EAT Tubes

Wonderful, Turntables, Phono stage & world leading Audio Valves from Czech Republic
a better product for high requirements of exclusive audiophiles

E.A.T Turntables:
In an exceptionally short time, EuroAudioTeam (E.A.T.) has established itself as a manufacturer of remarkable turntables. It’s easy to forget that the original twin-motor FORTE has been available for less than five years! With the addition of the FORTE- S and the E-Flat, the latter boasting a radical flat tonearm, E.A.T. has created a family of record-playing devices that combines performance, build quality and looks into cohesive, easy-to-use systems.

From the outset, E.A.T. has ensured that its turntables can accept a wide range of tonearms. With the E-Flat, however, the designers reaffirmed the long-held belief that a turntable/arm combination designed to work together can eliminate a host of matching problems, while ensuring superior performance.

To increase the choice of available tonearms, and to add to its catalogue one of the finest cartridge-carrying devices available, E.A.T. has joined forces with tonearm wizard BOB GRAHAM to develop the E–Go, 12" tonearm. short for "EuroAudioTeam – Graham Original" - based on the Graham Phantom II SUPREME, but personalised for E.A.T

E.A.T E-Glo M/C Reference tube phono stage:  
EAT has showcased its highly distinctive and utterly fabulous E-Glo valve-based phono preamplifier. Over the past few years, this company has introduced clever two-motor/two-belt designs, a radical flat tonearm, a handsome wooden-bodied M/C cartridge and a special version of the legendary Graham Phantom tonearm to match its decks. Now with the amazing E-Glo, EAT has completed its analogue 'front end' with a unit that will delight those who demand full flexibility and the capacity for setting a phono stage with absolute matching precision for a specific cartridge. In keeping with the EAT 'attitude' toward the importance of appearance and build quality, it's also the funkiest-looking phono stage we've ever seen. 

E.A.T High-End Audio Tubes: 
EAT reputable manufacture some of the worlds best audio tuves - 300B, KT88, ECC803 & EC88 audio tubes 

The tubes are precision manufactured in a factory (a portion of the old Tesla tube factory) in Prague, Czech Republic which cranks out the parts and materials, and then final assembly and listening sessions with reference source materials take place in Switzerland. As a result of the very high focus on fine tolerances, EAT can claim a life expectancy that is about 50% longer than normal valves.
We tried to find a way to make a better product for high requirements of exclusive amplifiers”.

For a few years before EAT’s launch, members of the team visited numerous international audio shows to get up to speed on what was happening with tubes and analog in the High End, as well as researching new materials and manufacturing techniques. Though Krahulcova and others never forgot the old factory workers who knew so many tricks of the trade from years of making tubes on the line, they wanted to combine that expertise with modern materials and manufacturing technology to develop a way to build tubes that had a natural, non-fatiguing, and non-euphonic sound, their laudable goal being to return lost emotion and realistic excitement to music.

Slowly, the team has built up momentum, and now has significant representation around the world.

EAT believes that its combination of like-minded people from several countries can virtually guarantee a satisfying musical/technical solution, one close to its ultimate reference: live acoustic concerts and hence the absolute sound.

EAT has set a high standard by defining sophisticated selection methods to get only the very best to our demanding customers.The selection procedure uses several measurements. All measurements are performed after a long burn-in procedure and thermal stabilization of its parameters. Only a few valves pass the Selection process and even fewer pass the strict Diamond selection.

These EAT 300B tubes appear to be designed from the ground up. They are better at dynamics and sonic neutrality than vintage (or reissue vintage) tubes while remaining ultra smooth and state-of-the-art detailed. This is 21st Century tube sound for the world’s best phono and SACD reproduction.

ETA recently entered the turntable market and have already won high praise and awards for their Forte & Forte S turntables.


All Products





NZ$ 1,995.00 (incl. GST)
"The punch and dynamic power of the drums are exciting and powerful. Jo has as much heart as accuracy...she is quite a lady."...... The Jo makes great work of this ultra-dynamic LP, produced to...
REVIEW: No, I did not make up the name. Yes, Josefina Lichtenegger is CEO of EAT, European Audio...
NZ$ 3,995.00 (incl. GST)
The Jo N°8 high-end performance moving-coil cartridge will extract more from the groove than previously imagined.
Moving Coil Cartridge Moving Coil Nude Shibata Boron cantilever Elegant looks 8N pure copper coil...

All Products

Audio Tubes/Valves

NZ$ 40.00 ea (incl. GST)
The Cool Damper is a radical new device. It brings exceptional acoustic performance and function to your system by delivering sound that redefines the tube dampening category. MULTIFUNCTIONAL VALVE...
Compatibility List:• 12AT7: ECC81, 6201, E81CC, ECC801, B309, 6060, 6679, 7728, CV455, CV2016,...
Audio Tubes/Valves
ET 20 KT88 M2
NZ$ 1,800.00 pr (incl. GST)
EAT's stated goal is to be a manufacturer and distributor for the highest quality vacuum tubes and analogue high-fidelity products. The EAT KT88 tube is in a league of its own. This KT88 tube is...
Audio Tubes/Valves
ET 21 300B M2
NZ$ 2,400.00 pr (incl. GST)
Audio Tubes/Valves


NZ$ 1,995.00 ea (incl. GST)
"The punch and dynamic power of the drums are exciting and powerful. Jo has as much heart as accuracy...she is quite a lady."...... The Jo makes great work of this ultra-dynamic LP, produced to...
REVIEW: No, I did not make up the name. Yes, Josefina Lichtenegger is CEO of EAT, European Audio...
NZ$ 3,995.00 ea (incl. GST)
The Jo N°8 high-end performance moving-coil cartridge will extract more from the groove than previously imagined.
Moving Coil Cartridge Moving Coil Nude Shibata Boron cantilever Elegant looks 8N pure copper coil...


SPECIAL PRICE: NZ$ 2,500.00 ea (incl. GST)
Original: NZ$ 5,995.00 (incl. GST)
Saving: NZ$ 3,495.00 (incl. GST)
ORTOFON RS-309 12" DYNAMICALLY BALANCED TONEARM:RS-309D 12 inch Ortofon’s D series tonearm takes...
NZ$ 195.01 ea (incl. GST)
NZ$ 7,495.00 ea (incl. GST)
EAT Forte S turntable retains much of the magic of its bigger, older brother…Amazing machine! After the first impressive model Forte, Euro Audio Team follows with the small brother EAT Forte S. The...
Dual motor design” to eliminate noise in the motor. By using two relatively weak, but silent...
EXTENDED REVIEW: Before I say a word about Euro Audio Team's - EAT, for short - Forte S turntable,...
NZ$ 8,495.00 ea (incl. GST)
EAT Forte S turntable retains much of the magic of its bigger, older brother…Amazing machine! After the first impressive model Forte, Euro Audio Team follows with the small brother EAT Forte S. The...
Dual motor design” to eliminate noise in the motor. By using two relatively weak, but silent...
EXTENDED REVIEW: Before I say a word about Euro Audio Team's - EAT, for short - Forte S turntable,...
NZ$ 12,995.00 ea (incl. GST)
After the first impressive model Forte, Euro Audio Team follows with the small brother EAT Forte S. The last letter "S" is for small. Actually there is nothing "small" and this can be seen as a good...
EXTENDED REVIEW: Before I say a word about Euro Audio Team's - EAT, for short - Forte S turntable,...
NZ$ 895.00 ea (incl. GST)
SPECIAL PRICE: NZ$ 5,750.00 ea (incl. GST)
Original: NZ$ 11,995.00 (incl. GST)
Saving: NZ$ 6,245.00 (incl. GST)
The FORTE is a massive machine that gets the best out of your vinyl. Separate Sub Chassis and a mass loaded turntable gives us the best of both worlds.  The design of the Eat Forte turntable is...
Hitherto known for their bespoke premium priced audio tubes, Euro Audio Team have just launched a...
NZ$ 11,995.01 ea (incl. GST)
A massive machine that gets the best out of your vynil. Separate Sub Chassis and a mass loaded turntable gives us the best of both worlds.    The design of the Eat Forte turntable is based...
Electronic speed change * 33.33/* 45.11 Speed variance ±0.09% Wow and flutter ±0.008% Signal-to-...
Hitherto known for their bespoke premium priced audio tubes, Euro Audio Team have just launched a...
NZ$ 22,995.00 ea (incl. GST)
The FORTE is a massive machine that gets the best out of your vinyl. Separate Sub Chassis and a mass loaded turntable gives us the best of both worlds. The design of the Eat Forte turntable is based...
Hitherto known for their bespoke premium priced audio tubes, Euro Audio Team have just launched a...
NZ$ 1,250.00 ea (incl. GST)

Phono Stages

NZ$ 2,500.00 ea (incl. GST)
NEW PRODUCT RELEASE: Elegant High-End Tube Phono Preamplifier with Ultra Slim Design "The unit was deliciously quiet and hum-free, and it even looks and feels luxurious, but it was the sound that...
E-Glo Petit is the small sibling of the highly acclaimed and award winning E-Glo S. With its fully...
REVIEW: As the most affordable of EAT'S three MMMC phono stages, the new E-Glo Petit has its work...
Phono Stages
NZ$ 4,250.00 ea (incl. GST)
EAT is the most recent scion EAT E-Glo S Phono Stage as elegant high-end tube phono preamp, the showcase in the ultra-thin design, and puts on a hybrid tube circuit with ECC83 double triodes. A...
 Hybrid tube design with ECC83 twin triode  MM & MC capability  Precise RIAA...
Inspired by the all-tube, two-box E-Glo phono stage launched in 2013, this more affordable ‘S’...
Phono Stages
NZ$ 10,995.00 ea (incl. GST)
WINNER of PRESTIGIOUS HiFi WORLD 5-GLOBES AwardVerdict - "OUTSTANDING AMONGST THE BEST""May be expensive but offering truly 1st Class performance, this valve powered 2 box phonostage is worth every...
See review:
Phono Stages
NZ$ 1,995.00 ea (incl. GST)
Elegant power supply.
Phono Stages


Simply put, it’s a massive machine that gets the best out of your vinyl without you – or it – having to try very hard, it seems you can afford not to!
HiFi World
Don't be fooled by its conservative looks, this is a brilliantly conceived, superbly engineered vinyl spinner. A memorable - seminal even - high end product.
- supreme musical ease
- unerring speed stability
- flawless engineering
- excellent fitted tonearm

What it gives then is brilliant sound out of a (very big) box, with a superb fitted arm that sings with almost any highish mass moving coil cartridge. It presents a relaxed, easy, nonchalant sort of sound, but one that is nevertheless immensely satisfying. The best thing is that it’s very devoid of character, or obvious strengths or weaknesses for that matter. 

