If the name TEAC is unfamiliar to you, here’s a short history. The firm was founded in 1953 as the Tokyo Television Acoustic Company. In 1956, an affiliate, the Tokyo Electro-Acoustic Company, was formed to manufacture reel-to-reel tape recorders. Subsequently, the two companies merged to form TEAC Corporation. From the ’60s to the ’90s, TEAC was best known for its reel-to-reel tape recorders and cassette decks. When those fell out of fashion, the brand withdrew from the North American market.
Now, TEAC is back with a broad range of hi-fi gear that includes amplifiers, preamplifiers, a unique CD player–cassette deck, DACs, and a range of turntables. The subject of this review is the company’s mid-line turntable offering, the TN‑3B‑SE (US$569.99, CA$649.99, £399, €399), which is one step down from the TN‑4D‑SE turntable I reviewed just over a year ago. The TN‑3B‑SE comes with a pre-mounted Audio‑Technica AT‑VM95E cartridge and has a built-in phono preamplifier.
Description
The TN‑3B‑SE is a fully manual, belt-drive turntable with a die-cast aluminum platter and an MDF plinth that is said to minimize transmission of external vibrations to the tonearm. Designed by Japanese tonearm specialist SAEC, the S-shaped arm employs a knife-edge pivot-point bearing rather than the more common gimbal bearing. TEAC claims the knife-edge design improves stability and resolution. Factory-mounted in the interchangeable headshell is the near-ubiquitous Audio‑Technica AT‑VM95E; a decent, if not exciting, choice. Performance can be easily improved by replacing the supplied bonded elliptical stylus with A-T’s higher-priced, nude-mounted Microlinear stylus.
My review sample was finished in an attractive gloss black; the TN‑3B‑SE also comes in gloss white or a high-gloss, deep red finish that TEAC calls Cherry. With the dust cover closed, the TN‑3B‑SE measures 16.5″W × 4.6″H × 14″D and weighs 11 pounds. It comes with a 12V universal power supply and three power plugs, a felt platter mat, a 45-rpm adapter, and a decent set of interconnects that includes a captive ground wire.
On the top surface, to the right of the tonearm, is a three-position switch with Off, 33, and 45 settings. From left to right on the jack panel at the back, you’ll find the ground terminal, RCA output jacks, a switch that takes the built-in phono preamp in or out of circuit, the connector for the power supply, and the standby switch. TEAC advises users not to connect the power supply until all other connections are made.
The TEAC TN‑3B‑SE comes with a one-year manufacturer’s warranty.
Setup
My review sample came triple-boxed and was in perfect shape. However, I had some difficulty unpacking and re-packing the TN‑3B‑SE. Upon opening the box, I found a cardboard panel whose purpose appears to be to hold an envelope containing the owner’s manual in place on top of the dust cover; the envelope also contains the drive belt and 45-rpm adapter. There’s also a silver cover for the motor pulley with slots for the belt. The protected dust cover lifted out easily. Then it was time to extract the turntable, which was secured by two forms, one of which had places for the headshell, counterweight, and power supply. The next step was to remove the turntable from the forms and take off the fabric that protects the plinth finish. Next, I saw the felt mat for the platter. In the bottom of the box was a separate container holding the platter itself.
The belt goes around the motor pulley and then is looped around the platter. This is not the easiest procedure in the world, but at least the belt is flat. After the belt is situated, put the pulley cover over the motor pulley. Then, it’s time to attach the headshell and screw the counterweight onto the back end of the arm. At first, I had trouble setting the vertical tracking force; no matter how I tried, I couldn’t get an accurate reading. Then, I realized that the arm-lift mechanism was set too high and didn’t allow the arm to move freely. As it happens, there’s an adjustment screw that allows the user to lower the arm lift. After I made that adjustment, I balanced the tonearm and set the tracking force to the recommended 2g, and set the antiskate control to 2 to match.
The last step is to make the connections. I connected the TN‑3B‑SE to my vintage Apt Holman preamplifier using the supplied cables. For most of my listening, I used the phono stage in my Apt preamp. But, as documented in the Comparison section of this article, I also used the TEAC ’table’s built-in phono preamp. The Apt preamp was connected to my NAD C 275BEE power amplifier via Morrow Audio MA1 interconnects, and a set of Nakamichi Excel Series 12-gauge OFC speaker cables connected my Acoustic Energy Radiance 3 floorstanding speakers to the NAD amplifier.
