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- Ultra lightweight plinth: The Planar 8 is the second Rega turntable constructed using the latest ultra lightweight Tancast 8 polyurethane foam core (a material developed for the aerospace industry). This material is sandwiched between two layers of HPL (high-pressure laminate). HPL is exceptionally thin and extremely rigid. This new construction makes the new Planar 8 skeletal plinth 30% lighter than the original RP8 while offering increased rigidity over the previous model.
- Double Brace Technology: A super lightweight plinth combined with a phenolic resin double brace mounted specifically where the increased rigidity is required (between the tonearm mounting and the main hub bearing) forms a structurally sound a oestressed beam" assembly. This rigid plinth design prevents energy absorption and unwanted resonances which will add unnatural distortions to the music. Equally, heavier mass can transfer more unwanted energy such as motor or bearing noise directly into the rotating record. The use of braces instead of the complete skin allows double thickness phenolic resin in these key areas while providing further weight reduction to the plinth, which directly addresses the issue of mass absorption and unwanted energy transmission.
- RB880 Tonearm: For the new RB880, Rega has introduced an improved vertical bearing assembly constructed using an aluminum and stainless-steel, low mass assembly with vastly improved stability and rigidity. This tonearm is using their advanced preloaded zero tolerance bearing assembly adjusted to less than 1000th of a mm, this gives friction-free movement and zero levels of unwanted play. This subtle but effective new structure is only visible via small windows at the rear of the new bias housing assembly. A thinner stainless steel balance weight is used, allowing greater adjustability and compatibility. Finally, the RB880 is terminated with a re-designed, low capacitance phono cable terminated with high quality, locking phono plugs to ensure the best possible connection.
- Hub bearing assembly: The Planar 8 uses a new low mass central bearing assembly. A single piece machined aluminum sub-platter and hardened tool steel spindle run inside a custom brass housing which is cleverly mounted within the chassis. This new mounting is designed to eradicate unwanted potential energy being transferred or stored in the plinth.
- Super flywheel effect triple layer glass platter: The Planar 8 uses a three-piece laminated glass platter which is the result of collaboration with a British glass engineering company. This brand new platter is constructed from two different high quality Pilkington glasses. As a general rule, the only part of a turntable that requires extra mass is the turntable platter in order to achieve constant rotational speed. However, a heavier platter creates more problems for the main bearing design so again an ideal compromise creates the best solution. Practically this means keeping as much of the mass to the outside rim of the glass platter to create more flywheel effect but keeping the inside of the platter as light as possible without sacrificing stiffness.
- 24v Low noise motor assembly: The Planar 8 uses Rega's latest generation, 24v, synchronous, low vibration motor technology. Uniquely mounted using the highest level of coupling while retaining higher vibration isolation than any previous model. This new motor mounting technique (mounted from the bottom) has been taken directly from the ultimate Rega turntable, the Naiad. This unique mounting method removes all stress on the motor body. The reduced vibration and more rigid mounting delivers superior drive from the new EBLT drive belts. Each motor is hand tuned to match its own custom Neo power supply before fitting to the turntable to optimize the anti-vibration circuit.
- EBLT Drive Belts: For three years Rega has been researching and developing with chemists the use of a bespoke new rubber compound for drive belts. Using a specialized curing system, the new drive belt offers superior consistency of modulus (a constant representing the degree to which a substance has a particular property, especially elasticity). These new belts are manufactured on Rega designed, state of the art, super-accurate tools which produce 'perfectly round' and 'dimensionally accurate' belts, critical for perfect speed stability.
| The C-Major is EAT's best value turntable, incorporating many of the design features of the more expensive C-Sharp. You'll get a heavy platter for great speed stability, a solid record clamp, and the C-Note 9" tonearm, which uses very precision bearings. Combine this with the included $500 Ortofon Quintet Blue cartridge and fitted dustcover, and you will be getting a real value. This package will bring all your vinyl to life and give you many years of listening pleasure.
Design & Build Quality
The first time that we had a chance to play with the EAT turntables there were a couple of things that really impressed us right off the bat. Their striking appearance will obviously catch your attention. We’ve even had several happy EAT customers tell us that when they first got their table out of the box they just stared at it in awe. Once you start to put the table together, however, you will immediately get a great sense of the superb craftsmanship.
The EAT C-Major has a very similar look to the C-Sharp -- the same low slung body and mix of high gloss black, carbon fiber, and brushed aluminum which make many of the other tables on the market look chunky in comparison. The plinth is made of carbon fiber and is nestled on some floating isolators inside a thin, high-gloss black base. The C-Major’s 9” tonearm features a carbon fiber arm tube and the heavy platter supports a special mat that is made from recycled LPs. It’s then topped off with a substantial record clamp. The whole combination just looks fantastic!
