, and there’s a reason that cut-price music-lovers have been turning to the PS-LX310BT for over half a decade.

Note to Bluetooth users: I did find that the speaker peaked Bluetooth-connected devices on occasion, which isn’t something I’ve found as much from other Bluetooth turntables I’ve tested.

• Sound quality score: 4/5

Sony PS-LX310BT review: Design

• Minimal, understated look
• Buttons hidden on front edge
• Dust cover could open further

The Sony PS-LX310BT has a minimalist look, going for the black on black (on silver) look, small unadorned dials and buttons and a businesslike tonearm. I like ornamentation as much as the next guy, but this product hits that ‘audio equipment’ serious aesthetic pretty square-on.

The turntable measures 43 x 36.7 x 10.8cm, and weighs 3.5kg; it wasn’t too heavy to stop me toting it around my apartment when I wanted to connect it to various speakers and devices dotted in different rooms. That height includes the dust cover, which you don’t have to use (TechRadar's audio editor never fits them, and removes them if they're pre-fitted), but I’d recommend. My ‘tiniest-violin-in-the-world’ opinion is that it would have been nice if the dust cover would open a little wider, to make getting vinyl records onto the mat a little easier.

The almost-straight, no-nonsense tonearm was light and easy to manipulate, though some audio purists might take chagrin at the lack of a counterweight.

Sony has hidden most of the PS-LX310BT’s buttons on the front edge. This is where you’ll find the buttons to play, to stop and to move the tone arm up and down. On the top there’s only the Bluetooth pairing button,, a dial to set the vinyl speed and the speed rotary knob. There is also a little hidey-hole on the right edge for the 45RPM adaptor, something I only noticed after 10 days of the adaptor being plonked awkwardly on the turntable’s body.

• Design score: 4.5/5

Sony PS-LX310BT review: Value

While the Sony PS-LX310BT is priced as an entry-level device, and has a feature set to match, there are a few areas in which it stands out from the budget crowd.

The ease of use and svelte design are two such departments, but these are hardly small perks, with the aluminum platter, bespoke (though un-removable) cartridge and lightweight tonearm keeping better care of your records than some super-cheap options might.

My only small value concern is this: you either need to connect it to a Bluetooth device, or something which accepts RCA-in, so your wired headphones will need an adaptor to work. But that's hardly a deal-breaker.

• Value score: 4/5

Should I buy the Sony PS-LX310BT?

Buy it if…

Don’t buy it if…

Sony PS-LX310BT review: Also consider

How I tested the Sony PS-LX310BT

• Tested for ten days
• Inputs included a series of vinyl records
• Outputs include headphones and a speaker via Bluetooth, and speakers via cable

The Sony PS-LX310BT review process covered ten days, not including the time it took to write the review itself. I have a decent-sized collection of vinyl which I used for this testing.

As mentioned, after running it in for 48 hours, I listened on multiple devices including a pair of speakers via the RCA connection, a smaller speaker via Bluetooth and a pair of headphones, also via Bluetooth.

I've been tested tech for TechRadar for nearly seven years, which has included many audio players and another turntable; I've also used turntables and other Hi-Fi kit outside of reviewing.

• First reviewed November 2025

Technics SL-1300G turntable: two-minute review

Technics has a new direct-drive turntable, and because it’s part of the company’s upmarket ‘Grand Class’, it’s engineered to within an inch of its life and has a price-tag that will make you swallow hard.

Mind you, it’s not as if the company doesn’t feel like it’s offering value for money with the Technics SL-1300G. Between the twin-rotor ‘cogless’ motor, transformerless power supply, elaborate tonearm arrangement and overall sensation of bank-vault build quality (the platter alone weighs almost 4kg), the SL-1300G is a substantial proposition in every respect. Apart from the small matter of a cartridge, that is – Technics doesn’t provide one and you should probably budget another $500 or so on one of the many reputable brands who will sell you something appropriate.

Once you’ve swallowed this particular pill, there’s a great deal to enjoy about the SL-1300G. It sounds an absolute treat in the right system – its ability to analyze, contextualize and generally peer deep into the grooves of your records in a hunt for information is remarkable. And it balances this attitude with a sort of thrillingly musical, thoroughly absorbing and effortless naturalistic stance that makes every listen as entertaining and engrossing as can be.

In fact, as long as you take a moment to ensure your system isn’t going to goad the Technics into overdoing the high frequencies – it’s right on the edge where treble sounds are concerned, and won’t take much of a push to tip it over – there’s really nothing of any significance to complain about.

One of the best turntables on the market? It's definitely in the conversation.

Technics SL-1300G turntable review: price and release date

• $3,299 / £2,799 / AU$4,999
• Launched in September 2024

The Technics SL-1300G direct-drive turntable is on sale now, and in the United States it's priced at $3,299. In the United Kingdom it’s more like £2,799, while in Australia it costs AU$4,999.

