{"id":37294,"date":"2024-05-08T10:26:47","date_gmt":"2024-05-08T08:26:47","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=37294"},"modified":"2024-08-17T16:29:35","modified_gmt":"2024-08-17T14:29:35","slug":"thorens-td1600-turntable-with-td-160-tonearm","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/turntable-and-accessories-reviews\/turntable-reviews\/thorens-td1600-turntable-with-td-160-tonearm\/","title":{"rendered":"Thorens TD1600 Turntable with TP 160 Tonearm"},"content":{"rendered":"

Review sample supplied by Penhold<\/a>, distributor for the Benelux<\/h4>\n

Retail prices in the NL, including 21% VAT:
\nTD1600 incl TP 160 – 3.499 euro
\nTD1601 incl TP 160 – 3.999 euro
\nExtra headshell for TP 160 – 100 euro
\nTAS 1600 Cartridge – 1.199 euro
\nTAS 1500 Cartridge – 849 euro<\/h4>\n

Recently, Thorens issued a new tonearm, the TP 160, which is now fitted as standard to the TD 1600 and TD 1601 turntables instead of the TP 92 arm. In this review, I will assess how these two arms compare using, among others, two Thorens TAS 1600 cartridges and a TAS 1500.<\/p>\n

TD 1600 \/ TD 1601<\/h3>\n

The TD 1600 and TD 1601 are the successors to the famous classic TD 160 MkII. When I reviewed the TD 1601<\/a> in 2019, I was so impressed with it that I kept it and sold all my classic players. To this day, I never looked back. As great as those classics were, the new models perform on a significantly higher level across the board.<\/p>\n

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The TD 1600 and TD 1601 are basically the same player with two differences pertaining to the control of the tonearm lift. The TD 1600 is a purely manual turntable with a classic lever next to the tonearm pivot to lower and lift the tonearm. The TD 1601 adds a motorized lift that adds automatic lift and platter shut off at the end of the record. This function is operated via a soft-touch button located on the fixed section of the chassis, which very effectively prevents wobble while operating the lift. The touchless optical detection mechanism does not affect the free movement of the tonearm, and thus, it 100% upholds the sound quality. The detection mechanism relies on a predefined position for the end of the lead-out groove. However, some records deviate from this by containing more music than normal, which can lead to premature shut-off. The predefined position is normally set in the factory but the updated TP 160 version adds an adjustment feature conveniently accessible from the player’s top side. It should normally be left in the factory setting but if required or desired, it can be adjusted by the user.<\/p>\n

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Although I’d love to elaborate further on what makes these turntables so great, I’ve already written an extensive review, and I encourage the reader to (re-)visit it for all the finer details.<\/p>\n

This review focuses on the new TP 160 tonearm, which is now fitted as standard to the TD 1600 and TD 1601. The turntable itself may be the same, but this new arm has a few new tricks up its sleeve that take the player’s character and overall performance in a new direction. Incidentally, the new TP 160 tonearm now comes as standard, but if desired, you can still order the turntable with the TP 92 tonearm.<\/p>\n

By request through Thorens, the new TP 160 can also be retrofitted to existing TD 1600 or TD 1601 models.<\/p>\n

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The TD 1600 and TD 1601 have an external power supply unit, pictured on the left. I’ve experimented with its placement and found that the sound can be tweaked this way. On the ground, the sound is fullest and most sonorous, whereas placement on the Artesania Krion platform provided a leaner, tighter, and spicier sound.<\/em><\/p>\n

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While the TAS 1600 was still running in, I preferred the sound with the power supply placed on the Artesania platform, but at a later stage, I preferred it on the ground.<\/em><\/p>\n

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Both Balanced and Unbalanced connections are provided, and the speed can be adjusted for separately for 33 and 45 RPM.<\/em><\/p>\n

Manual lift Considerations<\/h3>\n

With the manual TP 160 arm, the lift lever is less damped and more direct in its operation than arms equipped with the standard Rega lifts and levers. If the lever is simply pulled all the way forward, the stylus will land onto the record too quickly, leading to a thud from the speakers. Instead, you need to guide the lever in a gentler manner, but you get accustomed to this soon enough.<\/p>\n