Like all great turntables, the C-Major is a fully manual turntable. You might think that a high-end table like this would be difficult to use, but we were pleasantly surprised to discover that it’s just the opposite! You simply turn it on, move the tonearm over the record, lower it down, and enjoy the tunes!
Features & Technology
We’ll start from the bottom of the table and work our way up. The sleek and slim base is made out of a super dense MDF material. Inside, the low-noise motor is mounted to the lower sub-chassis which is isolated from the upper plinth with eight cone-shaped pieces of a high tech damping material called Thermoplastic Elastomer, or TPE. These provide great isolation from the motor and really do a great job damping out external vibrations. If you want to feel the damping effect, simply push down gently on the plinth.
The plinth is made from an outer shell of carbon fiber sandwiched over MDF. The C-Major has three adjustable feet which make leveling everything a snap. The feet are also internally damped to reduce any external noise from getting up to the table. The EAT also includes a low profile dust cover with the C-Major, which not only protects it, but also matches up with its sleek appearance.
The bearing for the inner platter is pretty similar to what you find in most turntables in this category. The inner platter has a shaft that drops into a bronze bearing well where its tip spins on a special plate made of a near friction-free, teflon-like material.
The outer platter weighs in at a stout 4 lbs and has a great design. The top part that touches the record is made out of recycled vinyl, while the rest of the platter is a sandwich design of an aluminum/magnesium alloy with TPE in the center. EAT puts more mass on the outer edge of the platter, which helps to give it a great flywheel effect. This combination of bearing and platter is one reason the EAT tables all have great speed consistency. Like the more expensive C-Sharp, the C-major also comes with an aluminum record clamp.
While there are lots of things we love about this table, one of our favorite aspects is the carbon fiber tonearm that we mentioned earlier. It’s incredibly adjustable, allowing you to use a wide range of phono cartridges on it. These adjustments exude European precision.
The design of the tonearm is a combination of a uni-pivot and a more conventional Carden type.
Uni-pivot arms can move freely, not only across the record and up and down, but also rotating on the horizontal plane. Imagine an airplane coming in for a landing when you see the wings move up and down on each side in relation to the ground. The theory is there is some movement like this in the record grooves and being able to have freedom of movement allows the cartridge to track better.
The downside of uni-pivots is they are a royal pain to adjust. EAT came up with a brilliant solution that gives you the best of both worlds and we can attest to the fact that it works great! You get a small amount of movement where the arm can tip left to right, but it behaves more like a traditional pivoted arm.
The rear counterweight has an additional weighted insert that you can install for cartridges that are heavier than normal. The counterweight doesn’t have any markings like a lot of high end tonearms, so you will need a stylus pressure gauge to set the right force, but luckily EAT includes one in the box.
You also have azimuth adjustment which allows you to adjust the tonearm left and right. When you look at your tonearm from the front while sitting on a record, the headshell should be parallel to the record surface. EAT lets you really fine tune this if you desire. Finally, you can even adjust the height of the tonearm rest and the cueing cylinder, allowing you to really dial things in for your cartridge.
For anti-skating, EAT uses a gravity-based system which we really like. It is a little bit of a pain to set up, but we’ve been able to help everyone through it, so if you purchase one and have any trouble, just give us a call.
Finally, to change from 33 to 45, like a lot of tables out there, you simply lift off the outer platter and move the belt on the motor pulley.
Please don’t let all of these adjustments make you think this table is finicky or hard to set up. The best way to buy it is with the deal EAT has on the Ortofon Blue, Black MC, or their own JO5. These all come preset up and you save quite a bit with the package -- $250 or $500, which makes the table an amazing deal!
Performance
To test out the EAT C-Major, we set up what we thought might be a typical rig. We used the Cambridge CXA80 integrated amp, a Sutherland KC Vibe phono stage and a pair of Paradigm’s new Premier 800F towers. The table used the Ortofon Blue, which we think is probably the best way to go for the money with the C-Major.
First up was the classic Landside from Fleetwood Mac. When you have a great system that is well set up Stevie Nick’s voice should be dead center while the guitars float in between the speakers. This combo aced this test!
Next up was Robbie Robertson’s Somewhere Down the Crazy River from his first solo album in 1987. We look for two things on this one. First, there are some very dynamic bass attacks as the track begins. Then later on, you can hear lots of emotion in his voice when he says "Why do you always end up down at Nick's Cafe?" , "I don't know, the wind just kind of pushed me this way." It’s in the first “why” and “pushed me this way” on a great system you’ll hear all kinds of subtle inflections in his voice. While we have heard more on much more expensive rigs, this combination once again, really drew us into the music. Plus, it nailed the bass attacks.
After hearing this, we wanted to pull out our favorite cut for testing speed stability. This is Pink Houses from John Cougar's Uh-Huh album. If the table has great speed stability, you’ll be tapping your foot to the music. Once again, the EAT was very impressive.