Not cheap, is it? And it’s not the end of your spending, either – Technics doesn’t supply a cartridge. So what is it offering for what is quite a lot of money (with the need to spend a fair bit more)?

After all, it’s not as if you’re short of high-quality alternatives…

Technics SL-1300G turntable review: features

• 230mm S-shaped aluminum tonearm
• Twin-rotor ‘coreless’ direct drive motor
• Low-noise, high-speed switching power supply

For the feature-set of the SL-1300G, Technics has allowed itself to be influenced by a couple of the more widely acclaimed turntables of the last couple of years: its own SL-1200G and SL-1200GR2. After all, if it ain’t broke etc and so on…

The motor that turns the SL-1300G’s platter is a variation on the one fitted to the SL-1200G, a model that launched in 2018 with a $4,000-plus price-tag attached. It’s based on the ‘coreless’ direct drive principles Technics first introduced in 2016: by removing the motor’s iron core, rotational instability (‘cogging’, as it’s colloquially known) can be reduced to vanishing point. In this implementation, a twin-rotor design reduces rotational vibration and minimizes the load on the bearings too.

The SL-1300G uses the Delta Sigma (ΔΣ) motor control software and drive system from last year’s SL-1200GR2, finessed and optimized for this application. The company’s prowess where PWM (pulse width modulation) is brought to bear in an effort to minimize even minor rotational inaccuracies along with errors in the drive signal. Because if you can deliver smooth, consistent rotation, argues Technics, you deliver smooth, consistent sound.

Further measures have been taken to ensure mechanical and, by extension, sonic accuracy. The SL-1300G uses a low-noise switching circuit that makes the more common transformer power supply redundant, which in turns makes the requirement for vibration-suppressing technologies that transformers tend to require redundant, too. Any residual noise in this transformerless power supply is identified by ‘current injection’ technology that applies inverse phase current to eliminate it. This, suggests Technics, is more effective than the common or garden ‘regulator’ alternative.

On the outside, the SL-1300G uses a rigid and lightweight aluminum pipe tonearm – it’s your classic static-balance S-shape and is 230mm long before the headshell is fitted. Technics supplies a headshell, of course, but what is conspicuous by its absence is a cartridge. The company is prepared to go on, at length, about how this omission allows you to select your preferred cartridge free from its interference, but it seems to me that a sum of money like this spent on a turntable ought to buy you the cartridge the manufacturer thinks is most appropriate. And, what’s more, to find it pre-fitted to the headshell.

The tonearm is connected to the surface of the turntable via gimbal suspension with a high-precision bearing. There’s anti-skate adjustment, a multi-part counterweight, tonearm lock and tonearm lift all incorporated. Getting the signal from the tonearm and out to an amplifier occurs via a pair of gold-plated stereo RCA outputs recessed deep beneath the main body of the SL-1300G. Technics supplies a pair of absolutely bog-standard RCA cables more commonly associated with turntables costing about 10 per cent of the price of this one.

• Features score: 5/5

Technics SL-1300G turntable review: Sound quality

• Notable clarity, detail and low-frequency presence
• Energetic and dynamic attitude
• As confident at the top end as it dares to be

Some record players have a very specific character or attitude, or a comfort zone out of which they are unwilling to tread. The Technics SL-1300G, it’s safe to say, is not one of those record players. There isn’t a style of music it sounds uncomfortable with – as far as attitude is concerned, “it’s all good” seems to cover it.

During the course of this review I listen to everything from a heavyweight reissue of Ladies and Gentlemen We are Floating in Space by Spiritualized to a ‘pre-loved’ (for which read ‘second-hand’) copy of The Strip Goes On by Orchester Werner Müller and many points in between, and at every turn the Technics covers every base. It’s a vibrant, energetic and engrossing performer, but it’s capable of forensic levels of analysis and insight at the same time.

Its frequency response, from the top of the range to the bottom, is smooth and even. Its overall tonality (with the mild exception of the top of the frequency range, which I’ll come to shortly) is neutral and natural. And its ability to allow music to just flow in the most confident and convincing manner is, even by the vaunted standards of the vinyl format, impressive in the extreme.

It digs deep and hits hard at the bottom of the frequency range, but both where control and insight are concerned it’s a spectacular performer. Bass sounds are solid and varied, with ample detail regarding tone and texture made available, while the SL-1300G controls the attack or decay of individual notes or hits with such purpose that rhythms are expressed in compelling fashion. It’s similarly accomplished in the midrange; there’s no fleeting detail that evades it, no secret of a singer’s technique or emotional state to which it’s not party. It communicates in absolute torrents, and in the most unforced and vivid manner – the balance it strikes between ‘analysis’ and ‘entertainment’ is outstanding.

