Luxman PD-191A Review

High-end turntables have an aura comparable to that of mechanical watches. They are ingenious constructions of exquisite mechanical precision that people receptive to the creativity of designers can always get excited about.

Thus, the PD-191A alone caused goosebumps for the tester with its mere presence. For $13,640, Luxman combines archetypal design and massive metal construction with the feel of a professional camera to create an icon of vinyl playback. The knobs and switches are a tactile delight. Carefully lifting the machined platter with two screw-in handles onto the bearing fills you with awe, and tonearm adjustments are made easy thanks to smoothly operating connections. But of course, external appearance is nothing if the inner values and the sound aren’t right.

With the motor, which is described in more detail in the box on the next page, Luxman draws on a tradition that was never solely committed to belt drive. The quiet motor and the inertia of the 5.2-kilogram, 35-millimeter-high platter allow the PD-191A to dispense with the otherwise often loose coupling of a thin and thus elastic rubber belt. In addition to elasticity, slip—the belt slipping during rapid speed changes—means that with many belt drives, the motor’s cogging is attenuated by the platter. The PD-191A dispenses with such measures.

The Best of Both Worlds

While in most belt drives synchronous motors drive the platter—these are AC drives where the drive frequency determines the speed—a brushless DC motor works in the Luxman PD-191A. These are typically used in direct drives because they can be constructed for extreme smoothness, which is important when no belt decouples the motor’s cogging from the platter.

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On the motor shaft of brushless motors, there are no switching slip contacts called brushes to control the coils, which generate motor force through alternating magnetic repulsion and attraction of permanent magnets. Instead, an electronic control takes over this commutation. This works, also a feature of many direct drives, with a PID controller. This compensates for strong deviations from the target speed through a differentiator (recognizable by the D in the name); for slower deviations, the proportional component—the P—acts, while the integrator—the I in the name—keeps the absolute speed at the desired level.

The PD-191A dispenses with such measures. A wide and thus less elastic belt transmits the power to the platter without slip and prevents loud modulation in the record groove from slowing down the speed.

This firm coupling between smooth-running motor and heavy platter could be seen as Luxman’s attempt to rival the dynamically highly praised idler drives with the PD-191A.

It should be mentioned at this point that the motor and the powerful transformer of the power supply for the complex motor control are decoupled from the 15-millimeter-thick aluminum base plate. Additionally, height-adjustable, highly damping feet isolate the housing from the environment.

Tonearm with Tradition

The tonearm, as industry insiders might guess, was developed by Luxman in collaboration with SAEC. A knife-edge bearing, also used by sought-after SME arms, ensures minimal friction in vertical movements. This allows the cartridge to follow the warps of the record practically without any force effect through the bearing. At ten inches, the arm is longer than most usual tonearms, which reduces the horizontal tracking error angle and the distortions caused by it. Contributing to the optimal sound is also the fact that it is very easy to optimally adjust this arm. Play-free connections and precise lockings ensure that the usual trial-and-error is reduced to a minimum.

Old Acquaintance for Listening Test

For the listening test, the Luxman PD-191A was paired with the LMC-5 from the same company. The MC cartridge for $2,405 had already impressed across the board in the test.

An acid test for any cartridge is the female singing voice, such as the velvety yet powerful mezzo-soprano of Olga Vladimirovna Borodina on Stravinsky’s “Le Sacre du Printemps,” which resounds from the Manger LP “Music Like From Another Planet.” The Luxman combo took this challenge confidently, mastering the beauty of the artistic performance with success and without any compromise in liveliness. Remarkable also how stringently the Luxman could work out the rhythm as a central element in Stravinsky’s music and integrate it with utmost precision into the generous spatial imaging.

This was also evident in “Danse Macabre” (Saint-Saëns) on the RCA Living Stereo LP “Witches Brew.” This recording is hardly to be surpassed in spaciousness, with the Luxman leaving no uncertainties about the size and position of the individual instruments. In addition, there was a dynamics carried by the orchestration, which demonstrated the boundlessness of the vinyl medium. This was also shown by the richness of color that the system brought out in the high ranges of cymbals and triangle, transforming the listening test into a sonic journey of discovery. And the performance was further enhanced by the wonderfully resonant violin in the “Danse Macabre” tuned in a deliberately off-key manner.

This haunting performance invited another milestone from the Living Stereo repertoire: Belafonte at Carnegie Hall. This time, it wasn’t the wonderfully dynamic “Darlin’ Cora,” in which the exceptional entertainer showcased his art in interacting with the audience, but the somewhat calmer “Cotton Fields.” The characteristic voice appeared absolutely believable and present here, the rhythm-driving double bass presented itself with deep reach and realistic size, but without any trace of bloating. With the Luxman, one understands better than ever why this live recording is so acclaimed, why Belafonte’s performance touched so many people and still does today.

But even with standard fare, the PD-191A could exceed expectations. For example, in McCoy Tyner’s “Trident,” where the grand piano, whose reproduction is the Achilles’ heel of many turntables, sparkled as crystal clear and lively as one was accustomed to from Tyner’s live concerts in the past. And again, the Luxman extracted an exceptionally strong yet present double bass from this recording.

With rousing timing, the Luxman combination could finally prove in “Twist in My Sobriety” that it can also play to its strengths in pop. The electronic sound collages of the keyboards provided a room-filling foundation. Drums, oboes, and Tanita Tikaram’s warm voice offered natural references to it. Again, it was rhythmic precision and liveliness that elevated the 1988 hit to a new level.

Specs

List price $13,640 + $2,405

Warranty period 3 years

Dimensions W × H × D 49.1 × 12.8 × 39.9 cm

Weight 24.8 kg

Drive Belt

Speeds 33 & 45

Speed switching

Arm height adjustment

Feet height-adjustable

Pitch control

Fully automatic/end-of-record shutoff – / –

Special features brushless DC motor, wide belt

Luxman PD-191A Report

That the Luxman PD-191A does not set new measurement records is probably due to the firm coupling between motor and platter. Nevertheless, the turntable impresses with perfectly adjustable absolute speed and a respectable speed stability of ±0.09% according to the strict 2-sigma evaluation scheme. The rumble spectra (below) also give no cause for criticism: Although the measurement coupler reveals hum peaks (blue, 50 Hz multiples), these already disappear into the inherent noise of the test record (red). The weighted rumble-to-noise ratios are 73 dB (test record) or 77 dB (coupler). The excellent measurements of the LMC-5 cartridge.

CONCLUSION:

Even during the listening test, it was a pleasure to operate the Luxman PD-191A with its quick start-up, precise controls, a mat that ensures an easy and good grip on the precious vinyl, and last but not least, a precise tonearm lift. The visual and tactile allure of this turntable further underscores its sonic excellence. $13,640 for the turntable and tonearm is, of course, a high price, to which another $2,405 for the highly recommended Luxman LMC-5 is added. But for those who can afford it, these are outweighed by years—no, decades—of good sound and the joy of owning a masterpiece of great engineering. Added to this is the knowledge that many decades-old Luxman turntables are sold today for more money than they cost at their market launch.

PRO / CON

Finish

Sound quality

Operating comfort

Value retention

many tonearm bases as accessories

very expensive

dust cover only available at an extra $1,040

RATING

Sound 9.2

Features very good

Operation outstanding Processing outstanding

AUDIO BENCHMARK

OVERALL RATING 9.2 POINTS

PRICE/PERFORMANCE HIGH-END