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All items are meticulously serviced and restored to meet factory specifications
Advent


The Advent Prodigy Tower, a compact, floor-standing two-way speaker system, measures 28-1/2 inches tall, 10-1/2 inches wide, and 8-7/8 inches deep and weighs 25-1/4 pounds. Although its proportions probably justify the “Tower” name, it could be described more accurately as a minitower, for it will not dominate even the smallest room.
The cabinet, which appears to be made of 1/2-inch-thick fiberboard, is painted flat black on four sides. The top is covered by a solid piece of oiled pecan wood, and there’s a matching trim plate on the bottom of the front panel. With the black grille cloth in place, the speaker presents an all-black exterior except for the accents of light-colored wood. The spring-loaded input connectors, recessed into the rear of the speaker, accept the stripped ends of speaker wires.
The 8-inch, long-excursion woofer, which operates in a sealed enclosure, is located in the middle of the front panel, with the driver’s center about 16 inches from the floor. At 3,000 Hz there is a crossover to a 3/4-inch, soft-dome tweeter (cooled and damped by ferrofluid) located near the top of the panel. The nominal system impedance is 6 ohms, with a minimum of 4 ohms. The rated sensitivity is 89 dB sound-pressure level (SPL) at 1 meter with a 2.8-volt input, and the speaker is recommended for use with amplifiers capable of delivering up to 75 watts continuous or 300 watts peak.
Advent gives the frequency response of the Prodigy Tower as 45 to 23,000 Hz ±3 dB, with a useful lower limit of 37 Hz (where its output is — 8 dB). The tweeter’s output variation (dispersion) over a 30-degree angle, either vertical or horizontal, is rated as ± 1 dB. The system’s harmonic distortion with a 1-watt input level is rated as less than 0.8 percent above 80 Hz. Price: $350 a pair.
Lab Tests
Advent encourages experimentation in the placement of these speakers, although the Prodigy Towers are designed to be placed on the floor about 1 to 6 inches from the wall. According to the instruction sheet, this placement puts the system close to the ear level of a seated listener, for optimum midrange and treble response, and also provides the flattest low-frequency response.
Since a tweeter only 24 inches from the floor would be at ear level only for listeners sitting on the floor (not our preferred location), we first installed the speakers on 7-inch stands a few inches from the wall. Later we placed them directly on the floor about 18 inches from the wall. The audible differences were quite minor, and we concluded that the speakers are relatively insensitive to placement.
The averaged room response of the left and right speakers was strikingly free from large peaks or dips. In fact, the raw (unsmoothed) room curve was flat within ± 5 dB from 50 to 20,000 Hz, which is quite unusual in our experience. The close-miked woofer response had a broad maximum at 80 Hz, falling at 12 dB per octave below 60 Hz and gradually sloping off by about 6 dB per octave from 80 to 2,000 Hz. The woofer response cut off sharply above 2,000 Hz, but the absence of a significant response hole in the crossover region suggests that the effective crossover frequency may be nearer to 2,000 than to 3,000 Hz.
When the woofer curve was spliced to the room curve, the composite frequency response (relative to the 1,000-Hz level) was +4,-1 dB from 140 to 16,000 Hz. From 43 to 20,000 Hz the variation was +6, — 1 dB. The minimum system impedance was 4.2 ohms in the 100- to 200-hz range and at 20 Hz. The bass resonance was at the rated frequency of 60 Hz, where the impedance reached its maximum of 20 ohms, and there was a broad impedance peak to 17 ohms at 2,000 Hz (additional evidence that this was the true crossover frequency).
Our quasi-anechoic FFT measurements of the Prodigy Tower generally confirmed the characteristics revealed in our other tests. A crossover dip appeared between 2,000 and 3,000 Hz, putting the actual crossover frequency somewhat in doubt again, although this figure is of little importance to a user. These tests revealed the excellent dispersion of the system’s tweeter: The maximum level change between the on-axis and 45-degree off-axis responses was about 5 dB over the tweeter range up to about 13,000 Hz. Since we operate in a “live” room environment, more precise measurements are difficult to make. In any case, the dispersion of the Advent Prodigy Tower’s tweeter was better than that of most other speakers we have tested.
The Advent system also had excellent phase linearity in its tweeter range, yielding a group-delay variation of about 0.1 millisecond overall from about 4,000 to 20,000 Hz. Pulse power tests indicated an excellent power-handling ability. The woofer began to rattle with a 100-Hz input of 1,150 watts into its 4.8-ohm impedance. At 1,000 and 10,000 Hz, our amplifier clipped before the speaker output distorted, with an input of about 675 watts into respective impedances of 9.8 and 5.8
Judging from their measured performance, the Advent Prodigy Tower speakers are among the better systems available in their modest price range. Happily, they sounded every bit as good as they measured. From the start, their sound was smooth and uncolored, with no noticeable emphasis or deficiency in any portion of the audible spectrum. Further listening revealed that their bass reproduction was more extended and cleaner than in many, if not most, speakers we have heard that are comparable in size or price.
It is difficult to describe or evaluate the sound of speakers heard in isolation; this is best done in careful comparisons with the sound of more familiar models. In this case, we were fortunate in having available a pair of speakers that are not too different in size from the Advents but sell for several times their price. The comparison system sounded superb, with an exceptionally open sound stage. We could not have expected the Prodigy Tower to equal or surpass this “reference” system (not our regular reference, incidentally), but we were surprised to discover what a minute difference there was between the two. Above the mid-bass, the two sounded (and measured) almost identical in their octave-to-octave balance. The Advent was clearly superior in the low bass. The only respect in which the reference system clearly outperformed the Advent System (and only by a moderate amount) was in the breadth, height, and depth of its reproduced sound stage.