Despite the significant levels of drive and attack it can summon, it never sounds stressed or uncontrolled. Though it can create a large and spacious soundstage, it presents music as a tightly unified whole, a singular event – the impression of performers operating in symphony, as opposed to a collection of individuals, is palpable.

Really, it’s only at the top of the frequency range that there are any noteworthy issues, and they can be mitigated without too much difficulty. The SL-1300G is a forthright and assertive performer where treble response is concerned, demonstrating as much confidence as is practical. Unlike the rest of the frequency range, though, the top end here is provokable – inserted into a system that’s similarly uninhibited where treble sounds are concerned, it’s possible that high frequencies could become a little edgy or strident.

So, a degree of system-matching is in order. The Technics won’t thank you for pairing it with speakers and/or amplification that share its high-end enthusiasm. Once you get over that particular hurdle, though, there’s nothing much else you need to do except sit back and revel in the sound this turntable produces.

• Sound quality score: 4.5/5

Technics SL-1300G turntable review: Design

• Black or silver finish
• 173 x 453 x 372mm (HxWxD)
• 13kg

Broadly speaking, the SL-1300G looks like a record player. More specifically, it looks like a Technics turntable. Whether or not you think that’s a good thing is a matter of taste, but there’s no denying that the company’s turntables have a reasonably strong visual identity.

From top to bottom, there’s no mistaking the SL-1300G as the product of any other company. Its 173 x 453 x 372mm (HxWxD) includes a sturdy Perspex dust cover, and its two-part chassis stands on four equally sturdy, extremely pliant and frankly over-engineered silicone rubber insulators – because Technics deals in nothing as straightforward as ‘feet’, of course.

The chassis itself is a rigid and profoundly vibration-resistant construction. The base is made of bulk molding compound and is topped by a die-cast aluminum plate, and further vibration damping is achieved by reinforcing ribs deployed between the tonearm assembly and the motor.

As is usual with Technics turntables, the SL-1300G features a ‘power on/off’ button above a ‘start/stop’ button on the bottom left of the top plate. There are also a pair of speed-selection buttons for ‘33.3’ or ‘45’ – press them at the same time and your turntable will be able to turn at 78rpm.

All in, the SL-1300G weighs a chunky 13kg - and a full 3.6kg of this is accounted for by the platter. It’s a three-layer item, with an aluminum main body, a 2mm layer of brass across the top and a hefty quantity of deadening rubber covering the whole of the rear surface. It offers considerable vibration damping, impressive resonance rejection, smooth rotational stability and significant inertial mass. In essence, it’s the same as the platter fitted to the (appreciably more expensive) SL-1200G.

Every SL-1300G is balanced after it’s assembled – because if the weight distribution of the turntable is uneven, the rotation of the platter can cause noise and vibration. How do you know your SL-1300G has been balanced in the Technics factory before it’s packaged up? By the little ‘BALANCED’ sticker on the underside of the platter.

• Design score: 5/5

Technics SL-1300G turntable review: usability and set-up

• Source and fit a cartridge
• Bin the supplied RCA cables in favor of something more appropriate
• Do the usual stuff regarding counterweight, anti-skate and so on

Unusually for the ‘usability and setup’ section, I’m going to have to talk about the need for you to spend yet more money. Because if you don’t, the SL-1300G is nothing more than an elaborate (and good-looking) doorstop.

If you want to get a sound out of your SL-1300G, you’ll need to research, source, purchase and fit an appropriate cartridge. I’d suggest something in the region of $500 will buy you something that will do this record player some justice. Cartridge fitting and setup are among the most fiddly things you can do (in life, let alone in the context of your audio system), so try to be patient. And then when you’ve done that, you really should consider binning the freebie RCA interconnects Technics so graciously supplies in favor of something that’s actually up to the job.

Once that’s done, though, usability is a doddle. The direct drive motor gets the platter up to speed in well under a second, and the tonearm lift operates with precision. ‘Putting a record on’ has never been any less painful than it is here.

• Usability and setup score: 4/5

Technics SL-1300G review: Value

• Superb build quality and materials
• Real longevity
• But you have to spend even more money to get it working

It depends how you look at it, I suppose. In terms of engineering prowess, the quality of materials and the way they’re put together, in terms of longevity and simple pride of ownership, the Technics SL-1300G represents very good value indeed. And that’s before you factor in the many admirable aspects of the way it sounds.

But given that this record player doesn’t actually function until you’ve spent quite a lot more money on a cartridge, plus a fair few bucks upgrading the cables connecting it to your amplifier, it’s perhaps not the cast-iron value for money it at first appears…

• Value score: 4/5

Should I buy the Technics SL-1300G?

Buy it if...

Don't buy it if...

Technics SL-1300G review: also consider

How I tested the Technics SL-1300G

• Tested over the course of one week
• Listening to various types of music

I connected the Technics SL-1300G up to my home system using the supplied RGA cables. Then, I spent well over a working week listening to as many different types of music as I could, of many different genres, and varying qualities of pressing to give the SL-1300G as much of a workout as I could. And, to be honest, I enjoyed doing it.

