SME MODEL 10 €. 7.485,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Model 10 Giradischi di precisione, 33/45/78 giri, disponibile anche con braccio SME 10 opzionale. Versione MODEL 10A Model 10 Giradischi di precisione, 33/45/78 giri con braccio SME 10 9.910,00 euro
The SME Model 10 precision turntable is built to exacting engineering standards providing reliability and freedom from critical adjustments. Build integrity, sophisticated electronics and vibration free moving parts allow the full capabilities on any sound system to be fully explored.The designer’s aim; a more affordable product, preserving as much as possible of the performance and engineering excellence found in the celebrated Model 30/2 ‘the best turntable of all time’.The Model 10 weighs more than 15kg (33lb) but is only Ø304mm, thus meeting all the requirements of high density construction on which freedom from colouration depends. The turntable is supported on three large polymer isolators within adjustable feet allowing quick and easy levelling. A cruciform sub-chassis carried on three polymer loaded towers. A novel design which affords impressive isolation without float. Fully machined extensionally damped platter, diamond turned top surface with a fine scroll finish for optimal record interface. Large diameter reflex record clamp ensures largest possible platter/record contact. Speeds: 33.3, 45 and 78 rpm Polished stainless steel stylus guard. Soft dust cover to accommodate the turntable and arm, when not in use.Dimensions: 370 x 250 x 161mm (Record clamp fitted). Net weight with power supply: 16kg (38lb). Substantial packing case with internal fitments: 745 x 405 x 240mm Shipping weight: 18.25kg (55lb) Model 10 pick-up arm The Model 10 precision pick-up arm derived from the popular Series 300 Model 309 is only for use with this turntable and has special features including: A simplified arm-base assembly specially designed for the Model 10 turntable, combining tracking adjustment with absolute rigidity.One piece pressure die cast magnesium arm tube.Detachable magnesium headshell affording azimuth adjustment.Effective mass: 9.5g.Cartridge balance range: 6-17g.Vertical tracking force: 0-3g
SME MODEL 15 €. 10.365,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Giradischi di precisione, 33/45/78 giri, senza braccio VERSIONE MODEL 15A Giradischi di precisione, 33/45/78 giri, con braccio SME 309 €. 13.000,00 euro
SME MODEL 20/3 €. 13.735,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Giradischi di precisione,
33/45/78 giri, senza braccio.
Modello 20/3a con braccio sme v g print 19.370,00 euro
SME MODEL 20/12 €. 24.135,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Giradischi di precisione, 33/45/78 giri, senza braccio. Versione MODEL 20/12A Giradischi di precisione, 33/45/78 giri, con braccio SME 312 S COMPRESO 28.390,00 euro
Precision turntable A larger and more massive version of our well known Model 20/2. It will accept nine, ten and twelve-inch arms but is especially directed at the exciting Model 312S. This offers a performance some 27% better than a nine-inch arm in respect of angular error distortion. The wand and headshell are pressure die-cast in magnesium and are 27g lighter than they would be in aluminium. Probably the stiffest and lightest twelve-inch arms ever made these dual problems are at last addressed and on listening, the benefits of minimal tracking error and harmonic distortion are clearly revealed. A turntable should address the problems of extraneous vibrations. These emanate from numerous sources including air and structural vibration from loudspeakers, groove modulation, stray electrical fields and mechanical imperfections in moving parts. In the Model 20/12, superb instrument quality machining is allied with fundamental physics. The higher the mass and stiffness of a body the less it will flex and vibrate; the duration of a vibration can be shortened by suitable damping.Model 20/12 weighs approximately 33.5Kg (73.7lb), significant in relation to its size because it is density that matters. For example, the same weight of metal spread over a large enough area would be aluminium foil! The sub-chassis measures only 20 1/2” (520mm) by 14 3/4” (375mm) but weighs 8.0Kg (17.6lb). Its thickness, 5/8” (16mm) resists flexing at low frequencies whilst high frequency resonance is attenuated by efficient extensional damping.Model 20/12 has no `sonic footprint'. The sub-chassis is suspended on forty purpose moulded ‘O’ rings which ensure freedom from feedback. A large centrally placed fluid-damper disciplines sub-chassis movement with a pleasing sense of security when handling records on and off the platter.In addition to a cartridge’s electrical output, mirror image acoustic signals reacted in the arm and record, will pass into the sub-chassis in the course of dissipation. However the usual closed loop design does not address the problem of their