Longform: How to Buy the Best Turntable and Stereo System for Your Record Collection

Photo by: Illustrations by Nicole Ginelli

In a time when filling a room with sound can be as simple as tapping your phone, getting into vinyl can be intimidating. All those wires and plugs. Picking out a turntable that will last. Not to mention the myriad cartridge, amplifier, and speaker options. And even if you've connected all of those different components, why does that yellowing copy of Fleetwood Mac's Rumours you found at a garage sale sound so tinny and quiet? Fact is, getting a good sound out of vinyl records takes some effort, but—as anyone who has ever dropped the needle on a prized album after spending an afternoon installing a new cartridge can tell you—the extra work can definitely be worth it.

The good news—or bad news, depending on how much of a do-it-yourselfer you are—is that there's no single right way to set up a vinyl-friendly stereo system. Ben Blackwell, a longtime record collector who handles manufacturing and vinyl distribution at Third Man Records, a leading label behind the format's resurgence, compares picking audio components to choosing between cars: They're all going to get you from point A to point B—some might be a little bit nicer, but whether that's worth the extra expense is up to each individual.

And anyone debating between different pieces of vinyl gear won't be alone. Though the format continues to make up only a slim portion of overall industry revenues, vinyl sales have now risen each of the past 10 years—surging by 30%, to 12 million, last year. Turntable shipments to retailers are also projected to climb by 12% this year, according to the Consumer Technology Association. Add in the secondhand market, and total sales for records and record players is surely even higher. For instance, online database and exchange Discogs processed sales of about 5.4 million vinyl records in 2015. The hand-me-down route tends to be cheaper for vinyl gear, too. "You can definitely get more for your money buying used stereo equipment on Craigslist or at flea markets and vintage shops, and there is a lot of it out there," says Josh Madell, owner of New York record store Other Music. "You can get started with a new system for as little as $400 and it goes up from there."

All that in mind, I polled vinyl gurus, scoured the Internet, and visited a local audio-equipment store to put together a vinyl primer, both for those just getting into the format and for those who may be looking to step up their home stereo game. Again, personal preferences will vary, so it's important to listen to what sounds good to you and what works well with your listening habits. In the name of simplicity, though, I narrowed things down based on expert recommendations, broke down the results by type and price range, and added some advice about how to assemble it all and maximize your setup. Happy spinning.

Turntables

Numark PT-01 ($100)

A portable turntable may be only a stopping point on the way to a more advanced rig, but for total beginners, there's no arguing with the price. Various editions of Numark’s PT-01 offer everything you need to listen to records, including a built-in speaker, a headphone jack, an RCA line for home stereos, and a USB port for archiving records onto a computer. Dan "Pop" Schorr, owner of Lexington, Kentucky vinyl and vintage-goods store Pops Resale, estimates he's sold 1,000 Numark PT-01s in the six years he has stocked it. "They're just really good systems," he tells me.

Audio-Technica AT-LP120 ($250)

Eventually, most vinyl listeners will want to move beyond all-in-one turntables. Other Music’s Josh Madell says, "My simple advice for new vinyl fans is to get a real stereo—a turntable, amp, and speakers." Rik Sanchez, a floor manager who also oversees used vinyl pricing at Amoeba Music in Los Angeles, says Audio Technica's AT-LP120 is a go-to pick for people looking for an introductory deck: "Everything on it is what you want."

For those interested in a less expensive beginner option, there's also Audio-Technica's $100 AT-LP60. "It's a very basic turntable, but it's got a nice platter on it—what the record sits and spins on—and a decent needle," says Sanchez. "I would still call that a starter turntable, but it's mid-level." Like the portable Numark PT-01, the LP60 has its own built-in phono preamp, which means you'll have one less item to worry about if you're plugging it into powered speakers or a home stereo.

