Are Bang and Olufsen turntables any good?

I have a Beogram RX2 and just pulled the MMC2 cartridge out and bought adapter for standard mount.I don't like the cueing and the way the arm works on that table at all.I have several Dual 1200's and a Rotel I'd like mount the MMC2 on.I'm not dismantling my Clear audio virtuoso wood off my Rega to hear what it sounds like on the Rega.The MMC2 sounded like it needed a better table than on the RX2.The Rega Clearaudio combo sounds much better.Any thoughts on the quality of RX2 to the Dual's or Rotel with the MMC2?I just got the adapter and haven't mounted it yet.

As others have brought up...the limited use only using B&O carts on B&O tables kind of takes the fun out of it...iI always felt B&O was overpriced related to performace...but if your table functions and the cart is clean...go for it!

they are not great compared to what can be had some similar prices. Technics 1200, Thorens, Rega...

Not a fan of the cartridige mount either, it narrows selection.

I really like B&O turntables, have owned many, and currently have two - a modified Beogram 4004 with an MMC20CL, and a stock Beogram 8002 with an MMC1. They are terrifically out-of-vogue in audiophile circles . . . but every "hot-ticket" vintage turntable that people swoon over on these fora have also been spurned at one time or another.

One problem is that the very newest B&O turntables are over twenty years old now, and most of the more collectable ones are 35-40 years old. Like any machine, performance varies WILDLY with condition, and it's hard to anecdotally assess the difference between a top-notch restored turntable, and one that's simply been twiddled-with on somebody's kitchen table. But this no different from the Thorens TD-124, Garrard 401, or Micro RX-5000 . . . I've owned all of these as well, when they out-of-vogue. They were just like the B&Os in the sense that they sounded pretty wretched when they weren't in good working order.

But here are some classic B&O disadvantages:
- Arm, cartridge, and turntable are engineered as a unit, so you can't twiddle with different combinations or setups.
- They're largely automatic, and not really designed for hands-on cueing.
- Most of them have DIN output plugs, with both sides of the cartridge sharing a common ground connection (but chassis is still separate, to the DIN shell). Many phono preamps don't like this, and can have weird noise/RF issues as a result.
- Many people feel that they're a bit bass-light, even though they generally measure very flat through the lower bass. If you're looking for your LPs to sound "warm" as compared to digital sources, you'll be disappointed.

And some of their classic advantages:
- Arm, cartridge, and turntable are engineered as a unit, so they are extremely well matched without having to twiddle. Their tonearm/cartridge resonance envelope is pretty flat and well-controlled . . . "woofer-pumping" is extremely rare even with warped records.
- They're largely automatic, so if you enjoy intoxicants with your music-listening, there's far less chance of damage. Not to mention that most of them since 1977 can support remote-control operation with a B&O system (or a bit of PIC programming)
- B&O cartridges offer exceptional performance at their original price points, and the Sound-Smith versions are pretty damn good too.
- Tracking performance is generally outstanding at all points on the record, even on the pivoted tonearms.
- If you combine the attributes of acoustic isolation, resistance from foot-fall issues, and consistency of performance regardless versus the shelf/stand on which they're placed . . . B&O had arguably the best suspension system of any turntable, at any price, period.

People sometimes criticize B&O for "value", but many of these turntables weren't very expensive, and can be had pretty cheap today. The last was the Beogram 7000, which sold for about $600 new in the early-1990s, with a built-in phono preamp - then one would add an MMC2 cartridge for $225. I've owned this setup, and it completely embarrasses any of the more entry-level offerings from Rega, Pro-ject, Clearaudio, Music Hall, etc. No twiddling, no special shelves or racks, and absolutely no mistracking or acoustic feedback. Made in Denmark, too . . . every one.

I inherited a Beogram RX2 some years ago. It sat in storage for years. About 2 years ago, when I set up a second system, I got it out and tried it. It sounded horrible! I discovered that the stylus was gone. Epoxy probably degraded. As I recall it is a MMC4. I found out that the only place to get a replacement was Soundsmith and it would cost me over $200. The Beogram went back into storage.

Things have changes a lot since then. My second system has become my best and includes an Oracle Alexandria which makes me very happy. Except for casual listening, when I don't want to be forced to get to it before the stylus hits the label. So I've been looking for a used Dual 1229 or something like that as a second table. Then I remembered the RX2.!

So I am researching the sound quality of the the RX2/MMC4 or 3 combo. Is the table worth an investment of $200 to $300, or would it be better to get a used DD or Idler wheel  (for a different flavor) for the same cost? Please don't say 'trust your ears', because my ears can't offer an opinion until the money is spent. Think more like 'what would I do.'