differing phase so in the Model 20/12 the structural interfaces concerned have received special attention to provide paths of the required impedance. This control of vibration is fundamental to the design of the player and goes much of the way to explaining the stunning tonal and dynamic neutrality that it exhibits.Model 20/12 is available in two formats MODEL 20/12 Equipped for but not including a pick-up arm. MODEL 20/12A As above but fitted with Series 300 Model 312S precision pick-up arm. Dimensions: 520 x 375 x 173.5mm.Packing: Substantial case. Net weight with power supply: 35.5kg (78lb) Shipping weight approximately: 45.5kg (100lb)Graph compares angular error distortion of typical nine-inch and twelve-inch arms, with null points selected to equalize distortion at maximum and minimum recorded diameters.Stable four point suspension. Sub-chasis suspended on eighty strands of rubber in the form of forty purpose moulded ‘O’-rings. Trimming screws for suspension adjustment. Central fluid damper controls sub-chassis motion and offers resistive ground-path for acoustic signals. For transport lock down screws secure the sub-chassis and seal the damper. 19mm diameter main spindle machined from high-chrome steel hardened, ground and super finished. Runs in a sealed oil bath. Reflex clamping system minimises record resonance. 6.5Kg (14.3lb) machined platter with unique Isodamp face. Generous use of extensional damping and resistive loop construction ensure sonic neutrality. Adjustable ball feet with optional compliant inserts. Four jacking screws built into the sub-platter allow the thrust bearing to be off loaded for transit. Driven by a 3-phase, 6 pulse, inductance motor, with 8 pole Neodymium magnets and 3 integrated Hall position sensors. The power supply houses an electronic controller using a high performance microcomputer, optimised for motor control. Closed loop speed control is implemented using a pseudo sine wave commutation sequence and a proportional-plus-integral (PI) algorithm. New design incorporates a 4 layer surface mount technology pcb with on-board user adjustable speed variation control. Large diameter strobe disc supplied allows precise adjustment of standard speeds. Speeds ranges: 33.3, 45 and 78 rpm.
SME MODEL 30/2 €.35.105,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Model 30/2 Giradischi di precisione, 33/45/78 giri.senza braccio. Versione Model 30/2A Giradischi di precisione, 33/45/78 giri, con braccio SME V G print 40.740,00 euro
With its many original design features the Model 30/2 is a unique turntable. There are no critical adjustments or setting up procedures. Its immaculate construction and finish stem from facilities and uncompromising quality control which have made SME a byword for engineering excellence. Judged by Germany’s AUDIO 'the best turntable of all time' the Model 30/2 can be for the fortunate owner of an analogue collection the key to lasting musical enjoyment.SME have built pick-up arms for more than thirty-five years and the design and engineering experience gained has been applied in the Model 30/2, a precision turntable created to compliment the SME Series V regarded by many as: 'the best pick-up arm in the world'. In common with this arm the design of the Model 30/2 takes special account of sonic considerations and with equipment of comparable quality can provide a listening experience that allows L.P. sound to be re-assessed. Detail, resolution, and neutrality are of a new order with a dynamic range that does justice to the original sound. The laws of physics decree that the higher the mass and stiffness of a body the less it will flex and vibrate - and this is reflected throughout the Model 30/2. The sub-chassis is machined from 19mm thick aluminium alloy plate and weighs approximately 17kg while the base with its four supporting pillars adds a further 16kg. This offers the high mass and stiffness required for uncoloured reproduction further aided by efficient extensional damping of both components to reduce the amplitude and duration of their vibrational modes. In conventional turntables metal supporting springs often contribute significantly to colouration. Sometimes even their size and nature can be identified by an experienced ear! The unique suspension system of the Model 30/2, however has no sonic footprint, it hangs the sub-chassis on ninety-six strands of rubber in the form of forty-eight purpose moulded 'O' rings. An ingenious method of anchorage allows them to be removed or replaced instantly, should this ever be necessary, even while a record is playing! The illustration shows how this design also places the centre of gravity where it will give natural stability with minimal sensitivity to external influences, contrasted with a conventional arrangement.Sub-chassis motion is disciplined by four fluid dampers, one in each of the supporting columns. These eliminate overshoot and