New Horizon 203i Turntable
SKU: 15845667304

New Horizon 203i Turntable

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Description

New Horizon 203i TurntableNew Horizon 203i Manual Turntable Elegance and Power. With their essentiality turntables of the 200i line give you unforgettable sensations. The plate is made of transparent methacrylate 20mm thick and reaches a weight of almost 2kg. This significantly increases inertia and rotational fluidity to the advantage of the dynamics of music reproduction. Pairing with the new New Horizon NH95 9" tonearm, fully adjustable, enhances detail and clarity to the

New Horizon 203i Manual Turntable

Elegance and Power. With their essentiality turntables of the 200i line give you unforgettable sensations.

The plate is made of transparent methacrylate 20mm thick and reaches a weight of almost 2kg. This significantly increases inertia and rotational fluidity to the advantage of the dynamics of music reproduction.

Pairing with the new New Horizon NH95 9" tonearm, fully adjustable, enhances detail and clarity to the listening

Modern turntable design New Horizon innovates the classic scheme and combines with high quality finishes and reliable construction, attentive to the details.

The flagship of the 200i line: the 203i includes three plinths for the three basic turntable functions. The motor, bearing and tonearm are each supported on a dedicated plinth, which are decoupled from each other to limit as much as possible any noise interaction. The noise path becomes longer and is dissipated by the different materials encountered in the journey.

The quietness of the 203i is exemplary. The very low background noise makes even the smallest details emerge from the grooves of the vinyl with the grace and sweetness that only a great system of analogue reproduction can provide. The harmony and beauty in the design are amplified by the generosity in the dimensions. A satisfaction for the eyes, the ears, the mind and the heart.

Features

HD Triple Plinth

203i can be identified as a rigid base turntable, but technically it is not. The three plinths are formally united in a single body but physically decoupled one from the other by a layer of insulating, anti-vibration material. Each plinth holds one of the main pieces of the turntable ensuring stability in the fixing as well as utmost resilience to the vibrations. We have opted also in 203i for HDF, wood pulp compressed with artificial resins. This material is extremely regular and heavy: its isomorphic composition works much more efficiently than the solid wood.

Synchronous AC motor

The turntable pulsating heart is the compact 24VAC synchronous motor whose main feature is its extremely regular rotation, independent from the variations of the mains voltage, given that its speed depends on the mains frequency. The high torque and the rotation speed of 500 rpm actively contribute to the regularity and fluidity of the plate rotation.

Mechanical suspension

203i is a set of mechanical parts in action. The largest internal source of noise and vibrations is the motor that must be isolated as much as possible from all other parts of the turntable. The engine insulation in New Horizon turntables is made by an exclusive mechanical suspension system. Through precision steel springs, calibrated on the suspended weight of the motor and the pulley, the oscillation transmission to the plinth is efficiently blocked.

Belt drive

The transmission of the motion to the plate is obtained by a special belt in silicone rubber. The choice of this material ensures the best energy transfer and an excellent decoupling from the vibrations produced by the engine during the operation.

Inverted bearing

One of the strong points in New Horizon turntables is the plate rotation pivot. The perfection of the movement is the result of an accurate project and several prototypes. Today the piece in production has a sturdy inverted bearing structure in three pieces of aluminium and steel that guarantee the maximum “silence” and a very low rotation friction.

NH95 New Horizon Arm

The plinth houses the brand new 9″ NH95 straight arm. The movement of this jewel of mechanics is based on four high precision radial bearings. The tube is a sandwich of nylon and aluminum worked to break down the resonances and dampen the section dedicated to the counterweight. In addition to the truly progressive proprietary anti-skating, it offers all the micro-adjustments possible to take full advantage of the characteristics of any cartridge from azimuth to vertical tube alignment (VTA). The choice of accessories is completed by the tools necessary for its adjustment also by a handy sling bar.

Methacrylate platter

The appearance is extremely important: 203i has a 20mm thick laser-cut and precision machined platter in Crystal Methacrylate. This material with a high specific weight combines the excellent ability to disperse the vibrations kinetic energy, to the elegance of a perfect transparency.

Output on RCA terminals

New Horizon turntables are interfaced in the best way with all your electronics. An excellent insulating material plate accommodates the gold-plated RCA output terminals and the separate earth connector.

Feet 5030RD

The New Horizon 5030RD feet enhance the sonic characteristics of any hifi device by providing better vibration and resonance isolation.
They are made of Delrin®, steel, low density natural rubber and HQR compound (Hard Quiet Rubber), cleaning the system from spurious vibrations, noticeably improving the acoustic scene, detail and three-dimensionality.

