Takumi TT level 2.1DC – Brilliant Performance Review by llite (English Translation)

A Feast for the Eyes in Acrylic: The Takumi TT level 2.1DC shines with an airy look and clean design, scores with a well‑thought‑out concept as well as excellent material and manufacturing quality – and offers top features that are anything but common in this price class: such as the gimbal‑bearing tonearm, the precise speed control via sensor system, or the external control unit for highly accurate speed adjustment. The impressive performance this leads to is demonstrated by this remarkable “board‑player” in our test.

The Takumi TT level 2.1DC is a dream in acrylic: the transparency of the chassis and dust cover creates a wonderfully airy appearance. We have rarely seen a turntable in which chassis and cover form such a harmonious unit.

Takumi? Anyone who suspects an East Asian manufacturer behind this brand is doubly mistaken: Rik Stoet, the owner and mastermind, is Dutch through and through, and Takumi was originally not a brand at all, but the beginning of a great passion. Stoet, who had been fascinated by technology since childhood thanks to his grandfather’s transformer and amplifier factory, logically studied electrical engineering and later ran his own company for tube amplifiers and other audio components. About ten years ago, he was looking for a new challenge – and discovered the turntable for himself. He named his first creation “Takumi.” The visually simple, sonically convincing, and very affordable model soon sold out – and Stoet was so ignited by the success that the turntable became his passion and the project became a brand. Stoet’s goal: sound and design should improve, while the excellent price‑performance ratio should remain unchanged.

The TT level 2.1DC, with its stylish and clean look, fits excellently into a modern environment.

Japanese Master‑Craft Ethos for Unadulterated Music Reproduction

The Far Eastern association is not entirely wrong after all, because Takumi comes from Japanese and refers to a craftsman who masters his trade with excellence. Stoet aims to combine this Japanese craftsmanship ethos with clear design and thoughtful construction to achieve natural, clear, and unadulterated music reproduction with maximum fidelity. Such quality standards, however, are simply not affordable with local production costs. Therefore, manufacturing of the TT level 2.1DC – the somewhat unwieldy name Stoet gave the turntable – takes place at a Chinese specialist who meets Stoet’s precision requirements: tolerances must be below one hundredth of a millimeter. In the case of the chassis, this accuracy ensures that all components mounted on and inside the deck – especially motor, bearing, and tonearm – fit perfectly and remain precisely positioned in the long term. The transparent acrylic and metal applications create the airy look.

Acrylic for Acoustic Control and Visual Clarity

Let’s stay with the chassis, which is the acoustic and structural foundation of this board‑player. Stoet uses acrylic – not primarily for its modern and clear appearance, though that is welcome, but for its acoustic properties. Unlike wood or metal, vibrations in acrylic distribute completely evenly. This prevents unwanted vibration centers and resonances. That is important because every turntable absorbs vibrations: footfall energy from the floor, airborne energy from the speakers, and vibrational energy from the cartridge needle itself. A mass‑loaded turntable counters this energy with the inertia of its heavy mass, a sub‑chassis turntable with its suspension – a board‑player, however, with dissipation and damping. For Stoet, acrylic is the material of choice: strong and stable, acoustically capable of controlling and damping energy, providing calmness and authority. It is also cost‑effective, easy to machine – and simply looks stylish. The Plexiglas cover is finely crafted and perfectly bonded. Even the subtle engraving with the company logo demonstrates the fine manufacturing quality.

