I reviewed EAT’s C-Dur Concrete turntable, and you’d be amazed how delicate and detailed a slab of real concrete can be with your vinyl

EAT C-Dur Concrete: two-minute review

‘EAT’ = ‘European Audio Team’. ‘C-Dur’ = ‘C-Major’ in German. ‘Concrete’ = ‘a blend of aggregates bound together by a hydraulic binder’. Put the three together and you’ve one of the most individual and dramatic-looking record players around, not to mention one of the more expensive.

The C-Dur Concrete has the technical foundations to back up the asking price, though. The turntable itself, its ‘C-Note’ aluminum/carbon fibre tonearm and its ‘Jo No.8’ high-output moving coil cartridge are all painstakingly engineered and work together harmoniously – and the result is a record player that, in the right system, is a pleasure to listen to in many respects.

It’s a staggeringly insightful device, for starters, even among the best turntables – no detail of a recording is too fine, too minor or too transient to elude it. It’s organized, too, able to describe a soundstage with complete confidence and make the spaces on it just as significant as the occurrences. Low-frequency control is absolute, so rhythmic expression is utterly convincing. And when it comes to big dynamic shifts, it is just as accomplished as it is with low-key harmonic variations.

A lack of outright scale undermines the C-Dur Concrete, though – it doesn’t sound especially big, and although it’s organized and controlled, the soundstage it generates is undeniably positioned between the speakers you’re listening to. And when you’re talking about this sort of money for a record player, this has to count as a fairly significant shortcoming.

EAT C-Dur Concrete review: Price & release date

The EAT C-Dur Concrete is on sale now, and in the United Kingdom it costs £6,499. That’s the price for the turntable and its bespoke C-Tone tonearm – if you want to add the (recommended) Jo No.8 high-output moving coil cartridge (which is how this review is conducted), that price rises to £8,098. That’s because the cartridge costs £1,999 when purchased separately, or £1,599 if purchased at the same time as the turntable.

In America you’ll have to fork out around $7,499 for the turntable, plus an additional $2,495 for the cartridge – a discounted price for the pair is likely to be available, but there was nothing confirmed at the time of writing. No pricing is available for Australia as yet, but a quick look at today’s exchange rates suggests something like AU$12,999 plus AU$3,999 for the cartridge will be in order.

Not cheap, is it (he said helpfully)? And yet you’ve a stack of choice when it comes to alternatives. None of them is made of concrete, admittedly, but models from brands as credible as Linn, Pro-Ject and Rega (to name just three) are all available at comparable money.

EAT C-Dur Concrete review: Features

• 33.3, 45 and 78rpm
• 254mm aluminum/carbon tonearm
• High output moving coil cartridge

Undeniably, some of the ‘pull’ of the C-Dur Concrete is, well, the concrete that’s used in its construction. But this is no mere design exercise, this is a deadly series turntable with the feature-set to back up the giddy asking price.

For instance, the chunky (5.2kg) platter is internally damped with a thermoplastic elastomer that offers both density and stability. A 900g aluminum sub-platter gives the platter even more isolation from the motor. The bearing block adds another 1.8kg to the overall weight and uses a polished stainless steel spindle to support an inverted ceramic ball that functions as the main bearing. This pairs with a Teflon plate for even greater rotational stability.

The drive system, meanwhile, isolates the motor in a steel ring positioned in the concrete chassis itself, enhancing the platter’s chances of stable and uniform rotation. It also reduces resonance transfer (already extremely low, thanks again to all that concrete). The motor has two areas for connection to a drive belt – and the turntable is supplied with two different belts, both of anti-static polished rubber.

The first is relatively broad and flat, sits on the upper part of the motor and allows for 33.3 and 45rpm. The other is a ‘string’ shape and fits over the motor’s lower portion – this is the belt you fit if you want the platter to turn at 78rpm.

