NAIA Turntable—In Rega World Less Is More, More Or Less By: Michael Fremer March 17th, 2024 By: Michael Fremer March 17th, 2024

NAIA Turntable—In Rega World Less Is More, More Or Less

TAKES REGA PERFORMANCE TO A NEW LEVEL

REGA RESEARCH

NAIA Turntable/PSU With Aphelion 2 Moving Coil Cartridge

 

Written by Bill Philpot, the late Paul Messenger and Rega co-founder Roy Gandy, “A Vibrational Measuring Machine” released in 2016 chronicles Rega Research’s long, rich history and the evolution of its design concepts. In its quest to create and market the ultimate “vibration measuring machine”, Rega Research has over the years worked diligently, you could say almost ruthlessly to reduce mass and increase the rigidity of its turntables.

故 폴 메신저와 레가의 공동 설립자인 로이 갠디가 쓴 "진동 측정기"는 2016년에 출간된 책으로, 레가 리서치의 길고 풍부한 역사와 디자인 컨셉의 진화를 기록하고 있습니다. 궁극의 '진동 측정기'를 만들고 시장에 내놓기 위해, 레가 리서치는 수년 동안 턴테이블의 무게를 줄이고 강성을 높이기 위해 거의 무자비할 정도로 부지런히 노력해 왔습니다.

 

 

A low mass, stiff plinth (or whatever you wish to call the platform that holds the platter bearing and tonearm) is essential, Rega argues, to thwart the transfer to the platter surface of bearing and motor noise as well as to minimize the intrusion upon the system of outside vibrations, both airborne and surface produced.

베어링과 모터 소음이 플래터 표면으로 전달되는 것을 차단하고 공기 중 및 표면에서 발생하는 외부 진동이 시스템에 침입하는 것을 최소화하기 위해서는 질량이 낮고 단단한 플래터(또는 플래터 베어링과 톤암을 고정하는 플랫폼이라고 부르고 싶은 대로 부르세요)가 필수적이라고 Rega는 주장합니다.

 

Properly executed, super low mass, rigid designs evaporate unwanted energy like water droplets hitting hot pavement. Rega has been averring and proving that for many years. That doesn’t mean it’s the only approach to turntable design, but it’s certainly a valid one.

적절하게 실행된 초저질량, 견고한 디자인은 뜨거운 포장 도로에 떨어지는 물방울처럼 불필요한 에너지를 증발시킵니다. 레가는 수년 동안 이를 방지하고 증명해 왔습니다. 그렇다고 이것이 턴테이블 디자인에 대한 유일한 접근 방식은 아니지만, 분명 유효한 접근 방식입니다.

 

In Rega-world, both low and high mass systems improperly executed create problems. Low mass mechanically soft ones can vibrate at high frequencies like drums and that’s obviously not good, while high mass ones can resonate at low frequencies that are difficult to stifle and so linger and produce unacceptably muddy, “slow” sound. Mass alone can’t sink low frequency resonances.

레가 세계에서는 저질량 시스템과 고질량 시스템 모두 부적절하게 실행될 경우 문제가 발생합니다. 기계적으로 부드러운 저질량은 드럼과 같은 고주파에서 진동할 수 있으며 이는 분명히 좋지 않은 반면, 고질량은 저주파에서 공명하여 억제하기 어렵고 오래 지속되어 용납할 수 없을 정도로 탁하고 "느린" 사운드를 생성할 수 있습니다. 질량만으로는 저주파 공명을 가라앉힐 수 없습니다.

 

Rega’s argument has always been that light and stiff obviates the need for high mass and that deep, "tuneful" bass production has nothing whatsoever to do with high mass.

레가의 주장은 가볍고 단단하면 높은 질량이 필요하지 않으며, 깊고 '조율된' 저음 재생은 높은 질량과는 전혀 상관이 없다는 것이었습니다.

 

The goal is to produce a turntable/tonearm combination that accurately reads the vibrations produced by the stylus coursing through the groove while not reading extraneous ones produced by motors or bearings or coming in from the outside world, or perhaps the most pernicious of all, vibrations produced in reaction to the ones produced by the stylus/groove interface.

목표는 그루브를 통과하는 스타일러스에서 발생하는 진동을 정확하게 읽어내는 동시에 모터나 베어링에서 발생하거나 외부에서 들어오는 불필요한 진동, 또는 가장 해로운 진동인 스타일러스/그루브 인터페이스에서 발생하는 진동에 대한 반응으로 발생하는 진동은 읽어내지 못하는 턴테이블/톤암 조합을 만드는 것이었습니다.

 

Of course, there’s more to producing a great turntable than a light, stiff plinth that effectively holds the bearing in place. Bearing quality itself is critical both for accurate platter rotation and low noise, and low vibrational energy.

물론 훌륭한 턴테이블을 만들기 위해서는 베어링을 제자리에 효과적으로 고정하는 가볍고 단단한 받침대보다 더 중요한 것이 있습니다. 정확한 플래터 회전과 저소음, 낮은 진동 에너지를 위해서는 베어링 품질 자체가 매우 중요합니다.

 

And because what’s being measured is stylus velocity/displacement (unless the cartridge is optical or strain gauge in which case it measures amplitude), speed consistency is as critical as speed accuracy. Motors vibrate and there are “steps” between motor poles that must be smoothed out. Rega prefers belts (round “O-ring” types actually, but not actually “O-rings”) to help smooth out motor vibrations.

그리고 측정 대상은 스타일러스 속도/변위이므로(카트리지가 진폭을 측정하는 광학 또는 스트레인 게이지인 경우 제외) 속도 일관성은 속도 정확도만큼이나 중요합니다. 모터는 진동하며 모터 극 사이에는 매끄럽게 처리해야 하는 '계단'이 있습니다. 레가는 모터 진동을 부드럽게 하는 데 도움이 되는 벨트(실제로는 둥근 "O링" 유형이지만 실제로는 "O링"이 아님)를 선호합니다.

 

Platters must have sufficient mass and stiffness to further reduce motor produced vibrations and to deal with bearing produced ones. Mass properly placed on a platter enhances flywheel behavior that further improves rotational consistency.

플래터는 모터에서 발생하는 진동을 더욱 줄이고 베어링에서 발생하는 진동을 처리할 수 있도록 충분한 질량과 강성을 가져야 합니다. 플래터에 질량이 적절히 배치되면 플라이휠 동작이 향상되어 회전 일관성이 더욱 개선됩니다.

 

Tonearms present their own set of performance variables most readers here have explored so let’s not get into those in this admittedly simplified overview, other than to remind you that Rega values rigidity over adjustability so Rega arms provide no adjustments for azimuth or VTA/SRA. You are at the mercy of your cartridge manufacturer.

톤암은 대부분의 독자들이 이미 살펴본 성능 변수를 제공하므로 이 간략한 개요에서는 조정 가능성보다 강성을 중시하는 레가 암이 방위각이나 VTA/SRA를 조정하지 않는다는 점을 상기시키는 것 외에는 자세히 다루지 않겠습니다. 카트리지 제조업체의 자비에 달려 있습니다.

 

In 2017 I visited Rega for the third time and got to see the then still in the experimental stage Naiad, which represented and still represents the ultimate in Rega’s thinking. Though it was originally intended as a non-production design akin to what automobile manufacturers display at car shows, due to fan demand Rega made and sold a few $45,000 Naiads.

2017년에 저는 세 번째로 레가를 방문하여 당시 실험 단계에 있던 나이아드를 보게 되었는데, 이는 레가 사고의 궁극을 대표하고 지금도 여전히 대표하고 있습니다. 원래는 자동차 제조업체가 자동차 쇼에 전시하는 것과 비슷한 비생산용 디자인이었지만 팬들의 수요로 인해 레가는 45,000달러짜리 나이아드를 몇 대 제작해 판매했습니다.

 

Based on Naiad research and using today’s highest tech materials, Rega has over the past few years produced a series of high performance, lightweight turntables that are its best performing yet: the Planar 8 and Planar 10, both of which I’ve reviewed. They are super-rigid and super-lightweight, and their motors are controlled by sophisticated electronics that allow for speed to be precisely adjusted and motor vibrations minimized, with each motor “tuned” to its PSU mate.

