{"id":36591,"date":"2023-12-04T10:05:48","date_gmt":"2023-12-04T08:05:48","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=36591"},"modified":"2023-12-04T10:05:48","modified_gmt":"2023-12-04T08:05:48","slug":"bergmann-magne-air-bearing-turntable-with-ds-audio-ds-w3-optical-cartridge","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/turntable-and-accessories-reviews\/turntable-reviews\/bergmann-magne-air-bearing-turntable-with-ds-audio-ds-w3-optical-cartridge\/","title":{"rendered":"Bergmann Magne Air-Bearing turntable with DS Audio DS W3 Optical Cartridge"},"content":{"rendered":"

Review samples supplied by Mafico<\/a><\/h4>\n

Retail prices:
\nDS-W3 Equalizer \u20ac 10.249,00
\nDS-W3 Equalizer + Optical Cartridge (Set) \u20ac 14.529,00
\nDS-W3 Replace Needle \u20ac 2.729,00<\/h4>\n

After visiting the Bergmann presentation<\/a> hosted at the Rotterdam Euromast and publishing my report in September 2022, it was soon decided that I would also make a dedicated Bergmann turntable review. It took some time to get arranged, but this has now materialized.<\/p>\n

For this review, I will be listening to the very interesting combination of a Bergmann Magne Air-Bearing turntable with a DS Audio W3 Optical Cartridge System. As such, my listening impressions will focus on the turntable\/cartridge combination, not its individual parts.<\/p>\n

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DS Audio<\/h3>\n

The DS Audio products represent a unique and proprietary manner of translating LP grooves to music. When one thinks of an ‘Optical Cartridge,’ one could easily mistake the technique for that used inside Laser turntables such as the ELP model, but nothing can be further from the truth. Incidentally, the ELP is fully analog, but it uses reflected laser light to read the grooves, whereas the DS Audio products use a traditional “physical” regularly suspended cantilever and needle tip.<\/p>\n

The way the record grooves are traced using an Optical Cartridge is the same as with traditional MM or MC systems. However, the DS Audio system uses neither MM nor MC. Instead of magnetic coils, the DS system uses LEDs and photodetectors in a fixed position within the cartridge with a V-shaped shade attached to the cantilever and positioned between the LEDs and photodetectors.<\/p>\n

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When the needle moves, the shade moves accordingly, blocking more or less light from the independent left and right photodetectors, which produce a varying voltage that represents the music. Thus, the Optical Cartridge detects music signals by capturing brightness changes in the reflected shadow rather than changes in a magnetic field as with MM or MC cartridges.<\/p>\n

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So far, that’s all very logical and not too dissimilar to how optical soundtracks of analog film used to be read in movie theaters. The complexity starts when you realize that the LEDS and photodetectors need a DC power source, which is not accounted for in tonearms and headshells. The solution is as simple as it is genius. The matching DS Audio Equalizer, which can be thought of as a Phono Stage with extras, supplies power to the LEDs of the Optical Cartridge using the blue and green tonearm ground wires. This is one important reason why the DS Audio Optical Cartridges cannot be used with a regular Phono Stage. The second important reason is a bit more complicated and comes down to the requirement of the Optical Cartridges for a deviating EQ curve from the regular RIAA curve.<\/p>\n

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To elaborate on this, DS Audio explains that the output of an MM or MC cartridge is proportional to its speed, and thus, the output increases as the frequency (speed) rises. The optical cartridge, however, has an amplitude-proportional output that has an entirely flat output from the lowest frequency to the highest frequency. Since the optical cartridge is classified as amplitude-proportional and is not affected by changes in speed, it has totally different output properties. As a result, much less EQ correction is required compared to traditional MM or MC cartridges, and because of this, the RIAA correction circuit of the optical cartridge also requires much less manipulation of the signal.<\/p>\n

Of course, we cannot allow the DC to remain in the output signal as that would upset equipment and potentially damage the loudspeakers. Thus, there is a\u00a0 low cutoff (high-pass) filter that can be set to 30 or 50 Hz using a toggle switch on the rear of the Equalizer. To facilitate badly warped records, the user can use the Equalizer’s secondary sets of outputs for a steeper cutoff.<\/p>\n

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Besides the required power feed and different EQ requirements, there are two other reasons why a special Phono EQ is needed. First, the output from the photodiodes is a whopping 70 mV! This is yet another big advantage of this system, as it makes life much easier for the wires, interlinks, and phono stage. I mean, 70 mV! Compare that to the sub-1 mV output from MC cartridges, many of which dip to 0.4 mV or even lower. The Denon DL-304 outputs 0.18 mV, and some carts go even lower. It’s mind-boggling how a phono preamp can amplify such a low signal without introducing copious amounts of hum or distortion. High Output MCs are typically 2,5 mV, which can be used with an MM phono stage, but ultimately, even MM cartridges do not typically exceed 5 mV.<\/p>\n