give almost zero 'Q' recovery, allowing the user to make record and arm placements with total confidence. The isolation needed to prevent acoustic feedback is bridged by the resistive coupling of the damping fluid through which unwanted reacted energy is conducted away to 'ground'. This function is adjustable through trimmers which can be used in conjunction with a gauge to give recommended settings or varied to suit individual conditions. Built-in locks one at each corner of the sub-chassis, enable the suspension to be secured and automatically sealed for transport. The moving parts of a fine turntable are of paramount importance. The spindle of the Model 30/2 is 170,5mm long and 19mm diameter. The massive sealed housing and individually fitted sintered bronze bearings in which the spindle runs are also of the generous proportions needed to ensure that the 330mm diameter platter weighing 7kg is adequately supported. The Model 30/2's excellent dynamics and pitch stability are largely the result of the immense care taken in the design and execution of these components.The platter face is machined with a fine scroll found to interface better than a plain surface. A substantial reflex clamp ensures maximum contact with the platter even when severe record warp is present. Dowels ensure positional accuracy so that if more than one arm is in use the arm mounting plinth can be quickly interchanged.The powerful electronically commutated motor is 'cogging-effect' free and virtually vibrationless by reason of its 2,5kg weight. It is isolated on urethane mounts and adjustable for accurate belt positioning.It can be fairly claimed that the engineering of the Model 30/2 is unique in a turntable. In the quest for perfection even the stainless steel motor pulley has received detailed attention. It is crowned to ensure belt centrality, concentric within +/- 2,5 microns and secured to its precision ground tungsten steel shaft with twin grub screws to maintain rotational balance. From this the drive is transmitted via a ground rubber belt to a 209mm sub-platter weighing 2,3kg. This is extensionally damped and incorporates four captive transit screws allowing the main spindle's vertical thrust bearing to be off loaded for safe transport.The turntable is driven by a 3-phase, 6 pulse, inductance motor, with 8 pole Neodymium magnets and 3 integrated Hall position sensors. The electronic controller uses a high performance microcomputer, optimised for motor control allowing very and accurate and stable speed control, including 33.3, 45 and 78 rpm. This design incorporates a 4 layer surface mount technology pcb with on-board user adjustable speed variation control. The Model 30/2 is available in two formats: MODEL 30/2 equipped for but not including SME precision pick-up arm. MODEL 30/2A with matching SME Series V precision pick-up arm. Complete with a comprehensive set of tools and equipment including Height Setting Gauge, Ø300mm Stroboscopic Disc, Reflex Record Clamp, Record Spindle Washer, Soft Cover and Operating Instruction Manual. Dimensions: 450 x 350 x 220mm. Packing: Substantial wooden case with internal fitments Net weight with power supply: 42,0kg Shipping weight approximately: 58,0kg
SME MODEL 30/12 €. 45.635,00 Per ordine e sconto TELEFONA/ UN E-MAIL
Giradischi di precisione, 33/45/78 giri, senza braccio Versione Model 30/12a Giradischi di precisione, 33/45/78 giri, con braccio SME V 12 53.270,00 euro
Braccio a canna dritta in acciaio inox, shell intercambiable
Braccio 9 pollici angolato, shell intercambiabile
Come sopra ma 10 pollici
Come sopra ma 12 pollici
Braccio 12 pollici angolato, shell intercambiabile
The Series M2 embraces three models the M2-9, M2-10 and M2-12 offering pivot-stylus dimensions covering virtually all turntable requirements. These arms offer at reasonable cost, meticulous build quality with all the most important features including lightweight stainless steel tonearm, detachable magnesium headshell with azimuth adjustment, tungsten balance weight, superb quality ball race bearings etc., and a level of stiffness and rigidity to suit all types of cartridge. All M2 arms are equipped to receive an accessory fluid damper FD-M2. These precision pick-up arms embody well tried SME principles and aresuited to a broad range of cartridges including those of medium and low compliance. Series M2-9 is the standard arm having a pivot-stylus dimension of233.2 mm (9.18”) and will therefore be the one most frequently used.Typical effective mass 9.5 grams. Series M2-10 is identical except that the pivot-stylus dimension is 239.3 mm (9.42”) a difference that suits the layout of some decks. Typical effective mass 9.6 grams. Series M2-12 has a pivot-stylus dimension of 308.8 mm (12.16”). Distortion caused by lateral tracking error is at least 25% less than possible with a nine inch arm. However effective mass will be typically 12.0 grams. Also, a turntable