Vinyl Asylum: REVIEW: Nottingham Analogue Interspace Turntables by RogerJ

Model:	Interspace
Category:	Turntables
Suggested Retail Price:	$750
Description:	non suspened dual speed turntable
Manufacturer URL:	Not Available
Manufacturer URL:	Not Available

Review by RogerJ ( A ) on February 18, 2003 at 07:00:00
IP Address: 68.39.71.4

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for the Interspace

Nottingham Interspace turntable - VPI modified Rega RB300 w/ Incognito wiring harness and Dynavector 10X4mkII cartridge.
Manufacturer:
Nottingham Analogue Studio
128 Cordy Lane
Underwood, Nottingham NG16 5FD
Telephone: +(44) (0) 1773-76 2947
Fax : + (44) (0) 1773-53 3566
Prinicipal : Mr. Thomas Fletcher
General Information:
Turntable
The Notttingham Interspace turntable is a one above entry level (recently released Horizon) offering from Nottingham Analogue Studio, a high quality UK turntable manufacturer. The entire line of Nottingham analog products are distributed in the US by ASL Audiophile Systems, LTD. A pix of the table is available at www.aslgroup.com/nottingham/interspace. Please note that the picture includes an older version of the platter, which has been upgraded. The turntable is now available with an upgraded, heavier platter (after 6/2001. At 2 1/2" thick and 20lbs. the platter increases the total weight of the turntable to well over 40lbs.
The turntable itself is very well constructed. The plinth appears to be a wood or MDF product covered with a faux marble (black w/ green) laminate. A knuckle rap test on alternate and opposite sides of the table can be easily felt, so its not not constructed with the most anti-resonant of materials. There are adjustable 2" footers on each of the plinths four corners which can be used to level the turntable, if your equipment rack or table is not perfectly level.
A low torque motor is seated in the plinths left front corner in a separate housing. I understand that selection of a low torque motor (same motor for all Nottingham turntables) is an important design element in Nottingham turntables. Low torque translates to low noise transmission to the plinth and platter. The platter must be spun by hand to bring up to speed and subsequently slowed down by hand to stop the platter. The motor assembly contains a flexible, dedicated three prong AC cord ((~5'long). A tublular rubber belt is connected around the motor pulley to a lower groove in the turntable platter. The set up produces extremely accurate speeds at both 33 1/3 and 45 RPM's as measured with a strobe set up.
The hefty platter, which I believe contains aluminum and carbon composite sandwiched layers, has a high quality stainless steel bearing shaft. The bearing casing in the plinth is a high quality admiralty bronze. Tolerances between the bearing shaft and casing are very tight. After putting 1/2 teaspoon of supplied oil in the bearing shaft and carefully setting the shaft into the casing, the platter becomes firmly seated in about 30-40 minutes. The platters sits rock solid after set up with no wobbling what so ever.
Fit and finish of the turntable is excellent. It can accomodate up to two tonearms. Written turntable set up instructions are somewhat incomplete - recommend to purchase from a dealer who will set up or walk you through set up over the phone.
Tonearm & Cartridge
I purchased the Interspace with a VPI modified Rega RB300 tonearm w/ Incognito wiring, which runs directly from the headshell to Cardas RCA terminations that plug directly into the preamp. The tonearm sits on a aluminum riser/collet which sets in predrilled holes in the plinth. Vertical tracking angle (VTA) can be adusted with hex screws and thus can not be changed "on the run". Vertical tracking force (VTF) and antiskating are also adjustable on this arm.
The tonearm was purchased with a Dynavector 10X4mkII cartridge that was professionally mounted by Larry Weinstein of Hollywood Sound. I highly recommend Larry and Hollywood Sound for anyone considering a turntable purchase, extremely professionaly, easy to talk with , and takes time to walk you through the turntable set up. VTF was set at 1.9 grams with a Shure VTF gauge and antiskating was set as .4 grams. After about 50 hours of cartridge and bearing break in, I settled on a VTA about 3 cm above the seating position of the riser. Per Larry Weistein's suggestion, I carefully listened to drum solo's to get the most naturally sounding beats in setting the VTA.
Set-Up & System
The turntable was placed atop a spiked IKEA Lack end table, isolated from the rest of my equipment which sits on a Vantage Point Altus equipment rack with large Polycrystal spikes. AC was provided via dedicated lines w/ 20amp circuits and Acme Audio cyrogenically treated 15 amp outlets. Associated equipment includes an Audible Illusions M3A preamp with Tungsram tubes in both the line and phono sections, an Odyssey Stratos amplifier w/ 120,000 uF capacitor upgrade, Vandersteen 2 CE signature speakers and a modified Pioneer PD-65 compact disc player. Groneberg Quattro Reference interconnects are used throughout the system (excepting the turntable) with Bolder Cable Company power cords.