High‑Gloss Lightness

The two‑centimeter‑thick acrylic chassis of our test model is transparent. This gives the turntable a wonderfully glossy, airy, and lightweight appearance. This effect is enhanced by the dust cover, also made of transparent Plexiglas – as well as the platter, likewise made of acrylic but satin‑finished. Alternatively, the TT level 2.1DC is available with a black‑tinted chassis. The transparent version is our favorite. The matte finish of the platter is a clever design trick: its limited transparency hides the motor beneath it and part of the rear electronics and connection section. The platter weighs just over one kilogram and is also made of acrylic for acoustic reasons: acrylic has similar resonance characteristics to vinyl. Through direct contact with the record, platter and record form a single, vibration‑damping mass. When the moving needle causes the record to vibrate, these vibrations are absorbed rather than reflected back to the needle in a sound‑damaging way. The matte platter, like the transparent chassis, is made of acrylic. Since this material has similar resonance properties to vinyl, the LP should lie directly on the platter without a mat: platter and record form a single damping mass. The clamp placed on top – despite its low weight and non‑clamping nature – surprisingly provides another subtle improvement.

Robust Aluminum Sub‑Platter, Smooth Ceramic Spindle

Several decoupling measures contribute to vibration absorption: the platter hole is larger than the diameter of the spindle passing through it. Around this area sits an isolating rubber ring. Rubber buffers decouple platter and sub‑platter. The sub‑platter is the rotation and vibration center: the belt runs around it, driven by the motor. The spindle is press‑fitted into the sub‑platter and rotates in the bearing on a steel ball. The platter rests and rotates on the sub‑platter. To meet the demands of robustness, vibration resistance, and smooth running, the sub‑platter is milled from solid aluminum and precisely balanced. The spindle is made of ceramic. The extreme hardness and smoothness of this material ensure permanently low friction. The spindle runs virtually play‑free in a hand‑fitted brass bearing sleeve. The soft metal further reduces friction – as does lubrication with a special oil.

A high‑quality DC motor provides the drive. It sets the sub‑platter in motion via the belt. To prevent airborne vibrations, the motor is covered with a top‑mounted housing. The belt drive itself is also a decoupling measure: the flat, elastic band acts like a filter and reduces vibration transfer to the sub‑platter.

Precision Drive with Speed Regulation and Control

The drive is also implemented with impressive effort. A high‑quality DC motor with electronic speed regulation and continuous speed monitoring is used. The motor sits in its own housing, decoupled from the acrylic chassis, and is internally damped to reduce vibrations. To minimize airborne transmission, a massive metal cover encloses the motor completely – except for two slots for the belt. A sensor system ensures precise and constant rotation without fluctuation or deviation from the exact speed: beneath the sub‑platter sits a magnetic ring, and in the chassis a Hall sensor registers the magnetic movement. Together they form an electronic detection system that continuously measures speed and immediately corrects deviations. Speed selection between 33⅓ and 45 rpm and motor shut‑off can be done manually via the lever on the chassis – or electronically via the external SpeedPod. It also allows fine speed adjustment in 1/100‑rpm steps, enabling pitch correction by ear if a record has slight tuning deviations.

The external SpeedPod enables speed selection (off / 33⅓ rpm / 45 rpm) just like the lever on the chassis. The plus and minus buttons adjust the rotation speed. With its metal housing, the SpeedPod matches the turntable visually – and its flat shape allows it to be placed under the deck when not needed.

Substantial Feet for Stable Support

Speaking of adjustment: to compensate for uneven surfaces, the TT level 2.1DC stands on three feet. This ensures a stable, wobble‑free setup. The cylindrical metal feet, with their impressive dimensions and multi‑part construction, add another wow factor. The feet include integrated vibration damping. They block footfall vibrations from reaching the turntable and also prevent vibrations generated by the drive mechanism from escaping. All three feet are height‑adjustable, allowing the turntable to be leveled precisely. This prevents unwanted lateral forces on the needle, which could cause tracking errors and increased record wear. Conveniently, a bubble level is embedded directly into the acrylic chassis – a stylish and smart feature.

The cylindrical feet are eye‑catchers: their multi‑part metal bodies are imposing but not bulky. The feet can be unscrewed; once the correct height is reached, the knurled nut at the top locks them in place.