나이아드 연구를 기반으로 오늘날의 최첨단 소재를 사용하여 지난 몇 년 동안 레가는 역대 최고의 성능을 자랑하는 고성능 경량 턴테이블 시리즈, 즉 제가 리뷰한 Planar 8과 Planar 10을 생산해냈습니다. 초강성, 초경량의 이 턴테이블은 정교한 전자장치로 모터를 제어하여 속도를 정밀하게 조정하고 모터 진동을 최소화하며, 각 모터는 PSU에 맞게 '튜닝'되어 있습니다.

 

The Planar 8, which offers a lightweight plinth, with rigid RB880 tonearm, Neo PSU that provided electronic speed control and fine speed adjustment, without cartridge costs $3495.

카트리지 없이도 전자식 속도 제어와 미세한 속도 조절이 가능한 네오 PSU, 견고한 RB880 톤암, 경량 플린트를 제공하는 Planar 8의 가격은 3495달러입니다.

 

The Planar 10 is more “Naiad-like” and features an even lighter and more rigid plinth, an upgraded ceramic oxide platter, a newly developed machined aluminum subplatter/hardened steel spindle riding in a brass bushing and a new RB3000 arm. It sells for $5695 without cartridge and as with the Planar 8, package deals with Rega cartridges produce considerable savings.

더욱 "나이아드와 같은" Planar 10은 더욱 가볍고 견고한 플래터, 업그레이드된 세라믹 산화물 플래터, 황동 부싱에 장착된 새로 개발된 가공 알루미늄 서브 플래터/경화 강철 스핀들, 새로운 RB3000 암을 특징으로 합니다. 카트리지 없이 5,695달러에 판매되며, Planar 8과 마찬가지로 레가 카트리지와 함께 패키지로 구매하면 상당한 할인 혜택을 누릴 수 있습니다.

NAIA Ups The Performance, And the Price

 

Like the Planar 10, the NAIA is based upon Rega’s hand-made, Naiad, but it takes everything up more than a few Emeril Lagasse-like notches, bringing it closer to the Naiad technologically and, unfortunately, in price. At $12,995 without cartridge, the NAIA is more than double the price of the Planar 10 and by far, Rega Research’s most expensive normal production turntable ever.

NAIA는 Planar 10과 마찬가지로 Rega의 수제작 제품인 Naiad를 기반으로 하지만, Emeril Lagasse의 모든 것을 몇 단계 더 끌어올려 기술적으로나 안타깝게도 가격 면에서 Naiad에 더 가까워졌습니다. 카트리지 없이 12,995달러인 나이아드는 Planar 10의 두 배가 넘는 가격이며, 지금까지 레가 리서치의 일반 생산 턴테이블 중 가장 비싼 제품입니다.

 

Why the price jump? The Naia uses a Graphene impregnated carbon fiber skeletal plinth with Tancast 8 foam core sandwiched between the Graphene outer skins. The Planar 10 uses the same Tancast 8 foam core, with a not nearly as stiff high pressure laminate skin.

가격이 왜 이렇게 비쌉니까? 나이아는 그래핀 함침 탄소섬유 골격과 그래핀 외피 사이에 Tancast 8 폼 코어를 끼운 그래핀 함침 탄소섬유 골격을 사용합니다. Planar 10은 동일한 Tancast 8 폼 코어를 사용하지만, 고압 라미네이트 스킨의 강도는 그다지 높지 않습니다.

 

The NAIA uses two ceramic aluminum oxide braces, one on top and one on the bottom, instead of the Planar 10s single ceramic brace on top and a less-stiff phenolic brace on bottom. The second ceramic brace adds considerable additional rigidity.

Planar 10은 상단에 단일 세라믹 브레이스가 있고 하단에 덜 단단한 페놀 브레이스가 있는 반면, NAIA는 상단에 세라믹 알루미늄 산화물 브레이스가 하나씩 있고 하단에 세라믹 알루미늄 산화물 브레이스가 하나씩 있는 두 개의 세라믹 브레이스를 사용합니다. 두 번째 세라믹 브레이스는 상당한 강성을 추가합니다.

 

Rega further upgrades its familiar looking tonearm to the RB Titanium version that includes a one-piece titanium vertical bearing, a titanium vertical spindle assembly and a tungsten counterweight and counterweight stub. These are more than cosmetic changes as anyone who’s experimented with various metals in these positions can affirm.

레가는 친숙한 디자인의 톤암을 일체형 티타늄 수직 베어링, 티타늄 수직 스핀들 어셈블리, 텅스텐 카운터웨이트 및 카운터웨이트 스텁을 포함하는 RB 티타늄 버전으로 업그레이드했습니다. 다양한 금속 소재를 사용해 본 사람이라면 누구나 알 수 있듯이 외형적인 변화 그 이상입니다.

 

I can. I just evaluated two versions of a cartridge, one with a titanium body and one of aluminum, with the same inside guts and they sounded completely different from one another, timbrally and especially dynamically.

그럴 수 있습니다. 티타늄 바디와 알루미늄 바디의 두 가지 버전의 카트리지를 내부 구조는 같지만 음색과 특히 다이내믹 사운드가 완전히 다른 두 가지 버전으로 평가해 보았습니다.

 

A new ceramic oxide platter features a larger center opening compared to that of the Planar 10’s, to accept the new aluminum sub-platter’s mount featuring a spindle and central bearing manufactured from ZTA (zirconium toughened alumina). That’s among the NAIA's most significant performance upgrades and a major cost driver.

새로운 세라믹 산화물 플래터는 플래너 10에 비해 중앙 개구부가 더 커서 ZTA(지르코늄 강화 알루미나)로 제조된 스핀들과 중앙 베어링을 갖춘 새로운 알루미늄 서브 플래터의 마운트를 장착할 수 있습니다. 이는 NAIA의 가장 중요한 성능 업그레이드이자 주요 비용 절감 요인 중 하나입니다.

 

ZTA is an abrasion resistant ceramic material developed for industrial use that Rega says is perfect for a central bearing assembly except that it’s extremely costly and difficult to manufacture. It starts life as a powder and after a complex process not necessary to detail here, gets fired for three days at 1600 degrees Celsius. The finished bearing must then be honed to precisely fit the ZTA spindle. The “perfect fit” matched pair remain together and are then assembled within the NAIA plinth.

ZTA는 산업용으로 개발된 내마모성 세라믹 소재로, 비용이 매우 비싸고 제조가 어렵다는 점을 제외하면 중앙 베어링 어셈블리에 완벽하다고 레가는 말합니다. 이 소재는 분말로 시작하여 여기서 자세히 설명할 필요가 없는 복잡한 공정을 거쳐 섭씨 1600도에서 3일간 소성됩니다. 그런 다음 완성된 베어링은 ZTA 스핀들에 정확하게 맞도록 연마해야 합니다. "완벽하게 맞는" 짝을 이룬 쌍은 함께 남아 있다가 NAIA 받침대 내에서 조립됩니다.

 

Because the spindle and bearing are manufactured of the same exceptionally hard material (as opposed to the more typical hardened steel spindle/brass bush bearing), wear is minimal to non-existent, especially since the spindle runs on a super-thin layer of synthetic oil. Rega claims this produces the longest lasting, most accurate bearing assembly it has ever produced. No doubt it’s also the costliest. Obviously such a smooth-running, precision assembly reduces to a minimum friction and thus unwanted vibrations at a juncture where it's easiest to transmit to the platter and thus to the cartridge.

스핀들과 베어링은 일반적인 경화 강철 스핀들/황동 부시 베어링과 달리 매우 단단한 동일한 재질로 제조되기 때문에, 특히 스핀들이 초박막 합성 오일 층에서 작동하기 때문에 마모가 최소화되거나 거의 발생하지 않습니다. 레가는 이를 통해 지금까지 생산한 베어링 어셈블리 중 가장 오래 지속되고 가장 정확한 베어링을 생산한다고 주장합니다. 의심할 여지 없이 가장 비용이 많이 드는 제품이기도 합니다. 이렇게 매끄럽게 작동하는 정밀 어셈블리는 마찰을 최소화하여 플래터와 카트리지로 전달되기 가장 쉬운 지점에서 원치 않는 진동을 줄여줍니다.

 

The triple “O-ring” aluminum sub-assembly is by far Rega’s most complex. I put “O-ring” in quotes because Rega’s round belt made of EPDM (ethylene propylene diene monomer) is not your typical irregular half-construct "off the shelf" “O-ring”, though it sort of resembles one. Instead, the company has paid its usual fanatical attention to R&D detail to produce one that won’t beat one against the other in a triple line-up and do more damage than good to speed accuracy.