When it came time to power up the TEAC ’table, I ran into a snag. You have to install the AC adapter insert appropriate for your region, but the North American–style plug would not fit into the AC adapter’s receptacle, no matter how much I wrangled with it. I contacted TEAC and they provided another power supply. This time, with a little manipulation, the plug fit into the power supply.
Now I was ready to spin some vinyl, but before doing that, I checked speed accuracy using the RPM Speed & Wow app on my Android phone. TEAC specifies wow and flutter of ±0.1% or less, and the RPM app registered wow at both the 33 and 45 settings as 0.08%. Rotation speeds were a bit fast: 33.7 rpm (+1.09%) at the 33⅓ setting and 45.16 rpm (+0.36%) at 45.
Listening
As usual, I began my listening with a classical piece. The first movement of Beethoven’s Concerto for Violin and Orchestra in D Major, Op. 61, with soloist Christian Ferras and the Berlin Philharmonic Orchestra conducted by Herbert von Karajan (Deutsche Grammophon 139 021), recorded in 1967, isn’t ideal. For example, the wind section during the long buildup to the soloist’s entry sounds muddy on my reference system. But the rest of the orchestra sounds fine, particularly the Berlin strings, as does the soloist. The TEAC turntable and A-T cartridge reproduced Ferras’s violin immaculately. The attacks were precise. I was hugely impressed by the way the turntable reproduced the long trill sections during the solo cadenza, combining wonderful delicacy and precision. The timbre of his instrument was extremely fine, especially when he is playing with verve.
Craving some big-band jazz, I pulled out Hollywood . . . Basie’s Way by Count Basie and his Orchestra (Command RS-912-SD)—a very fine stereo recording, also from 1967—and dropped the needle on “A Fine Romance.” In this arrangement of the song from the Fred Astaire–Ginger Rogers movie Swing Time, the famous Basie sax section is on the left, the trumpets and trombones on the right, and double bass and drums are in the middle, along with Basie on piano. From the beginning, the sound was great. The tune starts with a short solo by Basie on piano that came through full-bodied, with a perfect rendition of the Count’s unique playing style. When the saxes take over, the TN‑3B‑SE offered up that smooth, mellow sax sound for which the Basie band was praised; the brass instruments’ quick counterpoint also sounded exceptionally fine. Basie’s solo was pure-sounding and very precise, making the middle section of the tune a joy to hear.
Recorded one year later, The Resurrection of Pigboy Crabshaw by the Paul Butterfield Blues Band (Elektra EKS-74015) blends big-band elements with Chicago blues. Along with the usual mix of electric guitar (Elvin Bishop), keyboards (Mark Naftalin), bass guitar (Bugsy Maugh), and drums (Phil Wilson), there’s a wind section comprising David Sanborn on alto sax, Gene Dinwiddie on tenor sax, and Keith Johnson on trumpet—and of course Butterfield himself, singing and playing harmonica. This is a spare-sounding album—there’s no sweetening of any kind, rather like a garage-band recording. My favorite cut is “Run Out of Time,” in which the band sounds a bit like a faster-paced Blood, Sweat & Tears. Just left of center on the soundstage, the TN‑3B‑SE presented Butterfield’s bluesy vocals and Bishop’s edgy guitar, both sounding strong—almost fierce, in fact. Johnson’s crisp riffs on trumpet were just as convincing, as were the hard-hitting snare rolls that drive the song forward.
I am a huge Byrds fan, and love their 1966 album Fifth Dimension (Columbia CS9349)—especially “Eight Miles High,” a song about the band’s tour of the UK. At the time, bandleader Roger McGuinn was experimenting with the sitar and raga-influenced music, and plays sitar-like melodies on his Rickenbacker 12-string guitar, which blazed just left of center, supported by Chris Hillman’s propulsive bass lines on the far left. It was just as amazing to hear Gene Clark’s lead vocals, backed by harmonies from McGuinn and David Crosby, sounding so smooth and clean.