Tonearm with Titanium Tube

Now to the tonearm: the TT level 2.1DC features a self‑developed, medium‑mass nine‑inch arm with an effective mass of 15 grams, whose elaborate gimbal construction is absolutely unusual in this price class. Stoet chose thin‑walled titanium for the arm tube: highly rigid yet lightweight. This allows it to follow the groove path quickly and precisely. While other manufacturers try to neutralize vibrations from the cartridge body by damping the tube, Stoet does the opposite: he routes this energy quickly to the bearing block, where it can be controlled and dissipated. The headshell is fixed to the tube via a screw connection. Compared to a removable SME bayonet, this eliminates mechanical joints and electrical contact transitions in the signal path. The signal path remains uninterrupted at the other end as well: the symmetrical phono cable of the TT level 2.1DC is not detachable; the internal tonearm wiring is soldered directly to the signal leads.

A feast for the eyes: the tonearm, with its titanium tube, fixed brushed‑metal headshell, and gimbal bearing, is both attractive and elaborate – absolutely exceptional for this price class.

Gimbal Suspension and Full Adjustability

The tonearm is mounted in a gimbal suspension. This is a very elaborate way to mount a tonearm: the tube sits in a double frame. Pre‑tensioned precision bearings ensure firm fixation with minimal play and extremely low‑friction movement horizontally and vertically. Because of this dual suspension, the vertical and horizontal axes intersect at a single central point. This enables highly sensitive and wobble‑free movement. The arm is fully adjustable: azimuth via the headshell, arm height and vertical tracking angle via various screws at the bearing, and lift‑bank height as well. The lift is perfectly damped: when the lever is lowered, the arm descends smoothly and gently into the groove.

The tonearm of the TT level 2.1DC is gimbal‑mounted. This double‑frame suspension allows extremely light movement horizontally and vertically while preventing wobble. The screw protruding on the left side of the outer frame is the magnetic anti‑skating adjustment.

Elegant Solutions for Counterweight and Anti‑Skating

To match different cartridges, the tonearm uses a counterweight consisting of three individual metal discs of different thicknesses and weights. This trio can also be moved along the rear of the arm tube. This allows precise adjustment of tracking force for any cartridge. To compensate for skating force, which pulls the arm inward during playback, the TT level 2.1DC uses a magnetic anti‑skating system that operates friction‑free and is continuously adjustable by turning the screw in or out. As for the cartridge: the Audio Technica AT3600L is installed at the factory. This inexpensive MM cartridge is used to test and set up every Takumi turntable and is left under the headshell as a kind of gift to the customer. However, this turntable deserves a much better cartridge. Therefore, the German distributor Drei H equipped our test model with a suitable upgrade.

Even the elegant counterweight impresses with fine design. It consists of three metal discs that can be moved along the tube. This allows correct tracking force for any cartridge.

Cartridge Upgrade with the Takumi Kuro

“Suitable” means: it also comes from Takumi. Stoet has created an entire series here – exclusively using the moving‑coil principle. Compared to moving‑magnet cartridges, the moving mass of the needle and cantilever is significantly lower. This allows MC systems to respond faster and more accurately, making them more open, detailed, transparent, and precise. Takumi’s MC series includes five models. They differ mainly in the materials used for cantilever and stylus, the stylus cut, and the copper quality of the coils. Under our headshell sits the Kuro, the second‑smallest model in the series: inside its aluminum body operates a nude elliptical diamond glued directly to the boron cantilever. The cantilever moves square coils wound with 6N OCC copper: 99.9999% pure copper produced using the Ohno Continuous Casting process, which eliminates almost all grain boundaries.

Here, the Takumi Kuro is mounted under the headshell. This optional MC system delivers accurate, highly dynamic, extremely detailed, bright, and airy reproduction. The turntable is normally supplied with the MM Audio Technica AT3600L.

