The TP 13 arm was a simple design with a
few clever features; the weight for example could be positioned roughly at
first and then fine-tuned using a large and heavy screw at the rear. At the
other end, the headshell was fully adjustable and could be slid in and out to
compensate for stylus overhand and tilted to correct for VTA, refinements that
were usually absent from modestly priced turntables of the day. To set the down
force, a pressed metal plate was fitted to the top of the arm about a
projecting screw just behind the pivot. The screw was aligned with the desired
down force marking on the plate and the arm balanced, one the plate was removed
the desired down force was then applied to the stylus, a clever method except
that it relies on the plate not being lost. If this has happened sometime in
the past four decades a conventional stylus balance can be used in its place.
Another
smaller ball mounted on a calibrated shaft ahead of the pivot set the down
force
A tidied-up Mk II version of the TD150
appeared in 1969. The speed control now had the ‘off’ position between the two
speeds instead of being activated by lifting the whole control upwards and the
cueing device was now a matching knob fixed rigidly to the plinth rather than
being a level attached to the flexibly suspended arm, making accurate operation
easier.
Those versions which included an arm now
came with the TP 13A, recognizable by its distinctive spherical counterweight.
Another smaller ball mounted on a calibrated shaft ahead of the pivot set the
down force so there was no need for the separate plate any more. A further
small weight on a piece of fine cord allowed anti-skating compensation to be
added, this facility had been absent from the original TP 13.
The TD 150 Mk II lasted until 1973 by which
time it had been joined in the range by the TD 125, a similar (but larger)
machine whose key new feature was an electronically controlled three-speed
motor.
A
tidied-up Mk II version of the TD150 appeared in 1969
Sound quality
When new, the TD 150 would have been
partnered with quality cartridges such as the Shure V 15, the Goldring G800 or
the Decca Deram. To take the cartridge out of the equation for my listening
tests I used an Ortofon 2M Bronze, which was tricky to fit to the headshell
since the mounting is intended for cartridges where the fixing screws can be
inserted from underneath.
Once attached, setup was easy since the
beveled edge of the 45 RPM center puck is also the reference point for stylus
overhand – if only all turntables were so thoughtfully designed! I was
surprised how pitch-steady the TD 150 is for a belt-driven design, the wide
flat belt and the heavy (3.4kg) platter combining well to give accurate
results. Only during sustained piano notes was a slight pitch waver apparent,
but to less of an extent than some more modern designs which use belts which
are more elastic than that fitted to the TD 150.
In its day, Thorens’ TD 150 performed
well beyond its price point, and it still sounds surprisingly good today…
This particular TD 150 was made in 1967
under license by EMT, the famous German producer of heavyweight broadcast decks
so I couldn’t resist getting out an early copy of Sgt. Pepeers… (The Beatles)
and seeing how it may have sounded way back then. Some turntables give a very
neutral sound which is difficult to place and some have a very distinctive
‘vinyl’ sound with bright highlights and a distinctive squawky midrange,
particularly noticeable with instruments like trumpets. The TD 150 definitely
fits into the latter category which makes it can easy, familiar device to
listen to that makes old recordings sound ‘right’.
TD
150 is for a belt-driven design, the wide flat belt and the heavy (3.4kg)
platter combining well to give accurate results
My favorite track on the album, She’s
Leaving Home, had a light and delicate air about it and plenty of space between
the sounds, the sound was perhaps a bit sharp and dry, but consider this
against the backdrop of the bland cone tweeters and soggy sounding amplifiers
that were the mainstay of the nineteen sixties hi-fi scene and it all makes
perfect sense. The sharpness of the treble did make the vocals slightly
sibilant, but this again is a common turntable trait and certainly not one unique
to the venerable TD 150.
As a more demanding test I also tried a
live recording of Beethoven’s Concerto No.2 (Op. 19) and found that will music
of this type the tonal character of the TD 150 was less apparent. Speed
stability was adequate (it is difficult to really enjoy piano music on a belt
drive deck after hearing it played on a direct drive one or from a CD) and the
performance fluid. The only real shortcoming I noted was a slight lack of bass
precision, perhaps as a result of the rather basic construction of the arm.
What did impress me was the way that the music retained its scale and drama;
the TD 150 proved equally able to render a softly struck piano solo as it was
to convey the power of the whole string section suddenly coming to life. A fuller
lower register would have been welcome but this is a minor point.
In its day, Thorens’ TD 150 performed well
beyond its price point, and it still sounds surprisingly good today. So don’t
forget about it, for a moderate amount of money you can buy a real slice of
hi-fi history!