• First reviewed: November 2025
• Read more about how we test

Avid Ingenium Plug&Play: two-minute review

The Avid Ingenium Plug&Play is a belt-driven unsuspended turntable and it’s the very smallest and simplest turntable that the company makes. This might sound surprising for a turntable with a price tag of £1,500 (about $2,500 / AU$2,500, where available) but it is a reflection of quite how far up the Avid range goes.

If you want to purchase the brand's flagship Acutus Reference Mono turntable, Nexus V2 arm and Ruby cartridge, you will need a not inconsequential £48,950 (or around $66,250 / AU$102,260, give or take) to do it. Judged by this metric, then, those aforementioned prices are indeed fairly entry level.

Most importantly, the Avid Ingenium Plug&Play is built around the same principles as the top-tier Acutus. Everything that Avid does is developed from the top down. The company begins by making the best example of something that they know how to make. When they want to make a more affordable version, they change the absolute minimum number of parts and design elements. Then, when a more affordable version still is required, this second level becomes the point from which development begins. By this process, the Acutus has become the Ingenium.

This process also means that the Ingenium is designed with different priorities to some of the best turntables at the price and it looks and feels different as well. Is the result exactly what you need in a turntable or do other approaches work better?

Avid Ingenium Plug&Play review: Price & release date

The original Ingenium has been around for over a decade but it has changed a little in that time. Originally, it could be ordered with different cutouts from the factory that allowed you to choose different arms. You could also have one that had a longer chassis that allowed it to work with 12 inch arms. Not only that, if you were feeling really keen, you could order one where the chassis extended in both directions and could mount two arms at once. As someone who is the very definition of keen when it comes to turntables, I have owned a twin-armed Ingenium for many years as it is a fantastic piece of test equipment.

The Plug & Play was released in 2018 and quickly became the sole version of the Ingenium. By simplifying the versions, Avid could keep the price down and ensure that installing one is as simple as possible. Though there is only one version for sale, the company makes a series of upgrades that can be added at a later date, which we will cover as well.

As of May 2025, an Ingenium Plug & Play is £1,500 in the UK. In the US, the current liveliness around imports makes the price a little volatile but it appears to be around $2,500. In Australia, it is yours for AU$2,500.

This price is inclusive of everything you need to get up and running out of the box, with the exception of a phono stage. Avid does make these if you need and, as the Ingenium Plug & Play is fitted with a moving magnet cartridge, many owners will have a phono stage built into their existing electronics that will allow them to connect directly.

Avid Ingenium Plug&Play review: Features

• Metal chassis built around a custom bearing
• Motor acts on subplatter with MDF or optional metal platter
• Upgradable power supply
• Arm and cartridge fitted

Every Avid turntable from the Acutus down is designed around the same principle. It is intended to dissipate energy away from the playing surface via the bearing. The chassis of the Ingenium Plug&Play takes the form of a two-piece cruciform with the longer section housing the bearing and tonearm mount, and the shorter crossbeam adding stability. The motor is not attached to the chassis; instead it sits in free space behind the main chassis member. The feet are pliant rubber and add some useful isolation from the outside world.

The bearing is hugely important to how the Ingenium works and considerable attention has, rightly, been lavished on it. It is set forward from the center of the chassis which means that you can see the entire assembly from the front. The bearing comprises a shaft, with the actual bearing itself sat at the top. A subplatter sits on top of this and this is what the belt acts on. On top of this, the platter is then fitted.

This platter is cork topped and used on other Avid turntables. As standard, it is made of MDF and feels pretty substantial but you can also order the Plug&Play with a metal platter. This looks very similar to the standard one but is much heavier and more inert. The upgraded platter comes with bolts that screw into the underside. These drop into holes in the subplatter to tighten up the relationship between the two. Order the metal platter at the same time as the Ingenium and it will cost you £350 ($475, AU$730 where sold) or you can order it later on for £450 ($610 / AU$940, where sold).

The Ingenium makes use of another Avid design feature in the form of a clamp. This screws down via a threaded spindle to physically press the record against that energy-dissipating bearing. This is another feature present on all Avid turntables and is absolutely integral to how they work.

As supplied, the Ingenium's motor plugs directly into the wall and simply has an on/off switch most of the way up the wire. Depending on how you place the Avid, this can make it hard to reach and it means that changing between 33 and 45 RPM is a matter of lifting the platter off and moving the belt from one motor pulley to another.

Both of these can be corrected by upgrading to the Electronic PSU. This allows for electronic speed control via a motor with a different pulley that allows two belts to be run at the same time. This is not a cheap upgrade – at £1,500 ($1,355 / AU$2,085 approx.) it’s the same price as the turntable itself and there is no saving to be had ordering it at the same time.