트리플 "O-링" 알루미늄 서브 어셈블리는 레가 제품 중 가장 복잡한 구조입니다. 제가 따옴표로 "O-링"을 붙인 이유는 EPDM(에틸렌 프로필렌 디엔 모노머)으로 만든 Rega의 원형 벨트가 일반적인 불규칙한 반구조의 "기성품" "O-링"과 비슷하지만, 비슷하지 않기 때문입니다. 대신, 이 회사는 평소처럼 R&D 세부 사항에 열광적인 관심을 기울여 트리플 라인업에서 서로 맞붙어도 밀리지 않고 속도 정확도에 더 많은 피해를 주지 않는 벨트를 생산했습니다.

 

NAIA subplatter

Three years of work produced a new specially cured rubber drive belt compound that exhibits a consistent elasticity and is manufactured on Rega designed tooling that the company says produces “perfectly round” and “dimensionally accurate” belts, necessary for “perfect speed stability”. Anyone who considers this level of attention to detail plain old audiophile “snake oil” posturing hasn’t taken the time to consider the infinitesimal dimensions of groove etchings and how important all these nuanced improvements can be to improving easily heard sonic performance.

3년간의 작업으로 일관된 탄성을 발휘하는 새로운 특수 경화 고무 구동 벨트 컴파운드가 만들어졌으며, "완벽한 속도 안정성"에 필요한 "완벽한 원형"과 "치수 정확성"을 갖춘 벨트를 생산하기 위해 레가가 설계한 툴링으로 제조되었습니다. 이 정도의 디테일에 대한 관심을 평범한 오디오 애호가의 "뱀 오일" 자세라고 생각하는 사람은 그루브 에칭의 무한한 치수와 이러한 모든 미묘한 개선이 쉽게 들을 수 있는 음향 성능을 개선하는 데 얼마나 중요한지 생각해 보지 않은 사람입니다.

 

The literature doesn’t make clear how or if the NAIA “Reference Power Supply” that drives the 24v low noise bi-phase AC motor (also used on other less costly Regas) differs from what’s used on the Planar 8 and Planar 10 but it drives the motor using a crystal controlled DSP square wave generator that produces a “near perfect” sine wave. Each paired motor/PSU is hand-tuned to minimize vibration and fine speed adjusted. If need be, though it’s not likely, you can fine-adjust speed in 0.01rpm steps or return to the factory setting.24v 저소음 2상 AC 모터를 구동하는 NAIA "레퍼런스 전원 공급 장치"(다른 저렴한 레가스에도 사용됨)가 Planar 8 및 Planar 10에 사용되는 것과 어떻게 다른지 또는 어떻게 다른지는 문헌에 명확히 나와 있지 않지만, "거의 완벽한" 사인파를 생성하는 수정 제어 DSP 사각파 발생기를 사용하여 모터를 구동합니다. 페어링된 각 모터/PSU는 진동을 최소화하고 미세한 속도 조정을 위해 수작업으로 튜닝됩니다. 필요하면 가능성은 낮지만 0.01rpm 단위로 속도를 미세 조정하거나 공장 설정으로 되돌릴 수 있습니다.

 

Some readers think a plinth-mounted motor means noise. The Planar 10 I reviewed elsewhere used a new motor mount system developed from the Naiad that was claimed to be even more effective in reducing noise. Listening with a stethoscope to the Planar 10's top "skin" produced a very low-level rotation start up sound that, when the platter reached speed, was barely perceptible.일부 독자들은 받침대에 장착된 모터가 소음을 의미한다고 생각합니다. 제가 다른 곳에서 리뷰한 Planar 10은 나이아드에서 개발한 새로운 모터 마운트 시스템을 사용했는데, 소음을 훨씬 더 효과적으로 줄였다고 합니다. 청진기로 플래터 상단의 '스킨'에 귀를 대고 들어보니 플래터가 속도에 도달했을 때 매우 낮은 수준의 회전 시동음이 발생하여 거의 감지할 수 없었습니다.

 

This wasn’t sufficiently satisfying for some in the peanut gallery commenting below the review (though outboard motors mounted on pods often produce more noise depending upon how well they are damped and upon what surface they are placed), so how about this? While it was difficult to find a NAIA surface upon which to place a stethoscope drum, when I finally did manage, there was no audible noise with the motor at speed and a ridiculously low amount upon start up. The NAIA motor mount is a further developed version.

리뷰 아래에 댓글을 남긴 땅콩 갤러리의 일부 사용자에게는 충분히 만족스럽지 못했습니다(포드에 장착된 아웃보드 모터는 댐핑 정도와 배치된 표면에 따라 소음이 더 많이 발생하는 경우가 많지만), 그래서 이 부분은 어떻습니까? 청진기 드럼을 놓을 수 있는 NAIA 표면을 찾기가 어려웠지만, 마침내 찾았을 때 모터가 속도를 낼 때 소음이 들리지 않았고 시동 시 소음이 엄청나게 적었습니다. NAIA 모터 마운트는 더 발전된 버전입니다.

 

Motor mount as seen from above

motor mount as seen from below (white cylinder is ceramic bearing housing)

 

While the online Planar 10 manual includes specifications like PSU weight (3kg), dimensions and turntable weight (4.7kg), the NAIA manual, both printed and online doesn’t provide this information so I couldn’t confirm that the PSU used on both is identical, but I assume it is.

온라인 Planar 10 설명서에는 PSU 무게(3kg), 크기, 턴테이블 무게(4.7kg) 등의 사양이 포함되어 있지만, 인쇄본과 온라인 모두 NAIA 설명서에는 이 정보가 제공되지 않아 두 제품에 사용된 PSU가 동일한지 확인할 수 없었지만, 동일한 것으로 추정합니다.

 

New ultra-low mass “skeletal” aluminum feet complete the product description. Oh! And there’s a very useful, easy to use, space saving dustcover that protects platter and tonearm, which is a good idea since in keeping with Rega consistency, the mat is a dust attracting fiber one like what’s used throughout the line. I’m not trying to be “smart” here. I appreciate the line continuity and I understand that Rega likes the mat because it feels this mat provides the best record/platter coupling. I just don’t, especially when it clings to the record upon lift off, breaks free and threatens the stylus’s health and well-being and is a dust magnet.

새로운 초저중량 "골격" 알루미늄 다리가 제품 설명을 완성합니다. 그리고 플래터와 톤암을 보호하는 매우 유용하고 사용하기 쉬운 공간 절약형 더스트 커버가 있는데, 레가의 일관성에 따라 이 매트는 전체 라인에 사용되는 것과 같은 먼지를 끌어들이는 섬유 소재이므로 좋은 아이디어입니다. 저는 여기서 "똑똑한" 사람이 되려고 하는 것이 아닙니다. 저는 라인의 연속성을 높이 평가하며, 레가에서도 이 매트가 최고의 레코드판/플래터 커플링을 제공한다고 생각하기 때문에 이 매트를 좋아한다는 것을 이해합니다. 다만 레코드를 들어 올릴 때 매트가 레코드판에 달라붙어 분리되어 스타일러스의 건강과 웰빙을 위협하고 먼지 자석 역할을 하는 것은 마음에 들지 않습니다.

The Rega Aphelion 2 Moving Coil Cartridge

Rega’s latest premium moving coil cartridge is a third-generation design of a unique construction that does not require the usual rear-mounted tie wire to secure the cantilever assembly, or the usual elastomer damper held to a specified degree of tightness against the coil former, the front part of which produces the system’s fulcrum and all of which determines the cartridge’s compliance.

Rega의 최신 프리미엄 무빙 코일 카트리지는 캔틸레버 어셈블리를 고정하기 위해 후면에 장착된 일반적인 타이 와이어나 코일 포머에 대해 특정 정도의 조임으로 고정된 일반적인 엘라스토머 댐퍼가 필요하지 않은 독특한 구조의 3세대 디자인으로, 앞부분이 시스템의 지지점을 생성하고 카트리지의 적합성을 결정하는 모든 것을 결정합니다.

 

Instead, Rega’s design uses a long cantilever, here Boron, wherein the joint pipe that holds the cantilever is inserted into a larger diameter “holder” that fits through a rhomboid-shaped elastomer (red), which serves as both the system’s fulcrum, and the cantilever’s placeholder. For obvious reasons some sort of arrangement must be involved that prevents the cantilever from rotating within the elastomer on its longitudinal axis.

