Dual CS-618Q Semi-Automatic Turntable Review

Dual

CS-618Q Semi-Automatic Turntable

USD $1,099 (Black)

Audiophiles often forget that they're a tiny subset of the population. While we may have no qualms about lifting our turntable's tonearm at the end of an LP record, most normal people do – and that's assuming they even play vinyl any more. That's why there was, is and always will be a market for automated turntables - for those worried about damaging their prized vinyl records or expensive stylus. Dual is a brand that made its name making such products, and in the nineteen eighties, it had a huge market share.

As per tradition, its new CS-618Q is a semi-automatic deck that gently lifts the tonearm and stops the motor at the end of an LP side. As far as I'm concerned, that's all you need in terms of automation; it's easy to lower the stylus into the lead-in groove of an LP, but it's a pain to rush across your listening room to raise it at the end. This is Dual's top turntable, notwithstanding the limited edition reference model, and sports a more expensive arm, cartridge and drive system than its cheaper stablemates. Interestingly, it uses a brushless direct-drive motor, whereas most turntables are belt-driven these days. Those with long memories will recall that the company has plenty of experience with this drive system – as models such as 1978's CS604 showed.

UP CLOSE

Direct drive motors have several advantages over belts, providing they're implemented properly. You get swift and seamless speed changes for playing singles at 45RPM, greater long-term consistency of operation and arguably sound quality too – as they tend to have better speed stability (i.e. lower wow and flutter). Like the Dual, most use a quartz crystal oscillating at a very high frequency to provide a highly accurate reference point for the motor's servo – akin to a quartz watch. The company says it has focused on smoothness and stability in its motor design rather than outright torque, as this is clearly a specialist hi-fi product, not a DJ deck.

The substantial MDF plinth feels weighty and comes in a choice of vinyl veneer, gloss black or real walnut veneer – with a small price premium for the latter. The motor, with its hardened steel spindle, is rigidly mounted to the plinth – and the aluminium diecast platter fits snugly on the brass-collar bushing interface fitted around the bearing. It spins freely and gets up to speed quickly.

A 2.5mm thick rubber mat sits between the platter and record; together, the platter and mat weigh a decent 1.45kg. As per more recent Dual tradition, there's no independently sprung subchassis – instead, the deck's four feet have soft elastomer vibration absorbers fitted inside. They give pretty decent vibration isolation, assuming the deck is sensibly placed.

Dual is famous for its high-quality tonearms, and it seems the baton hasn't been dropped here. The CS-618Q's has a straight aluminium armtube with an effective length of 221.5mm; the arm uses four pivot ball bearings in a twin gimbal design to control movement in the correct planes. It looks great, and those familiar with Dual's products over the decades will see the family resemblance. A rotary anti-skating adjustment dial is provided for skating compensation via a spring. It should be set to match the tracking weight. The headshell is detachable and comes fitted with an Ortofon 2M Blue MM cartridge, which is a good choice.

At the rear of the CS-618Q is a switch to choose either the standard phono output (to connect to your phono input), or a line output (to connect to the auxiliary input on your amplifier) in case you don't have a phono stage on your amplifier, or to connect to powered speakers or soundbar. It's a useful addition. There is a pair of RCA audio connectors and a ground screw, meaning that you are also free to use your own higher-quality RCA cables. There's an Auto Stop switch to turn this function on or off at the end of a record. Power is delivered via a 12VDC 2A external supply.

A removable cover is supplied, which protects the deck from dust and small, overly inquisitive hands; it can also be left off if required. The turntable is designed in Dual's own design centre in Germany and manufactured in China to high production standards, with impeccable fit and finish. My review sample came with a walnut-veneered plinth, which looks great. A respectable five-year warranty is supplied from the factory.

GETTING GOING

Setting up a new Dual straight out of the box is quite simple, and I doubt it will cause any issues for first time users. The manual describes everything simply but comprehensively. You just need to place the platter and mat on the bearing spindle, fit the detachable headshell and cartridge, fit the tonearm counterweight, balance the arm and dial in the tracking weight and corresponding anti-skate value. Connect the external power supply and then the RCA cable to your amplifier. I used high-quality interconnects of known sound quality for this review. Finally, balance the deck so it sits level on the playing surface with shims, as there is no height adjustment from the supplied feet.