Hitherto known for their bespoke premium priced audio tubes, Euro Audio Team have just launched a brand new high end turntable featuring an Ikeda tonearm, no less! David Price gets into the groove...
Jozefína Krahulcová, CEO of Euro Audio Team (E.A.T.) is a redoubtable character. Bubbling with enthusiasm for this, her company’s first (but not last, I am assured) high end turntable, she exudes confidence despite the time not being quite right for the launch of such an esoteric, luxury product. “I am a big fan of vinyl - it’s the best way to listen to music,” she tells me, “and I’ve got a very nice classical music collection. I wasn’t happy about the turntables on the market, so I decided to do this...”
Ebullient she may be, because the new E.A.T. Forte isn’t just another derivative design – another ‘me too’ premium priced product there to have a presence in the market. It shows some interesting thinking – certainly in its unique combination of clever techniques used by various other designs – and the reappearance of a seminal tonearm from a past master of the art – Ikeda.
It is a fixed subchassis “mass design”, in the tradition of the great nineteen seventies direct drives. Indeed, featuring a separate motor unit, massive platter and string belt drive, it actually reminds me very much of Marantz’s fabled TT-1800, their late high end design that never was – and also certain top Micros of that period. Whilst the outward appearance may ring bells, so to speak, the inside engineering is quite different. The plinth is a metal filled, MDF box of backbreaking weight, with beautiful gloss lacquered wood veneer. Debates rage hard on online forums about the merits of this, but suffice to say that just as the sprung subchassis approach works best when the springs are as unintrusive as possible (a la Avid), so the high mass approach works better the higher the mass is – and the Forte is certainly heavy...
The platter is the next most noticeable thing, largely on account of its huge 400mm diameter. It weighs 19.9kg, and is a two part affair with the inner section of the platter made from soft alloy, and the outer part made of a harder material. As you might expect, the main bearing (in the Forte’s case inverted with a ceramic ball mating to a Teflon cup) needed to handle this sort of weight and resultant pressure is vast, but it is given a helping hand by magnetism no less – with the be bottom half of the platter incorporating neodymium magnets to lower the pressure on the bearing. This ‘semi magnetically suspended design is an elegant working compromise, but tweakers won’t be delighted to learn that the bearing pressure is not easily adjusted and is best left to the factory setting. Finally, the platter comes with sorbothane damping, and the matt is made from recycled vinyl records; a massy record clamp is supplied.
Interestingly, the Forte is a twin motor design, the designers choosing to specify two low torque AC motors generating 2,700Kj of torque via twin pulleys and long diamond cut string belts. This is coupled with an active speed controller, and located in a separate enclosure which is made of sandwiched metal and MDF. This has two speeds, switchable by a push button, and there’s a digital display offering stepped speed increase or decrease (if you so wish). One particular fun feature is the way this speed display counts its way up to 33.333RPM (or 45RPM) when you switch on, steadily climbing to normal operating speed.
As you might expect, Technics SL1200-style 0-33.333 RPM in half a second starts are not available from a turntable with a platter that weighs more than most turntables. But this is of course to miss the point; the designers of the Forte assert that the higher the torque to the motor, the more intrusive it can be. By using twin motors, only gently connected to the platter which itself is so heavy it resists the short-term, momentary dynamic wow imposed by the stylus, the idea is that the motors spin the platter up to speed in a reasonable time and momentum does the rest. The motors then don’t engage with the playback loop directly, that 20kg platter acting as a filter to speed variations. 
The twin motors seem to work as twin turbochargers on car engines, supplying unstressed lazy torque rather than delivering needlessly (and possibly intrusively) high amounts. Regular readers will know I personally am a big fan of direct drives, but I do find E.A.T.’s approach interesting and very thorough. They have obviously designed the Forte well aware of the vagaries of belt drives, and all the problems it imposes, and would contend – I am sure – that it ain’t what you do, it’s the way that you do it! This is reflected in remarkably fine speed stability [see MEASURED PERFORMANCE].
I find the deck itself a paragon of simplicity; it really is the sort of turntable you buy if you’re not into fiddling. Once located (which given its size and mass is easier said than done), you – ermm – just switch it on and off and that’s your lot. No suspension springs to twiddle, no fine speed to set, no intricate assembly of umpteen bits from a kit before it works. Essentially, the EAT Forte is a plug and play turntable – but for millionaires! It is, of course, immaculately finished, and whilst I may prefer functional, machine-like looks of the Avid Acutus or the arresting geometric grace of the Michell GyroDec, I can see that it is an attractive thing to have in your house – providing you’ve got one big enough, of course...
Another key part of the Forte is of course the tonearm. Although notionally badged as an EAT product, Jozefína makes no bones about the fact that it is designed and manufactured by Ikeda. Indeed it is a chrome finished Ikeda IT407 12” design, mounted on a sorbothane damped heavy metal base. If you’re not a Japanese hi-fi nut, you might be shrugging and saying so what – so think of it as being a bit like Lexus getting Bristol to supply engines for their top limousine [see ARMS AND THE MAN below] . More remarkable is that Osamu Ikeda was reputed to be in semi retirement, and extremely unlikely to ever make any tonearm for anybody ever again...
Originally launched in 2006, the 12” IT407 is a fairly high mass dynamically balanced design that traces its lineage all the way back to Fidelity Research days. Precision radial ball bearings are used along with a thread linked, weighted bias compensator and there’s a locking counterweight at one end of J-shaped polished arm tube, and a detachable headshell at the other. The build quality and finish of this arm is equal to the SME Series V, which really needs no more explanation – but suffice to say it is absolutely exquisite to hand cue, feeling as silky as the top SME in use. My only gripe would be the slightly fiddly arm rest lock, which isn’t the best ever devised, even if it does the job.
Once again, the debates around tonearms are manifold; everyone ‘in the know’ has their favourite, and just to make life interesting, they rarely agree. The Ikeda arm brings no innovation, no fancy tonearm materials, no special damping systems or clever ‘active counterweights’; rather it’s an utterly conservative high mass design that relies on impeccable and consistent construction to achieve its sonic goals. Put a decent moving coil in (in my case a van den Hul Frog), dial in the tracking force, bias and vertical tracking angle (all very easy and elegantly done) and you’re off!
Having just spent a long and most enjoyable period with Avid’s Acutus, and of course my own Sony TT-S8000 (a late seventies Japanese direct drive that makes most moderns look like Fisher-Price playthings), it was a sobering experience to see the E.A.T. Forte in my equipment rack, let alone hear it. It is massive; bigger I would say than two Technics SL1200s in a row. The sound is concomitantly large, as imposing as the deck’s physical bulk. I was fascinated, as in my system I haven’t come across anything quite like it...
First then, a little bit of perspective. I found the Avid Acutus (at a mere £3,000 less if you fit it with the SME Series V tonearm that it so obviously wants) to be a breathtaking vinyl replay tool – masses of energy, vast amounts of detail and tremendous energy that had me perching on the edge of my seat. Put on some power pop like Simple Minds, or heavy electronica like The Prodigy and it was time to fasten your seatbelt for – as they say – the ride of your life.
Immense and cowering as the Forte may be sonically, it is not like the Avid. It is an altogether less intense experience. Don’t take this to be in any way disparaging, as actually it is more versatile. Slip on some John Coltrane and you can sip a snifter of Scotch, light up a Silk Cut and tap your toes just as the Right Honourable Ken Clarke would his Hush Puppies. You can relax into the music, think about next weekend’s visit to the in-laws or what colour you’re going to paint the front door when the weather gets better. With the Avid, you’d have the vagaries of the recording etched into your cranium, and may well be thinking, “a great piece of music, but this early sixties cross-paired mic recording isn’t ideal”. Back to the E.A.T. though, and you’d be bathing in the languid, luxuriant sounds of Johnny Hartman singing, ‘Lush Life’, sitting up straight totally transfixed with your heart up where your Adam’s Apple should be. My point is simple; the Forte takes you into the music as far as you want to go, yet demands nothing from you.
On the very surface of things, it is less detailed than the Avid. It doesn’t put a magic marker under every attack transient, underlining when the note starts, and yet it is no less fast and no more unstable – indeed it seems even more speed-stable than the Acutus, which is really saying something. I found with Yes’s ‘Owner of a Lonely Heart’, my reference Sony only just nosed ahead in the leading edge of the bass guitar stakes. The TT-S8000 is utterly exceptional in this respect, and a little ahead of the Avid, whereas the E.A.T. was, figuratively speaking, just millimetres behind its back bumper. But whilst the lithe direct drive with its light platter and clever quartz lock speed control servo system could just about inch ahead on leading notes, it lacked the E.A.T.’s immense stability. It was as solid as the proverbial lump of granite sticking out of the briny. The scale, the epic expanse of its soundstage and the utter unflappability of its performance beat the Sony into a cocked hat.
Peter Gabriel’s ‘Solsbury Hill’ was another case in point. Brilliant of course as the song is, it’s a slightly murky mid-seventies analogue recording and one that doesn’t flatter a turntable of any size, price or weight. I found the Forte was able to unpeel the song, rather like an onion skin, giving me great insight into every layer of the production, yet without sounding in any way forced or strained. I remember the Avid doing this too, albeit with more drama and seemingly more detail, although I still found the E.A.T’s presentation more naturally ‘right’ on an instinctive level. Its dynamics were formidable, and yet less explicit. With such innate power, it was able to deliver the contrasts in a more effortless way, like a slumbering giant waking up to brush away an irritation without bothering to raise an eyelid. Again, by contrast, the Sony seemed a tad breathless – which is not something you ever say about it in less illustrious company...
Tonally, the Forte was superb. Its bass is immense, unflappable and without fault – save for being fractionally slower to switch on than the Sony. Alternatively, it may be right and the Sony is simply a little 'nervous' with the leading edges, etching them artificially hard in a characteristically direct drive way? The E.A.T. is also sumptuous in the best tradition of vinyl; cue up The Who’s ‘Won’t Get Fooled Again’ from an original seventies pressing of ‘Who’s Next’ and you really know that’s a valve bass guitar amp being used. It’s the sort of bass that doesn’t need to make any apologies – there’s no issue with the recording, or the rest of the replay equipment, it’s just there like the elephant in the room. 
Yet it doesn’t overpower, or slur notes, or dominate the mix in any way; put on some nineteen sixties freakbeat from Ice (the most famous band to come out of my own Sussex University, which isn’t saying much) and yes, sure enough, you can tell it’s recorded in someone’s bathroom in Brighton. Cue up 4hero’s ‘Escape That’ however, and you’re into low frequencies the like of which you rarely hear outside of Wembley Arena. Powerful as the E.A.T is below the stairs, let’s just say it’s not gratuitous.
Across the midband, you have a massively expansive sound. It makes the Sony – and to a less extent the Avid – seem rather stuck between the speakers. Yet instruments are not quite as accurately located as with the Acutus, which if it were a policeman would be a Miami-based member of CS1. The E.A.T. isn’t imprecise, it’s just big enough in its soundstaging for you not to have to ask questions; “the guitar’s over there, the lead vocal is over there, okay, fair enough!” Nor is the midband quite as icily clear as the Acutus or the Sony, but it’s actually no less detailed or informative, it’s just the way it presents the information is altogether more relaxed. Now, I have a sneaking suspicion that the Ikeda arm is at least partly behind this state of affairs. It’s so redolent of all those hours I used to spend languishing in Japanese hi-fi shops in and around Tokyo, listening to that country’s high end fare. Think massively polished, with easy information retrieval that would never even think of throwing it at you. Yes, it’s an ever so slightly ‘hi-fi’ sound, but a gorgeous one – and mates brilliantly to the E.A.T’s mellowy, moody, subtle sound.
As befits a turntable of this immense speed stability, the treble is a joy. It is slick and easy, beautifully polished and wonderfully atmospheric – yet sharp and incisive in a way that never dominates. Miles Davis’s ‘Kind of Blue’ was majestic; smooth, vast in stage and deliciously, naturally musical, and with a wonderfully natural top end. If ever there was a turntable/arm combination to flatter a cartridge’s natural treble ability, this is it. Once again, my reference players both turned in a superficially slightly more detailed rendition, but it wasn’t in any way more informative. Rather, it was if the brightness control had just been turned up a bit. The Avid was brilliant, pushing you right up close to the cymbals, the Sony had wonderful ‘snap’, whereas the E.A.T. took a gentle step back from the hi-hats, giving a less ‘in your face’ rendition that was – all said and done – a tad easier and more satisfying to listen to.
At this level, you’re not going to get a bad turntable, so the question then is – what kind of good one do you want? As with fine wines, great watches, top restaurants and seven star hotels, at this price you’re buying something that suits you like the best bespoke tailored suit. And so whom would the E.A.T. Forte suit? Well, the standard fitment of the Ikeda arm means this is far more like a turntable package than most decks at this price, which come sans tonearm, requiring you to make this big decision. The Forte is a case of ‘add cartridge and go’; it even requires relatively little set up as it is not a skeletal design which demands various layers be bolted on to various others.
What it gives then is brilliant sound out of a (very big) box, with a superb fitted arm that sings with almost any highish mass moving coil cartridge. It presents a relaxed, easy, nonchalant sort of sound, but one that is nevertheless immensely satisfying. The best thing is that it’s very devoid of character, or obvious strengths or weaknesses for that matter. Simply put, it’s a massive machine that gets the best out of your vinyl without you – or it – having to try very hard, it seems you can afford not to!
In 1964, the former factory manager of Japanese tonearm specialist Grace decided to start his own business. At the age of thirty five, Osamu Ikeda formed Fidelity Research Kabushiki Kaisha and by the mid nineteen seventies his company was making world-class tonearms and pickup cartridges. Ikeda was no copyist, taking out several international patents and finessing his designs like few others. Indeed, so respected was he in Japan that his products were even used by the Imperial Family. The late nineteen seventies were the glory days for Fidelity Research, with the FR64 series of tonearms his strongest product, being a superlative device at a time when there was a relatively paucity of competition. 
After the demise of Fidelity Research, the great man came back with Ikeda Sound Laboratories Company. An altogether smaller and specialist affair, he designed, built and inspected every product by hand. It was a chance for yet more innovation, not least the world’s first MC cartridge without a cantilever. The new IT345 and IT407 tonearms were launched in autumn 2006; coming in twelve and sixteen inch versions respectively. E.A.T.  use a specially modified, gloss finished version of the former. (since updatded to Ikeda IT407-CRI 12" tonearm & Ikeda 9TT catridges)
The EAT Forte carries an Ikeda IT407 12in (307mm) arm with detachable headshell. This is a solid affair made from various metals Ikeda say, rolled not diecast. The arm feels solid and ‘dead’ in the hand and indeed it measures like that too. For a long, tubular arm it is surprisingly free of a main arm tube mode, expected around 200Hz or lower. In this region there is no sign of vibration, although a small bump at 120Hz could possibly be due to primary flexure. Otherwise, the IT407 is a very ‘quiet’ arm all the way up to 3kHz and should give excellent bass quality and fine sound staging as a result, as well as a pure midband. Above 3kHz, as accelerations rise, the headshell becomes as active as most, so here the Ikeda is less distinguished. Also, 12in arms roughly halve the tracing distortion generated by a 9in arm and usually sound smoother and silkier as a result, although often not as ‘fast’.
The EAT Forte turntable produced some amazing results. It was just 0.1% slow, a negligible amount and low speed drift below 1Hz was lower than usual too, resulting in a very low unweighted Wow and Flutter value of 0.072%. This suggests the EAT Forte will have much the same grip on pace as a Direct Drive. Weighted wow and flutter was low too, as is to be expected, measuring 0.061%. 
An unusual combo this may be in appearance, but it is a good deal more sophisticated under the skin than one might imagine. It’s a great pairing. NK
Don't be fooled by its conservative looks, this is a brilliantly conceived, superbly engineered vinyl spinner. A memorable - seminal even - high end product.
- supreme musical ease
- unerring speed stability
- flawless engineering
- excellent fitted tonearm
If you can handle a 12in arm, the E-Go joins a select group of top contenders.........I rubbed my eyes in disbelief.
Ken Kessler & Steve Harris
As the E-Go was preceded by the Graham tonearms’ substantive reputation, and I’d heard Bob’s tonearms so many times that I knew to expect with certainty both refinement and finesse, EAT’s version merely confirmed my experience. This is an estimable arm, as genuinely a ‘high-end’ purchase as one could make, bristling with clever details and sounding gorgeous. Best of all, it’s a unipivot free of masochism.