The arm that comes pre-fitted is something Avid calls the TA1. It is designed with a view to working with the supplied cartridge but will accept others that are content working with its fixed anti-skate system. It outputs via a captive lead and Avid has ensured that the VTA is correct out of the box. This arm is not expensive; it appears with the same cartridge on a turntable that costs £330 ($445 / AU$690, where sold) but it reflects Avid’s design priorities. Their argument is that, unless the turntable itself is correctly engineered, nothing else will be right. For some people, this price balance will seem somewhat lopsided but is a ratio that Avid employs on many of their turntables.

Should you wish to change it in future, any arm using the same mount and geometry should fit but this does not include either of the arms that Avid makes. Something that can also be done, though, is to change the stylus on the cartridge. By origin, this is an Audio Technica design called the AT-91 and it has sold in huge quantities. Roll your sleeves up and get online and you’ll find a variety of upgraded stylus options for it that simply slide on in place of the existing one and can offer substantially better performance.

• Features score: 4 / 5

Avid Ingenium Plug&Play review: sound quality

• Exceptionally cohesive and controlled performance
• Excellent bass; made even better with the upgrades
• Some limitations to fine detail
• Can be very good fun

Turntables are fascinating and slightly maddening things. They perform one job that has very few variables – at the most basic level, support a record and rotate it at 33 or 45 RPM, and yet, the performance they offer varies hugely. Put simply, every single design and engineering decision makes a difference to how the turntable performs. Done well, this manifests itself in how the information on the record is presented. The more capable the turntable, the better it avoids information on the record becoming congested and confused.

It doesn’t take very long listening to the Ingenium Plug&Play to realize that, at its fundamental core, it is incredibly capable. I’ve been using The Cinematic Orchestra’s Man with a Movie Camera as a piece of test material for years. The version of Burn Out used here is bigger and has a larger overall sense of scale than the original and, as the track builds, it can start to sound a little muddled. On the Avid, this simply doesn’t occur; it has the bandwidth and ability to keep everything sounding as it should. The Ingenium hangs together, even when a number of similarly priced rivals are beginning to struggle.

It also possesses extremely good bass and when I say, ‘good bass’ I mean more than straightforward low-end thudding. From the moment that lower midrange starts to become bass, there is a heft to it that is perfectly judged – weighty without tipping over into being dominating or overblown. It does rather justify Avid’s belief in the turntable itself as the final decider of the quality of playback. I have never heard anything else using a remotely similar arm and cartridge achieve the same level of sheer low-end tone and texture as what the Ingenium extracts from it.

There is more to be had from it. Avid supplied an example of the upgrade platter with my review sample and fitting this improves the bass response even further. Not only does the absolute extension improve but the texture and control to low notes improves even further. Rogues Gospel by Duke Garwood is an exceptionally natural recording, underpinned by surprisingly deep bass notes. With the metal platter present, the percussion is better defined against the mix and it starts and stops with greater precision.

Adding the external power supply (I also used the motor from my own Ingenium for this as it has the correct pulley and connecting cable) yields more performance. It might sound odd that changing the power feed for the motor has any effect on the performance but it’s important to remember that this is the only part of the turntable where electrical power is added – everything else is entirely passive. The power supply allows me to more easily listen to a 45RPM version of Peter Gabriel’s eponymous third album. The already orderly and spacious presentation takes a further step forward. Without losing the building urgency of Family Snapshot, the Avid is astonishingly capable.

There are some limits, though, that would need attention before spending £1,500 (approx. $1,355 / AU$2,085) on the power supply. The Avid extracts more from its cost-effective arm than you would ever credit but it will show its limitations. Compared with the arm and cartridge combination used regularly on my resident Ingenium (which I am compelled to admit costs more than the Plug&Play and the optional power supply combined), there is a loss of fine detail and tonal realism that is the absolute limiting factor to the Avid’s performance. As noted, changing the stylus would be a cost-effective means of starting to correct this, and there is a decent choice of arms that will bolt straight on that I would probably look at ahead of the power supply.

Crucially, though, you won’t need to rush to do this. In the time the Avid has been in situ, it’s been sharing a rack with more expensive, and notionally more capable, decks but I’ve never rushed to switch over from listening to it. What it does so effectively is balance attributes I have long associated with Avid turntables – a confidence and realism that is unaffected by the scale and complexity of the material being played, with the ability to be plain and simple good fun when you want it to be.

Playing the belated vinyl release of Superabundance by the Young Knives on the Ingenium is a neat demonstration of this. Even after a remaster, it’s not a great recording but the Plug&Play takes in its stride and will have you yelling along to the utterly nonsensical chorus of Terra Firma in fine style.

