{"id":28114,"date":"2021-05-18T09:14:10","date_gmt":"2021-05-18T07:14:10","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=28114"},"modified":"2023-03-19T21:18:18","modified_gmt":"2023-03-19T19:18:18","slug":"avid-ingenium-diva-ii-sp-and-sequel","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/turntable-and-accessories-reviews\/turntable-reviews\/avid-ingenium-diva-ii-sp-and-sequel\/","title":{"rendered":"AVID Ingenium, Diva II SP, and Sequel SP"},"content":{"rendered":"

Review sample supplied by Hexagon Audio<\/a>
\n<\/a>Retail prices in the NL including 21% VAT:<\/h4>\n

Ingenium Plug&Play including arm and cartridge: 1.400 euro
\nDiva II SP: 4.100 euro
\nSequel SP: 8.800 euro
\nTA-1 Tonearm + CA1 Cartridge: 400 euro
\nTA-3 Tonearm: 550 euro
\nTA-3 Tonearm + Nagaoka mp-150 Cartridge: 1.000 euro
\nAudio Origami PU7 tonearm: 3.100 in silver, 3.400 in black<\/h4>\n

As regular readers will no doubt know by now, my reviews are not always straightforward and rarely short. You could say that I can tend to review in a non-conformist manner. A lot of this has to do with my curiosity and desire to get to the bottom of things. When I am reviewing a wide range of variables, I like to see where each one takes me. And in this case, this has led to a very long article that may seem<\/em> to jump all over the place at first. But, I promise, there’s a purpose behind all the steps and it will all converge in the end. And for those who want to get right down to it, I have provided a summary at the end of this article.<\/p>\n

If you’re looking for a straightforward one-by-one review of these three turntables, I’m afraid that you will have more reading ahead than you may have anticipated. But if you’re looking to learn absolutely all the ins and outs of these turntables, how they compare to one another, how they interact with different tonearms and cartridges, and where exactly each model excels, by all means, do read on!<\/p>\n

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System Context<\/h3>\n

The three AVID turntables will be reviewed using my regular system, consisting of the CH Precision P1<\/a> phono stage, Ayon Stealth<\/a> preamp, CH Precision A1.5<\/a> power amp, and Magico S1 MkII speakers.<\/p>\n

Available for comparisons is the Origin Live Calypso mk4<\/a> with Multi-Layer Platter and Illustrious arm with Aidas Rainbow<\/a> cartridge. The electronics are all used with Belden 19364 power cables while the turntables (the Origin Live included) are used with the standard cables as supplied.<\/p>\n

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The CH phono stage is extremely neutral and so are the power amp and the speakers, but the Ayon Stealth preamp has a solid, full-bodied, and slightly dark sound. While I feel that it perfectly complements the Origin Live as well as the AVIDs, this may be something to take along in any considerations when comparing my relative comments.<\/p>\n

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Ingenium with standard TA-1 arm and CA-1 cartridge<\/h3>\n

Starting with AVID’s entry-level turntable, the Ingenium comes as standard complete with a tonearm and cartridge, pre-mounted and pre-adjusted. All that needs doing after unpacking and setting up is to slide the counterweight all the way over the yoke up to its predefined position and you’re good to go. The tonearm is an AVID TA-1 (an OEM Rega RB-220) that is fitted with an AVID CA-1 cartridge that does not carry any branding, but in terms of shape, it looks a lot like an Audio Technica AT 3600 L or similar. Upon request, AVID supplied the following specs for this cartridge: Conical profile, Carbon cantilever, and 2.5mV Output. No VTF value is specified, but when the weight is in its intended position against the rubber ring on the prepared arm, this should be correct. Just out of curiosity, I measured the VTF using a Stylus pressure gauge and it indicates 1.85 grams. VTA, finally, is not adjustable as standard.<\/p>\n

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AVID TA-3 arm \/ Rega RB-330<\/em><\/p>\n

Incidentally, what Audio-Technica calls a high-tech-sounding “carbon fiber” cantilever is actually carbon-fiber-reinforced ABS plastic. While that may sound inferior, there’s a reason why the material is used in the entry-level cartridges, which is that it can take a bit of rough handling and won’t damage as easily as aluminum cantilevers.<\/p>\n

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Unlike the higher-tier AVID turntables, the Ingenium uses an AC synchronous motor that connects directly to an AC outlet. Switching it on and off is done by a cord switch – simple and effective.<\/p>\n

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As a side note, all the AVID turntables’ motors are very sturdily built, even the one that comes with the Ingenium. As I found when manually rotating the motor axle before fitting the belt, you can feel that a relatively high-power motor is used, even on this entry-level model.<\/p>\n

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It seems that this is one of the foundations for all AVID designs: a powerful motor (and ever more so, as you progress up the range) and an extremely stable, 100% torsion-free chassis. Especially the latter is something to note because the Ingenium may lack the Volvere or Sequel’s complex suspension, its chassis has a less complex shape and it is every bit as massive and sturdy.<\/p>\n

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Above: the machining precision is highly impressive! After having removed the three screws, the fitting of the bearing top section is superb – even for the Ingenium. Below: the Sapphire bearing up close.<\/em><\/p>\n

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The all-important and very impressive Aluminum bearing is the very same as used by the Diva II which is similar to the Stainless Steel bearing as used by the Volvere and Sequel. All these turntables use the same Tungsten Carbide\/Sapphire thrust point. The Ingenium is the only AVID model that uses a sub-platter, onto which the actual platter sits.<\/p>\n

