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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.
Versione
Modello 20/3a con braccio sme v g print 19.370,00 euro
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
wavecommutation sequence and a proportional-plus-integral (PI) algorithm.
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
BRACCI
SME SERIE
M2-9 €.
2.085,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio a canna dritta in
acciaio inox, shell intercambiable
SME SERIE
M2-9R €.
2.870,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio 9
pollici angolato, shell intercambiabile
SME SERIE
M2-10
€. 2.130,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Come sopra ma 10 pollici
SME SERIE
M2-12 €.
2.285,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Come sopra ma 12
pollici
SME SERIE
M2-12R €.
3.140,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
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
SME SERIE
309
€. 2.855,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione, shell intercambiabile
SME SERIE
309
GD
€. 3.280,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione, shell intercambiabile
con scritte in oro
SME SERIE
310
€. 2.935,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione, shell intercambiabile
con lunghezza canna di 10
pollici/25 cm
SME SERIE
312/S
€.
4.625,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione, shell intercambiabile
con smorzatore FD-IV e scritte in oro
SME SERIE
M10
€. 2.830,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione, canna
in magnesio, shell intercambiabile per Model 10
TThe Series 300 broadens the application of SME
technology.Although the unique one-piece magnesium tone-arm is used for the
Series 300 Model 309, advanced metal techniques produce a fabricated arm of
exceptional stiffness for the Series 300 Model 310 and 312 arms thus allowing a
choice of three arm lengths to suit all decks.The detachable magnesium headshell
has a new style coupling, providing the convenience of rapid cartridge
interchange without loss of rigidity.Our designers can be justly proud of these
models which offer a performance and manufacturing excellence unmatched by many
more expensive models.Unique pressure die-cast magnesium shell detachable and
interchangeable without disturbing cartridge or wiring. New design clamping
arrangement ensures rigid junction with tone-arm. Internal constrained layer
damps minute residual vibrations making tone-arm acoustically inert. Stainless
steel cross shaft, ground and thread ground. Carried in massive yoke on 10mm
precision 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
precision ball races, widely spaced to resist tilt. Anti-skate control operates
through tension spring and filament. Dial corresponds with VTF and has positive
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. 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. Cartridge leads and internal wiring LCOFC litz. Balanced
LCOFC audio lead with gold plated phono plugs.
SME SERIE IV
SME
SERIE IV
€. 4.155,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione con
canna in magnesio
SME
SERIE IV D €.
4.520,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
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
SME SERIE V
€.
6.075,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione con
canna in magnesio
SME SERIE VD
€. 6.480,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione con
canna in magnesio con shell intercambiabile
SME SERIE VG PRINT
€. 6.980,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione con
canna in magnesio con scritte in oro
SME SERIE VG PLATE D
Per ordine e promozioni
TELEFONA/ UN E-MAIL
Braccio di precisione con
canna in magnesio dorato tranne canna
SME SERIE V12
€.8.845,00
Per ordine e promozioni
TELEFONA/ UN E-MAIL
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.
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