As a result, DS Audio systems are sold as such: a System. The cartridge should always be paired with a dedicated Equalizer.<\/p>\n

Nomenclature: DS-W3 CR, DS-W3 EQ, and Replacement Stylus<\/h3>\n

‘DS-W3 CR’ describes the Optical Cartridge, while ‘DS-W3 EQ’ describes the Equalizer unit. While described separately, the Optical Cartridge is not compatible with standard RIAA Phono Equalizers. Thus, the DS Audio Cartridge and EQ must be considered an inseparable pair unless you opt for a compatible EQ product from one of the manufacturers mentioned in the Compatibility section below.<\/p>\n

Uniquely, the cartridge’s stylus can be replaced. Thus, one need not discard the entire unit but replace only the part that is worn, which, I presume, concerns the needle\/stylus\/suspension\/shades assembly.<\/p>\n

Compatibility<\/h3>\n

DS Audio have recently made their Optical Cartridge Equalizer Technique available for 3rd party manufacturers to implement into their products. As a result, the DS Audio Optical Cartridges are now fully compatible with certain Phono products from brands like Soulution, EMM Labs, Meither, Soul Note, Westminster Lab, and Keces.<\/p>\n

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DS Audio DS-W3<\/h3>\n

As the third model up, the DS-W3 is positioned in the middle of the manufacturer’s 6-model portfolio. Compared to the entry-level and step-up model, the DS-W3 offers an independent LED and photo-detector arrangement for the left and right channels, reduced weight of the shading plate, a Boron Cantilever and aluminum body, and a thicker Equalizer PCB with thicker copper traces. The DS-W3 Cartridge employs a Boron cantilever with a Line Contact Stylus.<\/p>\n

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In use, the red light on the cartridge’s front shines down to indicate precisely where the needle will land; clever, very clever!<\/em><\/p>\n

Operationally, the DS Audio W3 Equalizer is simplicity itself. The front panel has only an on-off button. The back panel has RCA and XLR outputs rated at a healthy 500mV with a 120-Ohm impedance, and in terms of adjustability, there’s only a toggle switch to set the low cutoff (high-pass) filter to 30 or 50 Hz. Because the Equalizer has to filter out the DC power, the filter cannot be switched off entirely. However, it is doubtful that there will be usable audio at 30Hz. To facilitate badly warped records, the unit has a secondary set of RCA and XLR outputs that incorporate a steeper cutoff. Just as with a regular Phono Preamp, the DS Audio W3 Equalizer can be connected directly to any integrated amplifier or preamplifier.<\/p>\n

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Bergmann Magne<\/h3>\n

The Bergmann Magne is an air-bearing turntable with a 5.5 kg heavy aluminum platter with a polycarbonate mat. The platter rotates around a hard anodized spindle inside a low-friction polymer bearing. Whereas regular bearings have a horizontal contact point, the Bergmann bearing is only used for centering. The platter does not rest on a physical contact point but floats on a thin air film provided as pressurized air from an external pump. This means that the platter is not only well decoupled from the rest of the turntable and its underground but also has incomparably low friction. The sleek yet deceptively large plinth measures 440 mm deep, 495 mm wide, and 165 mm high. Made from polymer and aluminum, it is reassuringly heavy.<\/p>\n

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Unlike the higher-tier Bergmann turntable models, the Magne comes complete with a tonearm. And not just any tonearm, but a true linear-tracking air-bearing tonearm. The arm construction uses a carbon-fiber tonearm fixed to an aluminum collar that slides around an inner aluminum tube, perforated with tiny holes. Pressurized by the same single pump, the tonearm floats freely and moves across the record with frictionless motion.<\/p>\n

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The arm tube consists of a double tube construction with damping between the tubes, and all parts are assembled using 2-component epoxy. The tonearm wire consists of a continuous length from cartridge clips to the connector. The counterweight is decoupled from the arm to avoid resonances and provide easy adjustment.<\/p>\n

The external air supply unit that contains the pump is equipped with a dust filter as well as reservoirs to obtain a dry, clean, and smooth airflow. Because a pump is used, not a compressor, the unit does not get hot and it does not create condensation.<\/p>\n

