What is a Pro-Ject 6 Perspex SB?
The 6 Perspex has been a mid-range buttress of a Pro-Ject turntable lineup for many years, and now it’s been upgraded with a new engine unit.
In further to a measureless Perspex plinth that gives this record actor a name, a dangling sub-chassis design, and Pro-Ject’s eminent 9cc Evolution carbon-fibre tonearm, a uprated engine now throws one-button speed switching into a discount turnable package.
Related: Best turntables
Pro-Ject 6 Perspex SB – Design and Features
The many distinguished aspect of a 6 Perspex SB is that outrageous chunk of transparent plinth. It’s 20mm thick and heavy, resting on 3 big, height-adjustable spikes. Suspended above a plinth by a contingent of absolute magnets is a Corian sub-chassis that houses a categorical temperament and tonearm mount.
A thick 2kg sandwich platter fits over a spindle, that is threaded to take a granted screw-down record clamp. Pro-Ject has used these clamps for years now, yet usually on certain models – a association has a fondness for variety, opting for opposite pattern touches and tonearms via a range.
I can’t contend I’m a good fan of wanting to screw a clamp down each time we change annals or flip sides, yet there’s always a choice not to use a clamp during all or to reinstate it with a non-threaded one.
Related: Sony PS-HX500 Hi-Res Audio turntable review
The new AC engine section is decoupled from a sub-chassis, sitting in a good in a back-left dilemma of a plinth. It has a singular LED-lit symbol for operation and dual LEDs to prove either it’s spinning a platter during 33 or 45rpm. The speed indicators peep while a engine is stealing all to a scold pace, and afterwards go plain when it’s time to dump a needle.
Pro-Ject’s 9cc Evolution tonearm is propitious as customary – it’s a renouned indication that a association sells alone during £700 a pop. It’s a 9-incher with a carbon-fibre one-piece arm tube and integrated headshell, a Sorbothane-damped counterweight and a truly large temperament housing. For a many partial it’s an considerable square of engineering.
As with all Pro-Ject’s carbon-fibre arms, however, we found a headshell’s finger lift to be a small stubby, not charity a control nor moving a same certainty as Rega’s some-more estimable designs. we also wish Pro-Ject would make a arm lift chunkier and with reduction flex – a one on my examination representation got a small out of figure somewhere along a line and fouled a temperament housing until we focussed it behind into position.
There’s no cartridge propitious to a 6 Perspex SB as standard, yet UK distributor Henley Designs granted my examination section with an Ortofon Quintet Black – a £649 moving-coil cartridge that still keeps a altogether cost of a package next £2,000.
The tonearm wire terminates in a neat box beneath, with a span of RCA phono sockets and a belligerent connection. Pro-Ject bundles a corpulent £40 Connect-IT E phono wire with a 6 Perspex SB, that is a good touch.
The whole shebang is surfaced by a dirt cover that turns this into a unequivocally rather commanding turntable. The 6 Perspex SB indeed looks like it should cost during slightest twice as many as it does. If you’d rather not use a dirt cover, though, you’re left with some unsightly hinges extending from a behind of a plinth unless we get a screwdriver out to mislay them.
Related: Clearaudio Concept review
Pro-Ject 6 Perspex SB – Performance
If you’re stepping adult to a 6 Perspex SB from an entry-level deck, be prepared for a longer set-up time than you’re used to. Aside from stealing a ride screws that reason a sub-chassis in place, afterwards wise a motor, platter, belt, anti-skate weight and tonearm counterweight, and afterwards levelling a deck, we apparently have to fit a cartridge.
Then there’s a charge of adjusting a tonearm’s straight tracking angle (VTA) and tracking force (VTF) to fit your selected cartridge. This is no plug-and-play option. If we don’t like tinkering, you’re swimming a wrong sonic stream.
Having got all set only right (or thereabouts) for a Ortofon Quintet Black cartridge we used for testing, we plugged into a Leema Acoustics Elements Ultra phono theatre and began listening…
My evident sense was one of overwhelming scale and depth. The soundstage widespread out around me and afterwards cleared over me like a tide. With Iron Wine’s “The Sea a Rhythm”, each finger-picked note seemed to boyant and glisten around a splendidly dense vocal.
The abyss and control of a drum is also impossibly considerable during this price. The gnarled, disfigured basslines via Yeasayer’s Odd Blood manuscript were always taut, with a liquidy bottom finish on “The Children” stability to boil yet never seeping away.
Pro-Ject/Ortofon combos always seem to have a splendidly full sound, yet aren’t always a many agile. Thankfully, that isn’t a problem here – timing is spot-on and there’s a good aggressive corner to a treble.
A trade-off for a splendidly full sound seems to be a slight miss of fortitude in a mid-range, with reduction subdivision and a coarser hardness than we can get by stepping adult to a truly high-end turntable such as a T A G 2000 R or Michell Orbe. But during this cost it’s tough to complain.
Should we buy a Pro-Ject 6 Perspex SB?
For a money, a 6 Perspex SB is a truly considerable record actor in both looks and sound. Sure, a Rega RP8 digs out a small some-more detail, yet it offers reduction sonic abyss and breadth, and costs £300 more. There are a integrate of pattern elements that could do with a tweak, yet altogether this is a finish and hugely fascinating package.
Related: Pro-Ject RPM 3 Carbon review
Looks amazing, sounds amazing, and costs reduction than you’d consider – a loyal hi-fi bargain.