대신, 레가의 디자인은 긴 캔틸레버(여기서는 붕소)를 사용하는데, 캔틸레버를 고정하는 조인트 파이프는 시스템의 받침대 역할을 하는 마름모꼴 모양의 엘라스토머(빨간색)를 통과하는 더 큰 직경의 '홀더'에 삽입되어 캔틸레버의 플레이스홀더 역할을 합니다. 명백한 이유로 캔틸레버가 엘라스토머의 세로 축에서 회전하지 않도록 하는 일종의 배열이 수반되어야 합니다.

 

To one end is affixed (cemented) a nude “fine line” stylus, the radii of which Rega doesn’t provide in its specs. It appears to be Ogura-sourced but that isn’t certain. At the other end resides a “hand wound” magnetized micro-cross former wound with 0.018 mm wire, (I assume copper).

한쪽 끝에는 레가가 사양에 제공하지 않는 반경의 누드 '미세 라인' 스타일러스가 부착(시멘트로 고정)되어 있습니다. 오구라에서 공급하는 것으로 보이지만 확실하지 않습니다. 다른 쪽 끝에는 0.018mm 와이어(구리로 추정)로 감긴 "손으로 감은" 자화 마이크로 크로스 포머가 있습니다.

 

Because the sides of the precision machined “zero tolerance” aluminum housing are open and protected with a transparent laminate of some kind, you can see inside where what Rega claims is “the world’s most powerful neodymium magnet” (the green-fronted structure in the photo) is affixed to the end of a bolt threaded into a frame that holds it in place.

정밀 가공된 "공차 없는" 알루미늄 하우징의 측면은 개방되어 있고 일종의 투명 라미네이트로 보호되어 있기 때문에, 내부에서 "세계에서 가장 강력한 네오디뮴 자석"(사진의 녹색 앞면 구조물)이 프레임에 끼워진 볼트 끝에 부착되어 제자리에 고정되어 있다고 Rega가 주장하는 것을 확인할 수 있습니다.

 

The distance from the coil former to the magnet can be adjusted, but what can’t be adjusted is the relative positioning of the bolt and the opening through which the cantilever goes and the lateral positioning of the bolt holder itself relative to the fulcrum point opening. All must be perfect or the ship sinks.

코일 포머에서 자석까지의 거리는 조정할 수 있지만 조정할 수 없는 것은 볼트와 캔틸레버가 통과하는 구멍의 상대적 위치, 그리고 받침점 구멍에 대한 볼트 홀더 자체의 측면 위치입니다. 모든 것이 완벽하지 않으면 배가 가라앉습니다.

 

Of course, by “hand wound”, Rega means a trained individual works using a precision coil winding machine. You wouldn’t want a genuine “hand wound” coil on your cartridge—if that’s even possible.

물론 "손으로 감는다"는 것은 숙련된 사람이 정밀 코일 와인딩 머신을 사용하여 작업하는 것을 의미합니다. 카트리지에 진짜 "손으로 감은" 코일을 사용하고 싶지는 않을 것입니다.

 

A long cantilever can spell cleaning person, child or cat trouble but Rega has carefully thought this through. The front of the body features a curved paper-clip like protrusion that both partially protects the cantilever and acts as a holder for the stylus guard that easily slips over it (you can see that in the above cartridge front photo).

긴 캔틸레버는 청소하는 사람이나 어린아이, 고양이에게 문제가 될 수 있지만 Rega는 이를 신중하게 고려했습니다. 본체 전면에는 종이 클립처럼 구부러진 돌출부가 있어 캔틸레버를 부분적으로 보호하는 동시에 스타일러스 가드가 쉽게 미끄러지지 않도록 홀더 역할을 합니다(위 카트리지 전면 사진에서 볼 수 있습니다).

 

Suggested tracking force is 1.9-2.0g and as you can see in this construction, deviating much from that can easily degrade the magnet/coil relationship. Input load impedance is 100 ohms, output impedance is 10 ohms, output voltage is .35mV, channel balance is equal to or better than 0.1mV and “separation” is rated at equal to or greater than 29dB.

권장 추적력은 1.9~2.0g이며 이 구조에서 볼 수 있듯이 이보다 크게 벗어나면 자석/코일 관계가 쉽게 저하될 수 있습니다. 입력 부하 임피던스는 100옴, 출력 임피던스는 10옴, 출력 전압은 0.35mV, 채널 밸런스는 0.1mV 이상, '분리' 등급은 29dB 이상입니다.

 

The Aphelion 2 costs $5,545. Bought in combination with the NAIA turntable, the total price becomes $16,995, meaning you’re getting the cartridge for $3995 or a considerable $1545 saving. Before you go for the NAIA/Aphelion 2 combo, you might consider other $4000 cartridges and spend the same $16,995.

아펠리온 2의 가격은 $5,545입니다. NAIA 턴테이블과 함께 구입하면 총 가격은 $16,995가 되므로 카트리지를 $3995에 구입하거나 $1545를 절약할 수 있습니다. NAIA/Aphelion 2 콤보를 구매하기 전에 다른 4000달러 카트리지를 고려하고 동일한 16,995달러를 지출할 수도 있습니다.

 

Set Up

With the cartridge pre-installed, the Naia was out of the box and ready to play within ten or so minutes (on a perfectly level surface). Carefully lower the platter onto the hub, install the counterweight, balance and set tracking force, set anti-skating to second position, plug multi-pin connector into the PSU and you are ready to play records! It’s as easy to set up a high performance turntable as there is and so lightweight.

카트리지가 미리 설치되어 있는 상태에서 Naia는 상자에서 꺼낸 후 10분 정도면 (완벽하게 평평한 표면에서) 재생할 준비가 완료됩니다. 플래터를 허브에 조심스럽게 내려놓고 카운터웨이트를 설치한 다음 균형을 잡고 트래킹 포스를 설정한 다음 미끄럼 방지 기능을 두 번째 위치로 설정하고 멀티핀 커넥터를 PSU에 꽂으면 레코드를 재생할 준비가 완료됩니다! 고성능 턴테이블을 설치하는 것만큼이나 쉽고 가볍습니다.

 

Keep in mind that Rega’s three bolt alignment produces a “quasi-Stevenson” alignment that compared to Löfgren or Baerwald variants produces more distortion over most of the record side, while helpfully moving the second null point considerably closer to the label than either of those.

Rega의 세 개의 볼트 정렬은 "준-스티븐슨" 정렬을 생성하는데, 이는 레코드판의 대부분에 걸쳐 더 많은 왜곡을 생성하는 뢰프그렌이나 베어발트 변형에 비해 두 번째 널 포인트를 라벨에 훨씬 더 가깝게 이동시키는 데 도움이 된다는 점을 명심하세요.

 

 

With “Rega/Stephenson” if you play mostly older classical records, you can often get to or past the big, difficult to track finales before distortion escalated beyond the second null point. If you mostly play newer records or double 45s that are cut to nowhere near the label, you’re getting more distortion with no benefit!

"레가/스티븐슨"으로 오래된 클래식 레코드를 주로 재생하는 경우, 두 번째 영점 이상으로 왜곡이 확대되기 전에 추적하기 어려운 큰 피날레에 도달하거나 지나갈 수 있는 경우가 많습니다.최신 레코드나 레이블 근처에서 잘려나간 더블 45를 주로 재생한다면 아무런 이득도 없이 더 많은 왜곡이 발생하게 됩니다!

 

It's easy enough to remove the front screw and using a good alignment protractor (like the WallyTractor) try other alignments. If you don’t like the results just replace the third screw and you’re back in.

앞쪽 나사를 제거하고 좋은 정렬 각도기(예: 월리트랙터)를 사용해 다른 정렬을 시도하는 것은 충분히 쉽습니다. 결과가 마음에 들지 않으면 세 번째 나사를 교체하면 다시 장착할 수 있습니다.

 

Which reminds me of a quick story: I was at the Dolby Theater for an Atmos demo and had to get signed in using an elaborate process that was almost like using Clear to get through airport security. A young publicity person helped me, and once I was good to go, she said “You’re in like Flynn!”. I said, “Do you know what “In like Flynn” means? She said “I don’t.” “The actor Errol Flynn was accused of rape and….”. Turning purple she said, “I had no idea!. I'll never say that again”.