Another aspect of the manual lift operation is that the lever is directly attached to the arm. As such, any non-linear hand movements are transferred to the sub-chassis, incurring wobble and, potentially, making the stylus skip in the groove. This aspect is exacerbated by the damping pad on the arm lift being quite compliant. Due to this, any incurred wobble to the sub-chassis translates to a larger wobble in the arm while it is lifted, which sometimes interferes with accurate cueing.<\/p>\n

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What I found odd is that the arm lift lever sits smack against the anti-skating dial when in the up position. This makes it harder to grab it securely and can cause accidentally grabbing the dial during hand travel, thus incurring a wobble.<\/p>\n

Of course, there is an easy and elegant solution for all this: opting for the 1601 version over the manual 1600 version turntable. Not only does this get you an electric arm lift that is operated via a button that sits on the external chassis, safely disconnected from the sub-chassis, but it also adds automatic shut-off at the end of the record. The manual TD 1600 is a great way to save some cash while retaining 100% of the sound quality. But for those who can be a little clumsy (as I can be), the TD 1601 is the safer and more comfortable option.<\/p>\n

Next: TP 160 tonearm<\/p>\n

<\/p>\n

TP 92 Tonearm<\/h3>\n

The TP 92 tonearm was first issued in 2009 along with the TD 309 turntable and later re-issued along with the TD 1600 and TD 1601 turntables, to which it was fitted as standard. This arm is manufactured from high-quality cold-forged aluminum and uses high-precision Japanese ball bearings containing a specially developed oil. Compared to the classic TP 16 MkII, the TP 92 was improved in many ways while maintaining the manner in which the cartridge is mounted directly underneath the tonearm tube. With the TP 16 MkII, as well as the TP 92, the headshell is very minimalistic: basically just a small intermediate metal or aluminum plate. While minimal, this design was chosen specifically because it ensures that the pick-up cartridge\u2019s center of gravity is always directly underneath the tonearm tube, thus preventing torsional vibrations.<\/p>\n

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The classic TP 16 MkII arm was divided into two sections that were joined using a Thorens-proprietary connection. While this design was only compatible with Thorens arms, it allowed the user to detach the front section for easy cartridge mounting. Conversely, the TP 92 arm consists of a single piece, which allows for an even stiffer assembly that leads to certain sonic advantages, but it makes mounting a cartridge less convenient. And, of course, neither of these arms is compatible with the widely used SME headshell connection.<\/p>\n

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TP 160 Tonearm<\/h3>\n

Developed by the renowned designer Helmut Thiele, this J-shaped 9″ tonearm takes inspiration from the design of famous studio tonearms.<\/p>\n

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The TP 160 features an ultra-precise Knife Edge design for the horizontal bearing (for the arm’s vertical movement), a first in Thorens\u2018 history. This type of bearing does not use balls or bushings for the vertical movement of the arm but instead relies on gravity to hold the arm in place, similar to a UniPivot bearing. Unlike a Unipivot bearing, however, the Knife-Edge bearing is very stable. This bearing type can be visualized as a sharp-ended protrusion underneath the arm that sits in a V-shaped cradle. In some designs, there’s one cradle on each side of the arm tube, but the Thorens design implements the knife as a single piece, much like a razor blade balanced on its sharp edge.<\/p>\n

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Uniquely, the blade is additionally stabilized by magnets. When handling the arm or rotating the arm tube, you can feel that the knife is being pulled down and to the side by a magnetic field. This extra measure is said to prevent any tendency to wobble and ensure the most precise tracking.<\/p>\n

With its unique combination of physical properties, this type of bearing is simultaneously well-coupled and very free in its movement.<\/p>\n

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A very welcome new feature is that the TP 160 features a machined, detachable headshell with an SME connection. This means it is compatible with any SME-connector-type headshell from any brand. The beauty of this concept is that it massively simplifies cartridge mounting and allows easy swapping of pre-mounted cartridges in multiple headshells. A very high-quality headshell is supplied with the player and they are also available separately.<\/p>\n

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I normally adjust cartridges using an Acoustical Systems SMARTractor protractor with the Loefgren B DIN alignment, but the turntable comes complete with a thick plasticized paper protractor, which also works well.<\/p>\n

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Using either protractor, I had to mount the cartridge all the way to the back of the headshell to achieve the correct overhang.<\/em><\/p>\n