I checked the factory alignment of the cartridge, and it turned out to be fairly accurate, but the vertical tracking angle appeared to be a couple of millimetres too high. However, with heavier (thicker) records or a different platter mat, all would be fine, and it doesn't really compromise the setup. The cartridge screws were not over-tightened, which shows care by the assembler.

For my listening tests, I used a Yamaha R-N2000A amplifier, mostly through its internal phono stage, along with a Hagerman Audio Labs Bugle MC and Project DS2 phono preamplifier. Both offer great sound, but different flavours of it! After about twenty hours of playing, I found that a tracking weight of 1.6g sounded best; it is within the specified 1.5 to 2g range. The dustcover was left off during critical listening as it can degrade the sound, something which is the case with all decks and not just this one.

THE LISTENING

The Dual CS-618Q has a coherent and balanced sound that suits all types of music without leaning towards any particular strength. It has a tidy and organised character with everything in the recording playing as it is supposed to – which is not something you can take for granted with affordable turntables.

Take, for example, Give Me The Nightby George Benson. The quality of this Quincy Jones-produced album shines through. There's a rhythmic drive that feels infectious, and it sets the tempo for the instruments playing together without undue dominance by any particular musician. The lead vocal is forward of the rest of the group, and both male and female backing singers are well separated. Treble is smooth and extended, with air and space around the instruments. Bass is tight and punchy, with good speed, but it isn't the last word in power or slam. This deck gives a balanced sound that suits most genres without bias.

Abandoned and Pursued from the ET Movie Soundtrack by John Williams showcases the dynamic range and scale of a large orchestra, and the CS-618Q doesn't hold back here. My MCA Records audiophile pressing from 1982 was pressed with Teldec virgin vinyl and sounds great. Strings are well controlled, smooth, and easy to listen to, and the horns have suitable bite and edge. The midrange is open and uncluttered. When the music builds to a crescendo, the volume rises, yet everything sounds clean and detailed without becoming harsh. It sails through without raising a sweat. Elsewhere on the album, the delicacy of the deftly plucked harp and haunting flute work make it enjoyable and rewarding to listen to.

Listening to Conquistador on Procol Harum Live: In Concert with the Edmonton Symphony Orchestra, and the Dual plays confidently with lots of detail and good soundstage. Focusing on the dynamics of the track, it feels like it plays things a little safe and doesn't have the big bass note slam of some other turntables I have owned. That said, it certainly displays good transient speed and musical cohesion, which is preferable to a lumpy, uneven sound. The track's energy came across well, without the bass unduly swamping the midband.

Moving to the Hagerman Audio Labs Bugle MC phono preamp, and there was more rawness to the sound, with a little extra weight in the bass. However, some of the deck's innate smoothness seemed to be lost compared to the Yamaha's internal phono input. Still, it really worked well with Tone Loc's I Got It Goin' On, with great cohesion and the correct emphasis on snare and kick drums. The deck's internal phono stage wasn't so good by comparison, sounding a little dull and opaque – with less depth to the recording. All the same, it was still reasonably good fun and will keep you sweet until a decent phono stage can be afforded.

THE VERDICT

Dual's latest CS-618Q is a polished performer, with a characteristically smooth and unbiased sound. Its speed stability is exemplary, and the build quality is what you would expect at this price point – it gives the feeling that it will play reliably for decades to come. I am also happy to say that I can see no compromise in the design when it comes to the semi-automatic functionality. It's a handy feature, and although it might annoy turntable purists, it proved nice to live with.

Finally, the bundled Ortofon 2M Blue moving magnet cartridge is a good starter choice, but this deck is capable of tracking better types should you so wish. Thumbs up for the built-in phono stage, but upgrade as soon as you can. Overall, if you want an affordable, sweet-sounding, user-friendly vinyl spinner, then this has real appeal.

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