Pro-Ject Debut Carbon Esprit SB ($600)

Moving beyond starter turntables, when it comes to higher-end home listening, the name that keeps coming up is the Pro-Ject Debut Carbon Esprit SB. "You buy that and you're set for life," Amoeba's Sanchez tells me, pointing to the turntable's heavyweight materials and "precision-oriented" design. This deck comes with an Ortofon 2M Red cartridge, which alone typically sells for $100 and is widely praised

When I stop by the showroom of Audio Labs, a Des Moines, Iowa, store that has been around for more than 40 years, in-house vinyl point man Greg Den Hartog tells me the Debut Carbon Esprit is the store's best-selling audiophile turntable. Sure enough, a showroom demo of Pearl Jam's Ten underscores why some may want to spend the money on such higher-end gear. Though Eddie Vedder and co. have never been a personal favorite, the longtime vinyl champions seem ideally suited to the format, their riffs booming warmly across the room. When opener "Once" begins full-force, I hear it more vividly than ever before.

Technics SL-1200 ($800)

Panasonic discontinued its Technics turntable line in 2010, but refurbished and secondhand models of these iconic "Wheels of Steel" are still widely available. Though less expensive than upper-end audiophile turntables, they're not cheap. But they are rugged, and if one somehow gets broken, the 1200's decades-long status as professional DJs' tool of the trade should make it easier to get repaired. Third Man's Blackwell says his 1200 survived a house fire. "It would probably survive an atomic blast," he adds. "For design, ease of use, and durability, there is no comparison. That is the turntable."

The 1200 is a "direct drive" turntable, which means the platter for the records sits right on top of the motor. DJs tend to prefer direct drive for its reliability and versatility, among other reasons. Audiophile-oriented turntables are more often "belt drive," which means an elastic belt connects the platter to the motor, reducing noise and vibration. Which type of turntable to buy can depend on whether you plan to listen solely at home or play records out around town. Panasonic is also readying a redesigned Technics 1200, reportedly for as much as $4,000.

Clearaudio Concept ($1,600)

Peter Hahn, owner of New York's Turntable Lab, says that while this turntable is relatively cheap compared to other pricey decks out there—Japan's ELP, for example, manufactures record players that use lasers to read record grooves and go for around $15,000—it's his personal favorite in this range (besides the Technics 1200, of course). "Whereas most entry-level audiophile turntables look similar—many use the same factory in Czech Republic—the Concept is unique and super-refined: All the components look like they’re made especially for this model," Hahn says. "They also designed it to be user-friendly, so it's not fragile and doesn't require much fine-tuning or maintenance."

Cartridges

A cartridge contains the needle (aka stylus) that actually touches the record. Some turntables, on both low and high ends, come with their own cartridges, but prospective vinyl listeners will find themselves needing to buy or replace one at some point. The needle can have a dramatic effect on how music sounds, and what you need depends on several factors: Are you sitting in an acoustically ideal, audiophile type of environment, or will you be scratching vinyl as a DJ, or something in between?

Shure M92E ($60)

If you don't have a specific function in mind, then Shure is a well-regarded brand, and its M92E is a common recommendation for a value cartridge. "The needles are not expensive to replace, and for most listening ears it's going to do fine," Schorr of Pops Resale tells me. Personally, and for only a bit more money, I've found the audiophile-oriented Shure M97xE ($165) works well both at home and in casual DJ settings.

If the prices seem like they're beginning to add up, it's worth noting that you probably won't need to replace the stylus in whatever cartridge you buy very often. Sanchez says that in the vinyl pricing room at Amoeba, they play records, often ones in poor condition, from 9 a.m. to 11 p.m. every day, but despite all that abuse their needles only need to be replaced about every four months. "In a normal listening situation, most people are probably going to listen to records for a couple of hours a day at most, so they probably won’t have to change the needle for years," he explains.

Ortofon 2M Red/Blue ($100/$220)

For the high-fidelity crowd, Ortofon's 2M series is a consistent go-to pick. Unlike many cartridges, which use parts made by other manufacturers, the Ortofon 2M is a wholly original design, says Turntable Lab's Hahn. "Ortofon is primarily a cartridge company—they offer the most thorough documentation and specs, so you know what you're paying for,” he tells me. The 2M Blue touts an upgraded stylus, among other enhancements. In fact, Hahn adds, "I'll take a [Technics] 1200 with a nice listening cartridge like the Ortofon 2M Blue over most high-end audiophile turntables."