Contrary to the TP 92’s magnetic Anti-skating mechanism, the TP 160 employs a more traditional method using a spring. The arm\u2018s height (Vertical Tracking Angle, in short, VTA) is conveniently adjustable using a rotary dial at the armbase. The VTA position is then locked in place using 2 small hex screws on each side of the vertical bearing. The arm base itself is locked in place using a larger hex screw in the back that screws onto a vertical rod connected to the armboard. While very clever and more secure than the VTA mechanism used for the TP 92, I found that the TP 160 mechanism had to be set to its maximum height to achieve the perfect VTA for the TAS 1600 cartridge. The VTA ring will allow the arm to go up quite a bit higher still, but then the fixation screw would end up above the vertical rod, leaving the arm assembly secured only by the VTA ring. It won’t go anywhere, but the threads allow for a defined amount of play. So, effectively, a TAS 1600 cartridge is the tallest cartridge that can be mounted to the TAS 160 arm. In practice, though, given that my other cartridges were either the same height or less tall, you won’t soon run into this limitation.<\/p>\n

Azimuth is adjustable within the headshell itself using a hex screw located on the underside. After loosening the screw, the headshell can freely rotate around its axis. If need be, Azimuth can also be adjusted via a screw on top of the bearing housing. As this is not the recommended manner of adjustement, it is located underneath the aluminum cover with the Thorens logo. Please note that loosening this screw can also affect the overhang. The Azimuth was set perfectly at the factory and there will normally be no need to adjust this. But by far, the easiest way to set the Azimuth is by utilizing the small amount of rotary play in the SME connector that exists between the centering pin and its slot before tightening the collar. The amount of play is very slight but enough to be used to our benefit to get the Azimuth just right. Once the collar is tightened, the headshell is secured perfectly with zero play. By the way, this mechanism can also be used to fine-tune the balance between tightness\/bite and warmth\/flow by tightening more loosely or tightly. If this all sounds fiddly, please note that I mention these aspects only for OCD people like myself, who want to have control over every parameter to get the sound just right, and the TAS 160 caters to this perfectly. The TAS 160 is no different than any other SME-compatible arm in these respects. For those who wish just to play music and not worry about this level of fine-tuning, I can confirm that the player sounds great no matter how precisely you set the Azimuth or how tightly the headshell is secured.<\/p>\n

The scaled two-piece counterweight simplifies the precise adjustment of the required tracking force and ensures that even heavy cartridges weighing up to 30 grams can be balanced precisely.<\/p>\n

Next: TAS 1600 and TAS 1500 Cartridges, and Listening<\/p>\n

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TAS 1600 Cartridge<\/h3>\n

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The TAS 1600 is an MC pickup featuring a naked diamond line contact cut in combination with a solid boron cantilever. The cartridge is manufactured for Thorens in Japan and is intended to be an ideal match with the TD 1600 and TD 1601 turntables.<\/p>\n

TAS 1500 Cartridge<\/h3>\n

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The TAS 1500 Cartridge is an MC pickup featuring a naked diamond microlinear contact cut in combination with a solid boron cantilever. The cartridge is manufactured for Thorens in Japan and is intended to be an ideal match with the TD 1500 and TD 403 turntables.<\/p>\n

While not specifically intended for use in the TD 1600, I also wanted to include the TAS 1500 because I have always achieved very good results with the MicroRidge stylus shape. Interestingly, the TAS 1500 may be priced lower, but its stylus shape can be considered more exotic than the fine line of the TAS 1600. But of course, in all matters audio, things are never black and white, and to a very large extent, the success of any cartridge depends on the marriage with the arm and turntable.<\/p>\n

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System Context<\/h3>\n

The turntable will be listened to in my main system<\/a>, consisting in the basis of the CH C1.2<\/a> DAC, CH L1<\/a> preamp, and CH A1.5<\/a> power amp, with Magico S1 MkII speakers. The phono stages used are the Lejonklou Entity<\/a>, Manunta Audio EVO Phono 3, and M2Tech Nash Rev.b, connected via Driade Flow Link Reference 808 interlinks. Speaker cables used are the Jorma Unity<\/a>. The CH system sits on Artesania Exoteryc<\/a> and Aire<\/a> racks, while the digital sources and most review components sit on HRS EXR<\/a> racks. The turntables will be placed on dual-layer MDF panels coupled to the floor via Finite Elemente Cerapucs<\/a>.<\/p>\n

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For the purpose of this review and to allow direct comparisons, I have arranged for two TAS 1600 cartridges, one to be mounted in the TD 1600’s TP 160 tonearm and the other in my own TD 1601’s TP 92 tonearm.<\/p>\n