The pre-fitted C-Note tonearm is, at 254mm, longer than the norm, is made from aluminum and carbon fiber for maximum rigidity, and is internally damped with silicon grease for as much resonance rejection as is realistically possible. It’s a unipivot design, which ought to guarantee its cardan bearing is never overloaded – and the bearing itself is designed to offer minimum resistance and maximum stability.

The over-engineering of the tonearm makes a lot more sense when you get a look at the cartridge it’s designed to support. The Jo No.8 high-output moving coil cartridge features a nude Shibata stylus on a boron cantilever, with high-end copper windings (which is the sort of specification the asking price demands) – but it’s the 19.2 x 25.1 x 28.3mm (HxWxD) dimensions that are most immediately striking. ‘Oversized’ only begins to describe it.

So this is incredibly well-specced and thought-out when it comes to the functional features of being an impressive turntable – but it’s very much just a core turntable, so don’t expect any ‘modern’ features such as Bluetooth connectivity or USB output here.

• Features score: 4 / 5

EAT C-Dur Concrete review: Sound quality

• Remarkable insight and detail retrieval
• Organized, controlled and yet dynamic presentation
• Sounds rather small-scale and confined

The ‘pros’ are more numerous than the ‘cons’ where the sound of the C-Dur Concrete is concerned – but the ‘cons’ are significant, so we may as well start there before moving on to the many ways in which this is a straightforwardly admirable player.

The sound of the C-Dur Concrete is on the small side. Everything that happens, happens within the confines of the outer edges of the speakers you’re listening to – and consequently it’s never easy to shake the idea of a ‘point source’ of sound.

The outer edges of the cabinets of your speaker define the outer edges of the soundstage the EAT can create – in this respect it sounds unlike any price-comparable alternative, and not in a good way. It doesn’t matter if it’s a big ensemble (such as that involved in Miles Davis’ Concierto de Aranjuez) or just a voice and a guitar (like Nick Drake’s Parasite); the presentation is organized and controlled, but undeniably confined.

Get beyond this not-insignificant shortcoming, though, and the C-Dur Concrete is an extremely adept and accomplished device. Its facility with detail retrieval is approaching staggering – there isn’t a fleeting occurrence in a recording that’s too minor or too deep in the mix to evade it. And having teased out all these fine details, the C-Dur has absolutely no problem putting them into convincing context. Even if it’s the most transient harmonic variation in the strum of an acoustic guitar, this EAT turntable lets you know all about it.

The soundstage the turntable creates is believable, and it somehow manages to give elbow-room to every element of a recording even though the stage itself is nowhere near as expansive as it could (and should) be. Its tonality is carefully neutral, which allows the inherent sound of a recording to be expressed without any overt interference. And it balances the frequency range carefully, giving no undue prominence to any area.

Low-frequency information is robust and substantial, and is controlled with such certainty that rhythmic expression (often held up as one of the most obvious strengths of the vinyl format) is entirely natural. Midrange expression, too, is accomplished – the voice during I Kicked a Boy by The Sundays is intimate, immediate and direct. And the top of the frequency range has bite and brilliance in fairly equal measure, so treble sounds shine without threatening to become edgy or glassy.

Everything hangs together in an unforced and convincing manner – there’s a genuine sensation of singularity and unity to the C-Dur Concrete’s presentation that makes me want to reach for the dreaded word ‘musical’. And the spaces and silences in recordings are not only given their due emphasis, they’re as dark and as quiet as from any turntable I’ve ever heard. This inky backdrop from which sounds occur is one of the most gratifying things about this whole EAT listening experience.

• Sound quality score: 3.5 / 5

EAT C-Dur Concrete review: Design

• 170 x 496 x 396mm (HxWxD)
• 32kg in weight
• Supported on three conical, height-adjustable, damped aluminum feet

If it’s a little visual drama you’re after, you’ve come to the right place. EAT will sell you a version of the C-Dur built of MDF and finished in black or plum for quite a lot less money than this – but once you’ve seen (and touched) this concrete version, it’s hard to resist from a design standpoint.