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The Ingenium’s platter, by the way, is made from MDF, and unlike with the dearer models, its center hole is not concave but straight. Besides the simpler motor and cord switch, the lightweight MDF platter is the only other area where costs were saved. The platter top layer is cork, same as for the other AVID turntables.<\/p>\n

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Listening<\/h3>\n

Couldn’t sound any good, an MDF platter, right? Well, that’s certainly what I thought. And without beating around the bush, the Diva’s and Sequel’s aluminum platters are indeed better but regardless, the Ingenium surprised me.<\/p>\n

When thinking of entry-level turntables, impressions of bleak mids and thin bass form in my mind. When listening to the Ingenium for the first time, however, quite the opposite happens. With the CH Precision P1<\/a> phono stage set to 47 kOhm and 40 dB gain, and using a selection of records, it’s clear that the Ingenium has ample bass and is far removed from my mental conjecture of what an entry-level turntable normally sounds like. With the Ingenium, the music sound full-bodied, smooth, relaxed, and easy to get into. My first listening was done together with an audio buddy and, honestly, we were both taken aback by how musical<\/em> it sounded right off the bat.<\/p>\n

Rhythmically, the Ingenium is positioned such that it sounds unhurried but still most definitely foot-tapping-inducing. Whatever music you play, it’s always easy to get into, both physically and emotionally.<\/p>\n

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When engaging my critical listener mode, I do notice that the resolution is not great and the speed\/tempo\/pacing is not quite as rock-solid as I am accustomed to. It’s not anything very blatant but when coming from a higher-end belt-drive turntable such as the Origin Live Calypso mk4<\/a> or a Quartz-locked Direct-Drive model, you do notice that those designs sound just that bit more stable. Let’s take the widely known Technics SL1200<\/a> as an example. This turntable has impeccable speed stability and fast transient behavior. While this leads to a very good performance with dance music I feel that it has always lacked tonal fulness and timbral naturalness, and ultimately it just does not sound emotional or organic to me. And this is where the Ingenium definitely has the upper hand.<\/p>\n

Of course, as an entry-level turntable, the Ingenium can be improved upon. The player could do with more clarity and expression in the midrange and it is ultimately not as revealing or as engaging as the Thorens TD1601<\/a> or, as would later turn out, the higher-tier AVIDs. But to be fair, the Thorens is 3.249 euro without cartridge and regular Diva II (not SP) which is the next AVID up costs an extra 1150 euro and comes without an arm or cartridge<\/p>\n

Regardless, even with this simple cartridge, the Ingenium manages to sound remarkably smooth and, ultimately, just plain musical. Just make sure to use pristine vinyl. Most of my collection consists of second-hand records, and as I quickly found out when using this conical stylus, when a record is slightly worn, shakers and hi-hats and sharp “S” es in vocals can become spitty. But there are many alternatives for the standard cartridge and nothing is stopping you from upgrading it at some point after purchase. Naturally, I will mount a better cartridge, all of which can be read further below.<\/p>\n

I can only conclude that the Ingenium provides spectacular value for money. Remember: not only the dearer AVIDs but also most other turntables are priced without an arm, let alone a cartridge. Keep that in mind when comparing any other turntable to the Ingenium in its price range. I will admit that I was flabbergasted after hearing it for the first time. This is an all-in 1400 euro turntable??? It sounds more like double that amount.<\/p>\n

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Arm-Swapping<\/h3>\n

In order to see how much the turntable frame contributes to the sound and to find out how much of a restriction the Ingenium’s arm and cartridge may pose to the player, I decided to unmount the Ingenium’s TA-1 arm and CA-1 cartridge and try it with the other two AVID turntables. Yup, this is one of those counter-intuitive actions that probably no other reviewer would endeavor but I just want to know. And I’m guessing that you do, too! And rest assured, I will also mount much better cartridges later but for now, please indulge me.<\/p>\n

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Sequel SP with “Ingenium” TA-1 arm and CA-1 cartridge<\/h3>\n

Positioned directly below the top-model Acutus, the Sequel SP is a further enhanced version of the Volvere. The power supply has been upgraded both internally and externally and the motor itself is an even heavier 24V DSP-regulated AC version with 140mNm of power versus the Volvere SP’s 55mNm.<\/p>\n

The original Volvere that I reviewed years ago used a single belt and an earlier incarnation of the chassis. The current Volvere SP has a twin belt and uses the same chassis as the Sequel.<\/p>\n

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The Sequel’s top section can easily be lifted and set aside for easy cartridge mounting.<\/em><\/p>\n

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Indeed, when looking at the motor and when lifting the bottom chassis that holds it, one cannot help but be deeply impressed by its heft and stability. A nice bonus feature of the very powerful motor and its advanced control is that the platter starts extremely quickly. Even though the Sequel is a belt-driven turntable, I’d say it is up to speed pretty much as quickly as the aforementioned SL1200 Direct-Drive turntable: about half a turn. Quite impressive, especially given that the Sequel’s platter is considerably heavier!<\/p>\n

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At some point, after the original Volvere was issued, AVID upgraded the bearings for all their models and implemented the DSP signal generation, originally developed for the Acutus model to reduce vibration and allow fine calibration of motor speed, into all models except for the Ingenium.<\/p>\n

The distance between the arm board and the platter surface on the Ingenium (30 mm) is higher than with the Diva and Sequel (26 mm). Thus, in order to make the arm fit on the Sequel with the same vertical tracking angle as with the Ingenium, its pivot point has to be raised by 4mm. Relative to the Ingenium’s mounting, the cartridge’s VTA would be too high on the Sequel, and indeed, when looking at the arm’s position across the LP record, it’s a tiny bit higher on the pivot end. But since the arm has no VTA adjustment I chose to ignore this. Ultimately, given the conical stylus shape, this will likely not be of much consequence. Of course, it is a different matter with more exotic stylus shapes.<\/p>\n