간단한 이야기가 생각납니다: Atmos 시연을 위해 Dolby 극장에 갔는데, 공항 보안 검색대를 통과할 때 클리어를 사용하는 것과 거의 비슷한 복잡한 절차를 통해 로그인해야 했습니다. 한 젊은 홍보 담당자가 저를 도와줬는데, 제가 입장할 수 있게 되자 "플린처럼 들어왔네요!"라고 말하더군요. 저는 "플린처럼"이 무슨 뜻인지 알아요?"라고 물었죠. 그녀는 "몰라요"라고 대답했죠. "배우 에롤 플린은 강간 혐의로 기소되었고....". 얼굴이 보라색으로 변한 그녀는 "전혀 몰랐어요! 다시는 그런 말 안 할게요."

 

Quick Cartridge Exam

When I reviewed the original introduced in 2006 Apheta cartridge (the first Rega cartridge to employ the unique no tie-wire design now in its 3rd generation) I appreciated what it did well but not by an annoying upper midrange sonic ledge that break-in didn’t eliminate. The original Apheta's stylus assembly orientation of negative 90 degrees (shown below) was not helpful to the sound!

2006년에 출시된 오리지널 아페타 카트리지(현재 3세대인 독특한 노타이 와이어 디자인을 채택한 최초의 레가 카트리지)를 리뷰했을 때, 이 카트리지의 장점은 높이 평가했지만 중음역대 상부 소닉 레지가 침입으로 인해 제거되지 않아 성가신 점은 아쉬웠습니다. 원래 Apheta의 스타일러스 어셈블리 방향이 마이너스 90도(아래 그림 참조)인 것도 사운드에 도움이 되지 않았습니다!

 

 

Happily, the Aphelion 2’s cantilever/ 'fine line' stylus assembly (which appears to be Ogura source, but I'm not sure) was manufactured perfectly and produced 92 to 93 degree stylus rake angle, with VTA usefully low at approximately 23 degrees. Channel separation and balance met published specs. That is how a cartridge should measure when supplied by a company whose arms don’t allow those parameters to be adjusted!

다행히 아펠리온 2의 캔틸레버/'파인 라인' 스타일러스 어셈블리(오구라 소스인 것 같지만 확실하지 않음)는 완벽하게 제조되어 92~93도의 스타일러스 레이크 각도와 약 23도의 VTA로 유용하게 낮은 각도를 만들어냈습니다. 채널 분리와 밸런스는 공개된 사양을 충족했습니다. 이러한 매개 변수를 조정할 수 없는 회사에서 제공하는 카트리지의 측정 방식입니다!

 

Using the Hi-Fi News test record, the horizontal resonant frequency was ideal at 9Hz, and vertical was around 7Hz (between 8Hz and 12Hz is where you want them to fall). What’s more, on the Ortofon test record’s trackability bands, while every other MC cartridge I’ve tested slid off the 100µm peak band, the Aphelion 2 tracked it! A bit of buzzing but it tracked it. That’s a first!

Hi-Fi News의 테스트 기록에 따르면 수평 공진 주파수는 9Hz, 수직 공진 주파수는 약 7Hz(8Hz에서 12Hz 사이가 이상적인 주파수)였습니다. 또한 Ortofon 테스트 레코드의 추적성 대역에서 제가 테스트한 다른 모든 MC 카트리지는 100µm 피크 대역에서 미끄러졌지만 Aphelion 2는 이를 추적했습니다! 약간의 윙윙거림이 있었지만 추적했습니다. 처음 있는 일입니다!

 

Turntable Housekeeping

Don’t worry, how NAIA sounds is coming up. But first, look at the speed measurements using the Shaknspin app. I must repeat every time I use it that it’s not a ‘lab grade’ instrument but it’s still very useful and its limitations apply to all turntables measured using it.

NAIA가 어떻게 들리는지 곧 공개할 예정이니 걱정하지 마세요.먼저 Shaknspin 앱을 사용한 속도 측정을 살펴보겠습니다.이 앱은 '실험실용' 기기는 아니지만 여전히 매우 유용하며, 이 앱으로 측정한 모든 턴테이블에 제한이 적용된다는 점을 매번 반복해야 합니다.

 

The test report on the Shaknspin unit

 

Don’t worry, how NAIA sounds is coming up. But first, look at the speed measurements using the Shaknspin app. I must repeat every time I use it that it’s not a ‘lab grade’ instrument but it’s still very useful and its limitations apply to all turntables measured using it.

NAIA가 어떻게 들리는지 곧 공개할 예정이니 걱정하지 마세요.먼저 Shaknspin 앱을 사용한 속도 측정을 살펴보겠습니다.이 앱은 '실험실용' 기기는 아니지만 여전히 매우 유용하며, 이 앱으로 측정한 모든 턴테이블에 제한이 적용된다는 점을 매번 반복해야 합니다.

 

the test report delivered by the Shaknspin app

 

Impulse type “tap tests” don’t necessarily define turntable isolation but they are helpful. I’ve had some big, heavy turntables here with elaborate isolation feet that passed everything, especially low frequency components of both platform and plinth taps. Footer cosmetics don’t isolate.

임펄스 유형의 "탭 테스트"가 반드시 턴테이블의 절연을 정의하는 것은 아니지만 도움이 됩니다. 저는 크고 무거운 턴테이블에 정교한 아이솔레이션 피트가 장착되어 있어 모든 것, 특히 플랫폼과 플린스 탭의 저주파 성분을 통과한 적이 있습니다. 바닥면 화장품은 분리하지 않습니다.

 

Naia’a low mass, hollowed out feet isolated effectively, especially at the lower frequencies, and the plinth (what there is of it), was in most locations equally effective at impulse dissipation, producing a “tight”, fast, quick to evaporate “pip” instead of a “thump”— with less “tap” transmitted the closer to the tonearm I tapped, not at all surprising given the location of the double ceramic braces. The RB titanium was also extremely well-damped. Tapping on it with the volume well up produced silence.

나이아는 질량이 낮고 속이 비어 있는 풋이 특히 저주파에서 효과적으로 절연되었고, 플린트(있는 그대로)는 대부분의 위치에서 임펄스 소멸에 똑같이 효과적이었으며, "쿵"하는 소리 대신 빠르고 빠르게 증발하는 "핍"을 만들어 냈으며, 더블 세라믹 브레이스의 위치를 감안하면 전혀 놀라운 일이 아닌 톤암에 가까이 갈수록 전달되는 "탭"이 줄어드는 효과가 있었습니다. RB 티타늄은 또한 댐핑이 매우 잘 되어 있었습니다. 볼륨을 크게 올린 상태에서 두드리면 조용한 소리가 났습니다.

 

In other words, I went into the listening part of the review filled with optimism.다시 말해, 저는 낙관적인 마음으로 리뷰의 청취 부분에 들어갔습니다.

 

Me No Denia the NAIA

I exited the review feeling the same way I went into it, so let’s avoid any drama. The NAIA is the turntable Rega has, for decades, been aiming for, which is not to say the ones below are not successful designs! The NAIA epitomizes and its sonic performance confirms the design philosophies so fully explored in the book referenced at the beginning of this review.

저는 리뷰를 시작할 때와 같은 느낌으로 리뷰를 끝냈으니 드라마틱한 이야기는 피합시다. NAIA는 수십 년 동안 레가가 지향해 온 턴테이블이며, 아래의 턴테이블이 성공적인 디자인이 아니라는 말은 아닙니다! NAIA는 이 리뷰의 서두에서 언급한 책에서 충분히 설명한 디자인 철학을 완벽하게 구현하고 있으며, 그 음향적 성능은 이를 증명합니다.

 

No, I did not have a Planar 10 here to “A/B” with the NAIA, so there’s that, and the Aphelion 2 is new to me but when you hear a turntable that produces this kind of quiet and obvious speed stability and accuracy, you hear it. It actually helped, not hindered to have two $200K turntables on hand during this review. I could hear where the far less costly NAIA competes and where it doesn’t. That a turntable costing 1/20 as much competes in any parameters is impressive!

아니요, NAIA와 "A/B"를 비교하기에는 Planar 10이 없었기 때문에 그런 점이 있고, Aphelion 2는 저에게는 처음이지만 이렇게 조용하고 확실한 속도 안정성과 정확성을 제공하는 턴테이블을 들어보면 알 수 있습니다. 이 리뷰를 진행하는 동안 두 대의 20만 원대 턴테이블을 보유하고 있는 것이 실제로 도움이 되었지만 방해가 되지는 않았습니다. 훨씬 저렴한 NAIA가 경쟁력이 있는 부분과 그렇지 않은 부분을 들을 수 있었습니다. 1/20 가격의 턴테이블이 모든 파라미터에서 경쟁력이 있다는 것은 인상적인 일입니다!