The impulses from the pump are absorbed in an encapsulated reservoir to ensure an even airflow to the air-bearing and tonearm. The air supply is fitted with an externally-located user-replaceable filter, which prevents dust particles from entering the system. The pump itself is an oil-free, long-life unit which does not require much maintenance.<\/p>\n

The air supply is so quiet that it can be used in the listening room. When in use, it is not entirely silent but very well-damped and certainly quiet enough to be inaudible when music is playing, even when listening at a very low level. Especially from the listening position a few meters away, it is hard to tell if the pump is on or off. It is quieter than the mechanical transformer hum that can sometimes be heard from some audio components. But what about the air itself? One might fear that the air exiting from the tonearm and underneath the platter must make a loud hissing sound, but there is no need to worry as the airflow is so whisper-quiet that it is completely inaudible even from 1 meter away.<\/p>\n

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Next: First Use, System Context, Listening, and Conclusion<\/p>\n

<\/p>\n

First Use<\/h3>\n

It’s fascinating to start the Magne’s heavy platter for the first time. At rest, it sits on a metal plate and cannot be rotated. Then, switch on the pump, and nothing seems to change – until you try to rotate the platter and find it can spin freely.<\/p>\n

The arm lift works differently from most other lifts, with a large rotary knob, and in a direct, undamped manner. After a minuscule adjustment period, this works superbly well, allowing the user to dictate precisely how slow or how fast the needle should drop. The process is so controllable and repeatedly accurate that I wonder why no other manufacturers have incorporated something this simple yet clever.<\/p>\n

 <\/p>\n

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A high-precision Tacho-feedback controlled DC motor drives the aluminum sub-platter via a belt underneath it. Due to its weight, it takes a little time for the platter to come on speed, but when it has reached the desired speed (331\/3 or 45), it is super-stable. During all my testing, I did not hear the slightest hint of speed variation. I am very sensitive to speed variations, and if I cannot hear them, that is a good thing. For those who like a more scientific approach, I also measured the speed stability using the admittedly not-very-scientific, but so far rather seemingly very trustworthy RPM iPhone app. The Magne ends up there with stability on par with the AVIDHIFI Sequel SP<\/a>, Thorens TD-1601<\/a>, and Denon DP-3000NE, to name three players with very different drive mechanisms.<\/p>\n

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System Context<\/h3>\n

The turntable will be reviewed in the context of my main system<\/a>, which consists of a CH Precision L1 preamp<\/a>, A1.5 power amp<\/a>, Lejonklou Entity Phono Stage<\/a>,\u00a0and Magico S1 MkII speakers.<\/p>\n

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The interlinks between the Bergmann turntable and the DS Audio Equalizer, as well as to the CH L1 preamp are all the Driade Flow Link Reference 808<\/a><\/em><\/p>\n

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As this review took place during a change of my left- and right-most racks and the new racks had not yet been delivered, I placed the turntable on an Artesania Floor Platform and the DS Audio Equalizer on a Callas Audio Bamboo Soundboard resting on Artesania footers on top of the very solid and heavy Taiko Audio Extreme Music Server that itself was sitting atop an Artesania Aire<\/a>\u00a0platform.<\/em><\/p>\n

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Listening<\/h3>\n

Given my earlier experience with the Holbo<\/a> Air-Bearing turntable, I was expecting an ultra-precise, transparent, yet analytical and slightly lean sound. And, indeed, the sound was certainly ultra-precise and transparent. But not at all lean! In fact, the bass that this combination was able to produce truly surprised me. The Bergmann’s bass is understandably not quite as flabbergastingly earthy and robust as the AVIDHIFI Sequel, but neither the belt-driven Thorens TD1601<\/a> nor the Direct-Drive Denon DP-3000NE produced deeper or more solid bass. Even more amazingly, the sound was easily all the way up there on an audiophile level with the best turntable and cartridge combinations I have reviewed, regardless of the price. And for all its precision, there is not a hint of whiteness or clinicality. Instead, the combination produced a highly detailed and nuanced sound, combined with fabulous delicacy and effortless fluidity. Importantly, throughout the entire review period, and without exception, cueing was flawless, and tracking was superb.<\/p>\n

With such a radical pick-up system, one might fear the loss of certain “magical” aspects of magnetic cartridges, even if they could strictly be regarded as detrimental to the sound, like bloom, warmth, or character. In practice, as soon as the first notes played from the very first record, that fear proved entirely ungrounded. Most striking was the realization that the timbre, or tone, was spot-on in its naturalness. Never was there a sense of artifice. Instead, the music poured out of the speakers in an ideal balance between neutrality and natural saturation. And of utmost importance to me personally, the combination never sounded warm to the point of being mellow or rose-tinted, but neither was it ever cool or cold or lacking humanity in any way. It’s amazing how the combo achieves this delicate balance. Evidently, the Bergmann is genius in its simplified complexity, and the DS Audio W3 stylus behaves just like a “regular” cartridge in every way.<\/p>\n