Listening<\/h3>\n

And indeed, rather than hearing a VTA-induced deficiency, I was taken aback by how much the sound improved after swapping the TA-1 arm and CA-1 cartridge from the Ingenium to the Sequel. Of course, we’re talking about a turntable over six times as expensive, but already from the first few bars of music, it was evident that the Sequel provided a sound that was simply better on all accounts. Yet, there was also a family resemblance. The sound was still full-bodied and still both relaxed and solid at the same time, unhurried yet never slow, gently smooth, and still immediately engaging.<\/p>\n

What initially sets the Sequel apart is that it is more articulate, more revealing, cleaner, and much more spacious. Especially the midrange is much purer yet somehow still fully natural.<\/p>\n

Next, you notice that, although the balance between bass, midrange, and treble is comparable to the Ingenium, the Sequel provides a higher quality across the entire frequency range and it has a more convincing and natural timbre. There is better low-level detail and decays last longer and it all converges into a more realistic sound. Also important to note is that the pacing is now super-stable. There’s never any wavering in its stability and certainly not even a hint of pitch inaccuracy. The Sequel always sounds positive and extremely confident.<\/p>\n

Remember, all this is achieved while keeping the same arm and cartridge. Mind you, there is a large camp that advocates spending big on the cartridge first because it is at the very source of the music retrieval, and what is lost there can never be recovered later. And indeed the cartridge, as well as the tonearm, are limiting factors here but at the same time, this test clearly indicates the importance of the chassis. It’s something that I think is frequently underestimated by the public but clearly well understood by AVID.<\/p>\n

Interestingly, since the bearing is the same for all three turntables, what remains in terms of differences are the twin belts, the motor, its power supply, and, importantly, the platter. Since the one on the Ingenium is made of MDF while the one on the Sequel is five times as heavy and made from aluminum, my bet is that much of the timbral differences and higher overall accuracy stem from the better platter while the remaining differences stem mainly from the more accurate speed control.<\/p>\n

As mentioned, I will of course try other cartridges and also swap the tonearm to see just how great the Sequel is. But for now, the main question on my mind is what would happen when I mounted the same arm and cartridge on the Diva II SP. So, forgive me while I keep indulging myself to go and find out.<\/p>\n

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Diva with “Ingenium” TA-1 arm and CA-1 cartridge<\/h3>\n

The Diva II SP is a further enhancement of the Diva II. Although they look very similar, a metal platter is featured rather than the MDF of the standard Diva II, plus a high-quality Tungsten carbide\/sapphire bearing assembly taken from more expensive models. Lastly, the SP uses a twin belt drive instead of the original single belt.<\/p>\n

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Bearing spindle with Tungsten Carbide ball on top.\u00a0<\/em><\/p>\n

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Bearing outer part with the oil-impregnated bottom section. This bearing will never need any lubrication.<\/em><\/p>\n

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Interestingly, the Diva II SP uses the exact same chassis and bearing as the Sequel and upon a quick glance, one might assume that the only difference is the addition of the lower deck chassis with its spring suspension. This may well be the most distinct difference but a closer inspection unveils that the Diva’s platter is slightly smaller in diameter and it has a smaller motor and a smaller power supply. Still, on balance, I think it is fair to state that the Diva II SP is closer to the Volvere and Sequel than it is to the Ingenium.<\/p>\n

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Platter with twin belt and mounting aid. After positioning the platter such that the belts are over the motor pulley you rotate it slightly while making sure that the belts are aligned and when they are in place you can remove the aluminum aid.<\/em><\/p>\n

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As with the Sequel, I won’t jump to getting the maximum performance from the Diva right away. First, I want to see what sonic differences are found when moving the TA-1 arm and CA-1 cartridge from the Sequel to the Diva.<\/p>\n

Listening<\/h3>\n

Because the Diva has the exact same distance between the arm board and the platter surface, moving the TA-1 arm was easy as pie. I’ve not heard the original Diva or the Diva II, but after listening to the first track of the first album, it’s clear that the Diva II SP does indeed operate much closer to the Sequel than to the Ingenium, technically, as well as audibly. That’s not too much of a surprise given that so much about it is identical to the Sequel.<\/p>\n

The Diva shares what I am by now starting to recognize as the AVID House Sound which is a full tonality with great bass and a gently smooth midrange. But there are two important differences. Dimensionally, the Diva sounds markedly smaller and flatter than the Sequel. Considering that I heard the same, but inverse, when going from the Ingenium to the Sequel, I will assume that the lower deck and spring suspension are largely responsible for this.<\/p>\n

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Second, and interestingly, the Diva has an even more punchy, planted, and meaty sound than the Sequel. Along with the punchier delivery, the Diva also has shorter, drier, and tighter bass. While all three turntables have great PRaT, the Diva is especially<\/em> funky. I’m guessing that this is once again a result of it not having a spring suspension.<\/p>\n

Differences aside, other similarities include a very similarly natural timbre with similar levels of resolution and transparency, and the tracking, as far as can be discerned using this arm and cartridge combination, is comparable to that of the Sequel.<\/p>\n