 

I used multiple phono preamps including the inexpensive $439 Schiit Skoll at the bottom of the price ladder and the $52,000 Ypsilon VPS-100 (SE) (silver wound transformers, silver internal wire, and silver connectors) at the top, in conjunction with various step up transformers that will be reviewed shortly, as well as with Ypsilon’s own large MC-16L and MC-26L.

저는 가격 사다리의 맨 아래에 있는 439달러의 저렴한 Schiit Skoll과 맨 위에 있는 52,000달러의 입실론 VPS-100(SE)(은 권선 트랜스포머, 은 내부 와이어 및 은 커넥터)을 포함한 여러 포노 프리앰프를 곧 리뷰할 다양한 스텝업 트랜스포머와 함께 사용했고, 입실론의 대형 MC-16L 및 MC-26L도 함께 사용했습니다.

 

Before listening to anything I was determined to add to the review how the NAIA sounded with other cartridges but once I got into the review I found the Aphelion 2’s sonic and mechanical performance so attractive and satisfying I decided to just review the “as delivered” combo, especially considering that anyone can pretty much unbox and perfectly set it up in a matter of minutes.

듣기 전에는 다른 카트리지와의 조합에서 NAIA의 사운드를 리뷰에 추가하기로 결심했지만, 막상 리뷰에 들어가자 Aphelion 2의 음향적, 기계적 성능이 매우 매력적이고 만족스러워서 '배송 그대로' 콤보만 리뷰하기로 결정했으며, 특히 누구나 몇 분 안에 상자를 개봉하고 완벽하게 설정할 수 있다는 점을 감안하면 더욱 그렇습니다.

 

The Aphelion 2’s timbral balance—at least when used with the NAIA, is as neutral a moving coil cartridge as I’ve heard, which is not to say it matches or betters in all ways the best I have here that cost as much as the turntable, but the Aphelion 2 gets well out of the way and just delivers the goods, dynamically, timbrally and with its "fine-line" stylus, transients and soundstage details that will have listeners who have not experienced top echelon 'front ends', wide-eyed and wide-eared.

아펠리온 2의 팀브럴 밸런스(적어도 NAIA와 함께 사용했을 때)는 제가 들어본 것 중 가장 중립적인 무빙 코일 카트리지이며, 모든 면에서 턴테이블만큼이나 비싼 최고급 제품과 일치하거나 더 낫다고 말할 수는 없지만, 아펠리온 2는 방해 요소를 잘 없애고 역동적이고 팀브럴하며 "미세한" 스타일러스, 과도 및 사운드 스테이지 디테일로 최고 수준의 '프론트 엔드'를 경험하지 못한 청취자들도 눈을 넓히고 크게 들을 수 있는 상품을 전달할 뿐입니다.

 

If the NAIA sounds this good with Rega’s own cartridge I’m sure if you choose to pair it with something more costly and exotic, you’ll get the desired results (but only if you send the cartridge off to WallyAnalog for a complete evaluation and appropriate shims to correctly set VTA/SRA, azimuth and even zenith angle).

NAIA가 레가 자체 카트리지와 함께 이렇게 좋은 소리를 낸다면 더 비싸고 이국적인 카트리지와 함께 사용하면 원하는 결과를 얻을 수 있을 것입니다(단, 카트리지를 WallyAnalog에 보내 완전한 평가와 적절한 심을 통해 VTA/SRA, 방위각, 천정각까지 정확하게 설정하는 경우에만 해당됩니다).

 

One of the first records I played was Vivaldi in London (VALDC017) a brand new double direct-to-disc title from Chasing the Dragon performed by Interpreti Veneziani and recorded at Air Studios, a venue I was lucky enough to visit for another Chasing the Dragon Production, so I have a good handle on the large open space’s acoustics.

제가 처음 재생한 음반 중 하나는 비발디 인 런던(VALDC017)으로, 인터프리티 베네치아니가 연주한 체이싱 더 드래곤의 새로운 더블 다이렉트 디스크 타이틀이며 다른 체이싱 더 드래곤 프로덕션을 위해 방문했던 에어 스튜디오에서 녹음했기 때문에 넓은 오픈 공간의 음향에 대해 잘 알고 있습니다.

 

 

Side B’s “Concerto for violin, strings and harpsicord” presented the nine musician ensemble as shown in the jacket art, though not with each in an exaggerated defined space, because the room’s natural reverb doesn’t allow that, but rather as a coherent ensemble in a well-defined space. You could more easily “see” the cello and double bass off to one side but still well integrated with the picture.

B면의 '바이올린, 현악기, 하프시코드를 위한 협주곡'은 재킷 아트에 보이는 것처럼 9명의 연주자 앙상블을 과장된 공간에 각각 배치한 것이 아니라 공간의 자연스러운 잔향으로 인해 잘 정돈된 공간에서 일관된 앙상블로 표현했습니다. 첼로와 더블베이스가 한쪽에 떨어져 있지만 여전히 영상과 잘 통합되어 있는 것을 더 쉽게 '볼 수' 있습니다.

 

Instrumental textures were supple and delicately drawn, and timbres were accurate. The violins were never screechy, the double bass and cello never suffered bloat. A testament to the recording engineer too of course, and the room, which was offered in impressive relief behind the musicians and a series of arrayed baffles.

악기 텍스처가 유연하고 섬세하게 그려졌으며 음색이 정확했습니다. 바이올린은 삐걱거리지 않았고 더블베이스와 첼로는 부풀어 오르지 않았습니다. 물론 녹음 엔지니어와 음악가들 뒤에 인상적인 안도감을 주는 방, 그리고 일련의 배열된 배플에 대한 증거이기도 합니다.

 

But I played the same record as well on two 20X the price rigs, where cartridges alone were NAIA-priced and while you’d easily hear the differences, the NAIA/Aphelion combo produced equally stable, well defined and fully satisfying images and soundstaging. Rock solid and well-focused. Especially impressive was the NAIA’s attack-delicacy on the strings.

JoE Silva’s Band on the Run 50th Anniversary Editionreview piqued my curiosity so I laid out the $50 bucks and bought a copy. I’m generally not a fan of Miles Showell’s ½ speed mastered cuts from digital files, though it’s difficult to know who’s responsible, Miles or the engineers who prepared the digital files.

하지만 같은 레코드를 카트리지만 NAIA 가격의 20배에 달하는 두 개의 장비에서도 재생했는데, 그 차이를 쉽게 느낄 수 있었지만 NAIA/Aphelion 콤보는 똑같이 안정적이고 선명하며 완전히 만족스러운 이미지와 사운드 스테이징을 만들어 냈습니다. 견고하고 초점이 잘 맞습니다. 특히 인상적이었던 것은 현악기에 대한 NAIA의 공격적인 섬세함이었습니다.

 

In this case, they all did an excellent job overall, re-inventing the record for 21st century ears. It’s an enjoyable listen filled with detail surprises and clarity, though as usual, attack subtlety, sustain, decay and especially instrumental textures take a hit to produce that, and depth flattens. All the microdynamic cues that differentiate “real” from “mechanical” get lost. If you don’t know they were there you won’t miss them.

조에 실바의 밴드 온 더 런 50주년 기념판 리뷰가 호기심을 자극해서 50달러를 내고 한 장을 샀습니다. 저는 일반적으로 마일스 쇼웰이 디지털 파일에서 ½스피드로 마스터링한 컷을 좋아하지 않지만, 마일스나 디지털 파일을 준비한 엔지니어 중 누가 책임자인지는 알기 어렵습니다.

 

Compare Paul’s bass on “Mrs Vandebilt” on the original versus the reissue. One is “deep bass” and the other are bass strings vibrating. The NAIA dug out and effortlessly presented all these differences in ways only better turntables manage.

If you want Paul in the room, or wish to hear percussion on “Bluebird” sound startlingly real, or get the full bass textures as Paul plucks the strings, get an original U.K. It’s got space, three-dimensionality and filled with sonic “love” in place of “clinical precision”.