designed for 12-inch arms must be selected. The internally damped tonearm of highly polished stainless steel provides sparkling uncoloured reproduction. A unique single element balance system caters for cartridges weighing 5 to 12 grams. After balancing tracking force is applied by forward movement of the weight ensuring the lowest system inertia. The weight moves on a precision screw thread with backlash eliminator allowing exact setting of vertical tracking force. The M2 shell is pressure die-cast in magnesium for lightness and rigidity. A collet of ingenious design affords ‘one-piece’ rigidity and allows azimuthcorrection to be made before final tightening. A fluid damper FD-M2 is an optional accessory. The normal slow passage of the arm across the record is unaffected but influences which would tend to produce over-rapidmotion are resistedby the flow characteristic of the fluid. It’s use is recommended with very low compliance cartridges or where there is a problem with external vibration such as a springing floor. Dimensions M2-9 M2-10 M2-12 mm ins mm ins mm ins Nominal length,pivot stylus (A) 233.20 9.18 239.30 9.42 308.80 12.16 Distance from bedplate centreto turntable centre (B) 215.40 8.48 222.00 8.74 295.60 11.64 Cartridge fixing centres (C) 12.70 0.50 12.70 0.50 12.70 0.50 Overhang (F) 17.80 0.70 17.30 0.68 13.21 0.52 Height above mountingsurface (G) max 87.00 3.43 87.00 3.43 87.00 3.43 min 63.00 2.48 63.00 2.48 63.00 2.48 Note: When the turntable surface is more than 41.30mm (1.625”) above the surface on which the arm is mounted a P1 spacer, SME Part No. 3823/IV, is required Mounting surface to underside of headshell (H) max 67.40 2.65 67.40 2.65 67.40 2.65 min 43.40 1.71 43.40 1.71 43.40 1.71 Depth below mountingsurface (J) 46.00 1.81 46.00 1.81 46.00 1.81 Balance weight radialclearance (K) 51.00 2.00 51.00 2.00 51.00 2.00 Tracking adjustment ± 12.70 0.50 12.70 0.50 12.70 0.50 1.0 gram per revolution tungsten weight sub-graduated 0.25 and 0.025 gram moving on a precision screw with backlash eliminator 1220mm (48”) D501 balanced audio lead. Engineered in the best camera quality with satin chrome finish Fluid damped lift/lower control Geometry optimised for Ø300mm (12”) LPs Low friction, fully shielded races for both axes Phono plugs and other contacts heavily gold plated Pressure die-cast magnesium headshell with unique collet Sliding base for tracking adjustment Thin-walled stainless steel tonearm with internal damping Thumbwheel height adjustment Traditional pattern anti-skate
SME SERIE 309
Braccio di precisione, shell intercambiabile con lunghezza canna di 10 pollici/25 cm
Braccio di precisione, shell intercambiabile con smorzatore FD-IV e scritte in oro
Braccio di precisione, canna
in magnesio, shell intercambiabile per Model 10
SME SERIE IV
Braccio di precisione con canna in magnesio
Come sopra ma con shell intercambiabile
The Series IV precision pick-up arm owes much to the technology developed for the acclaimed Series V. Although presented at a lower price it retains the unique one-piece magnesium tone-arm, dual-lock base and other advanced features listed.The Series IV is a worthy relative of 'the best pick-up arm in the world' with a sonic performance reflecting the care and attention to detail underlying its design and manufacture.Unique one-piece pressure die-cast tone-arm utilising the advantages of magnesium, replaces conventional fabricated construction. Internal constrained layer damps minute residual vibration leaving the tone-arm acoustically inert. Fine machined cartridge platform, enamel free to avoid interface resonance. Stainless steel cross shaft, ground and thread ground. Carried in massive yoke on 10mm ABEC 3 ball races. Axis at record mean level to minimise warp-wow. Unique assembly gives high rigidity and allows bearings to be critically adjusted before tone-arm is fitted. Stainless steel vertical shaft, ground and thread ground, with integral 16mm diameter flange to couple shaft and yoke. 23mm diameter steel pillar, heat treated, ground and honed, carries two 17mm ABEC 7 ball races, widely spaced to resist tilt. Anti-skate control operates through tension spring and filarnent. Dial corresponds with VTF and haspositive OFF position. Lowering/raising control gives smooth positive action. Height of lift can be adjusted. Dual-lock base provides movement control with high rigidity. Tungsten-alloy balance weight carried on damped two-point suspension. Extra-low inertia design assists warp riding. Underslung weight housing corrects centre of gravity and provides non-reflective tone-arm termination. Adjustment leadscrew journalled in twin ball races with lever clamping. Swivelling damped output socket minimises vibration transmission in sub-chassis use. Reference lines on tone-arm facilitate VTA setting. Fine adjustment of horizontal tracking angle (HTA) New design alignment protractor sets HTA with great accuracy.
