To celebrate Record Store Day 2026, Victrola and Jack White’s Third Man Records collaborated on a limited-edition Third Man Records version of Victrola’s Wave turntable and Tempo powered speaker system. The bookshelf speaker system features Third Man’s striking yellow-and-black color scheme. The turntable is mostly black, but has the Victrola and Third Man logos emblazoned in yellow on the front of the plinth, and includes a felt mat that sports the Third Man logo. The turntable sells for US$499.99 and the Tempo speakers for US$249.99, but Victrola also sells the combination for US$649.98, a US$100 discount.
If you find the Third Man color scheme a bit much, there are other options. The Wave turntable and Tempo speakers are also available in walnut, black, white, matte-blue, or matte-green finishes.
When I first learned about the Third Man Records bundle, I thought it was a good gimmick. But I was curious, and arranged for a review unit to be shipped to me. As soon as I heard the system, I knew it was no gimmick.
Description
Weighing 13 pounds and measuring 4.7″H × 16.9″W × 14.8″D (including the supplied dust cover), the Wave is a very decent belt-drive turntable for the money. It comes with a pre-mounted Ortofon OM 5E elliptical-stylus cartridge—one of my favorites for its smooth response—and operates at 33⅓ and 45 rpm. It has a built-in phono preamplifier for amplifiers or powered speakers (like the Tempo) that lack a phono input. The Bluetooth-equipped Wave turntable supports aptX Adaptive, aptX HD, and LC3/Auracast. Auracast broadcast audio is a new Bluetooth capability that enables supported transmitting devices to send audio to several receiving devices at once. The Wave also has auto-stop, one of my favorite turntable features: At the end of the side, the Wave not only raises the tonearm but also stops the platter.
The Tempo speakers have bright-yellow front panels that could keep you up at night. The two drivers—a 3½″ midrange-woofer and a ⅞″ soft-dome tweeter—are basic black. The primary speaker (set as right channel by default) contains the 40Wpc class‑D amplifier that powers both speakers, along with all inputs and controls. It sends speaker-level audio from an output terminal on the back panel to a corresponding input terminal on the back of the secondary speaker. A 6′ cable for this purpose is included in the box. Channel allocation can be toggled by pressing and holding the multifunction knob on the primary speaker for five seconds. A voice will announce “Right” or “Left,” depending on how the speaker is set.
In addition to Bluetooth with Auracast support, connectivity options include line-level analog (2 × RCA and 3.5mm stereo), USB‑C, and optical S/PDIF (TosLink). To change inputs, push the multifunction volume knob on the front of the primary speaker and watch the colors change: red for analog, green for USB‑C, yellow for optical, and blue (appropriately) for Bluetooth. To turn the system on or off, press the knob for one second. The system will go into standby if it doesn’t detect any audio for 20 minutes. It will pop back on with a press of the main button or by starting up a source.
Both speakers measure 8.9″H × 5.9″W; the primary speaker is 8.1″D and the secondary speaker is 7.8″D, and the pair weighs in at 9.5 pounds. The primary speaker also includes an RCA subwoofer output and a bass-filter switch that should be turned on if the system is connected to a subwoofer. This will engage a high-pass filter for the main speakers so that their small midrange-woofers can concentrate on upper bass and the midrange while leaving deep bass to the sub.
Unpacking and setup
I give Victrola major kudos for the way it packages this system. As you’d expect, it ships in two boxes: one for the turntable and one for the speakers. The devices are held in place by sturdy cardboard forms that are easily removed.
The Tempo speakers were easy to remove and set up. Included with the speakers are a heavy-duty power cord, the speaker cable, a set of RCA interconnects, and a 3.5mm stereo cable. If you want to use the optical S/PDIF or USB‑C inputs, you’ll have to supply your own cables. Victrola recommends that the speakers be placed at least 6′ apart and at least 6″ out from a wall, as they are rear-ported. Otherwise, the company’s directions are pretty standard: Set the speakers and your listening spot in an equilateral triangle with the tweeter at ear level.
The Wave turntable is as easy to set up as any I’ve encountered, aided by Victrola’s clearly written and illustrated setup guide. First, place the aluminum platter on the central spindle and rotate it until the hole with the guide string is over the motor. Grab the belt and wrap it over the motor spindle. Once the belt is on the motor spindle, rotate the platter a few times just to make sure the belt is situated correctly. Then, place the supplied mat on the platter.