Cartridge to Tonearm Matching<\/h3>\n

Today, the vast majority of tonearms are of the medium effective mass type, and most cartridges are intended to work ideally with these tonearms. Therefore, one might conclude that a happy marriage between a tonearm and cartridge should pretty much be a guarantee. Alas, the reality is that it is still a matter of finding the ideal synergy between the two. One can go by numbers to calculate the resonance point and balance stylus compliance versus arm mass, but that only tells part of the story. The “ideal” match still ties in with all the elements of a turntable, the rest of the system, and personal taste. As it follows, the TD 1600 and TD 1601 may be pretty much the exact same turntable, but as I soon found, the tonearm makes all the difference. And then, it is comforting to know that the manufacturer has already specified a well-matching cartridge in the TAS 1600.<\/p>\n

Having used a range of cartridges, my current TP 92-equipped TD 1601 turntable generally sounds robust, punchy, upbeat, and dynamic, with great neutrality and an overall very well-balanced presentation with no obvious flaws. The cartridge that I have been using lately is an Audio Technica OC9 XML MicroRidge, which works very well with this turntable. Having reviewed a range of high-end turntables, I know the Thorens and its TP 92 arm can be bettered in certain aspects, such as incisiveness, control, articulation, resolution, or organic lushness. However, even the costliest turntable\/arm\/cartridge combinations that visited my listening room did not beat the Thorens in all of these aspects simultaneously, which is crucial to its success.<\/p>\n

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Listening prior to Running In<\/h3>\n

The TP 160-equipped TD 1601 turntable with a freshly installed, brand-new TAS 1600 sounds delightfully delicate, fluid, and smooth, with a beautifully liquid midrange and gentle, airy treble. Its sophisticated presentation is in stark contrast with the TP 92’s very robust and impactful, but, as I hear it now, comparatively relatively rough presentation. While The brand-new TAS 1600 in the TP 160 sounds initially a little laidback, round, and dynamically restrained compared to the TD 1601\/TP 92 with my well-run-in cartridge, the newcomer is already more transparent and immensely more refined.<\/p>\n

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But before I dive further into the sonic descriptions, I must touch on the aspect of Running In. Like the marriage between tonearm and cartridge, whether or not a cartridge is run in can greatly impact the perceived performance.<\/p>\n

Running In<\/h3>\n

After playing 8 LP sides, I could not yet detect a difference. After 26 more LP sides, however, things started to turn around. Now, the TAS 1600 was no longer lazy or round. In fact, now, it reminded me of my TP 92-equipped TD 1601 in terms of midrange openness, articulation, and transient attack. Over the course of that listening session (9 more LP sides), as the TAS 1600 continued to break in, my impression of the TP 160 further solidified. Even though the TAS 1600 became ever crisper and more expressive, the turntable as a whole always remained fluid, organic, and refined, bettering the TP 92 in these respects even when used with the MicroRidge OC9. The only areas where the TP 160 arm still needed to yield to the TP 92 were in terms of planted, earthy behavior, and midbass punch. The TP 160 was definitely more accurate and linear, but the midbass and overall dynamic impact remained a little polite at this stage. In that respect, the TP 92’s less precise but more ballsy character could also be appealing. But was the TAS 1600 already at the point where it could be considered run in?<\/p>\n

At this point, I decided to spend the next two days further running it in. Meanwhile, I had also mounted the second TAS 1600 cartridge to the TP 92 arm of my TD 1601 turntable and given it some playing time. Of course, I could not resist listening to it well before it was run in. But, oh boy, that was no comparison. Whereas the brand-new TAS 1600 worked beautifully with the TAS 160 arm, it sounded rough, boxy, restrained at both frequency extremes, and dynamically flat in the TP 92 arm.<\/p>\n

Previous experience tells me cartridges can continue developing over months of use, albeit at an ever more linear curve, but such a long-term assessment is not practical for any review. Nevertheless, I invested as much time as possible, and I repeatedly played records on both players for two days. I must have played 60 LP sides before the next listening session took place.<\/p>\n

Listening After Running In<\/h3>\n

With the two equally run-in TAS 1600 cartridges mounted to two turntables set up side by side, I could directly compare the TD 1601\/TP 92 with the TD 1600\/TP 160.<\/p>\n