This is one very special table. It has the ability with its precision tonearm to track really well and its isolation system helps it provide that great bass impact. EAT designs are also winning us over for their speed purity. Finally, with its jewel of a tonearm, it's just fun to use!
- The C-Note tonearm on the C-Major is 9" in length instead of 10" on the C-Sharp
- There is no separate speed control
- The main chassis has a more compact footprint
- The platter clamp is smaller
- The platter is smaller
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The B-Sharp sheds all of the non-essential cosmetic adornments of the C-Major without compromising performance or mechanical integrity, providing vinyl enthusiasts with a superb playback option at a more affordable price.
- Features the new B-Note tonearm, made from a carbon fiber alloy that is light yet rigid with a black anodized aluminum headshell. The B-Note tonearm provides all of the key features for cartridge alignment and adjustability: VTA (Vertical Tracking Angle), SRA (Stylus Rake Angle), VTF (Vertical Tracking Force), azimuth and a slotted headshell for overhang / offset angle.
- The anti-skate mechanism has been engineered for more intuitive calibration, making setup of the B-Sharp notably easier than competitive products.
- A proprietary low noise motor, floating chassis, aluminum platter and a high-density MDF low profile base are included as standard features of the B-Sharp. Like the C-Major, the B-Sharp uses a high-tech TPE (thermoplastic elastomers) suspension system that works in concert with adjustable feet that provide levelling ability for the table.
- Comes equipped with a factory installed Ortofon 2M Blue Cartridge, hinged dustcover, low mass aluminum record clamp, and a felt platter mat-all included.
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The B-Sharp sheds all of the non-essential cosmetic adornments of the C-Major without compromising performance or mechanical integrity, providing vinyl enthusiasts with a superb playback option at a more affordable price.
- Features the new B-Note tonearm, made from a carbon fiber alloy that is light yet rigid with a black anodized aluminum headshell. The B-Note tonearm provides all of the key features for cartridge alignment and adjustability: VTA (Vertical Tracking Angle), SRA (Stylus Rake Angle), VTF (Vertical Tracking Force), azimuth and a slotted headshell for overhang / offset angle.
- The anti-skate mechanism has been engineered for more intuitive calibration, making setup of the B-Sharp notably easier than competitive products.
- A proprietary low noise motor, floating chassis, aluminum platter and a high-density MDF low profile base are included as standard features of the B-Sharp. Like the C-Major, the B-Sharp uses a high-tech TPE (thermoplastic elastomers) suspension system that works in concert with adjustable feet that provide levelling ability for the table.
- Comes equipped with a factory installed Ortofon 2M Blue Cartridge, hinged dustcover, low mass aluminum record clamp, and a felt platter mat-all included.
| The Prime is designed to offer hi-end sound while taking advantage in improvements in Turntable technology. The shape is designed to have a more aesthetic look, while having the footprint to accommodate the space needed for a 10 inch 3D arm.
- 10-inch 3D Tonearm
- VTA Tower included
- Classic 20-pound platter and bearing
- Four solid Delrin corner assemblies designed for isolation and mechanical grounding
| The C-Sharp packs one heck of a lot of technology into its price tag. First of all, the package price includes the $1000 Ortofon Quintet Black cartridge, praised by audiophiles all over the world for its natural sound. The heavy platter with a ceramic bearing, 10" carbon tonearm, and external speed control unit give you an amazing combination. EAT's special damping technology will keep both external noise and motor noise away from your records. Plus it will look like a true work of art sitting on your audio rack with its striking European styling. Just do some stretching before you set it up because this jewel weighs in at 30 pounds!
Design & Build Quality
When we first looked at the EAT turntables, two things really impressed us -- the great looking design and the superb build quality. They just exude European precision. Like many of our favorite turntables, the C-Sharp is a fully manual turntable. This means to operate it you’ll turn it on, manually lower the tonearm using the damped cueing lever, then at the end of your record, use the cueing lever again to raise the arm. At Audio Advice we prefer manual tables for their simplicity. There’s an argument to be made that the lack of mechanical parts also prevents issues such as resonance from affecting the tables great sound.
The look of the C-Sharp is quite stunning. Unlike many high-end turntables, the C-Sharp is elegant and relatively low-profile. The carbon fiber plinth sits in a high-gloss black base with a thin edge. The platter is much larger than a 12” record and tapers up to the high tech mat. A substantial record clamp is included in the box. The tonearm is also a work of art, constructed from carbon fiber and highly-polished aluminum components. The whole thing looks like something you would expect to find under the hood of a $1m race car!
As soon as you begin to interact with the C-Sharp it quickly becomes clear that build quality it is second to none. This is to be expected for it’s nearly $3,500 price point, but it’s just an incredibly well put together table.