Eric Clapton went solo in 1970 after having been in bands such as John Mayall’s Bluesbreakers, the Yardbirds, Cream, and Blind Faith. His eponymous album (Atco SD 33-329) features A-list LA studio musicians, including Leon Russell, Bobby Whitlock, Jim Gordon, and Delaney and Bonnie Bramlett. My favorite cut is “After Midnight,” which Clapton takes at a breakneck pace. Frankly, the sound on this LP is good, but not great, with the background instruments a bit muted. But played on the TN‑3B‑SE, Clapton’s guitar was right up front and searing, highlighting the incredible attacks and virtuosic fingerings that add life and color to the song. The vocals, Clapton’s lead and the backing voices, were clear and added to the drive of the guitar. I think this is another case in which the TN‑3B‑SE extracted all the sound it could from a less-than-exceptional recording.
Comparisons
To assess the TEAC ’table’s built-in phono stage, I used Gordon Lightfoot’s “Canadian Railroad Trilogy,” from the 1975 compilation Gord’s Gold (Reprise 2RS 2237), because it features Lightfoot’s unique voice backed by a multitude of instruments. Despite dulling the highest frequencies slightly, the TN‑3B‑SE’s onboard phono stage sounded quite good on this track. Lightfoot’s vocals were solid, and bass and midrange sounds were very realistic. My Apt Holman preamplifier provided more high-end sparkle, but in most other aspects, the two were quite close. Given the high regard in which the Apt’s phono section is held, that speaks well of the TEAC’s phono preamp.
Recently, I purchased a Technics SL‑100C (US$1099.99) as my new reference turntable. It comes with an Audio‑Technica AT‑VM95E cartridge—the same model that’s supplied with the TN‑3B‑SE. I later replaced the AT‑VM95E with the Goldring E4 (US$299), but to make this comparison as even as possible, I put the Audio‑Technica cartridge back on the Technics turntable. Then, I spun a 12″ 33⅓-rpm single of the Doobie Brothers’ “What a Fool Believes” (Warner Bros. WBSD‑8778).
On the TEAC TN‑3B‑SE, it sounded quite good. One thing I noticed was that a wood block struck by a mallet on the left channel would echo on the right—I had never noticed that before. The soundstage was broad but not especially deep. Michael McDonald’s distinctive voice was in front, but barely, and the band was right behind, stretched from left to right. The highs were not quite as crisp as I anticipated, but overall, it was a good performance.
Moving to the Technics, I immediately noticed those missing highs. And I could tell that the wood block in the right channel was not an echo; it was another block being struck slightly behind the one on the left, and actually made more sounds, albeit at lower volumes. Soundstage width and depth were about the same on both turntables. Given the fact that the Technics ’table costs about two times as much as the TEAC, I’m impressed with how well the TEAC stacked up in this comparison. Yes, it lacked that last bit of high-frequency sparkle, but that was the most significant difference I heard.
Conclusion
The TEAC TN‑3B‑SE plays in a crowded field—it’s up against at least a half-dozen other able contenders in its price range. There are some I like better, but no one will go wrong with the TN‑3B‑SE. It has an excellent tonearm. The cartridge, while adequate, is easily upgradable. It’s a good-looking unit, easy to use, and reasonably compact. Its built-in phono preamp is more than adequate, and a welcome feature for purchasers whose amplifiers lack a phono stage. If you’re in the market for a turntable in the $500-to-$600 range, the TEAC TN‑3B‑SE should definitely be on your list.
. . . Thom Moon
thom@soundstagenetwork.com
Associated Equipment
- Loudspeakers: Acoustic Energy Radiance 3
- Power amplifier: NAD C 275BEE
- Preamplifier: Apt Holman
- Turntable: Technics SL‑100C with Goldring E4 moving-magnet cartridge
- Interconnects: Manufacturer supplied for the TN‑3B‑SE; Pro‑Ject Connect it E for Technics; Morrow Audio MA1 analog from preamp to power amplifier
- Speaker cables: Nakamichi Excel 12-gauge OFC cable, terminated in banana plugs
TEAC TN‑3B‑SE turntable with Audio‑Technica AT‑VM95E cartridge
Price: US$569.99, CA$649.99, £399, €399
Warranty: One year, parts and labor
TEAC Corporation
Ochiai, Tama-shi
Tokyo 206-8530
Japan
Website: TEAC.jp
US distributor:
Playback Distribution LLC
3257 Wildlife Trail
Zionsville, IN 46077
Phone: 1-844-472-3478
Website: playbackdistribution.com
Email: info@playbackdistribution.com