• Sound quality score: 4.5 / 5

Avid Ingenium Plug&Play review: Design

• Simple, but attractive with it
• Superbly made
• Easy to set up
• No dust protection or cover of any kind

Avid is first and foremost an engineering company. They don’t really go in for ‘styling’ as it might be defined in the usual sense. There is absolutely nothing on the Ingenium Plug&Play that doesn’t need to be there for it to work. Despite this (or, partly because of it), I love it. The Avid doesn’t set out to be pretty but thanks to the absolute lack of frippery and adornment, it looks fantastic. You don’t need to know anything about vinyl to know it’s a very special thing.

It is also superbly made. Extracting the Avid from its box allows you to get a handle of the sheer heft of the metalwork and the precision involved in the construction. I won’t insult your intelligence by calling it cheap but I don’t know of many turntables at the price that feel anything like as substantial. It very effectively gives a little taste of just how incredibly well assembled the company’s more premium offerings are.

It also delivers on the name as well. It can be momentarily intimidating to see all the parts sat in the box when you open it but, thanks to a genuinely good set of instructions, the Avid is a pleasure to put together and should not be beyond even a complete novice. The quality and care of the execution is evident from the moment you start slotting the parts together and the whole process inspires confidence in what you're doing. Pay attention, avoid distractions and you should be spinning a record within 10 to 15 minutes of opening the box.

Something to remember when choosing an Ingenium Plug&Play is that as a 'skeleton' deck, the Avid has no dust or child protection as standard. This means that it is rather more vulnerable than some rivals to the outside world. Avid offers some covers, and other options are available, but this of course will come at an extra cost. I have generally kept an old record on my Ingenium's platter to help keep dust off the playing surface.

• Design score: 4.5 / 5

Avid Ingenium Plug&Play review: Value

There are two levels to judging the Plug&Play. Judged on what you get in the box for £1,500 (about $2,500 / AU$2,500, where available), it’s good but there are other turntables that can keep it honest, ones which also offer lids, electronic speed control and other niceties. The Ingenium is competitive and can hold its own but it doesn’t deliver a knockout blow.

The thing to consider, though, is that the Ingenium can be taken to places that almost nothing else for the price can. My twin-armed one has the upgrade platter and the power supply and uses arms that cost more than the Plug&Play does on its own. It’s still mechanically the same basic turntable as the review unit but it can deliver a level of performance far beyond what the basic unit is capable of.

If you know you are committing to vinyl for decades to come, this is a turntable that will grow with you. Viewed in this way, the Ingenium represents rather more impressive value.

• Value score: 4 / 5

Should I buy the Avid Ingenium Plug&Play?

Buy it if…

Don't buy it if…

Avid Ingenium Plug&Play review: Also consider

How I tested the Avid Ingenium Plug&Play

The Avid was parked on a Quadraspire rack and run both in out-of-the-box and upgraded forms, connected to a Cyrus Classic Phono phono stage, which outputted to a Cambridge Audio Edge A integrated amplifier and Kudos Titan 505 speakers. As the Cyrus has four inputs, it meant other turntables that live here all the time could be run alongside and everything played through my standard reference system.

All listening took place in a 3.5m x 4m lounge that I use as a listening space. As well as the listed recordings, I used a huge selection of records, ranging from very audiophile indeed to Boss Drum by The Shamen which, with the best will in the world, is not.

• First reviewed: June 2025
• Read TechRadar's reviews guarantee

Vertere DG X: two-minute review

Put $5,400/ £4,150 / AU$8,500 Vertere’s way and in return you get a beautifully constructed DG X turntable, a strange-looking but remarkably capable Groove Runner X tonearm, and a cartridge that’s a lot more serious than the model name ‘Lite Sabre’ might lead you to believe. Although this review is titled 'Vertere DG X' for brevity, I'm reviewing the full package here: Vertere DG X / Groove Runner X / Lite Sabre – and what a package it is.

What’s more, you get a proper power supply and equally capable cables too. You even get a dust-cover. The DG X package is simplicity itself to set up – all the hard work has been done in the factory – so your sonic gratification need not be deferred very long at all.

And gratification is really what the Vertere DG X is dealing in – it'll be the reason it soon features in our pick of the best turntables, at any rate. It might lack the last scintilla of audio bolshiness, and not be quite as willing as some alternative designs to really attack those recordings that are, let’s face it, asking for it. But in every other respect it’s a thrillingly accomplished listen. Where control, balance, tonal fidelity, frequency response, rhythmic expression and all the other stuff that goes into making a rounded and convincing presentation, the DG X barely puts a foot wrong. And it’s engaging and entertaining at the same time – which is by no means a given no matter how much you’re spending on a record player.

Vertere DG X review: Price & release date

The Vertere DG X / Groove Runner X / Lite Sabre package was released on March 20, 2025, and in the United Kingdom it’s yours for £4150. In the United States it sells for $5400, while in Australia the going rate is AU$8500.