The Takumi TT level 2.1DC in Practice

The distributor had already installed this system and assembled the turntable, so it arrived ready to play. Assembly is easy with the good manual. Only the anti‑skating adjustment is not explained. We integrate the TT level 2.1DC into our audio chain and connect it to the Lehmannaudio Decade phono preamp. Excellent: the high‑quality symmetrical phono cable includes, in addition to the usual ground wire, separate ground leads for both channels – useful for MC systems. The Kuro should be operated between 100 and 470 ohms; we set the Decade to 100 ohms. The MC‑amplified signal then goes to the Hegel H360, which drives a pair of Audio Physic Midex. Using the groove‑less side of the Unitra Turntable Test Vinyl Record, we set a preliminary anti‑skating adjustment so the arm neither drifts inward nor outward.

On the back we find the power switch and the connections for the SpeedPod and power supply. The 12‑volt supply comes from an external power adapter.

Agile, Lively, and Energetic Playback

Using the Clearaudio Smart Test Vinyl, we fine‑tune anti‑skating and azimuth and test speed accuracy and wow & flutter with sine tones – both excellent. Now we begin. We start with “H Gang” from Donald Fagen’s LP Morph The Cat. The record lies – important! – directly on the platter without a mat, so acrylic and vinyl make contact and vibration absorption works. The included puck, surprisingly light and non‑clamping, is placed on top. We’ll return to the mat and puck topic shortly. First, “H Gang” begins – and we experience exactly the agile, lively, and energetic playback associated with a board‑player. We’ve used this track many times in tests, but with the TT level 2.1DC the song has a new freshness.

The precise speed (here 33⅓ rpm) can be adjusted extremely finely in 1/100‑rpm steps – useful if a recording has pitch deviations, which people with absolute pitch find very disturbing.

Punchy, Well‑Defined Bass

This begins right at the intro: drums, bass, and keyboards enter together, and this familiar start is so precise, so sudden, and so impactful that we flinch. This is primarily due to the drums: Keith Carlock hits the bass drum once, producing a powerful punch, and strikes his crash cymbals, which explode dynamically as their name suggests. Bassist Freddie Washington plays a deep D on his low B‑string and lets it ring. This bass has real volume and pressure, standing powerfully in the room – yet it also has the punch and definition characteristic of a board‑player. On this wonderfully tidy bass foundation, the musical events unfold clearly – and that’s good, because Fagen used 13 musicians on this track.

Speed selection (off / 33⅓ rpm / 45 rpm) can also be done with the toggle switch.

Excellent Clarity

His “H Gang” includes not only the rhythm section but also multiple guitar and keyboard parts, a full horn section, and Fagen himself contributes multi-part backing vocals in addition to his solo vocals. Despite this large ensemble and the resulting dense musical texture, all instruments and voices are audible with impressive clarity. This starts with the keyboard: The opening chord, adorned with exciting note additions, is just the prelude to numerous cool harmonic progressions in the song. The same applies to the backing vocals: Despite Fagen’s slightly husky voice, even the middle voices of his self-recorded backing vocals are clearly audible. Thanks to this excellent clarity, we can fully appreciate the sophisticated chord progressions and melodic lines that the masterful composer Fagen has crafted here. We continue to discover new facets in this familiar song. This transparency is also due to the very open, airy reproduction: The instruments have plenty of space and complete freedom on the spacious, beautifully layered imagined stage, which is also deep.

Precision and Impulse Response

All the musicians have a powerful presence. This immediacy and presence are achieved through precision and impulse response – disciplines which the TT level 2.1DC excels at. We hear every keystroke on the keyboards and every pluck of the steel strings with the plastic pick on the guitars. This allows us to perfectly perceive the muted, and therefore percussive, picking pattern that Wayne Krantz plays in the verses, contributing to the song’s lively groove. This same accuracy ensures that we hear every dynamic nuance in Jon Herington’s guitar solo. It is this impulsiveness that makes music truly interesting. This is especially true for the drums and percussion, for example, the hi-hat: Keith Carlock occasionally plays small variations on the double cymbal, opening it up at times – and with this cymbal work, he provides the drive, just like the tambourine, which we perceive so clearly in this reproduction.