Considering the great price difference between these two speakers, and the subtlety of the sonic differences between them, the Advent Prodigy Tower is obviously an outstanding value. You won’t find many $350-a-pair speaker systems with its combination of compact size, smoothness, wide dispersion, extended bass and treble response, high efficiency, high power-handling ability, and low bass distortion. Although calling a speaker of its size and proportions a “tower” might be considered hyperbole, the “prodigy” part of its name is not hard to justify.
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There’s something undeniably magnetic about vintage audio gear. The tactile weight of milled aluminum knobs, the warm glow of dial lamps, and—above all—the rich, analog sound that today’s sterile streaming boxes can’t quite replicate. But time is merciless: capacitors dry out, switches oxidize, and those gorgeous walnut cabinets lose their sheen. That’s where the art (and science) of our vintage audio refurbishment comes in.
Why Vintage Audio Still Matters
In the golden era of hi-fi—roughly the mid-1960s through the early 1980s—companies like Marantz, McIntosh, Pioneer, Sansui, and Technics were engaged in an arms race of build quality. This was before cost-cutting plastics and disposable designs; amplifiers were over-engineered, receivers were works of art, and turntables were precision instruments.
Owning one wasn’t just about sound; it was about status and permanence. These machines were built to last a lifetime—or two. The irony? Decades later, they often do, provided they’re given the care they deserve.
The Philosophy of Refurbishment
Refurbishment is not just about fixing; it’s about preserving authenticity while ensuring reliability. The goal is to keep that lush, analog character alive without compromising safety or sound quality.
Some enthusiasts chase museum-level originality—keeping every factory component in place. Others opt for sympathetic modernization, upgrading parts that never existed in the ’70s to improve performance. Both approaches can be valid; it depends on your vision.
The Turntable Store refurbishing process.. step by step
Step 1: The Initial Encounter
When we first meet a 40-year-old amplifier, we resist the urge to plug it in right away. That dusty Marantz 2270 might look gorgeous, but old electrolytics and brittle insulation can short instantly under full voltage.
Instead:
Tip: A faint musty smell? That’s often the scent of old phenolic boards, not trouble. But a burnt smell? That’s trouble.
Step 2: Deep Cleaning & Control Detox
Dust is the enemy of good sound, that is why we clean the interior carefully with compressed air and a soft brush.
The real magic comes with switches and potentiometers. Over decades, oxidation builds up, causing scratchy controls and dropouts. A deep contact clean in each pot and switch, followed by vigorous cycling, often restores silky-smooth operation.
Step 3: Electrical Resurrection
This is where science meets art:
Step 4: Cosmetic Glory
Refinishing the walnut cabinet can transform a unit. We do use real wood oil or Danish oil, not polyurethane. We clean the glass dial carefully; those silkscreened letters are fragile.
Knobs? We polish with metal cleaner, but never use abrasives on anodized aluminum.
Faceplate lettering? We avoid harsh chemicals—just mild soap and a microfiber cloth.
Step 5: Calibration & Sonic Check
After the repair and cleaning, it’s time to dial in the performance:
When done right, the result is astonishing: a sound that breathes—liquid mids, velvet highs, and bass with a tactile presence that modern gear rarely matches.
Our promise for Audiophile-Level Results
Why It’s Worth It
The payoff isn’t just sonic—it’s emotional. Restoring a 1970s Marantz or Sansui is like bringing a classic car back to life. Every glowing dial lamp, every smooth rotation of a volume knob, connects you to an era when music mattered enough to build machines like this.
And when you drop the needle on your favorite record and hear that warm, enveloping sound, you’ll know: this wasn’t just a repair. It was a resurrection.
We have a 14-day return policy, which means you have 14 days after receiving your item to request a return.
To be eligible for a return, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.
To start a return, you can contact us at theturntablestore@gmail.com. Please note that returns will need to be sent to the following address:
The Turntable Store
45 Market Square
Manheim PA 17545
If your return is accepted, we’ll send you a return shipping label, as well as instructions on how and where to send your package. Items sent back to us without first requesting a return will not be accepted.
You can always contact us for any return question at theturntablestore@gmail.com.
Damages and issues
Please inspect your order upon reception and contact us immediately if the item is defective, damaged or if you receive the wrong item, so that we can evaluate the issue and make it right.
Exceptions / non-returnable items
Certain types of items cannot be returned, like turntable needles and custom products (such as special orders or personalized items). We also do not accept returns for hazardous materials, flammable liquids, or gases. Please get in touch if you have questions or concerns about your specific item.
Unfortunately, we cannot accept returns on sale items or gift cards.
Exchanges
The fastest way to ensure you get what you want is to return the item you have, and once the return is accepted, make a separate purchase for the new item.
European Union 14 day cooling off period
Notwithstanding the above, if the merchandise is being shipped into the European Union, you have the right to cancel or return your order within 14 days, for any reason and without a justification. As above, your item must be in the same condition that you received it, unworn or unused, with tags, and in its original packaging. You’ll also need the receipt or proof of purchase.
Refunds
We will notify you once we’ve received and inspected your return, and let you know if the refund was approved or not. If approved, you’ll be automatically refunded on your original payment method within 10 business days. Please remember it can take some time for your bank or credit card company to process and post the refund too.
If more than 15 business days have passed since we’ve approved your return, please contact us at theturntablestore@gmail.com.
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