이 경우, 그들은 모두 전반적으로 훌륭한 작업을 수행하여 21세기의 귀에 맞게 음반을 재창조했습니다. 디테일의 놀라움과 선명함으로 가득 찬 즐거운 청취이지만, 평소와 마찬가지로 어택의 미묘함, 지속력, 디케이, 특히 악기 텍스처가 타격을 받고 깊이가 평평해집니다. "진짜"와 "기계적인"을 구분하는 모든 미시적 단서가 사라집니다. 이런 단서들이 있다는 사실을 모르면 놓칠 수 있습니다.

 

The NAIA laid bare all of those differences and when I compared them again and listened to both on the NAIA and on the 20X rigs, what most impressed about the NAIA was its bottom end control, speed and clarity. It didn’t exaggerate and produce false bass extension mud nor did it truncate or attenuate the bass on the record.

"반데빌트 부인"에서 폴의 저음을 오리지널 버전과 재발매 버전에서 비교해 보세요. 하나는 '깊은 저음'이고 다른 하나는 베이스 현이 진동하는 소리입니다. NAIA는 더 나은 턴테이블만이 관리할 수 있는 방식으로 이러한 모든 차이를 파헤치고 쉽게 표현했습니다.

 

On the original Band on the Run pressing, the NAIA expressed every one of its positive qualities including on the title tune the superiority of the drum smacks, and especially the subtle echo behind the vocals. On “Jet” there’s that nasty opening diesel truck like synth accent that had full weight and snarl backed by a deep bass accent. The sixteenth note piano fills on the tune were cleanly presented and most importantly the entire presentation hung together three-dimensionally and in all the ways only great turntable and cartridge combos manage. I think Geoff Emerick would approve (but perhaps not so much with the reissue).

오리지널 밴드 온 더 런 프레스에서 NAIA는 타이틀 곡에서 드럼 스매치의 우월함, 특히 보컬 뒤의 미묘한 울림을 포함해 모든 긍정적인 특성을 표현했습니다. "Jet"에는 신디사이저 악센트와 깊은 베이스 악센트로 뒷받침되는 으르렁거리는 디젤 트럭 같은 불쾌한 오프닝이 있습니다. 곡의 16음 피아노 필이 깔끔하게 표현되었고, 가장 중요한 것은 전체 프레젠테이션이 훌륭한 턴테이블과 카트리지 콤보만이 할 수 있는 방식으로 입체적으로 함께 어우러진다는 점입니다. 제프 에머릭도 인정할 것 같습니다(하지만 재출시된 버전에서는 그렇지 않을 수도 있습니다).

 

To hear the full benefits of this turntable’s background quiet and speed accuracy and the Amphelion 2’s exceptional tracking abilities, check out a well-recorded and pressed solo piano recital likeThe Lost Recordings double LP stereo release Emil Gilels Amsterdam 1976 recorded at Amsterdam’s Concertgebouw. It’s limited to 2000 copies, but it appears a few remain. Kevin Gray cut from carefully prepared high resolution files and here the goal was not to “modernize” but rather to present what’s on the tape, which I guess needed some digital domain prep.

이 턴테이블의 백그라운드 정숙성과 속도 정확성, Amphelion 2의 탁월한 트래킹 능력의 이점을 온전히 느껴보시려면 암스테르담 콘체르트헤보우에서 녹음된 로스트 레코딩스 더블 LP 스테레오 릴리즈 에밀 길렐스 암스테르담 1976 같은 잘 녹음되고 프레스된 솔로 피아노 리사이틀을 확인해 보시기 바랍니다. 2000장 한정판으로 제작되었지만 현재 몇 장이 남아 있는 것으로 보입니다. 케빈 그레이는 신중하게 준비된 고해상도 파일에서 잘라냈으며, 여기서 목표는 '현대화'가 아니라 테이프에 있는 내용을 표현하는 것이었기 때문에 디지털 도메인 준비가 필요했던 것 같습니다.

 

Whatever the reason or reasons for digitization, the stereo sound puts you in the hall, with the piano presented with three-dimensional clarity and stability. The large reverberant space behind amplifies the reality without interfering with either the well-defined piano’s image, or with Gilels unlimited macro and micro dynamic expression.

디지털화의 이유나 이유가 무엇이든, 스테레오 사운드는 피아노가 입체적으로 선명하고 안정감 있게 표현되어 홀에 있는 듯한 느낌을 줍니다. 뒤의 넓은 잔향 공간은 잘 정의된 피아노의 이미지나 길렐의 무한한 매크로 및 마이크로 다이내믹 표현을 방해하지 않으면서 현실감을 증폭시켜 줍니다.

 

Finally, after reading somewhere about a botched digital transfer of Benny Carter’s Further Definitions (Impulse AS-12), I pulled out and played the original, mastered by Rudy Van Gelder. Recorded in 1961 by Johnny Cue, with whom I’m unfamiliar (a different engineer gets credit for the mono edition), it features Coleman Hawkins, Jo Jones, Phil Woods, Charlie Rouse, Dick Katz, Jimmy Garrison and (guitarist) John Collins in parenthesis because I never heard of him either.

마지막으로, 어디선가 베니 카터의 'Further Definitions'(Impulse AS-12)의 디지털 전송이 잘못되었다는 글을 읽은 후 루디 반 겔더가 마스터링한 원본을 꺼내서 재생했습니다. 1961년 조니 큐가 녹음한 이 곡은 저에게는 생소한(모노 버전은 다른 엔지니어가 녹음했습니다) 콜맨 호킨스, 조 존스, 필 우즈, 찰리 루스, 딕 카츠, 지미 개리슨 그리고 괄호 안의 (기타리스트) 존 콜린스도 들어본 적이 없어서 소개합니다.

 

Four saxes, piano, guitar, bass and drums impeccably arranged by Carter and performed by greats, many from the “old school” but some like Garrison, Woods and Rouse (who was moonlighting from Thelonious Monk’s group). Garrison, still in his 20s, would join Coltrane the next year but by the time this was recorded he’d already played with many greats.

4대의 색소폰, 피아노, 기타, 베이스, 드럼을 카터가 완벽하게 편곡하고 '올드 스쿨' 출신이 많지만 개리슨, 우즈, 루즈(텔로니어스 몽크의 그룹에서 문라이팅을 했던) 같은 거장들이 연주했습니다. 아직 20대였던 개리슨은 이듬해 콜트레인에 합류하지만, 이 음반이 녹음될 무렵에는 이미 많은 거장들과 함께 연주한 뒤였습니다.

 

A fun big band record in which the saxes can either sound hard and somewhat brittle or sail on smoothly as they did through the NAIA/Aphelion 3 combo. On Duke Elllington’s “Cotton Tail” there’s subtle guitar comping center channel throughout, Katz’s cleanly recorded piano on the left channel, with plenty of surrounding space and sax solos by Carter, Rouse, Woods and Hawkins, the four spread two left, two right. On “Body and Soul” with no drums, Garrison’s bass carries the rhythmic load, each pluck cleanly rendered oh so subtly center channel. Truly black backgrounds spotlight the delicate interplay. Classic stuff recorded near the end of an era. The NAIA's resolution of low level detail and microdynamic expression on that recording and many others I played puts it in a performance tier above its price point.

색소폰이 딱딱하고 다소 거칠게 들리거나 NAIA/Aphelion 3 콤비처럼 부드럽게 흘러가는 재미있는 빅 밴드 음반입니다. 듀크 엘링턴의 "Cotton Tail"에서는 미묘한 기타 컴핑이 중앙 채널에, 카츠의 깔끔하게 녹음된 피아노가 왼쪽 채널에, 주변 공간과 카터, 루즈, 우즈, 호킨스의 색소폰 솔로가 왼쪽 두 개, 오른쪽 두 개씩 네 명이 펼쳐져 있습니다. 드럼이 없는 "Body and Soul"에서는 개리슨의 베이스가 리듬을 담당하며, 각 플럭이 중앙 채널에서 매우 미묘하게 깔끔하게 렌더링됩니다. 검은색 배경이 섬세한 상호작용을 더욱 돋보이게 합니다. 한 시대의 말기에 녹음된 클래식 음악. 이 레코딩을 비롯해 제가 재생한 다른 많은 레코딩에서 NAIA의 낮은 레벨 디테일과 미세한 다이내믹 표현은 가격대를 뛰어넘는 성능을 보여주었습니다.