Needing a 12-inch arm to match its spectacular Forte turntables, Czech-based EAT  calls on US tonearm guru Bob Graham for this ‘personalised’ version of his top design.  

It’s a safe bet that unipivot tonearm designs outnumber every other kind. Why? Because the concept is both elegant and simple. To support the cartridge as the stylus endeavours to follow the record groove, the arm must pivot freely, vertically and laterally. 

And having the arm supported on a single pivot point is the easiest way of arranging this – but it also has advantages from an engineering point of view. The bearing is pre-loaded by the mass of the tonearm, so it achieves the desired condition of zero play with low friction. The big disadvantage is that the arm is free to wobble around, impairing performance and making it less easy to handle. 

The fact remains that some of the world’s most expensive, highly-developed tonearms are ‘unipivots’, though in some cases they have additional bearings. Mørch, for example, has long used a dual pivot to give lateral stability, while Kuzma has its cunning four-point system. Another fairly elaborate variation is found in Continuum’s Cobra arm, which uses a secondary outrigger pivot mounted on its own bearing. 

However, it was left to Bob Graham of Graham Engineering to come up with what is arguably the most elegant way of maximising the benefits of the unipivot concept and smoothing away its disadvantages. He explains the central problem of a unipivot arm as a question of attaining ‘neutral balance’ [see]. With his earlier tonearms, Graham used outrigger weights to provide stability, but even with careful design this approach could not reach this ideal condition. The breakthrough came with his ‘Magneglide’ magnetic stabiliser system – the major innovation of the first, B-44, Phantom arm. 

Graham lists six separate benefits of the Magneglide device: increased lateral stability, easy azimuth adjustment, a higher lateral inertia component for improved bass reproduction, augmentation of system damping, true vertical pivoting of the stylus with no rotation as the arm is raised, and easily adjusted anti-skate compensation.


The really clever part of this system is its azimuth tower, mounted on a swivelling collar which allows it to rotate about the arm pillar. Looking from the rear, you can see a cylindrical projection on the right side of the arm bearing housing, and this contains a neodymium magnet which is centred at the same height as the arm pivot (fulfilling the requirement of ‘neutral balance’). There is a powerful attraction between this and a second similar magnet attached to the azimuth adjustment tower, which in turn is connected to the fixed arm base. The azimuth tower follows the lateral movement of the arm as it tracks across the record, keeping the arm exactly in position and preventing it from wobbling or tilting

With the current Phantom II Supreme the stabiliser has been improved, there is new internal wiring and a new titanium arm wand, available in 9in, 10in and 12in lengths. Which brings us to the EAT E-Go. 

EAT’s version of the Phantom II Supreme comes only in a 12in version, appropriate for use with the EAT Forte and its oversized platter. E-Go means ‘EuroAudioTeam Graham Original’ and it’s described as ‘personalised for EAT applications’. The arm is now resplendent in a matt chrome, looking rather more assertive than Graham’s usual classy, restrained finish of black with chrome highlights. 

In essence, the Graham bearing is a simple point and cup arrangement, but the design and materials have been refined over the years. Both point and cup are precision-made in Switzerland from tungsten carbide. In the latest iteration, used in the Phantom II Supreme, the downward-facing point is housed in a strong square shank. The bearing is easily accessible, and also easy to protect from transit damage, because the point is mounted in the screw-on cap that tops the massive bearing housing. 

On first installation, having removed the blue plastic transit sleeve from the unipivot point, you fill the cup with an appropriate quantity of damping oil, then replace the cap. Alongside, the antiskate compensation is not magnetic but achieved by a time-honoured thread-and weight system. But here, from a bell-crank that carries the adjustable weight, the thread runs round a small but exquisite pulley and is attached to the swivelling foot of the azimuth tower, avoiding the need for a direct connection to the arm. 

Azimuth adjustment is carried out by raising or lowering the magnet via a screw thread on its swivelling tower, this causing the arm to tilt as required. While you must not adjust azimuth during play, you can adjust the arm height and hence the vertical tracking angle – ‘VTA on the fly’ has been a feature of Graham arms from the very start.

Although the arm looks complicated and even mysterious in its many adjustments, it’s actually quite user friendly and comes with clear instructions. Our EAT E-Go had the SME base, which of course made installation a painless procedure. As with previous models, it’s supplied with a neat device that registers the headshell with the turntable spindle to set the arm overhang correctly, and there is a special holder to provide accurate cartridge alignment. 


As the E-Go has a short back, it fitted the SME 30/12 without hitting the rear right pillar (as did my elderly SME 3012). Setup, despite the clever design, made me appreciate the genius of the SME Series V’s simplicity – but then the SME isn’t a unipivot. Thus, as far as ‘unis’ go, the E-Go is one of the most user-friendly, as SH states. The removable wand makes it easy to change cartridges too: I settled on Air Tight’s PC1.

Having just reviewed Gram Parsons’ Grievous Angel as a MoFi SACD [HFN May ’13], I dug out the vinyl [Reprise K54018] for more of the same. All was – how shall I put this? – wonderfully comprehensible until the end of ‘I Can’t Dance’.

We all have favourite tracks, parts of tracks even, we know so well that they serve as handy short-cuts for illustrating whether a system sounds convincingly realistic. They’ll be significant enough to convey a broad sensation, like voice, lead guitar, a strings section. As Parsons’ voice was so anodyne, that wasn’t gonna do it. What made me sit up and take notice was the drum-roll at the end of that track.

It wasn’t mere impact: for that I’d turn to Kodo. It was about space and a lack of artifice. The sound of what is just a standard LP possessed the air and three-dimensionality of the crafted-to-a millimetre sound of the notorious Sheffield Drum Record. The crispness, the kick, lasts no more than a second, but the three that followed were to mere ‘air’ what Dyson is to dryers. I rubbed my eyes in disbelief.

This confoundedness lasted only the length of the silence between tracks: it was followed by the delicate piano opening of ‘Brass Buttons’, compounded by pedal steel and crisp, but discreet percussion. A snare, a cymbal, a woodblock, Parsons’ vocals in the centre – the sound belied the title, for there was nothing brassy about it whatsoever. It managed, despite a surfeit of terse transients, to sound silky. And hearing it next to the admittedly classy SACD was an object lesson in why analogue remains more convincing than digital, for so many music lovers.

However dismissive I may be about Parsons’ pipes, the duet on ‘Love Hurts’ with his muse, Emmylou Harris, is so achingly gorgeous that you begin to appreciate a system’s abilities with vocal textures and spacing. The two stand extreme left and right, the instruments filling in the space in-between, but this is not a stereo-circa-1956 ping-pong effect. It simply reflects the song’s title by using physical separation to convey the angst of love.

Gram’s voice contrasts with Emmylou’s crystalline instrument, singing that is almost a country cliché. Again, the instruments exhibit speed and clarity, but never with any intrusiveness. The E-Go perfectly resolved what is one of the most challenging of paradoxes: reproducing bags of information while creating what appears as a sparse soundscape. It’s precisely the kind of recording and playback that charms you back again and again, the deception of simplicity covering up genius-level complexity


Probably the most tragically overlooked, blues-based hard rock LP ever is Leslie West’s 1969 solo debut, Mountain [Windfall 4500] – the title of which would become the name of his band. As far as post-Cream power trios go, this was one of the best, West aided and abetted by Felix Pappalardi on bass and N D Smart II on drums, the latter so under appreciated that it simply makes me furious. 

‘Long Red’ is a curious number that has all the hallmarks of a heavy metal classic, yet the sound is light and subtle, almost unplugged. What throws you is West’s voice, a fiery rasp that contradicts and challenges the instrumentation – a circus-like organ and an acoustic guitar, for goodness’ sake! 

It’s the antithesis of Parsons tentative, plaintive, I-wish-I-was George-Jones whisper. Having met West, and seen Mountain live, I can think of no other New York Yiddishe bocher who can sound as convincingly like a 1950s R&B wailer.

West, of course, is famed more for his powerful fluid guitar work than his singing, and the E-Go delivers guitar heroics by the bucketload. Once you get past the disparity between the vocal style and the song it’s conveying (the same effect as when Joe Cocker sings a ballad) you can lean back and marvel at the way it all coalesces. It is a demonstration of balancing textures that should, by any definition, compete with each other to the point of self-defeat. Instead, it’s sound is so ‘of a whole’ that you wonder how just an arm can do this.

It’s down to taste and partnering equipment. If you can handle a 12in arm, the E-Go joins a select group of top contenders. 


The addition of Graham’s ‘Magneglide’ stabilisation regime to its Phantom platform makes this the most stable unipivot design that we’ve tested, damping any rotational displacement without adding obvious friction to either vertical or horizontal movement. Because the unipivot ‘bearing’ is positioned within a well of oil, measurable friction – fluid viscosity – rather depends on the frequency of movement, but with the slow arm movements encountered during replay this amounts to <10mg in both planes. Downforce and bias are uncalibrated although with the small threaded weight wound to the end of its cantilevered arm, maximum side-thrust amounts to around 3g.

EAT’s version of the Phantom features a titanium arm wand, combining rigidity with low density although, in 12in guise, the medium-to-high 13g effective mass is really no surprise. The pivot damping does extend the reach of the arm with higher compliance pick-ups, but not as much as if the damping were applied at the headshell itself. The 115Hz main arm bending mode [see Graph, below] is strong but the harmonics at 150Hz and 190Hz less so. All resonances beyond 300Hz reflect the complexity (flexibility) of the E-Go’s adjustable bias, counterweight and VTA components……. PM

I think I may have fallen in Love....
Tony Bolton
It's a combination for the rest of one's life. The turntable itself is of so high quality, technically and sonically, that I'd stop looking for a better.
Kari Nevalainen - INNER AUDIO

 SUMMAER REVIEW: in this regard this EAT combination including the EAT Forte S turntable & EAT Yosegi cartridge & EAT-312 tonearm is really, really a competent one, smooth and still vivid sounding, such a joy to the ear. Sonically the EAT Forte S reminded me of superb sounding Verdier turntables, which to those who know Verdier turntables, tells a lot.

EXTENDED REVIEW: Before I say a word about Euro Audio Team's - EAT, for short - Forte S turntable, let me say this: It's never too late to acquire a new audio dream. That is, it's never too late to buy a turntable and a whole analogue music playback system. Why bother? Why? Because the vinyl sound is magical. It's pure and natural. It's 100% music. That's why.

Due to problems with the idler, I had to stay away from my TT for some period of time. In the mean time I got the box of remastered The Beatles stereo albums. I focused on the White double album especially, and got convinced that the remastering was skillfully done. It even occured to me that the sound quality could equal or surpass the one of the original LP. What a fool I was! When I was able to listen to the original LP again, I couldn't believe the magnitude of the difference! There's no way the digital sound, no matter how well recorded/remastered, could compete with the original vinyl sound, and that irrespectively of the format or resolution.

When I revived my TT system again, I found myself jumping, dancing, snapping, clapping, crying along with the music in a way that I hadn't behaved during the dry digital period. And the same continued when I put the LP on the heavy platter of EAT Forte S turntable. Only a stone would have reacted differently. It's not that the digital sound would be bad as such. Not at all. As we all know it can be great. But no matter how good or bad the digital sounds, it always sounds dead, as from the other world, when compared to a good vinyl sound.

Although I've been a vinyl lover for all of my life, it still keeps amazing me how radically the two, digital and analogue, differ from each other. Consequently, it's a sheer mystery to me why people go on listening to digital software as the only source for music. Inconvenience of the analogue? I'd not like to believe that.

Right. So let's move to the EAT Forte S turntable. I must admit that prior to the review I had some reservations: a vacuum tube specialist (see the Inner-Audio review of their 300B here) mixes its labour into turntable manufacturing - isn't that a bit too adventurous? Not necessarily, if you come to think of it. Both the tube and the turntable are waterproof analogue devices, both operate on a micro-mechanical level, and both require similar kind of knowledge and expertice. And patience. Also, when I first saw the Forte S face to face my doubts were effectively dispelled!

The EAT Yosegi cartridge

The middleman here is the cartridge. Just like a vacuum tube (broadly speaking), the cartridge is in the delicate business of "mechanical modulation of an electric signal". The cartridge in the Forte S that I got for a review was EAT's Yosegi: a 0,4mV MC cartridge made, with high precision, of a number of “micro-quadratic” pieces of various types of natural wood glued together with special resins. Different woods have different, specific structures and densities, and therefore their own characteristic "sound". EAT strongly believe that when it comes to dealing with small and weak signals, the choice of material really matters, ie. individual resonance characteristics are clearly audible.

The manufacturer writes: "At the heart of the cartridge are selected motors, cantilevers and diamonds, of the calibre expected of the very best Japanese-made pick-ups." It's a public secret that the Japanese pick-up EAT is here referring to is Audio Technica. As far as I know the Yosegi is not identical to any AT model but a reworked version based on EAt's own specifications. The claimed frequency response is 15-50kHz; the channel separation: 30dB @ 1kHz, and the output balance 0.5dB @ 1kHz. On other specs, later.