SME SERIE V
Braccio di precisione con canna in magnesio
Braccio di precisione con canna in magnesio con shell intercambiabile
Braccio di precisione con canna in magnesio con scritte in oro
Braccio di precisione con canna in magnesio dorato tranne canna
Braccio di precisione con canna in magnesio 12 Versione V 12 G plated Come modello V 12 ma dorato tranne canna 10.390,00 euro
The fruit of many years of creative research, the handmade prototype V was shown to prospective distributors at the American and German shows in 1984, but it took a long time to get into production. Components were continually tried from prospective suppliers until the quality was right. When first shown , the price was targeted at what was then a very high level. Some expressed doubts concerning its credibility at that price, indeed of any similarly-priced tonearm.The available competition included the Sumiko and the Breuer, but these were seen as high-end exotics. SME had traditionally operated in what had become the middle ground, the Series II arms, of which the non-detachable headshell version became the most popular, being very competitively priced. They were joined by the Series III tonearms, these again also competitively-priced, low-mass, designs. However, when the original SME Series I arm was introduced in 1959, it was simultaneously the best and the most costly arm available. SME have suffered some criticism for failing to recognise that the hi-fi market has changed, particularly in the US and the UK. The moving coil cartridge has become dominant in the quality end of that market. While a few high trackability, high-compliance moving-coils are produced, notably from Audio-Technica (the AT100) and Denon (the DL1000), most have followed the example set by Ortofon and Supex in producing models of moderate compliance.With one compliance unit (lcu) equivalent to l x l0-6 cm.dyne, a low-to-moderate compliance design has a relatively stiff stylus cantilever suspension in the 8-15cu range. The medium compliance range runs approximately from 15 to 25cu, while very softly suspended cantilevers fit in the high compliance range, from 25 to 50cu. In the bad old days when low frequency trackability was just about the only well-regarded performance parameter, cartridge compliances over 60cu were achieved, the Empire ZX1000, for example.In an ideal world, tonearms would be well-matched to specific ranges of pickup compliance, assuring the customer of optimum performance from both. SME chased the high trackability dragon with their ultra low mass Series III, which employed nitrogen hardened titanium and carbon fibre technology. While it was expensive to tool up, the arm sold in large numbers, due to its affordable pricing.Depending on the precise set up, the Series III offered an effective mass in the 5-7g range, optimum for cartridges in the 25-50cu region. When cartridges offering a better subjective performance emerged, cartridges with a lower compliance, SME offered a ballast weight to increase the arm's effective mass, but this was tantamount to shutting the stable door after the horse had bolted. An arm must be totally engineered for the target effective mass, if the performance is to be maximised. Lower compliance cartridges feed more vibrational energy into the arm, and this can only be dealt with using a structure of superior rigidity and resonance control. Simply adding mass to the headshell of a lightweight arm could make things worse. If a higher mass is required, the designer must exploit this engineering resource to give the best possible structure.Some readers may be wondering why the arm mass needs to be matched to the cartridge compliance. It's a long story, but was thoroughly researched by Shure. Briefly, the total moving mass, made up of the cartridge and that of the arm seen by the cartridge - the effective mass' or moment of inertia - in combination with the spring of the cartridge cantilever suspension results in a mechanical resonance, capable of oscillating or vibrating as the groove is dragged past the stylus. Such a resonance will result in an undesirable, non-musical low frequency output from the cartridge, and worse still, it can impair the stability and the tracking behaviour of the pickup. The worst effects can be ameliorated by some form of arm damping, perhaps by means of a viscous fluid filled dashpot, which reduces the amplitude of the rise in output at resonance, but the alternative, of applying damping to the cartridge suspension, results in even worse tracking on difficult recorded passages.If the arm/cartridge resonance is on the high side, above 15Hz, say, it will begin to affect sound quality in the bass. Conversely, the tracking is secure and recovers quickly from vibration or shock. If this resonance is too low, lower than 8Hz, the cartridge wobbles alarmingly and is unduly excited by minor warps - Shure's work showed that this has a maximum content around 6Hz. Close examination at such a condition will show the pickup perpetually vibrating at its resonance frequency. A further problem arises with the best-sounding turntables, which generally employ a floating, spring-suspended subchassis. These chassis systems have their own resonances in the 2.5Hz to 5Hz region. For arm/cartridge resonances below 8Hz, the proximity is too great and unwanted energy coupling often occurs, worsening stability and increasing the overall turntable flutter, an unpleasant rapid variation in musical pitch.Thus 10-12Hz is the ideal region in which to place the arm/cartridge resonance, requiring matching of the arm mass with the cartridge compliance; arm damping will help to extend the range of compatibility, but only so far. Arm damping should be used at a sensibly low level, just enough to take the edge off the resonance magnification factor or 'Q', reducing it from 15 to 4-8, say. Excessive damping adds additional loading to the stylus tip, unbalancing the left and right groove contact forces and disturbing the channel balance as the damping attempts to prevent the cartridge from following minor warps and related disc eccentricitiesSo we come to the SME Series V - better late than never - potentially a statement of the arm designer's art and a tonearm designed for the finest modern cartridges, virtually