Grado Reference Platinum Cartridge ($350)

"This family-run company has a distinctive look and sound," Turntable Lab's Hahn says. The high-end headphones and cartridges from Brooklyn's Grado stand out for their use of mahogany. The Reference Platinum carts aren't even Grado's most expensive model—far from it—but they showcase the company’s woodworking and how the material can have a unique resonance. At about half the price, Grado's Blue1 Prestige Series draws a positive mention from Third Man's Blackwell, who also cautions against worrying too much about needles. "Getting too far down that rabbit hole detracts from the whole purpose, which is to enjoy the music," he says.

Receivers/Amplifiers

While the most basic turntables can be connected directly to computer speakers via the headphone jack, once you're dipping more fully into the vinyl world, you're going to need some other equipment, like an amplifier or a receiver, the latter of which is essentially an amplifier that also has a radio tuner (and may be part of a home theater setup). Better turntables don't include what's known as a phono preamp, which boosts sound to the level of other audio components, so vinyl newcomers should look for amplifiers and receivers with a dedicated "phono" input; if you buy a receiver that doesn't have a phono preamp, you'll need to buy some kind of standalone preamp. Because older receivers are more likely to include a phono input, buying used can be a particularly good bet.

Like everything else, amps and receivers are an area with a wide variety of options and price ranges. The amp that makes Pearl Jam's "Even Flow" seem unusually striking at Des Moines' Audio Labs is the Parasound Halo Integrated Amplifier, which costs $2,500. The showroom's Hartog says the $500 Marantz SR4023 Stereo Receiver, which has been discontinued but could be found used, is another good pick for vinyl setups. For home theater systems, he suggests the Integra-DTM 40.7, an $800 model that connects to wi-fi and Bluetooth. "The whole system is only as good as the weakest link," Hartog says. That said, he informs me what I'm hearing also depends on such factors as speaker placement and the acoustics of the room.

But those are concerns for audiophiles with lofty budgets (and, perhaps, well-carpeted apartments). So long as a receiver has a phono preamp, or you buy some kind of external preamp, says Amoeba's Sanchez, "It's preference, like buying a refrigerator—they do the same thing."

PS Audio Sprout Integrated Amplifier ($500)

For a box-style design, Hahn suggests PS Audio's Sprout Integrated Amp, which works with turntables, Bluetooth, computers, and essentially any other musical source. Launched in a Kickstarter campaign, the Sprout amp includes a phono preamp. "PS Audio is known for their high-end components," the Turntable Lab owner tells me. "This is their first foray into consumer electronics, and I know they put similar R&D process into this."

Onkyo A-9010 Integrated Stereo Amplifier ($300)

A more standard-looking receiver or amplifier will also work, and for vinyl, again, you want one with a phono input. "I like the ones from classic stereo companies like Onkyo and Yamaha," Hahn tells me. "They're well priced, look nice, and sound great." This amp is an example, and also includes several digital and analog inputs for other devices.

Onkyo CS-265(B) Colibrino Hi-Fi Mini System ($250)

A mini stereo system usually consists of a receiver and two shelf speakers. These compact systems are less common in the age of computer audio, but they can be a relatively cheap way of listening to vinyl without the expense of buying an amplifier and speakers separately. Hahn points to the Onkyo Colibrino system, which combines an amp and speaker with Bluetooth, though if your turntable doesn't include a built-in phono preamp, you'll need to buy one. Once you have the preamp, you're good to go.

Speakers

Polk Audio T15 ($100)

For speakers, size may have mattered in the days of Hugh Hefner-inspired bachelor pads, but not anymore. Small, relatively inexpensive speakers today pack as much power as the huge behemoths of yesteryear. Sanchez says he listens to a pair of Polk Audio "bookshelf" speakers at home, and they sound great. Take note: In a traditional stereo setup with an amplifier or receiver, speakers don't need to be plugged into a power outlet for electricity. For "powered" bookshelf speakers that will work without an amp/receiver, Turntable Lab's Hahn highlights the Audioengine A2+ ($250).