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Starting with the TD 1600\/TP 160, I was excited to find that the TAS 1600 had totally come around. Normally, all things being equal, a MicroRidge stylus will produce more precise and articulate bass than a Fine Line. Indeed, so far, whilst still accumulating hours, the TAS 1600 with its Fine Line stylus had sounded quite a bit rounder in the TP 160 tonearm than my usual MicroRidge cartridge in the TP 92 tonearm. However, after having given the cartridge a lot of playing time, it now sounds every bit as controlled, articulate, and incisive! Further, also in terms of expression and all-out dynamic impact, I felt it was now easily on par with the TP 92 arm. How about that?<\/p>\n

And then, there was the effortless fluidity combined with superb inner detail, amazing openness and transparency, and blazingly fast transients followed by long-lingering decays and a beguiling liquidity that I never heard from the older player. Clearly, the new TP 160 tonearm had a large say in this.<\/p>\n

When I initially reviewed the then-new TD 1601 with its TP 92 arm, it was so clear that the new player unveiled a level of precision, incisiveness, and resolution I had never obtained using any classic Thorens turntable. Now, I feel exactly the same way again, with the TP 160 unveiling a level of transparency, refinement, and fine detail that I have not heard the TP 92 produce with any cartridge.<\/p>\n

All the audiophile parameters aside, there’s another aspect in which the TP 160 truly excels: capturing the emotional, lyrical, and organic nature of the recordings. Since analog is inherently so incomparably good at these aspects, they are arguably the most important aspects of the TP 160’s performance, or rather, of the turntable as a whole.<\/p>\n

Now, I wondered, would the older player with the TP 92 arm and TAS 1600 cartridge still provide any competition now that it has been given lots of playing time?<\/p>\n

Peculiarly, despite my running-in efforts, the TAS 1600 still did not seem like it was having a good time in the TP 92 arm. The sound was comparably rough, hard, shut-in, and compressed, and lacking resolution, fluidity, or refinement. Honestly, it still sounded absolutely incomparable to the TAS 1600 in the TP 160 arm. Given this enormous disparity and the fact that the TP 92 arm can sound great with other cartridges, I’m tempted to conclude this marriage is simply not a good match. This can, in part, potentially be attributed to the TP 92’s lower effective mass of 11 grams versus the TP 160’s 16 grams\u00a0 (please note that some documentation incorrectly states 15 grams). But even so, the TAS 1600 has a higher specified compliance than the MicroRidge OC9 or the MicroRidge TAS 1500, for that matter.<\/p>\n

I’m sure there are more factors at play, but no matter the cause and whether or not the TAS 1600 cartridge was indeed specifically developed for use with the TD 1600 and TD 1601, there is no denying the hugely successful marriage.<\/p>\n

Next: Listening to the TAS 1500, Goldring Ethos SE, and Conclusion<\/p>\n

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TAS 1500<\/h3>\n

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This was the cue for the TAS 1500 cartridge. With its MicroRidge stylus, it should be a closer match to my usual OC9 XML cartridge. In fact, it may be closely related, but that’s something I will dive into in a separate article<\/a>. Curious to find if the TAS 1500 would make a more synergistic match with my own turntable than the TAS 1600, I first mounted it in the TP 92 arm. Sure enough, there it was again, the sound that I was so familiar with. Even with zero hours of use, it presented a fine balance between precision and musicality, sounding toe-tappingly rhythmic, dynamically expressive, and effortlessly lyrical. Still, soon after my initial positive response, I could not help but still feel let down. Sure, it sounded great in and of itself, but in so many ways, it was just not up to the level of the TAS 1600 in the TP 160 arm. In spite of its expression and enthusiasm, I was really missing the continuousness, refinement, and flow. To my utter astonishment, I had to admit that my trusty TP 92 arm with a theoretically more precise stylus simply did not achieve the same level of precision and resolution as the TD 160 with a relatively less exotic stylus shape.<\/p>\n

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In all of my experience so far, a MicroRidge stylus trumps a Fine Line when it concerns articulation, incisiveness, and overall precision. But not this time, which leads to the inevitable conclusion that the TP 160 tonearm has a huge say in the matter. It simply outperformed the other player in very nearly all respects. Actually, make that ALL respects. The only area in which the TP 92 can be said to have redeeming qualities is in terms of earthiness and midbass punch. It just has a remarkably ballsy sound, but I hesitate to call this a technical advantage. Much rather, I feel it is a deviation from neutrality, but nevertheless, something that could work in its favor in a system that needs an extra dose of power in the nether regions.<\/p>\n