Features & Technology
The low profile base of the C-Sharp is made out of the highest density MDF available. The ultra-low-noise motor is mounted to the base along with 10 cone-shaped damping feet made out of a new high tech energy absorbing material called TPE (Thermoplastic Elastomer). The plinth constructed from a sandwich design of carbon fiber over MDF. The base has three adjustable feet, which allow you to get things perfectly leveled.
The main platter bearing sits on the carbon fiber plinth which is supported by the TPE columns. This makes for a great isolation system. If you gently push down on the plinth, you can even feel the spring of these columns. The combination of these features limits the amount of noise able to get back into the system, maximizing the sound quality.
The turntable bearing is one of the most unique designs we have seen. It is an oversized inverted design with a resonance-free ceramic ball bearing on top. The larger inner platter has a massive brass bearing which sits on top of the ball bearing and also extends above the inner platter to provide a perfect fit for the substantial outer platter. Everything fits together with incredible precision! Any vibration noise that does make its wait though is just transferred out to the TPE columns. Quite a brilliant design.
The main outer platter is very heavy, coming in just an ounce shy of 11 pounds! When you flip it over, see why they made it larger than an LP. The outer perimeter is a weighted ring to give it a flywheel effect. The main platter itself is another sandwich-type design, this time with a very inert aluminum sandwiching some more TPE material. The part of the platter that contacts the record is constructed from recycled records! Topping the platter is a threaded spindle for the included heavy-duty machined record clamp.
To be honest, it’s a little scary during the setup process, trying to center an 11-pound platter on the inner platter. It’s a precision fit, so you’ve got to get it line up just right. Be careful not to mash your fingers as you lower it. The good news is that it fits perfectly and you should really only have to do this the first time you set it up. We recommend you attach the clamp, screw it on firmly, and then gently lower it down while holding it by the clamp.
Even the belt is a bit exotic. It’s constructed from a special antistatic rub, is round like many ultra-high-end turntable belts, and is polished for uniformity.
Like the rest of the turntable, the tonearm also has a ton of great technology buried inside of it. It’s a combination of a unipivot tonearm and traditional pivot design with the middle bearing being a unipivot. When you move it around, you can’t feel any play at all, which is something we look for. It also is virtually friction-free. The arm tube is made of carbon filled with a special silicone grease to damp out any resonances. This arm can fully support just about any type of high-end cartridge you would want to use, which our customers love.
The tonearm has fully adjustable vertical tracking height. You’ll need a stylus pressure gauge to set the tracking force as it is all gravity and there are no markings on the counterweight. Fortunately, a very nice one is included with the table. The anti-skating is a very clever gravity design as well, but you’ll need some pretty good eyesight to get it all set up properly. It has to screw into the side of the tonearm base, then wrap around. Once it's set up, there is no risk of it getting changed, like some gravity designs, but is just a little trickier to start with. Of course, if you purchase your C-Sharp from Audio Advice, we will do all of this for you.
The external power supply is fully isolated and easily allows you to switch between 33 and 45. It has an AC generator built in for totally clean and stable power to the motor.
Finally, the package we are testing comes fitted with an Ortofon Quintet Black. When you consider the C-Sharp without a cartridge is $2,995 and with the $1,000 Quintet Black, it's $3,495, you get a $500 savings buying the package -- an incredible value.
Performance
We had recently set up a nice system to run our new Golden Ear Triton Reference using a PrimaLuna Dialogue integrated amp and the Sutherland Duo phono stage. We decided that this would be a fun rig to use to test out the EAT C-Sharp. First off, that combo sounds just amazing! The Tritons have a powered sub built in and the Prima Luna had no trouble driving them. The system provided an incredibly warm, rich sound -- just as we would expect.
We set up the Sutherland for 100 ohms and set the gain to 60db and started spinning some vinyl. The first thing we noticed was the great deep bass extension. We had on a Norah Jones record with some acoustic bass. Not only was it deep and full, but you could hear all of the harmonics of the instruments. The way her voice floated dead center with such a great sense of effortlessness.
Dynamics were also outstanding, especially on an old Judds album, Why Not Me. This one was really fun to listen to. Changing over to some Miles Davis Kind of Blue was just stunning. Every instrument stood out in a huge soundstage, yet each one was the right size and precisely located, never wavering. We finally cued up one of our favorite LP’s for rhythm and pacing, John Cougar’s “Pink Houses” cut from his Uh-Huh album. The C-Sharp passed this test with flying colors as we had our feet tapping within the first few bars!
Using the C-Sharp is a great experience as well. You drop the weight on the center spindle and give the center portion a spin to lock it in. Push 33 or 45 on the speed control box, wait until the light stops flashing to indicate things are up to speed and then lower the tonearm. The Quintet makes cueing up songs very easy as its square body makes it easy to line up the groove you want to land in.
We just loved using the C-Sharp! |
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