So far, it’s almost a matter of personal preference with the Diva’s superbly articulate and punchy bass versus the Sequel’s larger and deeper sound and greater sense of flow. Going back to the Sequel, however, forces me to reconsider that statement, for it really is considerably better in every aspect except bass tightness and pacing. The bass may not be as solid and incisive but it does reach deeper. What I notice most is the imaging that is not only deeper and wider but also has the images within it portrayed more precisely. Both aspects are no doubt a function of the beefier motor and more elaborate power supply, coupled with the heavier platter.<\/p>\n

Although the Diva definitely sounds dimensionally more compact, what remains is that it does provide the spiciest sound with more bass slam. The Sequel’s nature is just a little bit more relaxed. At this point, with this cartridge and tonearm configuration, I figured that perhaps the Diva would be ideal for those with a healthy appetite for rock music while the Sequel is for those with eclectic collections.<\/p>\n

Now that I have compared all three turntables using the same tonearm and cartridge, it is time to step up the game and see what more can be achieved when changing the entry-level CA-1 conical MM cartridge for the much more respectable 700-euro Dynavector 10×5 Shibata High Output MC cartridge.<\/p>\n

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Sequel with Dynavector 10×5 MkII in the TA-3 arm<\/h3>\n

For the next test, I opted to leave the CA-1 cartridge in the TA-1 arm and set it aside while I mounted the Dynavector cartridge in an AVID TA-3 arm, which is an OEM Rega RB-330.<\/p>\n

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The Dynavector 10×5 MkII is a High Output MC cartridge (for use with an MM input) with a Shibata III stylus and 2.8mV output. Specified at 1.8-2.2 grams, I set it to 2 grams. Alas, with the counterweight slid all the way to the front, it only reached about 1.8 grams and so I needed to deploy the arm’s spring-loaded VTA for the last .2 grams. I say “alas” because I know from experience with other turntables that using the built-in tension rather than only the counterweight can lead to a sense of dynamic compression.<\/p>\n

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Checking the VTA is now harder due to the TA-3 arm’s tapered shape, rendering visual references in terms of equidistance from the LP surface invalid, while the Dynavector cartridge itself also has precious few usable straight angles. But as far as I can tell by eye and using SMARTstylus and Elvon perspex visual aids, the VTA is accidentally just about perfect for this arm in default form.<\/p>\n

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Listening<\/h3>\n

The Dynavector manual states that it requires a load of 1000 Ohms minimum, but at that value, I find that it sounds a little tired and unexciting. At the very high value of 100k, the sound goes in the other direction, becoming too strict, flat, and business-like. With 40dB of gain and the impedance set to 47 kOhm, however, the Dynavector sounds very well-balanced.<\/p>\n

The improvement is immediately audible. The Shibata stylus shape clearly retrieves much more information and this cartridge is also much more evenly balanced, more accurate, and more refined than the CA-1. \u00a0You can hear this in the treble (no more spitty “s”-es or hard sibilants) as well as in purer and cleaner midrange and the precision of the bass. Whereas the CA-1 certainly sounded groovy, it was also thick and imprecise.<\/p>\n

With the Dynavector cartridge, the Sequel also sounds much more linear and transparent. It’s very interesting to note that this change alone makes one question if AVID turntables really sound the way that I described in the previous sections above. But rest assured, as successive tests with another arm and other cartridges will confirm, they do. But for now, although the Dynavector is spectacular in terms of neutrality, purity, and detail retrieval, the more I listened to it, the more I found that it did not do much for me in terms of musicality. Technically, it was perfect but it wasn’t emotionally involving.<\/p>\n

After having given the cartridge about 12 LP sides of playing time (which is admittedly not anywhere near the normally recommended running in time) there was no noticeable change and the performance remained business-like. Is the Dynavector to blame? Given its stellar reputation, I would not think so. But neither would it be the turntable, would it? Or would it be this particular cartridge\/arm pairing?<\/p>\n

As mentioned, I still have another tonearm to try, the Audio Origami PU7 (12-gram effective mass version with Cardas 33ga internal wiring and super OFC external cable). Having heard this arm on a Linn LP12 as part of another review some time ago, I suspect that it will not only outperform the TA-1 but also provide a very different balance. But first, I want to try another cartridge with the TA-3 arm.<\/p>\n

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Sequel with TA-3 arm and Nagaoka MP-150<\/h3>\n

For this test, I retained the TA-3 arm and swapped the Dynavector 10×5 for the Nagaoka MP-150<\/a> MM cartridge. Fitted with a Superfine elliptical stylus and a high 4.5mV output, the Nagaoka promises a different perspective. Priced at 379 euro, one would suspect that it would not be able to keep up with the Dynavector, and strictly speaking, it can’t. But, ultimately, everything revolves around balance<\/em> in the wonderful world of audio. In other words, it is the match that counts.<\/p>\n

The MP-150 is specified at 1.5-2.0 grams at 20 degrees celsius with higher tracking force recommended for lower-temperature rooms. Since my room is at an always constant 22,5 degrees I normally use cartridges at their median specification. With the counterweight slid all the way over the yoke, the VTF was a very nice 1.78 grams which I thought was perfect while avoiding the use of the arm’s internal spring. Fortunately, judged using the SMARTstylus and Elvon tools, the VTA was again pretty much ideal.<\/p>\n

Retaining the 47 kOhm setting on the phono preamp but adjusting the gain to compensate for the Nagaoka’s higher 4,5mV output (vs 2,8mV for the Dynavector), I was struck by how powerful the Sequel now sounded. It was almost explosive!<\/p>\n

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Even with zero hours of use, the cartridge immediately sounded great. Powerful and dynamic, impactful yet refined, neutral and well-balanced, and with especially nimble and powerful bass. I was also amazed at the fluidity and refinement in the treble that was apparently possible with such a low-priced cartridge. In a way, this tonearm\/cartridge combination elicited similar neutrality from the Sequel as with the Dynavector but with more energy and with a bouncier, more joyful delivery.<\/p>\n