hand-built, moderate-compliance, moving-coils. The selling price has risen above the initial target, the 'V' sells for more than £1200 - without any doubt a fantastic price for a tonearm. However, its stake on SME's traditional claim, 'The best tonearm in the world', is supported by an exceptional standard of design - technology, engineering and aesthetics directed towards versatility, compatibility, but above all, sheer performance.A medium-to-high mass arm, with a 10-11g effective mass, its use of materials has been optimised to provide maximum structural resonance control and rigidity. The latter is essential to hold the cartridge firmly so that as much musical groove information as possible is transformed to its electrical equivalent and fed to the preamplifier. Satisfying this requirement for rigidity and simultaneously allowing for the cartridge to move freely in two axes is a major problem which all arm designers have to solve. Their in finding a solution which remains consistent in production, largely determines how well the arm will perform subjectively in the real world.To quote SME in their excellent instruction manual for the 'V': 'in theoretical terms an ideal pickup arm is supposed to be perfectly unyielding in four out of six possible degrees of freedom. That is, all except the two linear dimensions in which the music signal is generated by groove modulation. In those two linear dimensions, an ideal arm is supposed to act as a pure mass'.SME do not claim to have achieved this; rather, they believe that they have approached closer to this paradigm than before. 'Pure Mass' implies that no compliance or potential for flexure exists. If realised, such an arm would be totally non-resonant, except at subsonic frequencies, and would be devoid of frequency imbalance or coloration.Arms typically exhibit flexure in several parts of the structure, sometimes at surprisingly low frequencies. Detachable headshell models generally 'sing' between 200Hz and 300Hz, due to the headshell/arm joint. Arms with decoupled counterweights can run into trouble at frequencies as low as 50Hz. Poorly designed main beams, or for that matter bearing assemblies, can introduce a series of resonances from a few hundred Hertz upwards. The Linn Ittok LVII is an early classic design which has stood the test of time. It avoids most pitfalls, and has been the model for later designs. The Swiss Breuer predated the Ittok, but was always regarded as too costly - little would we have guessed that the ultimate SME would cost very much more!The new SME arm aims to solve a major headache in one bold stroke, one already partially addressed by Roy Gandy in his Rega RB300. This is to remove all the usual bonds between headshell and armtube, tube and pivot assembly, assembly and counterweight. By doing this, a number of potential weaknesses are eliminated. The SME designer chose to make the main beam a massive-looking affair of heavily-tapered, relatively thin-wall, magnesium alloy, cast in one piece with the substantial cartridge mounting platform, bearing assembly and the rear gantry and track for the counterweight. The large diameter of the cast beam maximises the torsional stiffness, while the strong taper to the headshell exerts a firm grip on any possible bending vibration modes.Following various reports obtained during prototype testing, it was decided that the counterweight be clamped tightly in position after alignment, eschewing the rubber coupling often employed to try to lower the amplitude of midband resonances. In the event, such compromised damping was not required. Ideally, the counterweight material should be of high density, allowing its mass to be concentrated physically to allow placement close to the pivot/bearing position. This minimises self resonance and lowers its contribution to the effective mass, allowing more mass to be used to reinforce the main arm beam. To help realise this goal, SME chose to employ a tungsten block, optimally dimensioned. (Rega also use tungsten for their RB300 counterweight.)In their previous designs, SME aimed at providing very low bearing friction in the two required planes of motion, employing a small precision ballrace for the horizontal motion and a gravity loaded knife-edge bearing for the vertical. Recognising that lower compliance cartridges impart significant acceleration to the arm, SME resolved to use ballrace bearings for both planes. In the case of inexpensive designs, these are generally left on the slack side to ensure low friction. Any trace of play, however, can have dire subjective consequences, the general effect being a grainy imprecision in the treble, an additional degree of sibilance on vocals, and in some cases a brittle brightness at high frequencies.The new SME, as with other great tonearms, had to be devoid of any play. However, strong bearings require a degree of pre-load tension to take up any slackness and stiffen the operating assembly.To sustain these forces without any brinelling, or indentation, of the bearing surfaces, high-load, large-size, stainless steel ballrace assemblies are used.In harmony with these strong bearings, the whole pivot assembly, yoke and pillar, are substantial in size so as not to prejudice the overall rigidity. An ingenious lathe-like double-jaw clamp locks the pillar into a pair of guides which run between the main mounting bars of the bedplate. Once the arm has been positioned after lateral stylus overhang and height alignment, the whole assembly is locked together with a ball-head socket wrench. A rack and pinion drive allows precise overhang adjustment.This rigid construction, as with the lttok, Breuer, Sumiko, Zeta and a few other models, means that a substantial degree of audio range energy from the cartridge is communicated to the arm baseplate and hence to the turntable chassis, an important point which will be considered later. As we shall see, it may strongly affect the ideal choice of turntable.Nominally compatible with the earlier SME arm baseplates, the fixing centres for the four screws and the familiar oval armboard cutout are the same. Thereafter, some differences emerge. Unlike its predecessors, which used a compliant rubber grommet mounting, the 'V' is rigidly bolted to the turntable, and the through bolts need clearance below the chassis. Care