EAT has a special headshell for the Yosegi cartridge, also made of natural woods. However, due to some unexpected practical adversity, Oyiade's headshell had to be used instead for the review. For reasons of elegance and weight, it would have been preferable to have the Yosegi headshell. However, my estimate now is that the harm wasn't fatal.

EAT Forte S

Now we need a turntable. EAT has three of them: the mentioned E-Flat, the flagship Forte, and its "reduced" version: the Forte S. "Reduced" because the platter diametre is 36cm instead of 40cm. But note: 36cm is still 6 cm wider than that of a standard 30cm platter, and its moving mass is much higher than the moving mass of a standard platter. EAT believes that the "effectiveness of the sound" is geometrically related to the size of the diametre of the platter: double it and the sound gets four times more effective. I don't know exactly what they mean by "effectiveness of the sound" but having heard the Forte S now I'm sure it points to a meaningful property of the sound. What's obvious is that playing with Forte S makes one feel like playing with the mighty EMT 927 - or other professional TTs from the golden radio era.

The 15kg platter is damped with sorbothane from the inner side. A black damping matt made of recycled vinyl damps from the outer side. The purpose of the construction is to make the platter completely quiet. Sorbothane is also used to damp the bearing housing, tonearm base and the magnetic feet.

Just like other EAT turntables, the Forte S is mass-loaded with huge height-adjustable magnetic feet acting as a sub chassis. Thanks to the feet system, the resonance frequency of the entire system is dumped down to a very low level making the need for a special turntable stand less urgent.

As to the bearing, EAT Forte S emplois an inverted construction in which the platter (the Teflon cup) rests on a ceramic ball on the top of a pin. In order to reduce the pressure on the ceramic ball from becoming too heavy, two enormous neodymium magnets hold the platter 'in the air'.

The Forte S sports two AC motors but unlike in the bigger Forte, the motors are not in a separate chassis. Instead they are in the same single-piece plinth and placed symmetrically on the left side of the platter. The only beauty spot of the whole construction is the outboard power supply (16V/1.000mA AC), which I'm sure is technically adequate for the pupose (the power consumption is only 4W) but looks like one stolen from some gadget. For a turntable of this calibre matters of appearance also matter.

Otherwise the Forte S looks absolutely gorgeous. The 55cm width and 44kg mass gives a certain irresistable authority to it, ownership pride too. The luxurous Makassar finishing is not my personal favourite in turntables but black gloss and Zebrano finishes are also available.

I couldn't measure the Forte S but all the published measurements I've seen point to the fact  that the construction of the turntable is technically of the highest class.

Putting the three together

The Yosegi outputs 0,4mV. That is more than many other highend MC's, but not as high as to make it a high-output MC. The max. 40dB gain provided by my Sentec EQ11 RIAA/MONO phonostage wasn't quite enough for the Yosegi so I needed a MC step-up. I tried more than one, the ideal input impedance being around 100 ohms.

From the Sentec EQ11 the signal went through Gregitek interconnects to the modified Dynakit tube preamp, Behringer DCX-9624, to 6V6PP & 6L6G SE poweramps, and AGA Baltic/Lansing horn speakers.

To operate the Forte S was obvious and fun: just three easily approachable small buttons: 33.3, 45.11 and ON/OFF. The only practical inconvenience comes from the fact that the Forte S, although 15cm narrower than its big brother, is still 55cm wide. The big boy needs a big bed.

Sound consistency

To start with I tried a good number of piano LPs to hear if I could detect any - just any - wow from the Forte S combo. With piano music any wow would be irritating indeed, if present. But no wow whatsoever. The test passed. And general speaking, the Forte S combo did not have an erroneous kind of sound but its opposite. No flutter either, althoug I think flutter is less of a risk with this type of turntable construction.

The speed variance of EAT Forte S is, according to the manufacturer, +/- 0,09%. But it's not just that technical speed stability that matters. When my daughter practices cello, I often ask her, before she adds any slow/fast variations of her own, to play the piece first as if she were a metronome, like a bulldozer, keeping timing and tempo razor sharp, instead of "quite correct". It is quintessential for musical satisfaction that a turtable behaves like a bulldozer, rushing through the piece respecting the fundamental temporal progression at the bottom of the composition. This I guess is one of the major reasons why idler-driven TTs are so liked in some corners, and I very, very much liked what the Forte S was able to do in this regard.

Yet another thing. Have you noticed how fast the actual tempo often is in pop and rock songs (take the Beatles, for example), even in the slower ones? The fact is easy to confirm by trying to play the same song by oneself at the original tempo; time and again I'm amazed by the chosen tempo on the recording, and how fast it is as compared to the perceived one, just like hymn singing church-goers lag behind the tempo suggested by the cantor. The better TT, the more directly it conveyes the actual, fast tempo of the songs. The Forte S is such a turntable.

As to softness/coldness of the tone, which I associate mainly with the qualities of the cartridge, the Forte S/Yosegi combo delivered quite a nice package of mellowness/roundness on one hand, and sharper accuracy/resolution on the other. Yosegi ain't Ortofon SPU or EMT TDS-15 (not even with van den Hul stylus profile), it ain't like the Benz precision instruments either. It's somewhere in the middle, featuring a little bit of the best of the two worlds. That suited to my personal likings perfectly, but that's only me.

As to definition/timbre, let me just say this. No one should come and tell how a guitar ought to sound, or a violin or a clarinet or any other instrument ought to sound before he or she has heard how the instrument in question sounds on the original LP through a quality turntable system. And I'm not at all talking about the "true color" of the tone estimated by some vague reference to some long gone concert event; I'm talking about how the sound feels. With a well-made turntable it feels - it felt - so good and right. I doubt it can never feel the same in the digital domain.

The bass department was also surprisingly good although I know turntable/tonearm/cartridge combinations that can dig the bass out of the groove equally convincingly. Here my verdict is that to the extent the bass quality depends on the turntable itself, there's no need to worry.

However, I want to stress again and again that properties related to the quality of the bass, treble, mid-range, sound-stage etc. are always of minor importance as compared to what the turntable can do or cannot do with matters relating to music's temporal progression. And in this regard this EAT combination including the EAT Forte S turntable & EAT Yosegi cartridge & EAT-312 tonearm is really, really a competent one, smooth and still vivid sounding, such a joy to the ear. Sonically the EAT Forte S reminded me of superb sounding Verdier turntables, which to those who know Verdier turntables, tells a lot.


The EAT Forte S together with the EAT-312 tonearm and Yosegi cartridge cost about eight nine thousand euros. It's not within possibilities of most us but still, I'd say, competitive. It's a combination for the rest of one's life. The turntable itself is of so high quality, technically and sonically, that I'd stop looking for a better. No doubt there's a whole bunch of "better" and pricier turntables on the market, but I'd rather put my energy and efforts in finding a tonearm/cartridge combination that maximally compliments both the Forte S and the taste. My taste was well served with the EAT-312 tonearm. It's a tempting choice also because it enables having five or six different cartridges, including mono ones, fixed in their own headshell, and then changing the cartridge according to music genre, recording, time of the day, the weather, and so forth.

The major difference between the EAT Forte S combo and lesser turntables is that with the former it becomes so obvious that the digital sound can never be equally touching and real as the vinyl sound. No same charm, no same magic.

...........Kari Nevalainen

With the C-SHARP, EAT really is offering a LOT of TURNTABLE for the eminently luxurious product and, if the looks grab you, the sound certainly won’t disappoint.
Steve Harris
With this model, EAT really is offering a LOT OF TURNTABLE FOR THE MONEY.... The Czech company’s unique advantage, of course, is its close association with Pro-Ject’s manufacturing resources, and many of the design decisions and material choices seem to reflect the latter company’s expertise. Yet this is still an eminently luxurious product and, if the looks grab you, the sound certainly won’t disappoint.
t’s now some six years since EAT, already established as a maker of high-end audio tubes, burst into the high-end turntable market with the spectacular Forte and Forte S [HFN Dec’10]. EAT followed up with the E-Flat and its unusual tonearm [HFN Jan ’12]. But with the new C-Sharp (£2498), EAT has moved into much more affordable price territory.

EAT’s founder Jozefi na Lichtenegger is wife of Pro-Ject boss Heinz Lichtenegger [see boxout], so it comes as no surprise that the turntables are manufactured in the same facility at Litovel in the Czech Republic. But although they clearly share some design heritage, the EAT products are quite different from anything offered under the Pro-Ject name.


Many turntables of the high-mass school are unwieldy-looking devices, where the record is perched up on a platter that’s as tall as it is wide. With the Forte, EAT took the lateral-thinking step of making the platter’s diameter larger instead, to create a high-mass design that looked really good: a turntable of classic proportions and elegant design, but on a heroic scale.

With the Forte S, the platter diameter was reduced and the twin motors were built into the plinth, rather than having a separate outboard unit. With the E-Flat the two motors were hidden under the platter, driving a sub-platter from opposite sides through a single belt. For the C-Sharp, EAT has produced a design that’s slimmed down further. It uses the E-Flat’s oversize 340mm diameter platter, but, with a single motor sunk into a rather shallower plinth, the whole player has a lower profile.

Immaculately black-lacquered, the plinth is made of ‘highest density’ MDF and is supported on three large cone-shaped screw-in aluminium feet with soft inserts, adjustable for levelling. Nestling within the rim of the plinth, the carbon-fibre patterned top plate forms a suspended sub-chassis on which the main bearing and arm are mounted.

It’s actually a sandwich of carbon-fibre and MDF, supported on ten compliant elastomer cones. Once you have removed the three transit screws, this sub-chassis can move with its intended damped freedom.

The main bearing is an inverted type, its 10mm-diameter shaft projecting upwards from the sub-chassis and topped by a ceramic ball. Over this fi ts the sub-platter, with its matching bronze journal. As with the E-Flat, the sub-platter is a substantial item, a machined aluminium disc 80mm in diameter and 15mm thick. The belt, a round section type is said to be made from special anti-static rubber, which is then glue-joined and polished.

Because most of the platter’s mass is in the sloping thick rim, it will have a greater fly wheel effect than a conventional-sized platter. Yet with the bonded-on polymer playing surface measuring just under 300mm, it’s easy and convenient to put records on and take them off.

EAT’s chunky two-part record clamp has a felt face underneath and so cannot damage your record labels. It’s nice enough to use, but takes about six turns on the centre part to screw it down.


A small separate unit, EAT’s speed controller takes low-voltage DC power from a plug-top power supply unit and synthesises the appropriate AC current for the two motor speeds. In standby mode, the central button will be lit green. Touch the 33 or 45 button, and its LED will fl ash blue until the correct motor speed is reached, when it will glow solid blue (this takes about 12-20 seconds). No fine speed adjustment is provided.

Looking imposing if rather ‘blingy,’ the 10in C-Note arm fitted to the C-Sharp is described as ‘a completely new design which combines all advantages of a unipivot arm with a Cardan design’.

It’s hard to discern what’s actually inside that big bearing housing. On top is a knurled button which, when unscrewed, comes out complete with a downward pointing pivot about the size of a very large drawing pin. EAT’s blurb only states that ‘The unipivot in the middle helps the bearing to be less loaded’.

Whatever the secret of the bearings, the C-Note has the stability of a conventional gimbal type. So it doesn’t wobble all over the place like a unipivot, but is easy and comfortable to handle; and there is almost no bearing play in the lateral direction. There is play in the vertical direction, but if the bearing design is good this will not be critical, as the bearing will always be loaded by the mass of the arm.

Arm height adjustment for VTA is carried out by slackening the two hex bolts that lock the sliding arm pillar in position in its mounting. At the front end, the sleeklooking tapered carbon-fibre arm tube is completed by a polished aluminium headshell. Its straight sides and squared off front edge make for an easy visual reference and, in fact, installing cartridges could hardly be simpler. EAT says that inside the tonearm is a special silicon based grease to damp tonearm/cartridge resonances ‘by more then 50%’.

The large-diameter rear counterweight is not so heavy as it looks because it is a hollow shell filled with a sorbothanetype material. A small accessory disc can be bonded on, allowing the arm to comfortably balance out even quite weighty moving-coils. 

Balancing and tracking force adjustment is, as usual, carried out by winding the counterweight forward or back on its stub. The only slightly fiddly aspect is the thread-and weight bias compensator. This is sited inboard of the C-Note arm housing, but the nylon thread must be passed around the back of the housing to hook onto a small peg on its outer side.


So, although this turntable comes pretty well disassembled, it really proved quite easy to put together and set up. I started by installing the excellent Ortofon Cadenza Black, which worked very well. It gave a strong and commanding sound, with a fine, extended and very well-controlled bottom end, and detailed upper registers. 

However, I also had extremely enjoyable results using a Benz Micro Glider SL. Although the bass was not so tight and the mid not so analytical, I felt that the easygoing Benz was subjectively a really good match for this turntable. With the C-Sharp, it always sounded warm and open, and I ended up just wanting to listen to more and more music.