As can be expected from an elliptical stylus, the level of detail, resolution, and refinement ultimately lags slightly behind what is possible with a more costly Line Contact or Shibata, such as fitted in the Dynavector. With the Nagaoka, the music is indeed painted in slightly broader strokes but it really is leaps and bounds better than with the entry-level AVID\/Audio Technica cartridge. The MP-150’s output is fluid, smooth, articulate, and clean, and absolutely never spitty even with sharply-recorded “S” es.<\/p>\n

To be honest, I’d take the Nagaoka’s energetic, jumpy, and immensely joyful presentation over the extra resolution and refinement of the relatively lackluster and polite Dynavector.<\/p>\n

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I briefly also tried the Nagaoka with the Diva and the TA-3 arm and here again, the synergy was great. As the results were entirely consistent with earlier findings and this review is already getting lengthy, I’ll refrain from going into the specifics.<\/em><\/p>\n

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By now I’m sure many readers will be shouting out “Why?!” and I felt the same. At this point, I had no more desire to try the AT-3 arm with the Dynavector cartridge on the Diva.<\/p>\n

And with this, the time has come to step up the game by introducing the Audio Origami PU7 tonearm. Retailing for 3.100 euro in silver and 3.400 euro in black, it deserves to be taken seriously. And although it was tempting to mount it on the Sequel, first, I wanted to see in what way it would change the Diva’s performance.<\/p>\n

Audio Origami PU7 tonearm<\/h3>\n

The Audio Origami arm is no stranger to me. I have heard it before, mounted on a Linn LP12 when reviewing a bunch of Lejonklou components. At that time, I noticed that the LP12 sounded very different from the previous time that I had heard one. And these concerned the same Akurate models with the same Adikt cartridge. The only difference? The arm!<\/p>\n

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The first time that I heard an LP12, a Linn Akito was mounted and at that time, the turntable sounded lean and quite strict and it failed to involve me. Somewhat similar, in retrospect, to how the Sequel now sounded when it was fitted with the TA-3 tonearm and Dynavector cartridge. When I later heard the same LP12 turntable model but fitted with an Audio Origami PU7 arm and the same Adikt cartridge, it was as if the character of the sound had made a 180-degree turn. Now, the turntable sounded rich, smooth, full, and relaxed. The Akito did not please me but perhaps the PU7 made the LP12 a little too<\/em> relaxed. No doubt, in context, the Linn Ekos might have been more suited, but at almost 5000 euro, it warrants careful consideration.<\/p>\n

The Audio Origami tonearms are hand-made in Scotland. They contain 4 very high-quality ball races, have a foam-damped arm tube, and come with a Linn or Rega base fitting and both VTA and Azimuth are adjustable. Upon a first glance, it may not appear to be very special but if you look closer, you notice that it is built very solidly and everything about it is finished to a very high standard.<\/p>\n

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The only thing that I question is the placement of the anti-skating counterweight. While the system is very clever, it is positioned so closely behind the arm lift lever that I keep accidentally pulling it when I want to use the lift.<\/p>\n

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Another aspect to take into account is that the AVID clamp gets really close to the PU7’s headshell when in the end groove. I found with two records that it would actually slightly touch the headshell, resulting in the needle repeatedly being skipped back one groove on the record. It depends on how close the end groove was cut to the label and it’s not Audio Origami’s fault but it’s something to be aware of when using the PU7 or any tonearm with a relatively wide headshell.<\/p>\n

But as it turned out, the arm would prove to mate absolutely perfectly with the AVIDs, and both practical matters are soon forgotten after hearing this arm!<\/p>\n

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Diva with Audio Origami PU7 arm and Dynavector 10×5<\/h3>\n

After mounting the Dynavector 10×5 cartridge in the PU7 arm I made sure to adjust the VTA precisely correctly. Thanks to the arm’s integral adjustment system and with the aid of the perspex tools, this was made easy.<\/p>\n

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With the VTF again set to 2,0 grams and the phono preamp again set to 40dB gain and a 47kOhm loading, listening commenced.<\/p>\n

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Listening<\/h3>\n

Oh yes, now, we’re cooking with gas! Now that the Diva is paired with the Audio Origami arm, there’s not even a hint of the former matter-of-factness that was seemingly induced by the Dynavector cartridge, all of that now substituted with precisely the right balance between smoothness and neutrality. It’s like listening to an entirely different cartridge! But not only that, but this arm also makes it like I am listening to another turntable!<\/p>\n

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Of course, it bears repeating that the TA-1 and TA-3 are only entry-level tonearms. Although they can lead to great results when matched with a synergistic cartridge, it is obvious that the Diva and Sequel are deserving of a much better arm.<\/p>\n

Suddenly, I recall having struggled with the Michell Gyro SE over a decade ago. I upgraded it with the HR PSU and tried several cartridges and phono stages but at the end of the day, its sound never moved me. I even added the Orbe platter upgrade but, if anything, that made it even worse. Ultimately, I gave up and sold the turntable, and my record collection with it, which I regret to this day. Now guess what tonearm I used? A Tecnoarm indeed, which is of course based on a Rega. With the knowledge that I have now, it seems obvious that the arm was the culprit and not the turntable.<\/p>\n