Next, it’s time to install the headshell with its premounted cartridge. Insert the headshell into the business end of the tonearm and turn the collar until it’s tight. Now, gently remove the protective stylus cover from the cartridge. I have to commend Victrola on making ’arm setup as simple as possible. The first step is to remove the two foam blocks that hold the arm in place during transit. For the Ortofon cartridge that’s supplied with the Wave, you slip the counterweight onto the back end of the tonearm until the counterweight’s front clicks onto the second tonearm groove. Then, tighten the screw on the top of the counterweight to keep the weight from moving and unbalancing the ’arm.
Now we’re down to the last few details. First, find the dustcover hinges and insert them into the slots on the back of the turntable base. Then, slip the dustcover over the hinges. I found the dustcover to be quite sturdy.
At the very top of the plinth, between the tonearm base and the platter, is a small button that controls power on/off and speed selection. Next to that is a holder for the 45‑rpm adapter.
I used the supplied pair of 6′ interconnects during the review period.
Before I began my listening tests, I checked the Wave turntable’s speed accuracy using the RPM Speed & Wow app for Android. At the 33⅓ setting, measured speed was 33.46 rpm (+0.39%) and wow was ±0.46%. At 45, the measured speed was 45.10 rpm (+0.22%) and wow was an estimated ±0.68%. Speed figures were not bad at all but wow estimates were higher than one would like to see, and several times greater than Victrola’s specification of ±0.175%.
Listening via Bluetooth
I was really curious about the Auracast feature, so made a point of trying it out. As Geoffrey Morrison explained earlier this year in a column on SoundStage! Solo, Auracast can be thought of as “group Bluetooth” or “broadcast Bluetooth.” A single transmitting device can send wireless audio to many receiving devices simultaneously.
The Tempo speaker system can act as either a transmitter or receiver. To create what Victrola calls an “Auracast broadcast,” select the source using the multifunction knob on the front of the main speaker, then turn the Auracast switch to On. That will begin the broadcast. Follow instructions on the receiving device to connect to the Auracast broadcast.
For the Tempo system to act as an Auracast receiver, the instructions say to enter Bluetooth mode, but don’t pair the system with a Bluetooth device. The LED on the primary speaker will begin flashing light blue to indicate the speaker is attempting to find a nearby Auracast broadcast. Once the devices are linked, the LED will turn solid blue for two seconds and then to solid white. Victrola notes that its Tempo speakers can only connect to Auracast broadcasts from other Victrola Auracast-enabled products.
I set up the Wave turntable as an Auracast transmitter by double-pressing the Function button on the backside twice, per the manual, and the Tempo speaker system as a receiver.
Given the system’s unique branding, I thought it appropriate to start with a selection from Third Man Records: the White Stripes’ cover of “Jolene” from Under Great White Northern Lights (Third Man Records TMR‑015). Meg White certainly offers a different rendition from Dolly Parton’s original. Whereas Parton presents a woman pleading with her rival, White adopts an in-your-face, demanding persona. In the right channel, her drums had serious heft, and Jack White’s guitar smoked all the way through. I found the Tempo speakers a bit screechy during Meg White’s most intense passages. But overall, this was a worthy performance from a small system.
Fifty-two years ago, a unique group had a #5 Billboard Hot 100 hit called “Come and Get Your Love.” That group was Redbone, and what made it unique was that all four members were either indigenous Americans, Mexican-Americans, or a mix. The two leaders, Lolly and Pat Vegas, had a Shoshone mother and a father with Mexican and varied Native American ancestry. In the early 1970s, they added rhythm guitarist Tony Bellamy, who was Mexican and Yaqui, and drummer Pete DePoe, who is Cheyenne. “Come and Get Your Love” was the band’s first hit, selling more than a million copies, and the key song on its 1973 breakout album, Wovoka (Epic E 32462). I picked this track because it has a fair amount of bass, and features Lolly’s strong baritone and forceful guitar licks. This tune is what the Wave-Tempo combination was made for. The bass (second harmonic) had some decent slam. The highs were crisp and clean, and Lolly’s voice came through right in the middle of the soundstage, with backup vocals from the other guys well behind.