On music with a beat, the turntable had an appealing, lively bounce about it. Listening to funky guitarist Mel Brown and the neat little instrumental ‘W-2 Withholding’ from Eighteen Pounds Of Unclean Chitlins And Other Greasy Blues Specialties [Bluesway BLS 6064], Brown’s trademark tricky blues picking seemed hugely energetic. Brass and organ sounds were light, bright and clean, while the unidentifi ed bass player’s great sound came over with immediacy and clarity.

Again, the EAT delivered a meaty and beaty sound on the classic direct-cut I Got The Music In Me with Thelma Houston and Pressure Cooker [Sheffi eld Lab LAB-2]. In the title track, with horns, keyboards, guitar and background vocals all seemingly going fl at out, the EAT seemed unfazed and kept things well balanced. You could perhaps have asked for a bit more detail and definition in the brass, but the background vocals stayed sweet and didn’t squawk, and the overall effect was great, a sound full of vitality.

Turning to more studio-based productions, the EAT seemed to be quite good at humanising a relatively processed recording. On Stevie Winwood’s 1980 solo album Arc Of A Diver [Island ILPS 9576], Winwood overlaid all the instruments himself to a point where his vocals often seem almost buried in the mix. Yet with EAT they were always intelligible and impactful, so that the songs made sense.


On intimate, small-scale classical recordings, the EAT could evince a quite convincing sense of space, and at the same time its lively quality was attractive. With Beethoven’s Septet played by the Ensemble of St James [CfP CFP 40059], the players came to life in a very appealing way with characterful woodwind sounds. The spacious sound of the recording venue was made quite apparent, and the performance took on a good sense of scale since the double-bass was given its full weight and authority in the ensemble.

It was great to find some recent audiophile releases that really lived up to their promise with the EAT C-Sharp, and one of these was the expanded 2LP issue of Last Dance by Keith Jarrett and Charlie Haden [ECM 378 2250]. I was immediately captivated by Jarrett’s spiky, instantly-communicative piano on ‘My Old Flame’, while Haden’s string bass had terrific energy and presence, with a seemingly extra deep response from the EAT giving weight and gravitas. Even after Jarrett had turned the tune inside out and upside down, Haden’s bass solo burst out of the speakers with real passion.

After this, it was easy to relax into the superbly-crafted production of Eric Bibb’s 2003 Natural Light [Pure Pleasure PPAN 018]. On a highly-arranged track like ‘Tell Riley’ the backing musicians were nicely spread behind Bibb across a wide, fairly deep soundstage. And it truly conveyed the rich sound of Bibb’s baritone vocals on a more intimate, introspective song like ‘Circles’.

Finally I had a great mono blast with a record that’s very far from audiophilia, The Best Of Elmore James [Sue Records/Island ILP 918]. As with other compilations of American material on this short-lived imprint, the overall sound makes you suspect that the tracks were simply dubbed from the US 45s.

But it was this compilation, released less than two years after James’s death in 1963, that brought ‘Dust My Blues’ and ‘Shake Your Moneymaker’ to impressionable young British ears. On the C-Sharp, this music seemed every bit as vibrant and exciting as it ever did back then.
......Steve Harris

Jozefina Krahulcova entered the hi-fi business through a family connection, as her sister was married to the valve maker Alesa Vaic. In 1998, while studying at the University of Economics in Bratislava, Jozefina started working for Vaic. She learned all she could about the art of making valves and she represented the company overseas. But times changed at Vaic and after only a few years, Jozefina was ready to set up on her own, as EAT. By 2003, she was having KT88s and 300Bs made by Tesla Vršovice in Prague, and it was while looking for a distributor in Austria that she met her husband-to-be Heinz Lichtenegger, owner of Pro-Ject. In 2006, Jozefi na was able to purchase Tesla, moving the factory from its original site in Vršovice to Hloubětín, to the north east of Prague. Finally, with the facilities of Pro-Ject available, EAT was able to enter the turntable arena.

C-Sharp may actually fit perfectly in many users’ homes, and potentially supplies standard setting performance for its price.
Andre Jennings

REVIEW SUMMARY: The speed stability of the C-Sharp was excellent. The main reason for the head-bopping drive and remarkable timing I experienced during my evaluation was the ’table’s drive system—with which I could find no fault. Well done. 

The combination of the C-Sharp and Quintet Black produced appealing sound that had rhythmic drive and made nearly every- thing I spun fun to listen to. While not the most detailed presentation, the combo just played the music on nearly everything I threw at it. Although it lacked the ultimate resolution and complete neutrality of pricier analog front-ends, the C-Sharp/Quintet Black had a way of convincing this listener that its “sins” of omission were more than acceptable. Indeed, I found myself spending more time listening to complete albums during the review period than what I’d originally allocated. 

EXTENDED REVIEW: While I truly enjoy using my somewhat costly, 100plus pound, isolated suspension, vacuum-hold-down, large-footprint turntable, it is only sensible to acknowledge the fact that it is not what every audiophile is looking for. There are plenty of music lovers who feel that financial outlays of this magnitude are best allocated else- where and who, quite possibly, don’t have the space (or desire) to house a vinyl playback system of such size and weight in their homes.

The C-Sharp from the European Audio Team, the fourth turntable in the EAT lineup, may be a sensible alternative to mega-tables for many listeners. EAT is an offshoot of Pro-Ject, which is perhaps the world’s largest turntable manufacturer. The three other turntables in the EAT line are the Forte, Forte S, and the E-Flat. After the success of these three previous efforts, EAT set out to make a model that had a smaller, retro- modern footprint. With a profile that EAT calls “superflat,” the US$4000 (ecxl tax) C-Sharp may actually fit perfectly in many users’ homes, and potentially supplies standard setting performance for its price. 

Constructed from what EAT calls “highest-density” MDF, carbon fibre, and thermoplastic elastomer, inverted-cone-shaped, internal sandwich supports, the low-profile double chassis is what gives the C-Sharp its “superflat” silhouette. I measured a height of approximately 27.5mm (1 1/8") for the chassis combination. At the bottom are three elastomer-damped, adjustable feet to provide clearance and to allow levelling of the ’ta- ble. Finished in a high-gloss piano-black lacquer, the lower chassis is 25.4mm high. The motor is attached to it to keep any vibrations from coupling to the platter bearing and tonearm. On the rear of the lower chassis are two connectors (one for the external speed controller and another for the tonearm cable). Seven additional recessed cutouts located on the inside of the lower chassis hold the elastomer dampers used to isolate the lower section from the upper section of the assembly. 

The constrained-layer MDF and high- gloss, carbon fibre finished upper section of the chassis supports the platter bear- ing that accommodates the sub-platter. A polished anti-static belt connects the sub-platter to the motor. The sub-platter mates with the main platter to form the drive system and top surface for playing records. The main platter, made from solid aluminium, is extended in diameter for added rotational inertia and features a bonded mat (constructed from recycled vinyl to achieve optimal coupling with the record.) The upper section of the plinth also holds the tonearm assembly. 

The tonearm is exclusive to, and specifically built for, the C-Sharp. This com- pletely new design incorporates what EAT calls a traditional Cardan bearing for horizontal movement that’s been optimized for high stability, ease of use, and very low friction. Made from hardened steel with zircon tips, the Cardan bearing is lubricated with silicon-based grease that dampens tonearm resonances by more than 50 percent from baseline measurements taken without its incorporation in the assembly. Vertical movement is achieved via a pair of traditional, but very high precision, ABEC7 ball-race bearings positioned 180 degrees from each other. An additional uni-pivot damping pin serves as a final part of this hybrid bearing assembly. The uni-pivot damping pin plunges into a silicon-based gel that is said to further dampen vibrations and to provide additional support for the horizontal bearing. EAT says the headshell is made from a light, but inflexible aluminium that makes for a stable foundation for cartridge mounting. A rigid, carbon- fiber armtube connects the headshell to the tonearm bearing assembly. All key features for cartridge alignment and adjustability are available on the tonearm (VTA/SRA, VTF, azimuth, anti-skate, and a slotted headshell for overhang and offset angle). 

The C-Sharp arrived in a well-designed box with a three-tiered internal section. Just above the top section were the user manual and all the set-up tools needed (except for a tracking-force gauge). The top section itself contained the counter- weight, record clamp, two of the three feet, and the sub-platter. The middle section housed the assembled chassis with tonearm, including the pre-installed Ortofon Quintet Black cartridge (if ordered with the ’table). The lower section contained the platter. The motor controller was located in a side pouch that traversed all tiers. 

The user manual details setup in a step- by-step fashion to allow easy installation and assembly. I had no issues with it other than Section f of Step 4, which references the use of a 1.5mm hex key to remove a locking screw. A small slotted screw- driver is actually required to remove the uni-pivot locking screw, which secures the uni-pivot cover, in order to access the azimuth adjustment. One other item in the manual worth mentioning is that EAT recommends that when using the record clamp, it should not be screwed down. The screw-down function is only to be used as a means of installing and re- moving the main platter during assembly and disassembly. 

If the ‘table is ordered with the Ortofon Quintet Black, EAT will install and set up the cartridge for a Lofgren A/Baerwald alignment. As a value-added benefit, VANA Ltd. (the U.S. distributor) offers the option of changing to Lofgren B or UNI- DIN alignment at the time of ordering at no additional charge. Using the Acoustical Systems SMARTractor cartridge-alignment system, I cycled through all three options and settled on the Lofgren A/Baerwald alignment that I find most appropriate for my taste, which spans multiple genres of music, as well as early to modern pressings. 

The legendary jazz trumpeter, Clark Terry, passed away at the age of 94 the day before the C-sharp was assembled and ready to play records. I became aware of the loss of this great talent the day I set the ’table up. As a sort of tribute, I wanted the first piece of music I played to be something from Clark Terry, so I reached into my vinyl library, without looking for anything in particular, and pulled out one of his later works titled Portraits on the Chesky label. Although Terry was sixty-eight when this recording was made (on the day after his birthday, in 1989, at RCA’s Studio A on 44th Street in Manhattan) his playing is delightfully youthful yet masterfully controlled. From the first track, “Pennies from Heaven” to the last, “I Don’t Wanna Be Kissed,” I listened nonstop—with the exception of getting up to turn the record over, of course. There was no compelling reason to adjust anything. On “Pennies from Heaven” Victor Gaskin’s bass solo was crisp and tight, and on time. Bass lines were easy to follow and the rhythmic flow of all tracks was a joy to hear. I derived added pleasure from how well the C-Sharp/Quintet Black was able to keep up with drummer Lewis Nash’s delicate brushwork. My favourite title on this LP is “Jive at Five”; Terry’s scatting and playing is filled with so much dynamic expression that it becomes difficult to do anything but listen. With this random pick, the C-Sharp allowed me to remember one of jazz’s great trumpeters. 

Next, I queued up “Got My Mojo Working” from Clarence “Gatemouth” Brown’s Standing My Ground, an album produced in the same year (1989). I was struck by this track’s propulsive drive and slightly rounded but stronger bass. As presented by the C-Sharp/Quintet Black, Gatemouth’s guitar had less bite and dynamic expression than I’m used to hearing, but everything still possessed musical flow. Although I only intended to listen to one track, I found myself playing the whole side of the LP. 

Switching to Simply Red’s Picture Book, the “Holding Back the Years” track produced a similar slightly rounded sound that was big on lower frequencies; as a result, the bass and drums moved closer to sharing centerstage with Mick Hucknall’s vocals. At the same time, the cymbals moved back a little bit in the presentation. Playing “Red Box” yielded similar results, with the same tendency towards lower-frequency instruments moving to the forefront and higher frequencies taking a step further back. 

From the Pablo record label, I listened to Joe Pass and Ella Fitzgerald’s 1983 al- bum Speak Love. On the track “Comes Love,” the C-Sharp preserved Ella’s wonderful, timeless voice and dynamic expression, while Joe Pass’ Ibanez guitar had dense body and generous amounts of pleasing tone color. (As with the some of the other albums mentioned, I couldn’t resist listening to both sides of this LP.) 

The C-Sharp/Quintet Black maintained the tempo and dynamic drive captured on the Klavier Records reissue of the original EMI recording of Massenet’s Le Cid ballet music. Once again, this turntable/cartridge combo appeared to prioritise the lower registers of instruments, while still preserving the tracing of high-frequency percussion—although at levels reduced in amplitude vis-à-vis the low end. (I’ll explain what accounts for this below.) 

Given my observations about the be- havior of the C-Sharp/Quintet Black, I wanted to discover which characteristics were attributable to which component. So, I first switched out the Quintet Black and installed the van den Hul Colibri cartridge. Spot-checking some of the same records mentioned above (as well as many others) revealed the C-Sharp tonearm’s ability to let this cartridge showcase most of its attributes without any losses of composure on any records played. Some of the notable characteristics of this particular Colibri are its clarity, speedy transient response, liberal but well controlled high frequencies, and slightly warm but reduced bass output. With it installed in the C-Sharp, the music gained sparkle in the top registers—a trait that the Quintet Black also had, only at a much lower out- put level. Overall, the Colibri was more generous in its top registers, while the Quintet Black tended to fill in the bottom ones. Like chocolate or vanilla, there was nothing inherently wrong with either of these cartridges on the C-Sharp; which you’d prefer would be a matter of personal preference. 