Peachtree Audio DeepBlue2 ($400)

In the wireless era, Bluetooth speakers may also make sense. This powered system from Peachtree Audio potentially allows you to put off buying a receiver—just plug a turntable or phono preamp into the analog input. The DeepBlue2 can also handle up to five Bluetooth devices.

Magnepan 1.7 ($2,100)

Speakers typically have a "box" design, with cones inside of an enclosure. Based in White Bear Lake, Minnesota, Magnepan uses a different technology its founder invented in 1969. As a result, the 1.7s are more than five feet tall but only two inches thick, and their live-like sound noticeably improves Pearl Jam for me at Audio Labs, where Hartog tells me this model is a top seller. He adds that the best way to compare speakers is to try them out in-person and not get caught up in the accompanying jargon: "The demo's worth a thousand words." For a powered speaker, Turntable Lab's Hahn suggests the AudioEngine HD6 ($750).

The potential costs for speakers go up and up; another brand I like at Audio Labs is Monitor Audio, but I got my (more budget-minded, non-powered) floor speakers from a local proprietor and they've never caused a problem. "You can take a pair of $5 speakers and put them next to a pair of $500 speakers," Pops Resale's Schorr says. "Providing there's no difference in the physical requirements, if the $5 speaker sounds better to your ears, it's a better speaker, period."

Wires

Hosa RCA Cable ($5)

Wires are a matter of controversy in the audio community. While audiophiles with money can choose between such high-priced brands as Kimber Kable and Tributaries, for most of us a standard RCA cable, such as this one from Hosa, will suffice. "I literally know two people who might be able to differentiate cables," Schorr tells me. Plus, luckily, the other components in your system likely already include the necessary cables. "I wouldn't be able to tell you the name of anything specific," Third Man's Blackwell says.

Preamp

Bellari Rolls VP29 ($50)

If your turntable doesn't have a built-in phono preamp (most better ones don't—the built-in kind tend to be inferior and can't be customized), and your receiver doesn't have a phono input either, you'll need a separate preamp. A simple model that got the job done for me was Bellari's Rolls VP29 phono preamp, which also has a memorable red design. Higher-end preamps or "phono stages" from the likes of Bellari, Cambridge Audio, and Pro-Ject can sell for as much as your budget will bear. DJs with two turntables will bypass the need for a preamp by acquiring a mixer (which is probably a matter for a whole other tutorial).

Cleaner

AudioQuest Carbon Fiber Record Brush ($15)

"This isn't surgery," Amoeba's Sanchez tells me. "Don't overthink this." Vinyl records need to be taken care of—handled by the edges, stored in sleeves, kept out of heat—and if they get dirty, the most effective solution I've found is a simple carbon fiber brush, which can reach into the grooves without requiring the use of a liquid cleaner. When cared for properly, records shouldn't get especially dusty, and Sanchez says he never bought extra cleaning materials when he was listening to vinyl in its pre-comeback days. The stylus itself generally comes with its own little brush, or they're available separately—when you hear weird distortion, lightly brush the needle from the back toward the tip, not from front to back.

Accessories

Slipmats

Slipmats sit between the record and the platter. DJs use felt and slippier materials to help them cue a song or scratch. Rubber is another traditional option for non-DJs, and cork is sometimes billed as an option for fighting static buildup. Third Man's Blackwell tells me he uses a cow-hide Mooo Mat, which sells for about $75, though he acknowledges he was "mainly attracted by the look."

Storage

What's important is to store your records upright—not stacked or at a tilt—to avoid warping them. Ikea's Expedit modular shelving units were for some time a cultishly favored way to store records, to the point that a social-media backlash emerged when the company said it would replace them in 2014. Ikea's successor Kallax shelves are still essentially the same dimensions, though, and should fit the bill. If you're willing to spend a little more money, The Vinyl Factory points to some specifically vinyl-oriented shelves from Mapleshade and Gothic Furniture.

45 Adapters

Seven-inch records are traditionally 45 RPM, whereas 12" LPs usually run at 33 RPM, and old 45 RPM singles that have a hole in the middle require an adapter. This is a cheap place to add a personal touch to your setup. Blackwell says he happens to prefer "really thick and heavy 45 adapters."