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With my own TP 92-equipped turntable, I’m normally hesitant to make any further changes when such a stellar result is achieved.\u00a0But now that Thorens has embraced the SME connection standard, testing another cartridge was as simple as mounting it to a second headshell and swapping them out. Precisely for this purpose, I had requested a second Thorens headshell. As you might have guessed, the next candidate for the TP 160 arm was the TAS 1500 cartridge. Given that the TAS 1600 and TAS 1500 have the same dimensions and relevant specifications, the swap was as easy as can be.<\/p>\n

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Although the TAS 1500 had sounded great with the TP 92 arm even when it was still brand-new, I decided to also grant it more play time before making furher evaluations with the TP 160 arm. At this point in the review, it had played 15 LP sides. But honestly, I can’t be sure this made a lot of difference. Going from earlier experience with my OC9 cartridge, I suspect it won’t change substantially but will need many more hours to become just a little more fluid and refined. Nevertheless, when mounted in the TP 160 arm, the TAS 1500 also sounds very impressive!<\/p>\n

As I am normally accustomed to from other MicroRidge Stylii compared to less exotic stylus shapes, the TAS 1500 does indeed sound crisper and more incisive in the bass than the TP 1600. The TAS 1500 portrays textures rather explicitly, and it has a certain “raw” directness in the midrange that can be quite exciting, combined with a relatively more “wooden” timbre, which can lend extra credibility to acoustical instruments and percussion.<\/p>\n

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However, with the TP 160 arm, the TAS 1500’s emphasis on precision is a bit of a two-edged sword. This is the thing with iron-fisted and very articulate bass. This level of precision extends to the rest of the frequency range, where it can lead to dry or “square-ish” treble, which does not usually coincide with what we desire from our analog records.<\/p>\n

Indeed, swapping back to the TAS 1600, the cartridge definitely has more bloom in the midrange and an overall lusher and more liquid character. After giving it plenty of use, it has gained a similar dynamic impact as the TAS 1500, just in a slightly rounder and more velvety manner. Some might refer to the TAS 1500 as more stereotypically “digital” and to the TAS 1600 as more stereotypically “analog”. Such a comparison is admittedly just as meaningless as the term “musical”, but I think it does illustrate what I heard quite nicely. Of course, there is no such thing as a “typical” analog. But what I am alluding to is that the TAS 1500 is very precise but can sound a little dry and is not particularly colorful in the midrange, whereas the TAS 1600 is technically less precise but smoother and harmonically more pleasing.<\/p>\n

Ultimately, these are also matters of taste, maybe even more than synergy, as both cartridges work superbly well with the TP 160 arm. Detail fanatics will be very pleased with the cleanness and analytical precision of the TAS 1500. If you want to hear absolutely everything on the record, the TAS 1500 will deliver, but for many people, I suspect such a dry and analytical approach may be a little too much. For those who seek harmonic richness and liquidity, still balanced with excellent precision, the TAS 1600 will be the ideal choice.<\/p>\n

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Even though I am admittedly a detail fanatic myself, I feel that the TAS 1600 provides a more ideal balance of virtues, provided it is allowed plenty of running in. Although we can initially be wowed by certain sonic properties, such as amazing crispness in the bass, to name a personal fetish, we soon get used to this and start noticing how the sound is less accomplished in other aspects. Conversely, if the sound is presented uniformly very well across all parameters, only perhaps not as amazing in that single aspect, this will still be much more satisfying. All these relative matters aside, the Thorens TD1600 with the new TAS 160 tonearm ultimately provides a superbly neutral platform for either cartridge to shine.<\/p>\n

But what if we want to fit an entirely different cartridge?<\/p>\n

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Goldring Ethos and Ethos SE<\/h3>\n

As I was writing this review, my friend JW had ordered a new cartridge that arrived just in time to test with the TP 160 arm. Like me, JW also has a TD 1601 turntable with TP 92 arm, and he wondered how the new arm would perform with this cartridge. For the past 3-4 years, he has used the Goldring Ethos in his TD 1601 turntable with TP 92 arm. I’ve never compared this cartridge directly to my ZYX Bloom 3 or any of the Audio Technica cartridges, but from my many visits, I’ve formed a pretty good idea of how the Ethos behaves in his system.<\/p>\n