 

This Mat Not That

The Italian company Sublima Audio Researchmanufactures and sells Mat Chakra in standard (190 euro) and Limited editions. You have to get past the stones and other products that will turn off many visitors, but please plow through to the mats! You’ll find a link to a review I wrote and an explanation of how this sandpaper-like mat works.

이탈리아 회사 수블리마 오디오 리서치매트 차크라를 일반(190유로) 및 한정판으로 제조 및 판매합니다. 많은 방문객의 발길을 멈추게 하는  stones 과 다른 제품들을 지나쳐야 하지만, 매트까지 쟁기질해 주세요! 제가 쓴 리뷰 링크와 사포처럼 생긴 이 매트가 어떻게 작동하는지에 대한 설명이 나와 있습니다.

 

 

I used both for much of this review, in place of the supplied standard white fiber mat. If you own a Planar 8 or Planar 10 I encourage you to give this super thin, stiff mat a try. The difference it made on the Naia was substantial IMO, good as the sound was with the supplied mat. The Mat Chakra intensified the black backgrounds, produced better defined transients especially bass transients and to my ears made everything sound more precise, three-dimensional and vivid. I know the Rega folks won't appreciate this part of the review but that's what I heard, though you can be sure this turntable produced spectacular sonic performance using the supplied mat.

저는 이 리뷰의 대부분에 제공된 표준 흰색 섬유 매트 대신 이 두 가지를 모두 사용했습니다.Planar 8 또는 Planar 10을 소유하고 계신 분이라면 이 얇고 단단한 매트를 사용해 보시기를 추천합니다.제공된 매트를 사용했을 때와 비교했을 때 Naia의 사운드는 상당한 IMO 차이를 보였습니다. 매트 차크라는 검은색 배경을 강화하고, 특히 저음 트랜지언트를 더 선명하게 만들어주었으며, 제 귀에는 모든 사운드가 더 정확하고 입체적이며 생생하게 들렸습니다. 이 리뷰의 이 부분에 대해 레가 측에서는 별로 좋아하지 않겠지만, 제가 들은 바에 따르면 이 턴테이블은 제공된 매트를 사용하여 놀라운 음향 성능을 만들어 냈습니다.

 

Conclusion

The NAIA presents an exquisitely tight ship for a record to sail on. Both the arm and ‘table take Rega’s thinking to the limits without totally breaking the bank to Naiad territory.

NAIA는 레코드가 항해하기에 정교하게 타이트한 배를 선보입니다. 암과 테이블 모두 나이아드의 영역을 완전히 벗어나지 않으면서도 레가의 생각을 한계까지 끌어올립니다.

 

Stopping at NAIA makes sense because according to Rega, while NAIA can be a production assembled product, Naid cannot, and because once you’re in $45,000 territory there’s very serious (but not as stiff) competition.

레가에 따르면 나이아드는 생산 조립 제품이 될 수 있지만 나이드는 그럴 수 없고, 4만 5천 달러 영역에 들어가면 경쟁이 매우 심각해지기 때문에 나이아드에서 멈추는 것이 합리적입니다(하지만 그만큼 치열하지는 않습니다).

 

Skeptics will look at the NAIA and think it can’t possibly be twice as good as the Planar 10 though it costs twice as much. As with all things audio, the laws of diminishing returns apply. I can’t say the NAIA is twice as good as the Planar 10 but I can say with complete confidence that it’s much better in every way and the measured performance demonstrates that the NAIA is a step above the Planar 10 and above much of the competition at any price. It's that good.

회의론자들은 NAIA를 보고 가격이 두 배나 비싼데도 불구하고 Planar 10보다 두 배나 좋을 수 없다고 생각할 것입니다. 모든 오디오 제품이 그렇듯이 수익률 감소의 법칙이 적용됩니다. NAIA가 Planar 10보다 두 배 더 좋다고 말할 수는 없지만 모든 면에서 훨씬 낫다고 자신 있게 말할 수 있으며, 측정된 성능은 NAIA가 Planar 10보다 한 단계 더 뛰어나고 어떤 가격대의 경쟁 제품보다 훨씬 우수하다는 것을 보여줍니다. 그 정도로 뛰어납니다.

 

Because the Aphelion 2 is so far advanced from the original Rega MCs I’ve heard, the combination produces timbrally neutral, well- balanced sound and it tracks better than any MC I’ve tested using Ortofon’s test record. The cartridge is a fitting NAIA companion.

아펠리온 2는 제가 들어본 기존 레가 MC보다 훨씬 더 발전했기 때문에, 이 조합은 시간적으로 중립적이고 균형 잡힌 사운드를 만들어내며, 제가 Ortofon의 테스트 레코드로 테스트한 어떤 MC보다 더 잘 추적합니다. 카트리지는 NAIA와 잘 어울립니다.

 

Rather than closing with the usual audiophile checklist, which this turntable checks off with ease, I'd rather close with this: I feel confident in writing that if you get to hear this turntable and cartridge combo in a proper setting at a store, or at a show, you'll easily hear how good it is and how much musical fun and rich detail it effortlessly delivers, while just sounding "right".

일반적인 오디오파일 체크리스트로 마무리하기보다는 이 턴테이블이 쉽게 체크하는 것으로 마무리하고 싶습니다: 이 턴테이블과 카트리지 콤보를 매장이나 공연장에서 제대로 된 환경에서 들어보면, 이 제품이 얼마나 좋은지, 얼마나 음악적 재미와 풍부한 디테일을 손쉽게 전달하면서 '제대로' 들리는지 쉽게 알 수 있을 것이라고 자신 있게 말씀드릴 수 있습니다.

 

If you encounter reviews claiming the NAIA/Aphelion 2 is “all anyone will ever need” or “performs as well as turntables costing ten times as much”, well those reviewers either are satisfied campers at a different performance level or have been listening to the wrong top tier turntables. There are some not such good ones that the NAIA beats, especially in terms of speed stability rhythmic polish and even background quiet, but it's not the "ultimate", though it might be within its price point and probably beyond.

NAIA/Aphelion 2가 "누구에게나 필요한 모든 것"이라거나 "10배나 비싼 턴테이블만큼의 성능을 발휘한다"는 리뷰를 접한다면, 그 리뷰어는 다른 성능 수준의 만족스러운 캠퍼이거나 잘못된 최고급 턴테이블을 듣고 있는 것입니다. 특히 속도 안정성과 리듬감, 배경 정숙성 측면에서 NAIA를 능가하는 좋은 제품도 있지만, 가격대 내에서는 그 이상일 수 있지만 '궁극'은 아닙니다.

 

Put it all together and you have a remarkably compact, lightweight, high performance package that at $16,999 is costly but not impossibly so and that can be taken out of the box, perfectly set up and playing records within ten minutes. If there's another turntable that combines all of these attributes at the NAIA's price I haven't seen or heard it—and I've seen and heard plenty!

이 모든 것을 종합하면 16,999달러로 비싸지만 불가능하지는 않은, 상자에서 꺼내서 10분 안에 완벽하게 설정하고 레코드를 재생할 수 있는 놀랍도록 작고 가벼운 고성능 패키지가 있습니다. NAIA의 가격에 이 모든 특성을 결합한 턴테이블이 있다면 저는 아직 보지도 듣지도 못했고, 많이 보고 들었습니다!

 

Meanwhile, below the album art, find the same Anthony Wilson track you can listen to in the review of his new album recorded using the 200K+ rig, recorded again using the NAIA/Aphelion 2 combo (with Rega's mat), and the Ypsilon VPS-100/Ypsilon MC-16L SUT combo.

한편, 앨범 아트 아래에서 200K+ 리그를 사용하여 녹음한 앤서니 윌슨의 새 앨범 리뷰에서 들을 수 있는 동일한 트랙을 NAIA/Aphelion 2 콤보(레가 매트 사용)와 입실론 VPS-100/입실론 MC-16L SUT 콤보로 다시 녹음한 트랙을 찾아보세요.

 

NAIA recording

Specifications

Tonearm: RB Titanium

Cartridge: Rega Aphelion 2 MC

Plinth: Graphene Impregnated Carbon Fibre and a Tancast 8 polyurethane foam core

Motor: 24 V low noise motor with NAIA reference power supply

EBLT Triple Belt Drive

Aluminium hub and ZTA hub bearing assembly

Height: 4.5"

Length: 16.5"

Width: 13.8"

Weight: 17.0 lbs

Manufacturer Information

Rega Research

Imported to North America by:

The Sound Organization

 

 

 

출처 : https://trackingangle.com/