Wired listening
I also connected the Wave turntable to the Tempo’s analog inputs, with the ’table’s phono stage turned on. I always like to include a big symphonic work on my review playlist, but wondered whether a demanding orchestral piece would overwhelm the small Tempo speakers. However, I had been reasonably impressed with their performance during casual listening. So, I pulled out a favorite, the Cleveland Orchestra’s performance of Modest Moussorgsky’s Night on Bald Mountain, conducted by Lorin Maazel, from Pictures at an Exhibition / Night on Bald Mountain (Telarc 10042). Frankly, I was amazed how well the system presented this big, dramatic work. The highs were clear, and there was adequate bass. The soundstage had impressive width, although the depth was only decent. Could this combination ever serve as my main system? Not really. But as a secondary system in an office or bedroom, or as a starter system for a teenager, the Wave-Tempo system could serve quite nicely—even with demanding music like this Russian tone poem.
I recently was given some old LPs that belonged to my late brother-in-law. Among them was Fever! (Command RS 893SD), a 1966 album by Doc Severinsen and his orchestra, which was recorded onto 35mm magnetic tape to minimize distortion and speed fluctuations. Severinsen, a supremely talented trumpeter, was leader of The Tonight Show’s house band during the Johnny Carson era. The track I selected was “The Sidewinder,” a tune written for the instrument by another great trumpeter, Lee Morgan. Severinsen’s scatting trumpet through most of the song was exceptionally well reproduced, slightly to the left of center with not much of the backing behind him. The other musicians, mostly members of The Tonight Show band, appeared almost wholly in the right channel. Severinsen prefers the higher registers of the trumpet and this tune was no different. But those high notes came through exceptionally well.
Phono stage comparison
In most reviews of turntables with built-in phono stages, I compare sound quality with the phono stage of my vintage Apt Holman preamp, but that would have made for a very awkward setup. Instead, I switched off the Wave turntable’s phono stage and connected it to a Music Hall PA2.2 (US$449), a genius little device that combines a very fine headphone amplifier, an analog-to-digital converter, and a far-better-than-average MM/MC phono stage, and then connected the PA2.2 to the Tempo’s line-level input jacks.
My selection was “Tightrope,” from the 1969 album Construction #1 (Polydor 24‑4008) by Ten Wheel Drive, a band featuring singer Genya Ravan that hit it big in San Francisco and, seemingly, nowhere else. The album dates back to the era of Blood, Sweat & Tears and early Chicago, but adds a strong-voiced female vocalist out front.
Through the Wave’s onboard phono stage, I could find little to criticize. Perhaps the cymbals and Ravan’s higher notes sounded slightly strained, but that could be a result of the record’s vintage and lots of plays. Again, the bass from the small Tempo speakers was amazing. Soundstaging was quite good, with the band placed nicely behind Ravan’s vocals. Through the PA2.2, the cymbals sounded less strained, but otherwise the presentation was very much like the Wave’s onboard unit.
Conclusion
As I noted earlier, Victrola’s Wave turntable and Tempo powered speakers could serve as a perfect starter system for a newbie vinyl enthusiast. The Tempo system has enough different inputs to allow for several other sources, such as a streamer, CD player, or tuner. It sounded surprisingly big and reached deep for a system with such small main drivers. Although the Wave turntable’s measured wow was higher than I’d like to see, it operated very smoothly and silently. The auto-stop was the best I’ve encountered on any turntable I’ve reviewed. The Ortofon OM 5E, as I mentioned, is one of my favorite entry-level cartridges. While the limited-edition Third Man Records Victrola system is not exactly inexpensive, it strikes me as an honest value at its combination price of around US$650.
. . . Thom Moon
thom@soundstagenetwork.com
Associated Equipment
- Smartphone: Motorola G 5G
- Phono preamplifier: Music Hall PA2.2
Victrola Third Man Records Wave turntable and Tempo powered speaker system
Price: US$649.98; turntable available separately for US$499.99, speakers for US$249.99
Warranty: One year, replacement of defective products
Innovative Technology Electronics LLC
3350 Walnut Street
Denver, CO 80205
Phone: 1-877-483-2497
Website: www.victrola.com