There are two equally important things to bear in mind when considering this asking price. The first is that there are plenty of very capable turntable/tonearm/cartridge combinations available at this sort of money from extremely well-regarded manufacturers. The other is that Vertere itself is now firmly established as an extremely well-regarded manufacturer…

Vertere DG X review: Features

• Microprocessor-controlled belt drive (33.3 and 45rpm)
• Tri-point articulated tonearm bearing system
• Vertere DC-2 bespoke power supply

Somehow ‘features’ seems too weak a word to describe the lengths Vertere has gone to, and the engineering mania that has been brought to bear, to deliver the DG X / Groover Runner / Lite Sabre package. Still, it’s the word I’ve been given to work with – so here goes…

The DG X turntable has a main bearing housing made of precisely machined brass alloy, with a tungsten carbide thrust ball. Its non-magnetic stainless steel spindle is mirror polished, and it features aluminium alloy plinth interface clamps. The drive system is made up of a machined acetal motor spindle thrust bearing, a machined aluminium alloy pulley along with a resonance control disc of the same material. The platter it turns is also (mostly) of machined aluminium, and Vertere supplies a cork/neoprene/nitrile mat which has, so it claims, a positive effect on the resulting sound. 33.3 or 45rpm speeds are electronically selectable via microprocessor-controlled motor drive – a silicon drive belt does the donkey work.

The Groover Runner tonearm, meanwhile, is 240mm long and an unusual flat shape. It’s made up of two bonded lengths of five-layer polymer – the idea is to minimise the resonance peak inherent in the more common tube arm designs. It’s a tri-point articulated design, and uses three captive silicon nitride balls with a machined non-magnetic bearing point. It’s similar in this way to the far more upmarket Vertere SG 1 turntable’s tonearm assembly. The azimuth setting mechanism and stainless steel counterweight have been updated - there’s now a locking aluminium alloy counterweight screw – and there’s a secondary weight that’s adjustable along much of the length of the tonearm to help with cartridge-matching.

The tonearm beam features a magnetic rest, so the arm doesn’t need to be clipped into place when it’s not active. The lift/lower mechanism is insulated, and is fixed to the non-resonant bearing pillar. The arm is pre-fitted with a new moving-magnet cartridge called Lite Sabre – it might seem a slightly flippant, pun-tastic name at first, until you realise it’s designed to offer a lot of the performance of the company’s considerably pricier Sabre MM cartridge. Naturally it’s optimised in every respect to be the perfect partner to the arm and the turntable it’s wedded to.

Power is supplied by Vertere’s DC-2 ‘Challenger’ 30V DC unit that was, until very recently, a cost option. Some very acceptable stereo RCA connection cables are included in the package too – so as far as the DG X system goes, you have everything you need to get up and running.

• Features score: 5 / 5

Vertere DG X review: sound quality

• Sky-high detail retrieval
• Rhythmically positive and assured
• Tightly unified overall presentation

I may as well get this out of the way from the get-go: the Vertere DG X package isn’t a complete all-rounder. It very nearly is, but in one respect this turntable falls fractionally short. That’s not to say it wouldn’t be ideal for your purposes, of course – but nevertheless it’s something you should be aware of.

Basically, the DG X isn’t quite as attacking or driving as it might be. With a fairly assertive recording playing (a chunky reissue of Pere Ubu’s The Modern Dance, for instance) there’s not quite the charge or the onslaught the material demands. It’s not that the DG X is overly polite – it’s prepared to bare its teeth if it absolutely has to. But other price-comparable rivals are more willing to blitz through the recording than this record player is.

And with that out of the way, I’m free to discuss all the very many ways in which the DG X is an admirable, engaging and thoroughly convincing listen. Where to start?

With frequency response, maybe? It’s absolutely even from top to bottom; the DG X delves deep into the lower frequencies and reaches high at the top end, but no area of the frequency range is overstated and no area is underplayed. It’s even-handed and unified, and the overall presentation is brilliantly naturalistic as a result.

Tonally, too, the Vertere is expertly judged. There just doesn’t seem to be any significant input into tonality from the DG X – so when you listen to something warmly analogue like Heart of the Congos by The Congos, ‘warmly analogue’ is what you get, and when you listen to something rather more chilly and austere like Kraftwerk’s Trans Europe Express what you get is chilly an… well, you get the picture. The tonal balance of this record player seems to be dictated by the music it’s playing rather than any idea of what’s ‘correct’, and it’s an impressively balanced listen as a result.

Detail levels, across the board, are sky-high – and the DG X seems to have no problem identifying the most transient episodes in a recording and placing them into context with just the right amount of weighting. Despite its attention to detail, though, it never sounds analytical or dispassionate – it simply has a happy knack for extracting every shred of information in the groove of your record and handing it over in a completely unforced manner.