Included Accessories

  • RCA Interconnection Cables
  • Laptop wired 24VAC / 500mA power supply
  • Methacrylate Dust Covers
  • Owner Manual
  • Cartridge Reference Template
  • Anti-Skating Weight
  • Arm’s Balancing Weight
  • NH Sling Bar
  • 2 x Hexagonal Wrench

Tech Spec 203

Turntable System Triple Rigid/Decoupled Plinths
Tonearm: 9″ NH 95 arm
Cartridge: Audio Technica AT-91R
Drive System: External Silicone Drive Belt
Motor: Synchronous AC
Decoupling: Motor by Springs, Arm by Plinth, Bearing by Plinth
Speed: 33 1/3, 45 rpm
Speed Selection Mechanical 
Platter 20mm / 1,7kg Crystal methacrylate, Machined
Anti-skating Real Progressive System
Size (WxDxH) 450 x 365 x 145 mm
Weight (Shipping) 11 (12.5) kg
Finishes Matt Black or White coating
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SKU: 15845667304

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4.7 ★★★★★
Based on 460 reviews
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Product Reviews
E
Verified Purchase
Eileen O Malley Callahan
San Leandro, US
★★★★★ 5
Five Stars
Format: Paperback
Brilliant, lucid, engaging and brave, a feminist chthonic journey shimmering with poetic bravado.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 18, 2014
J
JeFF Stumpo
Louisville, US
★★★★★ 5
A Feminist Divine Comedy?
Format: Paperback
Let me start with this: The Descent of Alette is difficult to read at first. Notley "puts quotation marks around" "groups of words" "in lines" "that can be off-putting." Note that I'm not quoting from the book there, just giving an example of what the book's text appears like. This forces us to read more slowly, taking in each line a few words at a time. What appears to be awkward is in fact a great solution to the speed-reading most of us do these days. That being said, it's troublesome for the first few poems, less so after that, virtually invisible by the end of the first section. When talking about this book, I immediately compare it to Dante's Divine Comedy, and I commonly see others do the same (see an earlier review here on Amazon.com). Exchange Hell for a subway, and you've basically got it: an underground realm ruled over by a Tyrant, poor souls being tortured, though in this case there is no indication that they have done anything to deserve it. Notley's language might not be quite as beautiful/harsh as Dante's, but her images stand with anything he created. After introducing two characters on a subway, a woman and her baby, both on fire, Notley writes: "another woman" "in uniform" "from above ground" "entered" "the train" "She was fireproof" "she wore gloves, & she" "took" "the baby" "took the baby" "away from the" "mother" "Extracted" "the burning baby" "From the fire" "they made together" "But the baby" "still burned" ("But not yours" "It didn't happen" "to you") "We don't know yet" "if it will" "stop burning," "said the uniformed" "woman" "The burning woman" "was crying" "she made a form" "in her mind" "an imaginary" "form" "to settle" "in her arms where" "the baby" "had been" "We saw her fiery arms" "cradle the air" "She cradled air" ("They take your children" "away" "if you"re on fire") "In the air that" "she cradled" "it seemed to us there" "floated" "a flower-like" "a red flower" "its petals" "curling flames" "She cradled" "seemed to cradle" "the burning flower of" "herself gone" "her life" ("She saw" "whatever she saw, but what we saw" "was that flower") After surviving the horrors of the subway, Alette goes even deeper underground, passing through a series of psychological challenges that at times seem straight out of Freud, at times out of Classical mythology, at times out of collective dreams. Throughout it all, we learn more and more about Alette, who is not just a "hero" who goes through the motions necessary to the plot, but who considers and stumbles and is confused and learns. The third section of the book is a rebirth, wherein Alette finds a source for a stronger power than the Tyrant's, and it is distinctly feminist in its nature. I need to note here for those who react to feminism in a knee-jerk way: Notley's feminism is not a militant feminism, though it requires brief "military" action on Alette's part. Men are helpful in the story, have purpose besides being the bad guy. If anything, what Notley attacks in the form of the Tyrant is the idea of a corrupt masculinity, a kind of Big Brother who would easily stand as an antagonist in any number of 20th/21st century literary works. Alette's feminism is the discovery of her place in the world, and that place is not slaving away mindlessly for the Tyrant, not acting as just a womb or pair of hands or pretty face. It's a nuanced message, despite the epic (and therefore presumably black-and-white) nature of the whole book. The fourth section is the showdown with the Tyrant, a great deal of philosophizing, and an ending that I actually find more satisfying than that of Paradiso. I won't spoil it here, but it just works extremely well in conjunction with the themes of Descent as a whole. If you want to be challenged, if you want to think deep thoughts, if you want surreality and magic, pick up The Descent of Alette. For even more interesting reading from the author and her partner, you could also turn to The Scarlet Cabinet, which contains but actually predates the on-its-own publication of Descent.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 11, 2010