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In any event, with the PU7, the Diva has been positively transformed. It still sounds extraordinarily coherent and upbeat, delightfully agile and firmly planted, and although not as forward and hard in the midrange as with the TA-3, it’s just as expressive and energetic but with more smoothness and massively increased subtlety. This arm does not stand in the way of a wide dynamic range and depending on the software, it can really startle! But unlike the TA-1 and TA-3, it just follows the energy in the grooves rather than always pushing the sound forward, making for a much more naturally breathing performance.<\/p>\n

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The arm’s supremacy is also very obvious in the treble that has massively increased resolution and subtlety whilst being considerably airier. Also, I’d swear that the turntable now tracks even more smoothly. Lastly, the Diva now sounds more spacious in all dimensions, but most noticeably in the depth plane. No, the imaging is still not quite as large and floaty as the Sequel with the TA-3 arm but it’s gotten much closer.<\/p>\n

By the way, one does not need<\/em> to connect the arm’s earth wire (Rega arms don’t even have it), but with the Audio Origami, I found that the focus, grip, and immediacy increased when I did.<\/p>\n

With the TA-3 arm, the 40dB gain setting on the preamp was ideal, but with the PU7, the final touch was setting the preamp to the higher 50dB gain setting, leading to just the right balance between clarity and smoothness and adding a little bit of extra liveliness, whilst retaining the music’s inner beauty and the natural flow.<\/p>\n

Compared with the TA-3 arm, the Audio Origami arm provides a fuller bass with more body and a richer, slightly more relaxed midrange. Going back to my Linn experiences once more, I felt that this arm was not ideally suited for the LP12, at least not if you want to achieve the maximum in PRaT and punchiness. With the Diva, however, this reservation simply does not apply. Here, the sound has absolutely astonishing PRaT!<\/p>\n

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Having played all kinds of music, my impression is that the Diva does not seem to have a preference one way or another, it just plays everything beautifully. Marvin Gaye’s Midnight Love in and of itself is certainly not anything special in terms of production but on the Diva, it had me swinging and connecting emotionally and Azymuth’s latest album Feniks was simply spectacular. When playing Chic’s Tongue In Chic, the sound appears a little small and flat but to be fair, that’s just how these records are produced. A cross-check with the Origin Live Calypso Mk4 reveals that this turntable does add more flow and has a more spacious feeling with this record. On the other hand, the Origin Live lags behind the Diva in terms of solidity and all-out propulsion.<\/p>\n

In summary, dimensionally, and in terms of flow, there might be more to had but in terms of rhythm and groove, the Diva is absolutely fantastic. Even as I was preparing dinner in the adjacent kitchen, I was positively swinging out to the music. It occurred to me that the Diva has absolutely brilliant funk-powers, probably in line with high-end Direct Drive designs but minus the timbral thinning that often occurs with such designs.<\/p>\n

Now, I only wondered what would happen if I mounted the Audio Origami arm in the Sequel turntable!<\/p>\n

Sequel with Audio Origami PU7 arm and Dynavector 10×5<\/h3>\n

Since the arm boards versus the platter surface distances are identical between Diva and Sequel, the arm swap was done in no time and leaving the phono preamp settings unchanged, listening could resume in minutes.<\/p>\n

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I cued the same record as last used with the Diva, and… Ohlala, fair is fair, the Sequel may cost double but its performance is also easily twice as good if that can even be quantified like so. Honestly, after the great results with the Diva and the PU7 arm, I did not think that there would be much room left for improvement but clearly, I was wrong. This was something else!<\/p>\n

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While retaining most everything that worked so well with the Diva, the sound with the Sequel is richer, fuller, and more liquid but most of all, the imaging is wider, deeper, and freer. And just like I noticed with the TA-3 arm on this turntable, the Sequel renders spatial images within the soundstage more realistically and with greater separation.<\/p>\n

When it comes to room-filling ambiance and the sense of organic flow, the Origin Live Calypso remains most impressive. Of the two AVIDs, the Sequel certainly comes closest in these fields. On the other hand, both the Diva and the Sequel have a ballsier, more solid, and more earthy sound. These differences are only to be expected when looking at the designs of the two players. With the AVID, solidity and a total absence of torsion come first while literally everything about the Origin Live is slightly loose and springy. They’re just two very different designs. But there are many roads to audio nirvana as long as one finds the ideal balance. For instance, unless you want a very romantic sound, the springy Origin Live works best with robust and astute-sounding cartridges (which is why I used the Aidas), while the more neutral and more controlled AVIDs can be taken either way.<\/p>\n

While on the subject, and for those who like shootouts, I’ll probably disappoint by saying that I would rate the Origin Live (with Multi-Layer Platter, Illustrious arm, and Silver Hybrid cable) on the same level as the AVID Sequel. Both are simply excellent. They have different<\/em> but equally valid presentations. To be honest, I could happily live with either, and actually, I have lived with the AVID for several months whilst using it for listening sessions and tests, and all that time it proved to be superbly dependable.<\/p>\n

After these impressive results, I recalled first listening to the AVID Volvere and how I had found it to be technically sublime but emotionally withheld. Now, I have a strong feeling that the SME tonearm must have been responsible for this. Alas, SME no longer supplies their products to other manufacturers, making it impossible for me to repeat the test unless I go looking on the second-hand market. But why would I, given that the Audio Origami arm works so beautifully?!<\/p>\n

Finally, it’s worth mentioning that AVID is working on its own tonearms. These could be well worth investigating, judging by AVID’s engineering ingenuity and the preliminary images that I have seen. Especially the 3D-printed top model has my interest.<\/p>\n