Rhythms are confidently expressed, thanks to the sort of low-frequency control and authority the Vereter demonstrates, and even the gimpy tempos of Tony Allen’s Lagos No Shaking roll along as if they’re the most natural and simple thing in the world. The attention the DG X pays to harmonic variations is fanatical, and it has the sort of effortless power to put significant distance between the quietest and the most vehement moments of a recording. When the horns really start to blare, the increase in volume and intensity is made absolutely apparent.

And all of this good stuff happens without sacrificing the sort of unity and singularity of presentation for which the vinyl format is routinely prized. There’s a sense of togetherness and of performance to the way the Vertere presents music that’s extremely persuasive – and this is the case even when it’s playing music that never was a performance. Four Tet’s And They All Look Broken Hearted sounds as whole and as singular as any recording by a band playing all together in the studio.

• Sound quality score: 4.5 / 5

Vertere DG X review: Design

• 130 x 469 x 384mm (HxWxD including dust cover)
• Black, white or red gloss finishes
• Adjustable feet

Fundamentally, the DG X looks like a record player, but Vertere has managed to design just a little individuality into it. The company will of course tell you that everything it’s done, it’s done in the name of performance – but the fact that the result is a turntable that’s just slightly individual and even mildly dramatic in the way it looks can’t have disappointed Vertere either.

The main plinth, with its racy little angular cutaways on each of its four sides, is made up of three layers of cast acrylic arranged in a non-resonant sandwich. The filling is clear, and internally illuminated for a little visual pizzazz; the upper and lower sections are available in gloss black or gloss red as well as the gloss white of my review sample.

The substructure is a black-coated zintec steel chassis, and the entire arrangement is supported on three threaded feet that are topped (or, more correctly, bottomed) with resistive felt. They’re adjustable, naturally, so you can be sure your DG X is perfectly level. A spirit gauge is provided so you can make absolutely certain.

On the rear of the plinth, along with an input for the mains adapter, there are a pair of gold-plated RCA output sockets. Like almost every electrical element of this package, they have selectable shielding – choose from ‘signal’, ‘chassis’ or ‘floating’.

The DG X is supplied with a tinted acrylic dust-cover, and as is appropriate in the overall context of this turntable, it is designed to be as resistant to resonance as is possible. With the dust-cover attached to its hinges, the all-in weight of the Vertere is 8.5kg.

• Design score: 5 / 5

Vertere DG X review: Usability & setup

• Pre-fitted and pre-adjusted cartridge
• Simple anti-skate adjustment
• Both counterweights factory-set

It’s not unheard-of for an upmarket and shamelessly ‘audiophile’ turntable to be simple and straightforward to set up – it’s just quite rare. So it’s nice to be able to add the Vertere DG X package to the list.

As the Lite Sabre arrives connected to the Groove Runner X tonearm, everything that needs to be done has already been done in the factory. Tracking weight adjustment? Vertical tracking angle? Anti-skate, azimuth and counterweight? All taken care of. All you have to do is position the tonearm and plug its cable (which is terminated with what looks very much like a microUSB socket) into the body of the plinth and you’re in business. Well, once you’ve made a connection to an amplifier and to mains power, anyway.

And as far as usability goes, well, this is a record player – there’s next-to-nothing to it. The speed control is on a switch on the top left of the plinth as you look down on it - short presses toggle between 33.3 and 45rpm, and a long press switches the deck either on or off. Put a record on the mat, set it turning at the correct speed, lower the tonearm – and you’re in business.

• Usability and setup score: 5 / 5

Vertere DG X review: Value

‘Value’ is a slightly tricky consideration where products like this, at this sort of money, are concerned. After all, shouldn’t spending north of £4K on a turntable guarantee impressive build quality, flawless finish and stunning sound quality?

If you’ve read this far then you know all of this is covered by the Vertere DG X – and you also know that if you’re going to take full advantage of what this record player has to offer, you’ll need a similarly expensive system with which to do so.

There’s no disputing this product’s credentials, and by extension the value for money it offers. Ultimately, it’s going to depend on whether or not you enjoy the way the DG X looks, and even more importantly, the way it goes about doing the audio business…

• Value score: 4.5 / 5

Should I buy the Vertere DG X?

Buy it if…

Don't buy it if…

Vertere DG X review: Also consider

How I tested the Vertere DG X

How did I test the Vertere DG X / Groove Runner X / Lite Sabre? After setting it up, I connected the turntable to a Naim Uniti Star using the supplied RCA connections. The Naim was then connected to a pair of Bowers & Wilkins 705 S3 Signature loudspeakers (bolted to their bespoke FS-700 S3 stands) using QED XT40i speaker cable.

Then, I spent well over a working week listening to as much music as I could, of many different genres, and of many different qualities of pressing, in an effort to find something the Vertere couldn’t get along with. And if this sounds in any way arduous, I assure you it wasn’t.

• First reviewed: April 2025
• Read TechRadar's reviews guarantee