Pro-Ject's new fully-automatic turntable could be the buy of Record Store Day 2025
Not the cheapest deck out there, but certainly not the priciest RSD buy either…

- The Pro-Ject A1.2 is an update on the likeable A1, with some notable upgrades
- Top of the updates? A new die-cast aluminum platter
- It's landing in April, ahead of Record Store Day 2025, for £469 (around $600 / AU$960)
Pro-Ject knows Record Store Day 2025 is incoming on April 12, doesn't it? If you're busily clearing your schedule so you can get down to your local bricks-and-mortar independent record store, to buy some (or all – why not?) of this year's list of collectible and limited-edition records from some of the biggest names in music, you might want to take a moment to check your deck.
Could you – should you – treat yourself, or the fledgling vinyl collector in your life, to a new and fully automatic turntable, from one of the most trusted names in the game? You don't want an older or slightly beaten-up turntable damaging your delicate new limited-edition LPs, do you?
Well, one possible answer is right here, in the Pro-Ject A1.2.
Pro-Ject tells me the A1.2 retains the core design principles of the original A1 (not to be confused with the Pro-Ject E1 or Pro-Ject Juke Box E1, although those are both excellent budget-friendly options), but adds a series of carefully considered upgrades.
It'll hit shelves in April in white or black finishes. Right now, I know the UK pricing only, which is very respectable £469, which would make it around $600 or AU$960.
Pro-Ject A1.2 turntable: key upgrades and features
A new die-cast aluminium platter is at the beating heart of Pro-Ject's improvements for the A1.2, replacing the A1’s stamped version.
Next up, a new CNC machining process has been implemented in a bid to "ensure precise, consistent production and reduce resonance". The A1.2’s 8.3-inch "ultra-light" aluminium tonearm also now features a redesigned headshell made from carbon fiber-reinforced polymer – because keeping weight to a bare minimum is a key factor in automatic turntable design.
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The tonearm comes loaded with a pre-adjusted Pro-Ject Pick it MM E cartridge and, thanks to a fully mechanical operation, there shouldn't be any motor resonance or electrical components affecting that tonearm – once a record is playing, Pro-Ject explains that the mechanics "disengage entirely", helping to preserve playback quality.
Elsewhere, you're getting Pro-Ject's resonance-damped wooden chassis, silicone-damped feet, and Connect it E phono cables. And since the tracking force and anti-skating are all factory-adjusted from the box, setup should be as simple as unpacking it, placing it on a level surface, installing the dust cover (if you want to; I never do since I've found it can add to resonance issues, and I dust my apartment as standard) and plugging the power supply – first into the power socket on the turntable, then into your mains power.
You can then set the A1.2’s integrated phono preamp on or off, by lifting the mat and adjusting the switch.
And to play a record? Place your vinyl lovingly on the turntable, set the speed to 33 or 45 RPM, remove the stylus protection cover, move the lift lever to the ‘needle on the record’ icon, and press START/STOP. Your platter will begin spinning; your tonearm will move to the correct position and gently lower itself onto your precious record. And once the record finishes, that tonearm will automatically find its way home again – which means you won't have to leave the couch in your own home.
Might it just be one the best turntables for a new collector? Too early to tell, but I'd be very keen to give it a spin.
One of the best pre-Record Store Day 2025 releases then? Well, we love Pro-Ject's Flatten It vinyl flattener too, but really it's Pro-Ject out there bossing it all alone right now…
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Becky became Audio Editor at TechRadar in 2024, but joined the team in 2022 as Senior Staff Writer, focusing on all things hi-fi. Before this, she spent three years at What Hi-Fi? testing and reviewing everything from wallet-friendly wireless earbuds to huge high-end sound systems. Prior to gaining her MA in Journalism in 2018, Becky freelanced as an arts critic alongside a 22-year career as a professional dancer and aerialist – any love of dance starts with a love of music. Becky has previously contributed to Stuff, FourFourTwo and The Stage. When not writing, she can still be found throwing shapes in a dance studio, these days with varying degrees of success.
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