<\/p>\n

Diva versus Sequel<\/h3>\n

The Diva’s tight and focused, ballsy sound provides arguably less romance than the Sequel but in terms of bass incisiveness, solidity, expression, and all-out funkiness, given identical circumstances, even the Sequel does not improve on it. Then again, the Diva can be made to sound more mellifluous and the Sequel tighter and more incisive, by the choice of arm and cartridge.<\/p>\n

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It seems that most of the Sequel’s advances stem from its bottom chassis, and it’s likely that the more floaty suspension makes for that beautifully large soundstage and the heightened sense of flow while also introducing the slightly less incisive bass as noticed.<\/p>\n

It’s also worth noting that for this direct comparison I am really zooming in on the differences. it’s not like the Diva is not soulful or the Sequel cannot funk. They are both very neutral and most definitely all-rounders. Judged on their own, both players remain true to the records that are played, and both relay the music in an exceedingly transparent manner. If I’m honest, both the Diva and the Sequel are even more linear and uncolored than my Origin Live turntable.<\/p>\n

In order to achieve the very best possible balance for each turntable, I would recommend paring the Diva with a sophisticated and slightly smooth-sounding cartridge such as the Audio Technica AT33Sa (see below) and the Sequel with a neutral and robust sounding cartridge such as the Dynavector 10×5, or preferably a model higher up in this brand’s range. Personally, I prefer low-output MCs for their higher resolution and greater sense of subtlety.<\/p>\n

All that said I think that by now I have a very good grasp of what the decks are capable of but I should still note that my observations only pertain to the limited range of tonearms and cartridges that I had available. If this review made anything abundantly clear, it’s that, with another arm and another cartridge, the balance can always be titled in a very different direction.<\/p>\n

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Audio Technica AT33sa<\/h3>\n

After having almost finished this review, I also obtained an Audio Technica AT33sa cartridge. This article is already getting way too long so I will save all the details for an upcoming separate review of this cartridge.<\/p>\n

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Suffice to say that, surprisingly, this 800-euro low output MC cartridge with Shibata stylus works equally well with both the TA-3 arm and the PU7 arm. It upgrades the TA-3 arm by adding finesse and air and achieves a perfect balance with the Diva. Meanwhile, it also enhances the PU7 arm’s inherent smoothness on the Sequel and further increases the resolution compared to the Dynavector cartridge.<\/p>\n

Back to the Ingenium<\/h3>\n

In all my enthusiasm in taking the Diva and Sequel to ever greater heights, it would almost seem like I had forgotten all about the Ingenium. I really hadn’t but the decision to try the TA-1 arm and CA-1 cartridge with the Diva and Sequel simply required following that path until the end. Anyway, the Ingenium may be the entry-level player, but its chassis and bearing are top-shelf and most definitely worthy of hosting a better cartridge and maybe even a better tonearm, although the Audio Origami PU7 would be misplaced simply due to it costing almost double the Ingenium’s price.<\/p>\n

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Ingenium with TA-3 arm and Nagaoka MP-150<\/h3>\n

Considering that the Nagaoka is a much more precise cartridge than the entry-level AVID CA-1 cartridge, this time around I made sure to mount the arm with the right amount of VTA by raising the pivot point the required 3,5 mm by using stacks of 3 metal washers.<\/p>\n

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Going from the TA-1 arm with CA-1 cartridge to the TA-3 arm with Nagaoka cartridge, it is instantly clear that the Ingenium does indeed have the basics right. After having enjoyed the Diva and the Sequel, I do now hear the platter’s MDF material as a dark wooden coloration and muffling of texture and fine detail. It’s an organizationally simpler sound with less transparency and expression. The Ingenium also sounds less solid and forceful than the Diva, but it has to be said, it is still surprisingly groovy and engaging and otherwise really not too dissimilar in overall character. It has the same kind of undisturbed calmness and gently smooth fullness that I have come to find typical of AVID turntables. Also, just like its larger brothers, but unlike many rival entry-level turntables, the Ingenium has a sound that is never lean or synthetic.<\/p>\n

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That makes sense, of course, given the same bearing and differently-styled but just as rigid and torsion-free chassis. The biggest difference from a mechanical point of view is in the platter and I have a strong feeling that this is responsible for the bulk of the aforementioned differences with the remainder stemming from the simpler AC motor and, perhaps, the single belt. Having heard first-hand just how great the Diva is, I only wish the Ingenium also had an aluminum platter, but then it would probably easily cost 1000 euros more.<\/p>\n

But apart from comparisons with the upscale models, and more to the point, the Nagaoka works absolutely beautifully with the Ingenium. Now, the tracking is really great, coming close to the Diva’s when that turntable was fitted with this arm\/cartridge combination. It takes no effort at all to hear the increase in refinement and precision and although the platter injects the sound with its own character that can be interpreted as warmth or thickness, especially when used with the CA-1 cartridge, the match with the neutral and linear Nagaoka still culminates in a relatively neutral and subjectively rather even-handed sound.<\/p>\n

Of course, there are many other cartridges, and I’m sure that others will make a good match or even a better match. But the Nagaoka demonstrates nicely what more the Ingenium can do and at 370 euro, it is a no-brainer upgrade.<\/p>\n

Coming away from the Ingenium, I am well aware of its limitations but I also remain surprised at how well-balanced this entry-level turntable is and just how engagingly it performs. I mean, it costs 2700 euros less than the Diva and even includes an arm and cartridge! Of course, the extra money buys very tangible performance improvements but for those who don’t want to spend Diva-kinds of money and still want a player that sounds organic and that looks like it costs serious money, there is no beating the Ingenium.<\/p>\n