Listening
First a couple of caveats. I won't be doing any A-B comparisons with similiarly priced turntables. I simply did not have time to do a lot of comparison listening to turntables this year, as I did with amplifiers when I purchased my Odyssey Stratos. Also, there are only a limited number of retailers (few in my area at least) that carry turntables, due to limited sales, set up time, etc. That said, over the past six months I have listened to the VPI Aries, Music Hall MMF-7, Michell Orbe, Nottingham Interspace, Space, and Hyperion turntables.
The first 40-50 hours of listening (during break in) were a bit uncomfortable, as both the Dynavector cartridge and bearing assembly required extensive break in. However, given the somewhat "steely and strident" sounding upper treble and loose bass response, some of the turntable-tonearm-cartridge character were immediately noticable - a big bold soundstage that had both width and depth, superior retrieval of detail, and relaxed, natural presentation.
After the break in period, the presentation became exceptionally smooth yet dynamic and detailed too. The treble edginess disappeared, bass response became deeper and much tighter. Max Roach drum solo's on several of my Clifford Brown albums never sounded better. Leo Kottke's "A Shout Toward Noon" was simply stunning with it's subltle string textures, slight reverberations and fingers sliding over strings. I was hearing a lot of elements of the music that my old trusty Thorens turntable and Sumiko Blue Point Special just could never retrieve. The rendering of female voices and reeded instruments were simply delightful, transforming the listening experience into a musical experience.
While new and mint albums maintained a very black background in between songs, the snaps, crackles and pops of older recordings (even with albums well washed and treated w/ Disc Dcotor) are clearly audible. Unlike the highest end turntables or more accurately cartridges, this set up does not eliminate all the vinyl nasty's. Unless you have some deep scratches, ticks and pops are relegated to the outer edges of the soundstage for the most part, so they don't overwhelm the music.
There is very little background noise in between cuts on high quality recordings. I tend to have a little background noise due to my AI tube preamp. I did not hear any motor related noise being transmitted to the cartridge and through my speakers. This is a primary concern of many vinyl fans when the motor is not separated from the plinth. Also the Nottingham will not make a poorly pressed or recorded album sound great. I have a lot of old slightly abused 70's rock albums, Rolling Stones, etc. that simply sound bad. While the Interspace is what I would call "ruthlessly revealing", it does not gloss over a bad recording.
On recently purchased test pressing's from Acoustic Sounds, Little Hatch and Bill Evans "Waltz for Debby", the results are simply stunning. Great vocal reproductions (especially well done harmonies), instruments are clear depicted and placed in the soundstage, and all the little details (including tape hiss from transfer to vinyl on the "Waltz for Debby") are all there.
Outside of the the fact that bad recordings sound bad, the only limitation of this combination is a slight restriction of treble during complex or very loud musical passages, particularly with large orchestral pieces.
I will say with great convictions that this turntable set up beats the silly pants off of my compact disc player and has made me a true vinyl convert. I think that's enough said, except to thank Larry Weinsteing of Hollywood Sound and several Nottingham posters on Audion Asylum's Vinyl Asylum for their insights and comments. I you are looking for a turntable set up between $1,500 to $2,000 I encourage you to audition the Nottingham Interspace, its found a new home in my home.
Happy listening.
Roger

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Product Weakness: Poor instructions, no dust cover
Product Strengths: Easy set up and maintenance, extremely musical - smooth, dynamic & detailed , well integrated bass-midrange-treble response, solid well built construction.

Associated Equipment for this Review:
Amplifier:	Odyssey stratos amp w/ cap upgrade
Preamplifier (or None if Integrated):	Audible Illusions M3A w/ Tungsram NOS tubes
Sources (CDP/Turntable):	Pioneer PD-65
Speakers:	Vandersteen 2CE signature's
Cables/Interconnects:	Groneberg Quattro Reference
Music Used (Genre/Selections):	Various
Room Size (LxWxH):	13.5 x 15.5 x 7
Time Period/Length of Audition:	4 months
Other (Power Conditioner etc.):	Bolder Cable Company type 1&2 PC's
Type of Audition/Review:	Product Owner

Product Weakness:	Poor instructions, no dust cover
Product Strengths:	Easy set up and maintenance, extremely musical - smooth, dynamic & detailed , well integrated bass-midrange-treble response, solid well built construction.