One of two new Consonance turntables
from Opera Audio, the Isolde comes complete with a custom carbon fibre tonearm
and looks to be promisingly good value
The
motor is neatly integrated into the left rear corner of the plinth and the
acrylic platter is topped with a thick foam mat that has a tendency to attach
itself to records
The price region from $1,681.70 to $3,363.40
is the source of a wide range of eminently capable hi-fi components,
particularly when it comes to turntables. Naturally, the lower end is well
catered for but, despite some very good models in this sector, ultimately the
designs are constrained by a need to bring the deck in at a relatively tight budget.
Arguably, the higher the price, the looser are the reins on the design team, but
in this hotly contested $1,681.70 to $3,363.40 region there are more than a few
models that punch well above their weight.
The
wooden plinth sits on metal feet that are adjustable for height and locate into
four recesses, each equipped with an isolating insert. The belt drives the
platter’s periphery
A newcomer that sits pretty much slap bang
in the middle of this price sector is the latest offering from Beijing’s Opera Audio
Company. The Consonance Isolde (named after Wagner’s operatic character) is a
neat and pleasant looking turntable, rather more traditional in style than some
of the company’s previous – and indeed current – offerings.
With the apparent discontinuation of the
highly effective but ever-so-slightly mad Forbidden City Liu model (if you’ve seen
one in red, you’ll understand my reservation), along with the Droplet LP3.1 and
Droplet LP6.1, the Isolde occupies the lower rung of Consonance’s ladder,
sitting below fellow newcomer, the Die Walküre, and the range-topping Droplet
LP5.0.
The Droplet model has been around for a few
years now and gained great acclaim for its fine performance, but it is somewhat
modern and striking in its appearance, as is the essentially triangular Die
Walküre. So the addition of the Isolde is a fine attempt to lure in buyers with
more traditional stylistic preferences.
There’s a well finished wooden plinth, with
the Isolde’s motor recessed into the top plate and driving the periphery of the
acrylic platter via a rubber belt. Sat on top of the platter is a very stiff
foam mat of debatable sonic merit – more on this later. This also has an
unfortunate attraction to records and has a tendency to stick to them like a
limpet when they are removed from the platter, which is annoying.
Groping for speed change
The motor is a DC type and a multi-turn adjustment
potentiometer is located on the rear panel to facilitate correct speed setup,
in conjunction with a supplied 12in stroboscopic disc that is very clear and easy
to read. Unfortunately, this pot is also the only means provided of varying
speed, so changing from 33.3 to 45rpm, or vice versa, involves the use of the
strobe disc and reaching over the deck to twiddle until the desired speed is attained.
T8
Carbon Fibre Tonearm
This is hardly a very satisfactory method; even
if one does not have a particularly large collection of 7in or 12in singles,
there are an increasing number of LPs being released that play at 45rpm and,
frankly, providing an easy method of switching, or even offering a two-step
motor pulley to permit manual change, would surely have been a better option.
Underneath, the Isolde sits on four silver legs
with felt pads top and bottom that locate into recesses in the underside of the
plinth. Each recess contains what appears to be a squash ball and these simply
rest on top of the legs. Although these legs are adjustable for easy levelling,
they are very tall and this, combined with the rubber spheres, mean that the
deck sits a few inches off the support surface and does not feel particularly
stable – more of this later, too.
The collar for the Consonance T8 arm comes
pre-mounted into the plinth and the arm is simply dropped into place and secured
by two hex screws. The small box visible at the rear is fixed to the arm pillar
and contains the output phono sockets, thus meaning there is no need to battle with
output lead routing below the deck, or the sometimes awkward process of plugging
in an arm lead underneath.
The T8 is available on its own for $1,336.95
and its ‘above decks’ configuration means it will be easy to attach to any
turntable, particularly those with a suspended chassis where arm lead dressing
is crucial to optimum suspension operation. The downside is that the use of a
lid may be impeded by the lead protruding from the rear and, to cater for this,
the cover supplied with the Isolde fits onto the centre spindle and covers
platter and arm only.
The arm itself has a carbon fibre armtube and
its headshell comprises a simple platform that is attached with one screw. Bias
is applied by the thread and weight method, and tracking-force by simply sliding
the counterweight along the rear stub, in conjunction with a stylus force
gauge. Two weights are provided and I had to use both right near the end of the
arm to successfully balance my Ortofon Kontrapunkt B cartridge, so be aware of
this if your transducer of choice is particularly weighty. With the deck suitably
set up, warmed up and connected to my Anatek MC1 phono stage, Naim Supernait
amplifier and floorstanding PMC loudspeakers, I sat down to listen.