K
Kent Shaw
New York, US
★★★★★ 5
A Contemporary Epic
Format: Paperback
I have a complicated relationship with most of the books I've read by Alice Notley. I admire her facility with the lyric, her ability to get just beneath a concept or sentiment using a very talk-y style so that I always feel like I'm with whatever speaker she's using, inside that mind and her mind all at once. This is a good kind of complication. It's one I yearn for with poems. The unpleasant complications are when I feel as though I'm just being subjected to her unedited notebook entries. Too much, too much, too much. It comes up especially with her book Mysteries of Small Houses. I mention these difficulties only to sharpen the accomplishment of The Descent of Alette. Like other reviewers, I feel the tonal similarities to Dante's Inferno. Which becomes a subversive allusion considering Alette seeks after a male Tyrant in order to destroy him, while Dante sought after his Beatrice out of desire. But I read and reread Alette, because Notley continually subverts patriarchal conventions in the book. I actually find I crave the speaker's intellect, and the mythic logic that gives the book its arc. I want it more. Yes, there are quotations around each fragment in the poems. I actually appreciate them for slowing my reading down, and for sharpening my focus on the use of Notley's language. And it's not just a stylistic tic, or something to be endured. It could actually be described as further subversion of The Tyrant Alette pursues.
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Reviewed in the United States on August 25, 2011
R
Verified Purchase
Raquel Wilbon
Charlottesville, US
★★★★★ 2
Imagery and diction
Format: Paperback
This book was very challenging to read because everything was written in quotations however, it was intriguing as a different way of writing poetry.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 11, 2020
A
Verified Purchase
amber a
Phoenix, US
★★★★★ 5
I tend to leave most books in this genre disappointed. I miss the classics
Format: Hardcover
I bought this book after hearing Stacey Lee speak about narrative tension at a lecture for YA writers - the talk was specifically entitled, "How to keep them up all night." The lecture (alongside Anna Shinoda) bit off a rather large amount of material. Neither woman mentioned vampires. The methods they discussed were smart, creative, and delivered with just enough humor to leave me wondering whether I'd be able to put their debut novels down. I devoured GONE WITH THE WIND at least six times cover to cover between my sophomore and senior year. While I am more susceptible to the Historical Fiction page turner than the average girl, I tend to leave most books in this genre disappointed. I miss the classics. I opened this book determined to not judge it by its gorgeous pastel cover. I started slowly. I enjoyed the first four or five chapters - leaving each fully appreciative of Lee's craft. I particularly enjoyed her ability to pepper humor though tragedy. I often complain about writers who miss the mark here. Stacey Lee nailed that important believable balance for me. I liked her characters quickly. I left each chapter satisfied, but thoroughly able to get up and go on with my life. Like a jaded Thumper in Walt Disney's BAMBI, this book was more than nice, but I wasn't susceptible to any kind of teen-aged Twitterpation over it. After the sixth or seventh chapter - four or five days after I first picked it up, I quietly closed my copy, placed it on my nightstand, switched off my lamp, fluffed my pillow and turned over. I turned over again. I flipped on the light - OK, just one more chapter... I zombie sleepwalked to work the next day. That night I retired early, making some completely convincing excuse about being exhausted. I was certainly too tired to read. Flash forward to 6AM when I woke up with this novel on my face. I turned it's last page this afternoon, fully satisfied. I am truly sad it's over. This book transported me. It's one I'll want to have in my collection forever, alongside the beautiful books that mattered to me as a teen; JANE EYRE, TO KILL A MOCKINGBIRD, UNDER A PAINTED SKY. Classic in feel, subject matter, and voice - but modern in approach, I'd be as comfortable recommending it to my book club as I would handing it to any teen. Readers of all ages and walks of life will surely find something that resonates with their own stories too. As for me, I am sure I'll be back on the trail with these girls-- I mean boys, before long. Now I'm off to try my hand at Anna Shinoda's LEARNING NOT TO DROWN. Well, maybe tomorrow. I need a good night's sleep and it's clear these authors know how to keep those pages turning.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 24, 2015

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