The simple answer, I think, lies in the manner in which either package, as a whole, is able to assist in the control of unwanted vibrations and resonances.
Beyond the package itself (Thorens/Ortofon v Rega/Grado), one must take into account the actual environment in which the package is deployed. Acoustical/airborn/structural vibrations can wreak havoc on even the most expensive analog front-ends. Some effect the suspension, others the cartridge and arm interface, and so on.
Whether a function of the "package" - in this case the T/O or R/G - or the environment, vibrations and resonances all add or subtract colorations. Hell, you probably already know all this, but for the sake of anybody fairly new to all this, well I thought it was worth pointing out.
BTW, when I first read your initial post, I was surprised the Thorens did not sound BETTER than the Rega, which inherently requires a great deal better form of isolation than your Thorens does.
Your particular Thorens benefits from design features that appear in the top of the line tables from Thorens (an isloated suspension, for one), while the Rega...well, it's just a Rega, the alternative table from the 1980's for those who did not want to fuss around with suspensions like those found on most Thorens or any of the AR's, including the (1984) $300 AR Turntable which, once set up and in the right environment, really does outclass the Rega in measured performance. Too bad the motor and bearing on the AR tables were not of a better class (thankfully Merril et al came to the rescue with aftermarket mods that both made perfect sense and worked!).
Removing the fairly decent arm from the Rega, be it the RB250/300/600 or 900, and mounting it on the Stock AR ES-1 or EB-101 proved this point. The infantile but nevertheless shocking dealer demo in those days consisted of taking a very heavy rubber mallet to the base of the AR as it played...a clear method if there ever was one of showing how well the platter and arm were isolated from the base!
Good Vibrations All Around,
-Kurt
Beyond the package itself (Thorens/Ortofon v Rega/Grado), one must take into account the actual environment in which the package is deployed. Acoustical/airborn/structural vibrations can wreak havoc on even the most expensive analog front-ends. Some effect the suspension, others the cartridge and arm interface, and so on.
Whether a function of the "package" - in this case the T/O or R/G - or the environment, vibrations and resonances all add or subtract colorations. Hell, you probably already know all this, but for the sake of anybody fairly new to all this, well I thought it was worth pointing out.
BTW, when I first read your initial post, I was surprised the Thorens did not sound BETTER than the Rega, which inherently requires a great deal better form of isolation than your Thorens does.
Your particular Thorens benefits from design features that appear in the top of the line tables from Thorens (an isloated suspension, for one), while the Rega...well, it's just a Rega, the alternative table from the 1980's for those who did not want to fuss around with suspensions like those found on most Thorens or any of the AR's, including the (1984) $300 AR Turntable which, once set up and in the right environment, really does outclass the Rega in measured performance. Too bad the motor and bearing on the AR tables were not of a better class (thankfully Merril et al came to the rescue with aftermarket mods that both made perfect sense and worked!).
Removing the fairly decent arm from the Rega, be it the RB250/300/600 or 900, and mounting it on the Stock AR ES-1 or EB-101 proved this point. The infantile but nevertheless shocking dealer demo in those days consisted of taking a very heavy rubber mallet to the base of the AR as it played...a clear method if there ever was one of showing how well the platter and arm were isolated from the base!
Good Vibrations All Around,
-Kurt