Clamp tightening<\/h3>\n

Depending on the tonearm that is used, AVID turntables can have an overly business-like, vice-like kind of replay. Prior to the experiences that I gained from this review, I always thought that the clamp system was to blame. After all, experiments with other turntables have confirmed that removing the clamp leads to a freer and more fluid sound. In retrospect, though, I have learned that this can indeed happen with SME and Rega tonearms and certain cartridge combinations, but not at all with the Audio Origami PU7 arm.<\/p>\n

When removing the AVID clamp, the record is lifted in the center and thus only supported there and at the sides. Even when playing the first track (where the record is<\/em> supported and actually flat), this leads to a thinning and graying of the sound, with lean bass and desaturated tonality and not at all to any more fluidity or flow. With the clamp in place, the sound is very noticeably more robust, dynamic, and propulsive.<\/p>\n

Interestingly, I did notice that the sound can be affected by the clamp’s tightness. AVID recommends a hand-tight tightening of the clamp. I tested this out and found that too loose is not good but neither is turning it too tightly. Too loose and you won’t push the LP down enough, leading to a thinner sound. Too tight and the music will start to sound spatially and dynamically restrained. The best balance is obtained by turning the clamp just until you can feel it pushing the LP onto the platter and then give it about 2 extra centimeters, equivalent to the amount of one of the clamp’s indentations. At first, this may seem like it’s too loose and you’ll want to apply more force but soon enough you get a feel for it. Bottom line, I encourage the user to just experiment with it.<\/p>\n

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Summary and Conclusion<\/h2>\n

The beauty of reviewing a cross-section of a manufacturer’s products as I have done here is that it illustrates the company’s vision perfectly. From the entry-level Ingenium to the high-tier Sequel, the products ooze substance and quality.<\/p>\n

The Ingenium provides superb value for money. In its price class, I think it has virtually no competition. Of course, as an entry-level turntable, it can be improved upon, but I remain surprised at how well-balanced it is and just how engagingly it performs. For those who don’t want to spend Diva-kinds of money and still want a player that sounds organic and that looks like it costs serious money, there is no beating the Ingenium. And because AVID has made no compromises with its chassis you can always upgrade the player later with a better cartridge or perhaps even a better arm.<\/p>\n

All of AVID’s designs share the same foundations of a powerful motor (and even more so in heft and torque, as you progress up the range) combined with an extremely stable, 100% torsion-free chassis.<\/p>\n

Of course, the better motors and electronics, as well as the heavier aluminum platters and the elaborate suspension of the higher-tier Diva and Sequel, all add up to ever more impressive results. If the budget stretches, the Diva II SP warrants a higher recommendation than the Ingenium, but at a significant extra cost, and it doesn’t include an arm or cartridge.<\/p>\n

In and of themselves, the AVID turntables have a forcefully solid, grounded, and tonally full-bodied, but also slightly relaxed and gently smooth presentation. The interesting thing is that they are also very neutral and highly revealing of all the aspects of the tonearm and cartridge that are mounted on them. In fact, the Diva and Sequel seem to be considerably more neutral, linear, and transparent than any other turntable that I have used thus far.<\/p>\n

Their super-rigid chassis and impressive bearing and platter work together to provide a concentrated, super-robust foundation. With the wrong arm and cartridge, this can lead to a sound that seems vice-like, with reduced breathing and flow and a certain restraint spatially and dynamically. But with the right arm and cartridge, the music is bold and grounded as well as extremely lifelike and convincing. For instance, with the Audio Origami arm and any cartridge that I tried, the Diva, and the Sequel even more so, sounded consistently stellar, with just the right balance between technical perfection, unbridled dynamics, ultra-refinement, and free-flowing naturalness.<\/p>\n

If there is one thing to take away from this experience, it is that\u00a0besides tonearms and cartridges, I think there are many more ancillaries in and around the system that may be limiting factors, but one won’t soon find any limitations within the turntables themselves.<\/p>\n

As has no doubt has become crystal clear after reading this review, I am quite impressed. And indeed, I can wholeheartedly recommend the Diva and the Sequel models. The Ingenium is also recommended in terms of value but in absolute terms, if the budget stretches, a big leap in performance can be made by going for the Diva II SP.<\/p>\n

Update December 2022<\/h3>\n

After the Sequel SP turntable was on loan once again for the purpose of reviewing the BORON cartridge and I positioned the player from the Artesania Modular Platform to the Artesania Digital Server Platform instead of my usual Origin Live turntable, I was in for a surprise.<\/p>\n

Apparently, both turntables work much more synergistically on the latter platform. Now, I realized that I had erroneously attributed external aspects to the turntable itself… a rooky mistake! Yes, the Sequel SP is super-articulate, ultra-neutral, and very precise, but with synergistic support, it craftily avoids verging over to the analytical side.<\/p>\n

Moreover, the Sequel SP now also gained some of the qualities in which the Origin Live turntable previously still excelled, such as delicacy, flow, and decay. The Sequel SP was already hugely impressive in many other terrains but these remaining aspects were what made me prefer the Origin Live.<\/p>\n

Meanwhile, the BORON cartridge offered a level of resolution and openness that my trusty Aidas Rainbow could simply not achieve. And after some final fine-tuning on the CH P1 phono stage, the turntable performed absolutely fantastically across the board.<\/p>\n

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\nDiva II and Sequel SP<\/p>\n

 <\/p>\n

Associated Equipment<\/a><\/p>\n

External Links<\/h3>\n

Distributor for the Benelux: Hexagon Audio<\/a>
\nManufacturer’s website: AvidHifi<\/a><\/p>\n

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