I can't help but feel this is a cheap table dressed up with a nice arm. And, nice as the arm is, the Rega RB250 and RB300 are now and will remain the gold standards in budget tonearms probably for the rest of our lives. In 2005, a hangy-downy weight on fishing line just seems like cutting corners, not to mention a headshell that's fused on, and not integral like the Regas.
Which brings me back to the Rega tables -- they look better built because they are. Even the dustover is thicker and more durable. But most importantly, they have an all-of-a-piece design with synergy as the goal. If the Xpression works, I feel it does so by accident. Also, my experience with the Czech built Music Halls (made in the same factory, I believe) was downright rotten.
So, if the Xpression does in fact have an edge in sound quality, it's at the expense of long-term reliability and pride of ownership. I'm listening to a 25-year-old Rega Planar 3 right now and it looks and sounds as good as ever -- second only, at the time, to the LP12 (though obviously the state of the art has advanced considerably since). I don't know if any of the Pro-Ject designs will have that kind of longevity. Time will tell.
Finally, there is no upgrade path with the Xpression. With the Regas, you can upgrade the counterweight, try an acrylic platter or take advantage of any number of aftermarket tweaks. I think it says something that the aftermarket ignores Music Hall and Pro-Ject designs. And also that parts and upgrades from the manufacturers are scarce. If I were an owner, I'd be concerned that I was sold a "throwaway" built like a $200 DVD player and meant to be tossed out as soon as it malfunctioned.
I can agree on the Denon DL-110 cartridge -- unquestionably one of the finest HO moving coils made and, along with the DL-160, one of the best values as well.
But for me, Rega stands apart because even their cheapest tables can be a lifetime investment that will be supported by the factory for as long as you own them.
All that said, the more the merrier. Competition only serves to make everyone's products better, and despite my concerns about its build quality and long-term "ownability," the XPression does indeed seem to offer some serious competition.
Which brings me back to the Rega tables -- they look better built because they are. Even the dustover is thicker and more durable. But most importantly, they have an all-of-a-piece design with synergy as the goal. If the Xpression works, I feel it does so by accident. Also, my experience with the Czech built Music Halls (made in the same factory, I believe) was downright rotten.
So, if the Xpression does in fact have an edge in sound quality, it's at the expense of long-term reliability and pride of ownership. I'm listening to a 25-year-old Rega Planar 3 right now and it looks and sounds as good as ever -- second only, at the time, to the LP12 (though obviously the state of the art has advanced considerably since). I don't know if any of the Pro-Ject designs will have that kind of longevity. Time will tell.
Finally, there is no upgrade path with the Xpression. With the Regas, you can upgrade the counterweight, try an acrylic platter or take advantage of any number of aftermarket tweaks. I think it says something that the aftermarket ignores Music Hall and Pro-Ject designs. And also that parts and upgrades from the manufacturers are scarce. If I were an owner, I'd be concerned that I was sold a "throwaway" built like a $200 DVD player and meant to be tossed out as soon as it malfunctioned.
I can agree on the Denon DL-110 cartridge -- unquestionably one of the finest HO moving coils made and, along with the DL-160, one of the best values as well.
But for me, Rega stands apart because even their cheapest tables can be a lifetime investment that will be supported by the factory for as long as you own them.
All that said, the more the merrier. Competition only serves to make everyone's products better, and despite my concerns about its build quality and long-term "ownability," the XPression does indeed seem to offer some serious competition.