I began to muse about the Quintet Black’s sound character because it tended to remind me of the “ideal” EQ curves programmed into many digital signal processing-based (DSP) room-correction systems, which tend to have a slow but steadily declining frequency response slope from the lows to the highs. In an effort to satisfy my curiosity, I checked the frequency response of the Quintet Black, and the results (regardless of SRA setting) showed something similar to the target curves of room-correction devices. This observation helped me understand why the Quintet Black successfully traced high frequencies, albeit at reduced output levels, but had more generous low-frequency output relative to some of the other cartridges that measure more linearly. I want to point out that this isn’t such a bad thing given the multitude of hot- and/or thin-sounding, non-audiophile recordings in circulation. To the contrary, reducing a little upper octave energy and ultra-detail can yield more enjoyable listening sessions in these cases. This is especially true for those who want to re-experience some not-so-well-recorded music of the past  and the present. 

Isolation is always something to consider when purchasing a turntable and finding the right location for it in your listening room. While the C-Sharp has internal damping within its sandwich chassis as well as elastomer-damped feet, care should be tak- en with its placement. The top chassis is a bit lively when touched or tapped enough to hear sound through the speakers. This liveliness can result in the ’table being susceptible to airborne or robust floorborne vibrations. Acoustic feedback, especially from powerful bass-heavy transients, can potentially cause turntable systems to oscillate. For my evaluation, placing the C-Sharp on a rigid corner shelf provided sufficient isolation for all but the most demanding music played back at amplitudes far beyond nor- mallistening levels. If you tend to play very loud, you may either need to consider some additional isolation or to find a different location for the ’table. (These comments are not exclusive to the C-Sharp and should be considered with any turntable.) 

The speed stability of the C-Sharp was excellent. The main reason for the head-bopping drive and remarkable timing I experienced during my evaluation was the ’table’s drive system—with which I could find no fault. Well done. 

The combination of the C-Sharp and Quintet Black produced appealing sound that had rhythmic drive and made nearly every- thing I spun fun to listen to. While not the most detailed presentation, the combo just played the music on nearly everything I threw at it. Although it lacked the ultimate resolution and complete neutrality of pricier analog front-ends, the C-Sharp/Quintet Black had a way of convincing this listener that its “sins” of omission were more than acceptable. Indeed, I found myself spending more time listening to complete albums during the review period than what I’d originally allocated. 

EAT''s mid-priced C-Sharp turntable and C-Note arm offers a great-sounding, thoroughly well-designed vinyl disc spinner for not a lot of money.... Amongst The Best
Paul Righy
OUTSTANDING - amongst the best
VALUE - keenly priced
VERDICT - Plenty of detail on offer which is enhanced by a broad and organised soundstage,

- clarity
- soundstage
- low noise
- arm performance
- fiddly anti-skating set-up
- 'clamp

EXTENDED REVIEW: Based in Prague in the Czech Republic, EAT is in the fortunate position of owning and sharing a factory with turntable giant Pro-Ject (EAT boss Jozefina Lichtenegger, is married to Pro-Ject! founder Heinz Lichlenegger).All EAT turntable Parts are made on site, which keeps costs down. Jozefina Lichtenegger was keen to emphasise, though, that EAT is a wholly separate company and, apart from a few screws, shares nothing with Pro-Ject. ln fact, the sixth floor of the factor/ is wholly EAT which includes it's own infrastructure. staff and designers.

Addressing the turntable, Lichtenegger first discussed the C-Note arm."lts a hybrid Cardan/unipivot made from carbon fibre with copper internal cable" she said."You can chan see the azimuth and VTA with adjustable locking nuts. lt. comes with a silicon damping liquid plus a lightweight, aluminium headshell".

The anri-skating compensator uses a nylon thread and must be passed around the back of the housing to hook onto a small peg on its outer side.This can be fiddly but Lichtenegger disagreed "lt shouldn't be difficult unless you have big fingers! I'm a woman so I find it easy. You can maybe ask your wife to help for that part of the set-up. Women are normally much more skilled".

The external power block trails a bell wire to a plug. Lichtenegger was unable to fully describe the nature of the power supply but it seems to be of a 'Never Connected' type. lt holds the speed changer buttons (33.33rpm and 45rpm) plus a 'standby' button.The selected button\light flashes until the required speed is met whereupon the flashing light becomes a steady emitter.

The low-profile deck itself holds a large 340mm diameter platter which EAT sees as an alternative to thick, small diameter platters. "With our platter, more mass is actually moving while the actual weight of the turntable is kept low" said Lichtenegger. On top of the platter is a fixed (recycled) vinyl mat."Nothing collectable was used though" quipped Lichtenegger. The platter sits on top of a belt-holding sub-platter and both are constructed from an aluminium/magnesium alloy sitting on a bronze bearing.

The motor is fixed in a lower plinth, separated from the tonearm and bearing by a suspended chassis,"They're constructed by a sandwich of carbon fibre and MDF.The suspension features a series of seven conical thermoplastic elastomer pieces to remove vibration" said Lichtenegger."They are far superior to Sorbothane". Produced by Ortofon, the elastomers were available in much widei more customised densities. EAT also found that this elastomer was far more stable than sorbothane, which changed its inherent properties over time. So, let's put the C-Sharp into perspective. If EAT can produce a turntable at a cheaper cost because i! owns the factory how does that equate to a competing manufacturer who does not and must out-source more expensive parts? How much should this C-Sharp turntable actually cost? "Probably around Euro 4,000" said Lichtenegger. Which puts this Euro 2,500 turntable into some sort of perspective.


I began the sound test without the use of the supplied clamp to judge the sound quality of the basic deck and then to see how the clamp altered the final sonic signature.

Spinning an instrumental piano rendition of 'You'll NeverWalkAlone' from Nina Simone with a cello accompaniment and minor secondary cymbal percussion, this complex rendition is adorned with frills and rolls that threaten to bloom and invade the cello space. 

Yet from the first few bars of this music, I was impressed by the solidity and maturity of the EAI'S output This turntable is obviously the result of some considered design tenets because there is a focus here which breeds confidence in the listener. 

Tonally, the piano was appealing and remained so as Simone upped her game and became more energetic in her performance.The rise to the final crescendo excited many piano resonances.At this point, the entire performance could easily have become uncontrollable yet the EATt low noise output helped to not only allow the ear to peek in-between each note but also prevented the ultimate upper midrange hardening at the top of the scale during the musical climax. Despite a touch of midrange dD/ness, the cello remained rhythmic while $e brief burst of treble via the cymbal was calm and rich in tone.

For a more up tempo contrast, I turned to David Bowie and his 'Alwq/s Crashing InThe Same Car' from his 1977 album 'Low'. Again, I was impressed with the low noise output on this track. lt certainly benefitted the overall Presentation. Despite a touch of midrange dryness again that slightly restricted the air and dynamic extension, there was plenty of detail revealed by the low noise rendition such as the shy rhythmic guitar that sat underneath the Bowie vocal. The EAT easily targeted this instrument, allowing my ear to make out the often hidden performance.The lead guitar, which has a tendency towards stridency in more uncontrolled turntables, not only exhibited tight control but offered no hint of being shouty or forward on the EAT all times the guitar was incisive and exacting. Percussion was also focused, althouth it was not the meatiest that I've ever heard. There was plenty of zip and vibrancy thought. 

Finally, the soundstage was both full and wide,giving the music a real epic nature while detail could be heard at each extremity, doubtless the result of the excellent arm performance, as confirmed by our technical tests.

It was at this stage that I decided to add the included clamp which I tightened onto the screw-threaded spindle. 

Replaying the Bowie track, I noticed an immediate change in the upper midrange.The dry aspect was gone. It now offered a more open and airy nature, confirming that the clamp was a necessary part of the decks design make-up.This allowed the vocal to sound breathy which enhanced the emotions during his delivery. It also pushed Brian Enoy rather subtle synth work to the fore, giving it a little more prominence while the high-pitched percussive effects had a rounded tone that enhanced their character. There was a downside, though, those same spacious upper mids also sounded slightly out of control, which ruined the previouslY admirable soundstage focus. 

I confronted EAT boss Lichtenegger with this issue and she confirmed that the clamP was only to be tightened on the screw-threaded spindle during installation. During play, she instructed, the clamp was to be left sitting loosely on the record spindle.The advertised 'clamp', in use, is actually a stabiliser, therefore ln this configuration, the sound quality immediately improved. Focus was enhanced in the upper mids with a concurrent lowering of blurring yet, I felt that the C-sharp was capable of more, so I removed the EAT clamp from the turntable. 

I returned to Lichtenegger with m),, conclusions and she was refreshingly open about the EAT clamp/stabiliser! properties. "Yes, there are much better clamps on the market. We like to listen to you and our customers.This is how we progress". 

This why I reached for the Oyaide STB-MS ({225) stabiliser instead. This design proved far superior, as it not only removed the bloom and blurring but extended, further, air and sPace while keeping the locus intact.l highly recommend this unit if you intend to purchase an tAl c-5harp as an immediate up-trade to replace the supplied EAT clamp/stabiliser. 

With the Oyaide stabiliser in place I then moved to Ananda Shankar (son of Ravi) and his early seventies,self-titled Production with a cover of the Rolling Stones ‘Jumpin' Jack Flash' on sitar’. 

I was impressed with the EAT’s soundstage structure on this track which was layered in a 3D fashion around the central stereo image with extensions to the left and right This pressing can be dangerously strident if not carefully controlled. l found the EAT performed this feat with ease, grabbing the track by the throat and forcing the oft forward upper mid-sounding female backing singers to remain calm and collected while percussion was self-assured without being hefty.

Moving onto the next track on the LB'Snow Flower', it was quite startling to hear the wide soundstage again. Secondary percussion displayed admirable clarity while bass provided a characterful presentation that added a secure foundation to the entire track.


The C-Sharp displays incredible value for money with its low noise output and controlled sonics that are both well-focused and mature in nature with an incisive and detailed presentation.

The EAT C-Sharp ran an almost correct speed, its error of +0.1% being inconsequentially small. Speed varied little around nominal too, suggesting a low Wow figure. This promise wasn’t quite delivered, basic rate Wow at 0.55H2 (33rpml was still in there. measuring 0.13%- a well constrained level- as our Speed Variation analysis shows this, The C-Sharp will not sound rock steady, but it will sound stable and free of obvious time-domain slur. The DIN weighted Wow and Flutter figure was low at 0.09%.

The carbon fibre arm was unusually well damped, with no sign of a first order bending mode around 200Hu - unusual. It is also stiff, the first visible bending mode being at a high 500H2. 

Our accelerometer shows a spiko at I kHz but this is narrow and encompasses little energy. The head shell is also very quiet mechanically. The arm will give good stereo separation, especially across the lower midband on drums and larger percussion. 

The C-Sharp tumble measures well and its arm looks superb: good sound quality is assured. 

What the ’S has, though, is a cheery personality, a forgiving nature and an easiness that will seduce the listener. It joins a growing band of utterly delightful, affordable components.
Review: Ken Kessler Lab: Paul Miller E

HI_FI NEWS VERDICT - Sound Quality 89% (very impressive)
As the outside world considers high-end audio ever more odd, many brands still need to grapple better with context. So this is not a budget phono stage by any means, but it is a great one, blessed with styling and ergonomics showing cognisance of needs beyond absolute sound quality – such as usability. I fell in love with it within 15 seconds, but it was still the sound that grabbed me above all else.

Inspired by the all-tube, two-box E-Glo phono stage launched in 2013, this more affordable ‘S’ version is a FET/tube hybrid with simpler PSU. A chip off the block? 

For three years, I have used EAT’s E-Glo phono stage as my reference. At circa-£6k, it’s hardly entry-level, but its appeal for me was its ability to accept two turntables, both with the full complement of adjustments. But how many people use two decks and want to, or can, spend £6k? EAT has responded to demand for a single-box, single-turntable alternative with the E-Glo S.

Has ‘cost cutting!’ just popped into your head, perhaps? But EAT’s CEO, Jozefina Lichtenegger, is a zero-compromise Alpha Female, so she wasn’t about to undermine her company’s reputation. She first appeared on the scene with VAIC valves at the turn of this century, and is as imbued in tube culture as anyone. It shows here, even with a hybrid design to complement the full-tube E-Glo.


Thanks to the factories, facilities and personnel available to her in Austria, Slovakia and the Czech Republic (her husband owns Pro-Ject), Jozefina was able to move from the manufacture solely of valves to turntables – and at higher price points than hubby’s – and, by extension, the phono stages through which to play them. As the E-Glo [see boxout, p53] found instant acclaim, its baby sister has a tough act to follow.

Most obvious is the move from a two box affair to a single chassis – you would be staggered at how much a metal box costs – with effectively half the facilities and accommodating only one turntable’s output. When placed side-by-side, one can see the reduction in controls, the E-Glo’s rotaries for capacitance and load impedance replaced by toggles that step, via logic-controlled switches, through the values. The gain settings on the back of the E-Glo, accessed by DIP switches, have also been replaced in the E-Glo S by a toggle. Also reduced are the number of settings for gain, impedance and capacitance, but not to a point where the user suffers. The E-Glo S still offers settings of 45dB, 50dB, 55dB, 65dB and 70dB gain, compared to the E-Glo’s range of 46dB to 72dB with finer gradations. The input capacitance settings are 50pF, 100pF, 150pF, 200pF, 270pF, 320pF and 420pF (where the E-Glo has eight at slightly different values), while input impedances include 10, 25, 50, 75, 100ohm, 1kohm and 47kohm (compared to 16 for the E-Glo, eight each for 70dB and 76dB, MC gain). Every setting is clearly marked and illuminated by a sequence of green LEDs on the chassis ‘fascia’.

