As for its basic construction, the

TD 125 employed a cast aluminium top

section that supported the main bearing,

platter, and armboard. The motor, the

electronics, and the lamp to illuminate

the strobe were fitted to a pressed steel

panel that formed part of the plinth. Rubber

washers ensured no metal-to-metal

contact. The TD 125 was visibly distinguished

from the TD 150 not merely by

larger size, but by the aluminium strip

that ran across its front, containing the

rectangular controls, with a black main

top surface, in contrast to the TD 150’s

predominantly metal top plate.

As for the suspension, it consisted of

three conical springs in adjustable cups.

For disco use—yes, over 40 years ago—

the TD 125 could be converted with

rubber damping spheres in place of the


floppier springs. A properly set-up TD

125 is fairly floppy, but not comically

so, but the added rigidity for club use

was advisable.

By the time the TD 125 was replaced

in 1976 by the more sophisticated

TD 126, it had achieved Mk II

status, thanks to changes in factory

tonearms from TP 25 to TP 16, refinements

to the electronics and other

detail improvements. The TD 126 was

much more complex, and possibly

less successful because, by 1977,

the Linn hegemony was in full swing.

How many TD 125s in all forms were

produced, though, is hard to determine,

but it should be noted that, in

1975, along with the TD 160, Thorens

manufactured 500,000 turntables.

Yes, a half-million. (continued)

April 2013 37

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