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If any reservation can be raised, I feel the combination caters more to the discerning audiophile than the rock aficionado. Given earlier experience, I’m tempted to attribute this to the turntable more than the Cartridge system, but in all honesty, I cannot be sure as I have not made individual comparisons.<\/p>\n

In any case, while the combo has perfect pacing, great incisiveness, precision, and delicious fluidity, and it sounds very far from “technical,” I do feel that the presentation is more introspective than visceral. The system has a great singing and gushing quality, and it is lyrical and capable of great dynamic impact, but sometimes, it feels more controlled than I like, and I found myself wishing for a higher jump factor.\u00a0To put it another way, the combo is more Martin Logan than Klipsch, more Jeff Rowland than classic Krell, more dCS than classic Wadia. Or, to stick with analog, the Bergmann and DS combination is more typical belt-drive than typical direct drive or idler drive. Ultimately, we’re talking about personal preferences, not absolute quality, but this can be a deciding factor.<\/p>\n

Let me return briefly to the Holbo Air-Bearing turntable since it made a similar impact on me in terms of precision and effortless fluidity, which I think are typical for Air-Bearing designs. With the Holbo, despite using a very expensive MC cartridge, there was a leanness to the sound that I do not hear with the Bergmann combination. Moreover, the Bergmann has all the Holbo’s qualities and adds to these a beefier, more solid, more realistic, and tonally more saturated delivery.<\/p>\n

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While I was making mental comparisons, it struck me that I was comparing the Bergmann\/DS Audio combination in my mind with other top-shelf turntable-cartridge combinations that were all done using the CH Precision P1<\/a> phono preamp that I used until recently, before I simplified my analog setup to allow other investments. The impact of this should not be underestimated. As fine as the Lejonklou Entity phono stage is, the CH P1 sets such an impossibly high standard that it makes life extremely hard for any phono stage. Yet, with the Bergmann and DS Audio Equalizer, I consistently have this uncanny feeling of listening to the CH phono stage once again.<\/p>\n

One might initially frown at the cost of a DS Audio system, in this case, 15.000 euros for the combo, excluding the turntable. But then consider that the CH P1 phono stage costs a whopping 31.000 euros all by itself, sans cartridge. The DS Audio W3 is half that, and you basically get a cartridge for free!<\/p>\n

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Records can be played with or without clamp but it does affect the sound. With it, the bass is fuller, and the overall sound is calmer and more sonorous; without it, the sound is slightly brighter and more expressive. Apply as desired.<\/p>\n

As I played record after record, it was easy to become complacent with consistently perfect playback until I realized this was not to be taken for granted. It is not uncommon for turntables to be a little finicky in their operation, and one could certainly expect an air-bearing turntable with an air-bearing tonearm to be on a farther end of the finicky scale than more basic turntables. But nothing could be further from the truth. The Bergmann Magne and its tonearm work like an absolute dream: smooth, quiet, precise, and 100% trouble-free, every time, all the time.<\/p>\n

After the initial setup, which of course, needs to be done very accurately to prevent the arm from verging from perfect equilibrium, there is surprisingly little to tweak for such a seemingly complex turntable and pickup system, which I feel is an enormously strong argument in favor of the system. The Bergmann is genius in its simplicity and stability, while the DS Audio system has clearly allowed for an ideal implementation of cartridge and EQ without the user needing endless cartridge tweaking facilities. That’s a big upside of having a single company design a cartridge and phono Equalizer: they are made for each other!<\/p>\n

This review focused on this particular combination, which admittedly works superbly synergistically. Curious minds will wonder how the Cartridge or Turntable would perform on their own. But although I have not exchanged cartridges, the result clearly speaks for itself. I think I can safely conclude that the DS Audio system and the Bergmann turntable also perform superbly well individually.<\/p>\n

Conclusion<\/h3>\n

Forget about complex setup or operation, and don’t worry about the intricacies of DS Audio’s Optical system, for this combination is silent, works utterly dependably, and produces pure, delicate, well-textured, and timbrally highly realistic music on an audiophile level that belies its price tag.<\/p>\n

External Links<\/h3>\n

Bergmann Audio<\/a>
\nDS Audio<\/a>
\nDistributor for the Benelux: Mafico<\/a><\/p>\n

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