As for the valve complement, it’s reduced from four ECC83s and two ECC88s to two TungSol 12AX7s in the E-Glo S. This uses two parallel FETs for the input in place of the E-Glo’s costly balanced transformer input, with a FET and grid-connected triode. Says Jozefina, ‘Such design has very low noise and good gain.’ 

Gone is the E-Glo’s massive outboard power supply, in an enclosure the same size as the phono stage itself, to be replaced here with an encapsulated 18V DC ‘wall-wart’

I have no special view about the merits, or otherwise, of subsonic filters, but I will admit to using them if encountering a warped record, or if I harbour suspicions about the rest of the system, or if I’m worried about blowing the cones in a vintage speaker. With the E-Glo S, the user has access to a mild subsonic filter at 20Hz with a 12dB/octave slope, using half of the Texas Instruments OPA2134 output buffer [see PM’s Lab Report, p55]. If the subsonic filter is switched off, the output is provided directly from this stage. RIAA equalisation is passive and there’s no global feedback.


What’s left after these alterations from E-Glo to E-Glo S is actually more fun to use because everything is accessible from the front, there’s less to worry about, and yet its still achieves more than most phono stages in terms of flexibility. It’s almost completely self-explanatory for those who already understand setting cartridge values, while installation is perfectly straightforward, the dual-mono construction splitting the back with RCAs for Left in/out and Right in/out, with the earthing post in between, and a socket to take the connection from the aforementioned wall wart PSU.

Behind the row of toggles are the two valves, peeping out from the top plate and these are protected by ‘cages’ made of horizontal rings – less evocative of an open-reel deck than the E-Glo, while also more confidence-inspiring than a brace of tubes without any protection. Moreover, because it is so closely related to its big sister, the E-Glo S oozes luxury. The impeccable matte-grey finish is accented by wooden end-cheeks and chromed switch gear. The connectors at the back are gold-plated RCA cinches with Teflon insulation.

Because the valves protrude from the top and the switches are on the upper surface of the E-Glo S, this unit, like its sibling, does not allow stacking – unless it’s on the top of the stack. The footprint is the same as the E-Glo’s, and you need only allow 100mm shelf height, provided you can see the toggles, as the valves don’t generate sufficient heat to be of concern. 


As stated, I already own an EAT E-Glo, which is set up with an SME 30/12 deck and Clearaudio Goldfinger MC [HFN Jan ’15] and Linn LP-12 with Arkiv, with an SME 30/Series V with Shure V15Vxmr alongside. While the initial listening took place through the Audio Research REF 6 [HFN May ’16] and REF 75SE amplification through Wilson Alexias [HFN Mar ’13], I also used the E-Glo extensively with the Quad Classic Integrated [HFN Jun ’11] and Spendor 11ohm LS3/5As and KEF LS50s [HFN Jul ’12], simply because of relative pricing.

Despite the original E-Glo defining my vinyl listening for the past three years, I had to give the E-Glo S a fair shake and not listen solely in comparison mode. I also had to hand an EAR 834P – a genuine classic – and a Pro-Ject tube phono amp, just to ensure perspective.

LPs used for the tests included the Mobile Fidelity ‘One-Step Process’ edition of Santana’s Abraxas [Mobile Fidelity UD1S 2-001 on two 45rpm LPs], the 45rpm double LP of Bob Dylan’s 1965 Highway 61 Revisited [Mobile Fidelity MFSL 2-463], The Police’s Ghost In The Machine [Universal AHRSLP005, half-speed mastered], Johnny Winter’s The Progressive Blues Experiment [Imperial LP12431] and the original 1961 45rpm single of Kyu Sakamoto’s ‘Ue O Muite Aruko’ [Toshiba JP-5083] on red vinyl!

I played that first, as it’s one of my fave songs of all time and the only one I memorised in Japanese should I ever need to face a karaoke microphone. Its upper frequency energy is intense, especially the vibes and brass. I’ve never heard it sound aggressive, but neither did I expect the extra silkiness to the strings. This was instant bliss as the whistling break oozed with presence and authenticity. There was no sibilance, no sizzle, just silk.


What was curious, but neither unpleasant nor disconcerting, was bass of an unusual richness. I knew I was hearing the signature of the E-Glo S, and it was consistent from cartridge to cartridge. That first pressing single heard through EAT’s E-Glo S was so sweet that my teeth shed enamel, yet there was a warm ’n’ fuzzy bottom octave that exhibited control without going super-restrained on the flow.

I was in love. I needed to hear something spacious but relentless. The Police’s Stewart Copeland is one of those kick-ass drummers who delivers more punch than small speakers can ever present with any sense of appropriate scale – which is hilarious when you consider that most people probably heard the hit version of ‘Every Little Thing She Does Is Magic’ via an old AM radio. 

The track’s opening cymbal flourishes were crisp, with just the right amount of splash. You were almost lulled into ballad mode. Then, at around 35 seconds in, Copeland lets loose the drums of war. The attack was enough to jar my teeth. It was simply glorious via the Alexias, though it didn’t trouble the small two-ways. 

Beneath it was Sting’s bass, as always recorded with panache. The E-Glo S demonstrated enough grip to convey sufficient impact, without veering into the sort of constipation that often affects solid-state phono amps. I was never a fan of this band – even less so now that we have to put up with Sting’s virtue signalling – but this had me rapt

No coaxing was needed to lock me in my chair when Johnny Winter was playing. The metallic twang of his National Steel on his first LP is exciting no matter what system you own, but full marks go to the E-Glo S for conveying the shimmery effect of the playing, from ‘Rollin’ And Tumblin’ to the last notes of ‘FortyFour’, and with speed and attack – already experienced with Copeland’s drumming – beneath that inimitable cross between a growl and a grimacing cantor


With the two MoFi releases, the matter of pressing quality became the acid test – would this phono stage allow the listener to experience the subtleties promised by both the ‘One Step’ and the 45rpm monos? As I have mint original pressings of these, I had already learned that the MoFis were in many ways superior to the LPs’ first incarnations. With the Santana LP, the nuances of his playing were easier to appreciate, less amorphous and more distinct.

Would the E-Glo S be able to match the E-Glo? Yes and no. Yes, in that the experience was as pleasurable and as coherent, but the costlier E-Glo delivered greater authority. When Jozefina voiced the ’S – and I hasten to add that her music diet is almost exclusively classical – she squeezed as much as she could out of its simpler design, but the power supply alone ensured that the two-box sister would always have the edge. 

This carries through to sound staging, which has no relevance with the Dylan albums, but certainly was evident with Abraxas. The E-Glo S has slightly less air and certainly creates a smaller soundstage, but equally, it illustrates the Law of Diminishing Returns with a vengeance, 

Leaving aside the obvious practical differences, including the capability to handle two turntables and the greater levels of set-up precision afforded by more settings for gain, impedance and capacitance, the E-Glo is still the more refined of the two.

What the ’S has, though, is a cheery personality, a forgiving nature and an easiness that will seduce the listener. It joins a growing band of utterly delightful, affordable components. 
........Ken Kessler

Bearing in mind that the E-Glo S’s hybrid J-FET/triode gain stages are powered from an 18V wall-wart DC supply there is a limit to both the equalised output level and available input headroom. Fortunately, the E-Glo S offers the graceful clipping of an audiophile valve amp so distortion increases linearly with output, from 0.14% at 1V to 1% THD at 5.8V and 3% at 9.2V (200Hz-5kHz). Distortion increases more swiftly at the frequency extremes, however, and especially through the bass where THD jumps from 0.035% at 20Hz/100mV to a whopping ~10% at just 500mV (0.5V) output [see Graph 2, below]. This reflects the input overload margins through bass frequencies. 

Nevertheless, the E-Glo S is very versatile. The specified +45dB, +50dB, +55dB, +65dB and +70dB gain options are all uniformly +0.8dB higher in practice and cater for pick-up outputs from 292µV (low o/p MC) to 5.25mV (high output MM). The generous gain, and passive RIAA, almost guarantees that input headroom is limited, in this case to just 42mV, 27mV, 17mV, 6mV and 3.2mV (for 1% THD), respectively. The figure of 42mV represents +18.5dB (re. IEC standard 5mV) which is equivalent to the peak groove excursion(s) carried by the most dynamic of LP recordings. As headroom is significantly lower at LF with the E-Glo S, and the A-wtd S/N is very wide at 87.8dB (re. 5mV in/1V out), I’d advise sticking with the +45dB gain setting for all MMs, and avoid very high output models. 

The last three gain settings offer a uniformly lower 67.8dB A-wtd S/N (re. 500µV in/1V out) when treated as MC inputs. The RIAA response is very flat and extended from –0.9dB/20Hz to –0.3dB/20kHz (though note ultrasonic boost on right channel here) and with the option of a 7950µs subsonic pole yielding –0.4dB/20Hz to –11dB/10Hz [see Graph 1, below]. PM
........Paul Miller E

Martin Colloms
Martin Colloms of HIFI CRITIC - awards EAT E-Glo phonostage a converted  "AUDIO EXCELLENCE" award.

"a sound that was modern in terms of accuracy, yet which also glowed with classical harmony. Stereo imaging was very fine, deep, wide and well focused, with natural tonality and a vibrant involving performance o all kinds of music. No noise, hardness or distortion could be heard. Highly recommended and clearly deserves an Audio Excellence rating".

The unit was deliciously quiet and hum-free, and it even looks and feels luxurious, but it was the sound that made my jaw drop, price notwithstanding.
Ken Kessler

SUMMARY: In comes piano, crisp percussion, rich bass, everything spread across the stage: the Petit filled the room with ease, belying any dynamic or spatial constraints one might wish to attribute to a wall-wart PSU.the Petit peeled away any vestiges of confusion which might be caused by the chaotic barrage around a minute from the end, before it fades back in... I could, perhaps, imagine how a drug-addled brain might read more into it than The Beatles intended, for this phono stage delights in conveying power and meaning.

REVIEW: As the most affordable of EAT'S three MMMC phono stages, the new E-Glo Petit has its work cut
Lout, as there are plenty of killer phono stages at this £1249 price point. Nevertheless you should still prepare to revel in a transistor tube hybrid phono stage bursting with facilities, in a package - not counting the 18V wall-wart power supply - with a footprint of only 226mm wide by 250mm deep. plus sockets and wooden cheeks.

Although it's a mere 90mm tall including the knobs, toggles and valve tops, it needs a few inches above to allow the heat to circulate, while the industrial design precludes anything being placed on top. And, at the risk of stating the obvious. the Petit's natural siting will be next to a turntable, as access to its operational facilities is, as I've hinted, on top.


What you see when looking down on it are two 12AX7 triodes, with metal discs supported by two 10mm posts to protect the glass tips that peek out from the top plate. Two Allen bolts hold these discs in place, and they are easily removed when it's time to change the valves. Between the valves and the front panel are two rotaries for setting the impedance, the left knob with eight settings from 10ohm to 1kohm, notionally for MCs, and the other with eight settings from 30k-75kohm, for MMs.

Five toggle switches provide left to right, power on, selection of either of the two impedance rotaries, two sequential types to scroll through gain and capacitance values, and subsonic filter onjoff. The capacitance and gain settings scroll with each press, the values indicated on the front of the unit via two rows of six miniature blue LEDs. Capacitance settings are 50/150/270/370/520/620pF and gain options are +40/45/50/55/65/70dB 

As PM gleefully pointed out in his commissioning notes, the new baby of the range actually has more gain settings than the costlier E-Glo S (HFN Mar '17], while the absence of an MM/MC selector means that you can match cartridge types according to the gain and impedance settings. I smiled upon realising that here was a rara avis, a phono stage that allows me to set my Deccas and Londons at near enough to the rumoured ideal of 68kohm impedance thanks to its 65kohm setting. I am not about to quibble over 3kohm, when I've had to make do with 47 kohm for decades, save for a rare spell with (if I remember correctly) an early Gryphon.

Quite where the economies come in, vis-à-vis the E-Glo S, I'm not sure beyond the half-sized enclosure and one less toggle. Like the S but unlike the original E-Glo, the Petit accepts only one turntable, hardly a sacrifice for the vast majority of analogue lovers. This also means a minimum of clutter around the back. The Petit is fitted with two pairs of gilded RCA phonos for signals in-and-out, an earthing post and the socket for power from the wall-wart. Because of the simplicity and the near-intuitive nature of the controls, as well as the caveat that all phono stages should be set by ear rather than hard-and-fast rules according to pick-up manufacturer specs, you will have this up-and-running in two minutes. Or less.


While I may dream of owning something like EMT's legendary JPA66 for ultimate cartridge matching, its price is way beyond my means. That's why I welcomed the E-Glo and the later E-Glo S for getting me part of the way there. But I must confess that I long ago gave up anally-retentive levels of obsessiveness, so the need for infinite settings is less important to me than, say, ample supplies of Colchicine for my gout. The E-Glo Petit certainly proved to be up to the task of matching a Kiseki Blue NS "The [HFN Jul '18), Koetsu Urushi (HFN Nov '17], its sibling is sure the jade-green Jo N°5 THEN Dec '18], a slew of Deccas to caus Londons, and anything bother else I threw at it.

