External Motor Unit

The great turntables from the East (such as the legendary Mexlco) all used external motors for a very good reason; even in the finest transcription units with the ultimate in sub-chassis isolation one can hear the motor noise and even read it from the stylus signal on an oscilloscope. Thus it subtly modulates the music. We avoid this. We also avoid the need for a highly refined (and expensive) power supply by an external motor which drives a long thin belt.

Materials

Another method to avoid the high cost of complex electronics and mechanical methods of damping vibrations is careful selection of materials. Rival designs have exploited the unique mechanical impedance of brass and acrylic, but have stopped short. They always compromised: by accidental inversion of these two opposite laminates, or by use of intermediate materials, e.g. sub-chassis and bolt components made of steel or aluminium. Acrylic is optimal for the platter and armboard, and the sub-chassis is a laminate which should be musically resonant brass, as it is on the Quasar. Can you imagine a trumpet made of acrylic? Or a violin/guitar string stops made of brass?

Spindle

The primary example of an exception which breaks the rule is the spindle, which cannot be brass (too soft). Roksan were among the first to decouple the spindle from the disc, but our slightly undersized spindle centres the disc without the inconvenience of removing an outer top spindle section.

Four Point Suspension

The state of the prior art employed three (Oracle) to five (Source) springs, of varying geometry, inversion modes (i.e. suspension or compression), damping, and frequency. Or high mass damping to subdue airborne and structural resonances and feedback. The Quasar must employ a high mass sub-chassis, despite the cost. Again with all things equal the light designs actually sound lightweight, lacking the slam and majesty of the great and expensive designs such as the Goldmund Reference and the Trio LO7. In this combination, damped compressed springs tuned at high frequency introduce the desirable sonic signature of opposing requirements, i.e. weight without smearing, speed, clarity, bass slam without overhang or coloration. Due to the high mass of the sub-chassis, the result does not vary depending on the mass and position of the chosen tonearm.

Setting Up And Tuning

Not with the Quasar. The construction is so obvious that even the most timid person can put it together straight out of the box, or dismantle it to change the tonearm or polish the proud possession. There is no mystery, no underneath, no works. No lid. The most amazing aspect of the simplicity -- no works -- is due to the avoidance of pure AC power for reasons described above, and the avoidance of complex sub-chassis and damping, also explained above.

You do not experience the frustration of levelling the chassis, then the sub-chassis, then the chassis is off again; and no adjustments are from underneath, nor do they require any tools. You place the chassis on your surface and level the Quasar's platter by turning the four pillars by hand. About fifteen seconds work?

The high mass sub-chassis avoids the influence of tonearm cable on the resonance, so there is no need to dress or clip it critically (in time it always uncoils and degrades other turntables, acting as an additional damped spring).

Optimised Performance

The options include a laminate acrylic base-board, and a solid brass clamp. A longer chassis and gold-plating enhance appearance at additional cost.

In Conclusion

The simplicity is deceptive. We think we've thought of everything! But we invite kind users to share any further thoughts and improvements with us.