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TRIO
It may be almost 20 years old, but Trio's L-07D direct-drive
turntable can still mix it with the best, thinks Jon Marks.
Most hi-fi is built to a budget, as a quick heft of most equipment will
tell you - a lot of cases contain more air than components. Every once
in a while though, a manufacturer decides to throw their accountants out
the window and design a true statement product just to show everyone what
the boffins in lab coats are really capable of. Trio's L-07D direct-drive
turntable was their engineering statement back in 1980.
The preamble in hi-fi manuals usually consists of the manufacturer
congratulating the buyer, and the Trio's is no different: "Your choice
of this product indicates that you are a devotee of excellence in sound
reproduction." In the majority of manuals this would look like unduly purple
prose, but not in this one. The L-07D with its outboard power supply is
35kg of innovative precision engineering.
Selling for a not inconsiderable £1150 18 years ago, this turntable
incorporates Corian, composite materials and aerospace aluminium to great
musical effect.
Starting with the tone-arm, you'll find a high-grade aluminium arm-tube
wrapped in a layer of carbon and boron fibres to damp resonance and increase
rigidity. The detachable headshell is formed from the same fibres. Ultra-hard
tool steel is used in the pivot which runs on oversize bearings mounted
atop a stainless steel shaft.
The whole assembly is then clamped to the plinth in a four-jaw collet
chuck, similar to the one you'd find at the end of a power drill. Allowing
precise height adjustment with these jaws open is a helicoid mechanism
which raises the arm 0.1mm for each revolution of the dial. Once the arm
is properly set up, the chuck just needs to be tightened before listening.
Rigidly connecting the arm and motor (as you might have guessed, rigidity
was one of the main design objectives in the L-07D) is a heavy aluminium
casting. The heart of the deck is the main bearing, a 12mm diameter shaft
of precision-ground hard stainless steel.
Inferior engineering in this area simply wouldn't have lasted because
it has to support most of the mass of a whopping 5.5kg platter which would
grind your average bearing to dust. Taking up the rest of the load is a
floating magnet system which also helps reduce rumble.
The platter is unusual for its mat. Instead of rubber Trio opted for
dished stainless steel, reasoning that any 'lossy' materials would absorb
part of the signal cut in the record rather than relaying it through the
cartridge. And judging from the power and focus of the music the L-07D
makes, they were right.
Whether it's 33 1/3rpm or 45rpm you're spinning your vinyl at, the
Trio has a crispness, detail and substance to its sound that's addictive.
Play an orchestral work and you'll find there's no squashing of dynamics
on crescendos - the tension and scale just build up and up effortlessly.
Some massive turntables with large platters can sound slightly sluggish
in the bass. The Trio avoids this pitfall. There is a touch of looseness
in the lower registers but the arm takes the blame for this - good as it
was in its day it's now outclassed by modern midprice (£250-£500)
offerings in many aspects.
Proper setting up is vital if you're going to realise the L-07D's full
potential. As it has absolutely no suspension whatsoever it has to be sited
on a stable platform that will transmit very little vibration into the
deck. Make sure too the aluminium platter under the stainless steel mat
is level as the plinth's in-built spirit level can drift with time. Finally,
the arm is very sensitive to bias adjustment and headshell azimuth, so
time spent getting both right is time well spent.
L-07Ds aren't as common as Rega Planar 3s but neither are they in as
short supply as sincerity at a party political conference. Look to pay
between £450-£700 depending on condition and make sure it's
complete - Kenwood (tel: 01923 816444) have no replacements for most parts.
Pick a well-preserved example though and you'll be able to enjoy superb
vinyl replay for years to come.
This review was published in the March 1998 issue of Hi-Fi
World. No material may be reproduced from this review without the written
permission of the publisher. Copyright Audio Publishing Limited
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