must be taken with the Linn, for example. Another minor difficulty concerns the current LP12's corner plinth reinforcements: that nearest the arm fouls the 'V's leadout assembly and needs careful paring away.At this point it would be appropriate to discuss the basic specification of the arm. Intended to be compatible dimensionally with earlier SME models, the 'V' is a rigidly-pivoted tonearm with a 233.15mm stylus-to-pivot distance, and a 23.6350 offset angle. Fixed locating centres are provided for the cartridge, overhang or lateral alignment being accomplished by moving the arm on its bedplate. While the 'V' is massively constructed, it is relatively compact and will fit turntables with normal internal lid clearances.The line drawings give a good idea of the mechanical construction. Note the right-angle exit for the leadout socket, a viscously damped joint which will rotate itself to a convenient point determined by the cable. This simplifies cable dressing with subchassis turntables.No provision is made for headshell rotation or azimuth adjustment, the cartridge mounting plate being set parallel with the record surface. As a consequence of the offset angle, a slight degree of vertical rotation may be applied by altering the height adjustment.This can be done once the clamps are slackened, either by hand or with a threaded bar. With this aid, the arm may be raised precisely during play to determine the optimum combination of height and vertical alignment. With care, lateral adjustment can also be done during play. The arm is then locked in the correct position.While the majority of top-class arms suffer from the inconvenience of uncalibrated dials, the 'V', as befits a precision instrument, uses resonance-controlled internal springs to set downforce and bias. Balancing of the arm is attained by means of a fine motion thumbscrew on the counterweight guide; once balanced, the counterweight is locked with a lever.All subsidiary attached parts, the support gantry, and the lift/lower assembly have been designed to minimise resonances. Such attention to detail has resulted in giving the user the choice whether or not to fit the fingerlift on the headshell. In theory, its omission will give the lowest level of coloration.The final feature is the optional damping facility. This is a built in well of silicone fluid, capped when the arm is at rest to prevent the ingress of dust. It applies overall damping by controlling motion in the horizontal arc. Once the well is charged, the degree of damping may be adjusted via a scale or disengaged altogether.The electrical details are also worthy of mention. The headshell wires are replaceable in case of damage, or to give the user a choice. The clips are gold-plated, and the wiring is silver Litz. Silver is also used for the internal wiring, this a flexible grade to avoid unwanted torque fracture. SME have designed their own low-profile version of the semi-standardised 5-pin arm connector, and this is fitted with a special high performance van den Hul stereo cable of selected audio quality. Gold-plated, SME-manufactured, phone plugs terminate the cable. The arm is properly grounded for a high signal/noise ratio, and uses the 5-wire, triple earth system. Alternative arm cables may be fitted if required.Taken overall, the SME Series V is an example of superb precision craftsmanship, excellent finish, and eminently intelligent, well balanced engineering design. As a result, it is a joy to set up and use, should remain adequately aligned for long periods, and will endure for years to come - and so it should at the price! Lab results In earlier tonearm reviews, I employed a swept-lone test record to assess the arm resonant behaviour. A micro-accelerometer, placed on the side of the cartridge, was used to sense the complex pattern of resonances in the arm and cartridge as it was excited by the mechanical energy from the stylus tracing a 20Hz-2OkHz swept signal. This method was complicated by difficulties of calibration, by the variation in mechanical impedance of the stylus, the second differential of displacement recorded, itself modified by the doubleslope equalisation of the test record.A new and more reliable method has been tried for this review. A cartridge is fitted in order to mass-load the assembly correctly, while the sensing accelerometer is attached to the headshell, its position offset so as to measure both torsional and bending vibration modes. An energy pulse is applied to the headshell via a small calibrated mass impacting at a reproducible velocity. This may be sensed directly, the decaying resonances appearing in the impulse response of the arm, which in turn can be transformed by Fourier analysis to a resonance spectrum in the familiar frequency domain.In the case of the 'V', the result is of particular interest: fig.1 shows the result on a linear frequency scaling, which emphasises the remarkable result - an almost total lack of break-up beyond the first division, which represents 2kHz. Related tests reinforce this result. All previous tonearms I have measured have shown a range of fine structural resonances beyond 20kHz, often with a considerable subjective influence. Very good structural control is shown here by the 'V'.A conventional logarithmic frequency scaling has been adopted for fig.2 to show up the low frequency behaviour more clearly. The arm was tested on an Oracle Delphi, and it must be noted that some of the measured effects are due to the Oracle's chassis and armboard resonances. That at 1 kHz, for example is suspected to be due to the Oracle. The lowest frequency mode is probably due to the counterweight and is quite moderate. The main arm modes occur at approximately 1.3kHz and 1,6kHz, indicating a very rigid, well damped structure. (The best arms tested so far have shown torsional modes below 1kHz, sometimes as low as less than 500Hz.)The effective mass was estimated at around 10.5gm, somewhat dependent on the mass of the cartridge counterbalanced and the choice of mounting hardware. Stainless steel socket-head bolts are preferred for mounting the cartridge, but add 1-I.5g of mass. The geometric alignment was rated highly, while the arm's dynamic stability and lack of structural resonance resulted in superior pickup tracking. With the signal excellently