Crystalline Sounds

We remove the record clamp, which, to be honest, we didn’t expect to have much of an effect or influence, from the vinyl: Surprisingly, the playback loses some substance. The sound gradually becomes thinner and loses a little punch. Now we place a felt mat between the acrylic turntable and the vinyl record – and here, too, the difference surprises us: Liveliness and freshness are diminished, the dynamics now seem more restrained, less engaging. So: off with the mat and back with the clamp! But first, a new LP goes on the turntable: “The Man-Machine” by Kraftwerk. The song has lost none of its fascination to this day – and on the clear and well-defined TT level 2.1DC turntable, we are particularly captivated by the harsh percussion sounds and the crystalline synthesizer tones. Thanks to the excellent resolution and transparency, we also enjoy the subtle delays: The echoes make the sounds and beats practically float in an imagined three-dimensional space.

Spatiality and Physicality

This works so well also because our original LP is still in good condition, and the clean playback allows the music to emerge so clearly. This is often referred to as a “black background.” It makes the synthetic sounds and voices of the “human·machine” sound all the more impressive. This also works on the big stage: In “De mon amie” from Bizet’s opera *The Pearl Fishers*, the opening oboe conveys the acoustics of St. Luke’s Church in Dresden, where this chanson was recorded. In the distance, Rolando Villazón, as Nadir, raises his lament, and Anna Netrebko, as the awakening Leila, answers right in front of us—a fantastic 3D effect that the TT level 2.1DC reproduces superbly. Then Leila and Nadir passionately profess their love—and the world-renowned stars Netrebko and Villazón stand before us together with wonderful physicality. Even with the neatly layered orchestra positioned behind, we can clearly hear and locate the individual groups, right down to individual instruments, within the overall sound.

A more intense and noticeable system change

Now comes the system change: First, the Goldring Ethos, a similarly priced MC cartridge with a Vital line-contact stylus, is fitted to the headshell instead of the Takumi Kuro, followed by the more affordable Transrotor Uccello MM cartridge with a line-contact-like Harmonic stylus. Fagen’s “H Gang” sounds slightly less bright and detail-oriented with the Ethos, sounding rounder and with a bit more bass extension. Similarly, in Kraftwerk’s “Man·Machine,” the harshness of the synth sounds is less pronounced, and the bass beats are more punchy. With Bizet’s aria “De mon amie,” the sound is also smoother, the voices warmer, but the soundstage is less clearly defined. With the uccello, the voices in this aria possess a beautiful warmth and harmony, and the orchestra is also more powerful, even down to the bass. Kraftwerk’s “Man·Machine” now has the most substantial punch, and Fagen’s “H Gang” also has more oomph and bass power – though in all cases with reduced resolution, three-dimensionality, and spatiality. The TT level 2.1DC makes all these differences intensely perceptible.

Conclusion

The Takumi TT level 2.1DC is a brilliant turntable in every respect. Visually, it’s a feast for the eyes, clad in acrylic, and boasts a clean design, airy aesthetic, and flawless craftsmanship. It also impresses with its exceptional features: A sophisticated gimbal bearing allows for the smooth and precise movement of the titanium tonearm. A high-quality motor with electronic speed control and continuous speed monitoring ensures consistent speed stability and accurate velocity for this belt-drive turntable. An external speed pod allows for extremely fine-tuned speed adjustments in addition to RPM selection. All of this is integrated into a sophisticated damping and vibration dissipation system. Thus, the TT level 2.1DC delivers the sonic excellence for which turntables are valued: a fresh, vibrant sound with lively dynamics, accurate imaging, outstanding clarity, high transparency, and rich detail – all underpinned by a crisp, well-defined bass. The TT level 2.1DC now offers top-class performance and features at an excellent price. Therefore: a clear recommendation!

Test & Text: Volker Frech
Photos: Simone Maier