Performance Testing
We set up both turntables on a high-performance two-channel audio system to enable us to hear the differences the tonearm and platter would make on the PRO if any. We checked out the stylus on both tables under a microscope to confirm they looked the same. Then we checked the alignment on both using the Pro-Ject gauge. Next, we confirmed they were both set precisely to 2 grams tracking force. We do have to call out the PRO here though — it was extremely finicky to get the tracking set just right as tiny changes on the counterweight make a big move. This made us decide to create a tips & tricks video on how to set up the PRO that we will provide to Audio Advice customers to help get everything perfect.
To further geek out, we physically moved the same external power supply back and forth between the two, along with the Connect-E tonearm cable. At this point, we were sure any differences we would detect would be related to the arm and platter improvements.
To do our testing, we pulled out some vinyl with challenging sections from both a tracking perspective and a rhythm and pacing test. These were a 2020 great repressing of the first track on Joan Armatrading’s title album, “Down to Zero”, Robert Cray’s “Smoking Gun” from Strong Persuader for tracking, and our favorite rhythm and pacing test, John Cougar Mellencamp Uh-Huh “Pink Houses”.
We first played the EVO and were once again amazed at how great this table sounds for the money. It really is incredible. However, after the first Joan Armatrading cut, when we switched to the PRO, it was an entirely different ballgame. We hate to be so blunt, but it made the EVO sound like it was mistracking in comparison. Her voice was so much smoother with zero traces of sibilance that we had heard a little of it on the EVO. Everything sounded much more effortless as well. As we kept flipping back and forth on this cut, it became clear, there was just less distortion on the PRO, which gave it a smoother and sweeter sound.