Weights

Totally optional, but Blackwell recommends a weight to put over the center spindle. He says that's the weakest, thinnest part of a record, and simply applying weight there can offset the weakness. Blackwell owns a solid copper weight. "I did splurge," he said. "I wanted the heaviest weight I could find."

How to Connect Everything

First off, follow the directions. "There's a basic setup involved, but it's easy to do," Amoeba's Sanchez says. "Most of the times when I get stuff returned to me, it's because the people didn't want to be bothered to read the instructions."

On the very low end, setup is minimal. With the portable Numark PT-01, if you're not listening over its built-in speaker or using batteries, you can plug it into the wall using an AC adapter, plug in headphones or powered computer speakers using the 3.5mm port, or hook it up to a stereo by plugging the RCA cables into an input in the back of a stereo receiver or amplifier. Something similar goes for the Audio-Technica AT-LP60: Just plug the RCA cables into the receiver. Both of these turntables have phono preamps, so there's no need for a receiver with a specialized "phono" input.

As you move up the pricing scale, more variables can come into play. The main thing to focus on is the type of input, where the wires go, and the settings on the turntable itself.

The Pro-Ject Debut Carbon Esprit SB, for example, has no built-in phono preamp, so you'd need to either plug the RCA cables into the phono input on the back of a receiver/amp—or plug them into a preamp, and then plug the cables from that into the regular RCA input on a standard receiver. After the all-in-one level, most turntables also have a thin wire known as the ground wire, which you need to attach to a screw on your preamp or receiver (otherwise, the turntable will produce an annoying hum). Almost all older turntables have a similar configuration, and need to be plugged into either a preamp or a phono jack in an amplifier or a receiver, with a grounding wire attached.

On the turntable itself, there are two variables that need to be adjusted to get you started: the counterweight, adjustable at the base of the turntable arm, and the anti-skate. This part is a little complicated, but if you’ve ever had your needle slide across a record, fine-tuning these settings will fix it.

The counterweight controls how much downward or “tracking" pressure is exerted on the needle. With too little pressure, your records are likely to skip, and with too much, you could potentially damage your records or the needle. They key for getting the correct tracking force is to first “zero” the weight by putting just enough force on the arm to make the cartridge suspended in air, between the up and down positions. After setting the weight to zero, adjust it to the correct tracking force by turning the weight to a number based on your cartridge. Tracking force is measured in grams. The tracking force will generally be between one and two grams for audiophile cartridges, and three and five grams for DJ cartridges, but a cartridge's documentation should say the specific recommendations. The anti-skate dial counteracts a horizontal "skating" force that takes place during playback, and is another setting that keeps your records from skipping. It’s usually set to the same number as the tracking force.

For powered speakers and lower-cost stereo configurations, plugging in speakers can be pretty simple. But for older equipment and higher-end speakers that draw power from the amp, it can involve cutting speaker cable, stripping the wire casing to expose about a 3/4” strip of copper wire, and connecting the cable to the terminals on the rear of the speakers.

Speaker cables have two strands, and speaker connections have two connections, labeled red (positive) and black (negative). When attaching speaker wire, it’s important that the polarity of the connections should line up properly. Correct polarity ensures that the two speakers are working together. If the left speaker is red-to-red while the right is red-to-black, then one speaker will be sucking in air while the other is pushing it out, muddying the sound.

When setting up speakers in a room, there are a few simple things to keep in mind. The further the speakers are from reflecting surfaces like floors and walls, the more airy and spacious and “accurate” they will sound. In general, you’ll get clearer sound when you keep the speakers out of the corners and move them out a bit from the wall. Conversely, the closer your speakers are to reflecting surfaces, the more bass you will get. So if you have small speakers that seem light on bass, putting them in the corners will give them some additional low end. The ideal listening position for stereo sound is usually considered to be something like an equilateral triangle, with the listener sitting in one corner and the two speakers in the others.

Once you're done, congratulations: You won't have to mess with any of this again for some time—unless you want to. And when you do, you'll be coming at the situation with some experience.

Originally Appeared on Pitchfork