At 170 x 496 x 396mm (HxWxD) it’s fairly big, although not too big to be accommodated by a standard equipment rack. At 32kg with its platter in place, it’s heavier than the heaviest turntable you’ve ever encountered – and all of that weight is supported on a trio of pointed aluminium feet.

They’re ideal for isolating the deck from external vibration, and can help in getting the turntable absolutely level, but they concentrate the whole 32kg on to three tiny points, which means that an extremely robust and hard-wearing shelf is in order if the C-Dur Concrete isn’t just going to drive itself into the surface it’s standing on.

The standard of build and finish is, as seems only reasonable when you consider the asking price, basically impeccable. Any tiny flaws in the concrete (each plinth is unique, of course) only add to the character, and the tonearm feels as good (and as expensive) as it looks. Even the cartridge body – which is polished chestnut – offers a bit of pizzazz.

• Design score: 5 / 5

EAT C-Dur Concrete review: Usability & setup

• Automatic speed change
• Semi-balanced five-pin DIN to RCA cable
• Optional (and cost-option) power supply upgrade

As with a lot of turntables, there’s a degree of fairly fiddly set-up required to get the EAT C-Dur Concrete ready for action. Unlike quite a few turntables, though, once you’ve been through the set-up process then operating the EAT is quite a painless process.

As usual, the counterweight and anti-skate setting need to be attended to. After that, though, it’s simply a question of fitting your preferred drive belt (which, let’s be honest, is going to be the broader of the two that lets you listen to 33.3 or 45rpm discs), connecting the semi-balanced five-pin DIN end of the cable to the deck and its left/right RCAs to your (pre)amplifier at the other, and plugging in the power adapter. Speed change is facilitated by two of the big buttons on the plinth – the other is used for putting the turntable into ‘standby’.

It’s worth mentioning that both the cable and the power supply can be upgraded. A fully balanced cable is (inevitably) a cost option (£175, or £499 for the silver alternative if you’re feeling super-flush), and EAT will also sell you a linear power supply (£1,349 if purchased individually, a trifling £1,079 if you buy it at the same time as the turntable).

EAT is confident the C-Dur Concrete’s AC generator, which uses the DC current from the power supply, generates an almost entirely clean AC signal for the motor – but if you want to make it as noiseless as possible then the linear power supply is what you need.

• Usability and setup score: 5 / 5

EAT C-Dur Concrete review: Value

• Requires add-ons to reach full potential
• Not a class-leading performer for the price
• But it’s hard to argue with its physical impact

I almost wrote that it’s impossible to put a price on an aesthetic as striking and individual as this, but demonstrably it’s not. In the context of the sound it makes, the C-Dur Concrete is far from the last word in value for money (and becomes less so if you take the company up on its offer of an upgraded power supply), but that’s not the same as saying it doesn’t sound splendid in many ways.

And if you find yourself smitten by the looks, the areas in which it’s not a class-leading performer might be easier to overlook – but with my hardest ‘consumer advice’ head on, it’s hard to make a watertight case for this turntable representing authentic value.

• Value score: 3 / 5

Should I buy the EAT C-Dur Concrete?

Buy it if…

Don’t buy it if…

EAT C-Dur Concrete review: Also consider

How I tested EAT C-Dur Concrete

I listened to the C-Dur Concrete for well over a week, with a variety of music on vinyl in a variety of conditions. It was positioned on the top shelf of my Blok Stax 2G equipment rack (which is how I know the weight of the turntable can damage wooden shelves), and connected via its supplied semi-balanced cable to a Chord Huei phono stage, which it turn was connected to a Naim Uniti Star acting as a volume control and pre-amplifier.

The Naim was connected to a Cambridge Audio Edge W stereo power amplifier, which drove a pair of Bowers & Wilkins 705 S3 Signature loudspeakers on their bespoke FS-600 S3 stands.