There were no deal breaking, cautionary moments to relate to you, beyond a wee tingle if earthing wasn't addressed properly throughout the system and the need to ensure adequate ventilation, as with all tube equipment. Warm-up was a swift 10-15 minutes, the unit was deliciously quiet and hum-free, and it even looks and feels luxurious. But it was the sound that made my jaw drop, price notwithstanding.


From the instant I lowered the stylus and it delivered the first notes of The Beatles' remastered, eponymous LP known as the White Album [Apple 02567 57201), I knew I was about to enjoy one of those rare moments when fidelity and finance were not commensurate. The Petit belied its price in every way, elevating it to the ranks of other fine phono stages in the £1000-£2000 sector, such as Moon's NEO 310LP, Trilogy's 906, a couple of gems from Graham Slee and EAR's sublime 834P.

Resolving the sound of a passenger jet flying across one's soundstage, however, isn't anyone's idea of a definitive test unless one happens to be a pilot, so I moved swiftly to the 'Esher Tapes' and the gorgeous, acoustic version of 'Dear Prudence'. Just guitars and voice, with a glorious sense of space, it oozed 'analogue ness' if such a notion can be defined. It was velvety, open, free of any nasties. Nothing about it sounded cheap, let alone economical. This was serious, high-end worthy playback, so close in impact and coherence to its two-box big sister that it renewed my faith in the concept of trickle. down technology.

Admittedly, the unplugged, lean nature of The Beatles' working sessions - while vivid and untainted by processing - do not tax a system in the manner of the more complex tracks on the album. Resolving the manic, proto-thrash of 'Helter Skelter' was as far off the chart in the other direction away from the acoustic stuff as could exist in the same box set, and the way the Petit managed the layers of bass and fuzz guitar revealed its command of a completely different set of requirements.


This is one berserker of a track, with massed vocals at the back, descending guitars of various flavours, vicious stabbing sounds and machine gun drumming. I'm not about to declare an understanding of how it led Charles Manson to order a massacre, but the Petit peeled away any vestiges of confusion which might be caused by the chaotic barrage around a minute from the end, before it fades back in... I could, perhaps, imagine how a drug-addled brain might read more into it than The Beatles intended, for this phono stage delights in conveying power and meaning.

Breathless, I returned to something more genteel, The Band's Music From Big Pink (Capitol 06025674805325) on two 45rpm LPs. What stood out with this album was the massive, airy, echo-y sound of the organ that opens the majestic "Chest Fever' - an exercise in scale and depth that can rattle a room. In comes piano, crisp percussion, rich bass, everything spread across the stage: the Petit filled the room with ease, belying any dynamic or spatial constraints one might wish to attribute to a wall-wart PSU.

No, it did not possess all of the mass that was available via the E-Glo two-box flagship or the 's, but the x2 or x4 price increase needed to acquire the extra makes one stop and think. Skip to ' We Can Talk About It Now!, listen to the interplay between organ and piano, the back-and-forth vocals, the snap of the drumming, and try to resist its funkiness this sucker swings.


Even mono couldn't baffle it. Little Willie John's classic set, Fever Sundazed MH-80551, exhibited texture, richness and power, the title track oozing with sinister, menacing intent-despite it being a song of seduction. Luggling those emotions was John's skill: reproducing them is the Petit's. This unit embraces the nuances of vocals with the kind of finesse worthy of the best MCS. Yes, it's a dream partner for the lo No5, but the Kiseki and Koetsu MCS proved it could handle even more.

With 'Need Your Love So Bad", the Petit again handled the emotional component of a song with aplomb, complementing the raw bluesiness of the composition and the late night vibe of the backing. One can hear how the sax/piano/guitar interplay must have captivated a young Peter Green, who commandeered this masterpiece and put a new spin on it with Fleetwood Mac.

By treating everything with the equanimity, consistency and proficiency of units at twice the price, the Petit is going to cause a bit of bother for the 'S, while not exactly obviating its existence. That unit is richer, livelier, in many ways bigger-sounding, but the Petit behaves like a precocious kid sister. The conflict, "S versus Petit, reminded me in reverse of a Lovin' Spoonful lyric that the Me Too police have certainly outlawed: 'Did You Ever Have To Make Up Your Mind?".

As dilemmas go, there are tougher choices to have to make, so I'll not take the cowardly way out and revert to the price issue, arguing that one should choose what one can afford. Instead, I will at some point have to face distributor and manufacturer, both possibly furious that I'm raving about the less expensive of two models in the same family. Then again, decades ago, a legendary reviewer postulated that many mid-power amps were better than the kilowatt beasts at the top of the range.........Ken Kessler 

Priced as it is, the B-Sharp offers a high level of performance at a level that is cost effective for music enthusiasts with even a modest record collection.

REVIEW SUMMARY: it’s an exciting time to be an analog enthusiast. There have never been more great choices and just like in the world of racing, competition improves the breed. The EAT B-Sharp table you see here brings a lot to the party.

EXTENDED REVIEW: Built to the same high standards of the rest of the line, this baby features a suspended chassis, an exquisite tonearm (with a carbon fibre wand) and a pre-installed Ortofon 2M Blue MM cartridge that is accurately set up.

Everything you need is in the box, and the EAT manual is not only precise but features some decent photos and illustrations to talk even a novice turntablist through the procedure. Install the belt, the anti-skate weight, affix the counterweight and you’re almost ready to rock. Ortofon specifies a tracking weight of 1.8 grams, which after a bit of experimentation, proves spot on, so don’t bother. A quick check of azimuth and VTA reveals correct setup from the factory, so I suggest just setting the counterweight and getting down to business. A spiffy pair of interconnects are also supplied along with a 16-volt wall wart – so don’t lose it! Radio Shack won’t be able to bail you out if you do.

The plinth on the B-Sharp is standard MDF, unlike the coolio carbon fibre item on the C-Major we reviewed here, along with a few other obvious corners cut, but for nearly US$900 less, this is an amazingly good table for anyone bit by the vinyl bug looking for an upgrade from their starter turntable.

The Ortofon 2M Blue is an excellent cartridge choice, and a US$236 value on its own. This cartridge has received fantastic reviews world-wide, and it checks all the bases. It’s a competent tracker, has smooth frequency response and will work with any phono input you can plug it into.

Let’s roll!
Plugging the B-Sharp into the main rig with the Pass Labs XS Phono is pretty much overkill, but an easy way to cut to the chase and determine what this table is capable of. Even in the context of a six-figure reference system, the core sound of the B-Sharp shines through. The B-Sharp is a solid table, offering sonic performance at the top of its class in all areas.

A quick check of platter speed reveals everything up to snuff. The anti-skate adjusts with a threaded weight (just like my SME 3009) and is easy to nail down, along with the other adjustments, making fine-tuning, should you choose to install your cartridge.

Gliding through some acoustic recordings reveals general tonality and musical pace to be solid through the B-Sharp. There is an overall “rightness” about this table in a higher dose than you get in a budget $300 – $500 table. Comparing the B-Sharp to a few budget models with the same Ortofon 2M Blue, it underlines my theory that money is always better spent on a better turntable/cartridge combination than putting a mega cartridge on a cheapie turntable. The drum track in Bowie’s “Fashion” is rock solid and well-defined in the middle of multiple vocal overdubs, synth riffs, and Robert Fripp’s screaming guitar. No small feat for a reasonably priced turntable, and no doubt a result of successful implementation of the suspended sub-platter.

Listening to the recent remaster of Joe Jackson’s I’m The Man shows off the sheer spatial ability of the B-Sharp; painting a large soundstage in all three dimensions. This is what you want from analog, but don’t get from budget tables. Finally, the tonearm/cartridge interface is superb, with the 2M Blue turning in one of the best performances I’ve heard. Joni Mitchell’s “Jericho,” the last track on side one is notoriously tough to track through, yet the B-Sharp handles it easily.

Attention to details
While they might not all contribute to sonics, the build quality of the B-Sharp is excellent throughout, and this is a table you’ll love having on your equipment rack, or wherever you choose to place it. The plinth has a lovely gloss black finish, and the tonearm is a work of industrial art. I particularly like the small magnet in the middle of the tonearm wand that holds the arm solidly in place when not being used instead of the spindly clamp used on most turntables. (not just budget models)

For those that can’t leave well enough alone and love to upgrade, the B-Sharp offers standard RCA outputs rather than locking you into a budget tonearm cable, ultimately limiting the table’s performance. While the B-Sharp is supplied with a decent cable, swapping it out for a $200 Nordost White Lightening cable, extracts even more music from this combination, offering a boost in clarity and dynamic jump. It’s thoughtful of EAT to give you an upgrade option.

The 2M Blue is a great all-rounder, but swapping the 2M Blue for a 2M Black ($749) provides a significant upswing as well, underlining just how good this table/arm package is. Whether you just leave it stock or plan on upgrading your B-Sharp, this is a great little table that can take you a long way down the analog path, providing a clear upgrade path as your enthusiasm and available funds grow.

Sweet spot
Priced as it is, the B-Sharp offers a high level of performance at a level that is cost effective for music enthusiasts with even a modest record collection. If you’ve even bought 100 records, you’ve invested more than a B-Sharp, and your records deserve to be treated well. It proves to be an excellent performer with current and vintage gear and considering the cost of a great vintage receiver these days, not out of the budget. I had just as much fun with the B-Sharp, and the new Rega Brio integrated as I did a recently rebuilt Marantz 2245.

One of the toughest parts of participating in the wacky world of analog is agonising over cartridge choice, and equally so, cartridge setup. That US Importer VANA handles this tough choice for you is not only welcome, but a great way to get you listening to records right now, rather than sweating the rest.

....... rivalling my US$6000 excl tax cartridge. The Jo sings naturally with impressive, immersive realism. With no etch or lumpiness, I hear a reel-to-reel tape presentation, not an LP.
Robert H. Levi

SUMMARY: The Jo makes great work of this ultra-dynamic LP, produced to challenge the ultimate cost-no-object cartridges and systems. The Jo gives up a small amount of depth and a bit of textural layering, while retrieving pinpoint imaging with a focus unmistakably improving upon my US$3500 excl tax reference cartridge, and rivalling my US$6000 excl tax cartridge. The Jo sings naturally with impressive, immersive realism. With no etch or lumpiness, I hear a reel-to-reel tape presentation, not an LP.

REVIEW: No, I did not make up the name. Yes, Josefina Lichtenegger is CEO of EAT, European Audio Team, and is both chief audiophile extraordinaire and chief designer. Her beauty is only matched by her exquisite taste, and both seem employed in all EAT products. This is very refreshing as most of the audio industry appears stuck in the old "form follows function" routine:  black, rack, and handles! 

Now playing on the latest EAT turntable representing high value and near state-of-the-art performance, the Csharp turntable plus the EAT Csharp arm, customed designed in-house by their team, is the EAT Jo No. 5 MC Cartridge. I speculate that the name is a reference to Chanel No. 5 perfume, as there are no Nos. 1-4 cartridges, makes this elegantly mysterious cartridge that much more exciting.

The Mint Green is an EAT house color and it visually pops. Plus, at only NZ$2,000 incl tax, it challenges my favorite $3500 cartridge reference for best overall definition, imaging, and musicality. I cannot even suggest a cartridge at Jo's price that comes close in overall performance. 

The layering of polyamide ceramics to create the body appears to be a sonic breakthrough with tremendous cost savings, too, which are passed along to the audiophile. The Jo was designed in-house, and the motor was provided built to EAT specifications. Also featured are an expensive top of the line nude diamond stylus shape and aluminum cantilever, which reduce LP surface noise by a significant amount and strongly enhance definition. What a deal!

How Good Is It?

The reissue of the Three Blind Mice LP Greensleeves was produced by Impex Records and The Los Angeles and Orange County Audio Society. The Jo makes great work of this ultra-dynamic LP, produced to challenge the ultimate cost-no-object cartridges and systems. The Jo gives up a small amount of depth and a bit of textural layering, while retrieving pinpoint imaging with a focus unmistakably improving upon my US$3500 excl tax reference cartridge, and rivaling my US$6000 excl tax cartridge. The Jo sings naturally with impressive, immersive realism. With no etch or lumpiness, I hear a reel-to-reel tape presentation, not an LP.

I would have said just last week Jo's performance was impossible at this price point! With the Jo in my system, not this week! The Hammond B3 organ on the Greensleeves LP is solid, textured, and controlled down to subterranean frequencies.

Greensleeves has about the deepest, fullest, most detailed bass ever recorded at 33.3. Jo does not disappoint in the slightest. The guitar body and strings get equal emphasis. The punch and dynamic power of the drums are exciting and powerful. Jo has as much heart as accuracy...she is quite a lady.

Now you understand my glee!

More Details

I found a tracking force of 2.3 grams perfect, and therefore recommend it. A 240 ohms load brought out a mellifluous performance, and the Jo was already sounding great after a brief run-in. I recommend 100 hours of playing time for max performance if the cartridge is new. I demagnetised it with the Aesthetix demag before serious listening.


........every free waking moment listening

Hi Terry,

Still spending every free waking moment listening to the awesome EAT Forte-S turntable.......



EAT Massive LP clamp solved the problem...

Hi Terry
The LP clamp arrived yesterday afternoon, thank you.
It has solved the bumping cartridge problem and seems to have tightened 
the bass up slightly as well...
Excellent service as always.


European Audio Team vacuum tube production