screened, hum levels were low with test cartridge (a van den Hul MC1 0).Bearing friction was moderate, at 40mg lateral. This was not the lowest I have measured but accorded with the alignment required for zero play. In the vertical plane it was 10mg or less. Given a sensible playing downforce of 1.25g or more, these friction values are negligible. Set to 1.5g, bias compensation at the innermost grooves was appropriate for an elliptical or similar stylus (the range allowed covers 180-225mg). At the rim the force was marginally low, but should not result in any noticeable ill effects.The downforce dial proved to be correctly calibrated, while the cue operated well with negligible lateral drift and sensible descent and ascent rates. A generous range of subsonic damping was available; on audition its use at the first calibration was thought sufficient. Sound quality We had the opportunity to sample the 'V' in three great turntables, a current Linn LP12, the latest, and in my view, much-refined Oracle Delphi, and the massive West German Audiolabor Konstant. Cartridges used included the vdH MC1 B and MC10 and the Koetsu Red. A wide range of amplification was available during the test period, including the Audio Research SP-11/M-100 and the conrad-johnson Premier 3/4. Earlier listening had taken place with the Cyrus Two; while on the face of things this modest amplifier seems an inappropriate companion, the superior quality of the 'V' was more than obvious.Perhaps I should admit straight away that the SME Series V was very much my kind of tonearm. I have used and respected the lttok for years, dabbled with Alphasons and Zetas, but have felt the need for something capable of truly great performance. Yet another model with a differently shaded view of the truth was not enough.The 'V' redefines the art of pivoted tonearm sonic performance. It is possible to extemporise on various specific aspects of quality relative to other models, but one simple test will readily reveal its greatest strength. A well-recorded, wide-range singing voice will suffice: one experiences an almost revelatory exposition of articulation and clarity, notable for its uniform texture over the vocal range, freedom from 'edge', sibilance or unnatural emphasis, and superb placement in the central stereo stage. This fine vocal neutrality is its key attribute, and only later do the fine details of its overall performance make their presence known. Slowly the listener has a dawning awareness of the coherent musical control exerted by this arm.. This control was contiguous over the entire frequency range, from low bass to high treble, All areas seem to be given fair weight and balance, which was held both in terms of tonal quality and in the stability and coherence of the stereo image.Images were reproduced with exceptional width and depth, with fine perspective layering and little spatial distortion, ambience and space lying around and beyond the frontal stage. Coloration was as low as expected, an aspect which supports the recognition of its relaxed transparency, again this well maintained over the entire frequency range.While the above comments represent a distillation of its 'absolute' performance, it is affected by the choice of motor unit. Of those tried, each showed specific effects. On the Oracle, the bass was very fine and the clamp/mat system exploited the arm's transparency and low coloration to the full. Some clouding of information was apparent in the midrange, perhaps due to the outrigger type arm mounting platform. On the Audiolabor, the low bass was excellent, strong but dry, while the upper bass was not differentiated to the same standard. In the upper mid and lower treble. the arm sound hinted at excess brightness with a loss of stereo depth. This turntable uses a massive, heavy metal subchassis, and energy reflections at the mounting were felt to be responsible. Nevertheless, the standard was very good.Perhaps it was logical that the Linn should have turned out to be the best all rounder. In a sense optimised for the lttok, the LP12 handled the SME, which is relatively similar mechanically, very well. On the Linn, the 'V' appeared optimally terminated with the standard, composite fibre, mounting board, While the upper bass was marginally bumpy, low frequencies were tuneful and well extended. The midrange was at its most even, and balanced well with the treble. Ultimately, this was the most satisfying combination. Other players need to be tried and hopefully the industry will build up some experience here.Conclusion Upon first hearing, the arm's accurate control may appear to impose too much restraint on the reproduction of the music. However, once properly experienced, the SME Series V has the ability to make many other tonearms sound forced, ragged and untidy, both in terms of coloration and of stereo imaging. Many arms are brilliant in specific areas, but in my opinion, none so far have comprised a superb midband with such excellent control and uniformity over the rest of the audible range.It is a tonearm which is unlikely to be replaced.An impressively engineered design, its powerful looks well reflect its strong subjective and objective performance. The attention to finish and detail extends to all aspects, including alignment, packing and instructions. A new standard has been set, perhaps the last great flowering of the tonearm designer's art. Those who can afford it will have much to appreciate.
Clicca per qui per vedere : FOTO PRODOTTO
Clicca per qui per vedere : ISTRUZIONI PRODOTTO
Clicca per qui per vedere : CATALOGO,PROVA RIVISTE SPECIALIZZATE PRODOTTO
Nota bene *
Per ordinare o avere gli ultimi prezzi aggiornati telefona al 0174 670100 o invia un E-mail a email@example.com
*I prezzi indicati sono di listino ufficiale delle case produttrici ,nel caso di diffusori si riferisce al prezzo del singolo diffusore per offerte ed eventuali promozioni telefonare o inviare e-mail.
*Il presente listino sostituisce ed annulla ogni precedente. Le caratteristiche e i prezzi indicati possono variare senza preavviso telefonare o inviare un e-mail per ulteriori domande e conferme sui prezzi sopra riportati.
*Tutti i marchi citati nel presente listino sono di proprietà e registrati alle rispettive Case Produttrici
*Prezzi franco nostro magazzino