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Like the Thorens TAS 1600, it has a Fine Line stylus, to which Goldring refers as “Vital Line-Contact”, with an aluminum stylus. My earlier cartridges, as well as both Thorens cartridges, have a Boron stylus. Although all brands have their signature house sound, there is a risk in attributing sonic clues to any single design aspect of a cartridge. Nevertheless, the idea formed in my head that the stylus material also provides a certain sonic characteristic. For what it’s worth, in my experience, the ZYX, Audio Technica, and Thorens cartridges (all Boron) sound tight, articulate, direct, and expressive. Conversely, the Goldring Ethos (Aluminum) sounds more voluptuous, smoother, and darker. And this brings us to the newly arrived Ethos SE.<\/p>\n

The brand-new Goldring Ethos SE was mounted in the Thorens headshell in place of the TAS 1500 so that we could easily swap between it and the TAS 1600. Although the cartridge has had zero hours of use, it performed rather well from the start, dynamically a little restrained at first, but we could hear it improve with every hour that it played. As we played record after record, JW was in awe at the level of detail and transparency that the new arm provided. Sure, this cartridge was improved from its earlier incarnation, but we were most definitely also hearing the positive effect of the TAS 160 tonearm.<\/p>\n

We both felt that the new Ethos SE sounded more open and airy than its predecessor. It is probably a bit leaner while retaining a harmonically rich midrange and an overall smooth and organic nature. Potential improvements with further running notwithstanding, the Ethos SE has a similar bass behavior as the TAS 1600 but deviates in the midrange and its overall character. The TAS 1600 is spicier, more incisive, and direct, while the Goldring Ethos SE is richer in tonality, more continuous, and more relaxed. The Goldring does not sound more transparent and unveils no more information than the TAS 1600, but it does bring more nuance and delicacy and produces even longer-lingering sustain and gentler decay. The Ethos SE is priced quite a bit higher than the TAS 1600, but for those who desire the ultimate in liquidity and organic goodness, it’s well worth considering.<\/p>\n

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Phono Stages<\/h3>\n

As I found, the Thorens TD1600\/TP160 had great synergy with all three of the three phono stages that I used for this review. These are all very good phono stages, and I would say the differences are exclusively in the realm of personal taste. The Lejonklou Entity provided the airiest and most fluid performance, whereas the Manunta EVO Phono 3 and M2Tech Nash painted a spicier, more robust, and more explicit picture. But all of them made my foot tap, and the lyrical and emotional aspects of the music were never in question. The presentation was similar between the Manunta and the M2Tech, although the M2Tech did have the edge in bass robustness, body, and slam. A separate review of the Manunta and M2Tech products will follow.<\/p>\n

Conclusion<\/h2>\n

A good measure of a review product’s success is how eager I am to return to my own product. In this case, the TD 1600\/TP 160\/TAS 1600 cast its spell on me early on and consistently pulled me in closer and closer with every record I played. Every day, I grew more in love with the new player. Even more so than the TP 92-equipped player before it, the TD 1600 with TAS 160 provides a superbly well-balanced performance that, literally, ticks all the boxes.<\/p>\n

One might prefer a certain sonic character that emphasizes one aspect over another. But in all honesty, I can’t think of any area where this player drops the ball. Its performance is, quite simply, superb across the board. If that sounds like hyperbole, please know that I reached this conclusion after owning and reviewing more than a few turntable and arm combos costing many multiples of the Thorens’ relatively modest price. Ultimately, none of the higher-end players stuck for one reason or another, but I’ve never wanted to part with the Thorens. Now, the new TP 160 tonearm rewrites the story, and the new player makes me feel exactly the same way as the TP 92-equipped player did before it, again making me want not to give it back.<\/p>\n

An important aspect of Thorens turntables is that they are designed as a complete concept. Those who wish to experiment with other cartridges are fully supported, but the point is that you don’t have to!<\/p>\n

I cannot overstate what a superbly well-rounded design this is. Indeed, I’m afraid I must order one for myself!<\/p>\n

Update 27-06-2024: The TD 1601 with TP 160 arm is now part of the HFA system, making it not only Highly Recommended but also an HFA Favorite!<\/p>\n

\"\"<\/p>\n

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

External Links<\/h3>\n

Manufacturer: <\/span>Thorens<\/a>
\nDistributor for the Benelux: <\/span>Penhold<\/a><\/p>\n

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