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However, there were downsides as well, just about as obvious, and which became more noticeable over time. This superiority was noticeable to us in less than a minute, and was consistent as well, at least with any record that had the appropriate musical material. The Talea II was more immediate, precise, refined and delicate than the Graham Supreme, as well as any other tonearm I have ever heard (thus setting new standards for me).
That evening, we spent another 6 hours listening to it, while attempting even more fine tuning, though, by then, any changes were extremely subtle. We first spent a couple of hours doing the basic installation, and then another two hours (later in the afternoon) listening to the Talea, while fine tuning it to optimize its performance ( VTA, VTF, Azimuth & anti-skating). This was basically an entire day's project. Near the end of his (one week) visit, we replaced the Graham Supreme with the Talea II. II version of the Reference Lenco (which I ended up keeping). Jean Nantais was visiting me with his new Mk. Many of these new models were designed and built in Asia, which offered low-priced yet top quality engineering and technical skills.įurther improvements have been made since then, but they have been more of a "refinement" over the still excellent 1980s designs, rather than any new major "breakthroughs". There were many other innovative designs that offered excellent value and performance for the money. Especially noteworthy were the Linn Ittok, SME V and IV, the Eminent Technology and the now unfairly forgotten models from Fidelity Research. The most concentrated and obvious progress was then made in the 1980s. A totally new type of tonearm was needed to optimize the potential performance of these new (heavier) pickups. They were on numerous turntables and even phono cartridges were designed around them.Įverything changed once moving-coil cartridges became reliable, and with unprecedented performance (and eventually became universally popular). In the 1960s and 1970s, the original SME models ( 30) were by far the most famous and copied.
#Sme tonearm titanium arm pdf#
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Please login or register a free account in the forum to download files III/IIIS mounting template (not to scale)
#Sme tonearm titanium arm manual#
Instruction/owners manual (alt scan) - PopeyeMills Stereo imaging was to a good standard and the bass registers reasonably detailed and extended - III £120, IIIS £90 HiFi Choice 1983 Downloads
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Null points: 60/117mm (original), 66/121mm (modified) ReviewĪn entirely different sort of sound and very distinctive in it's own right, the SME series III is a very interesting performer - Noel Keywood HFN 1978Ĭolouration was comparatively low and the overall sound pleasantly relaxed. Overhang: 16mm (original), 17.8mm (modified) SpecificationsĮffective length: 229mm (original), 233.2mm (modified) Please see the CA-1 instructions for identifying which version you have. Later, modified arm tubes used a revised geometry optimised for 12" records. 'S' models where a cut-down version without the expensive rack and pinion adjustment and with the fluid damping as an optional extra. The arm has a soft core and an internal fibrous lining which results in a natural damping of the vibration fed into the arm by the cartridge. It embodies a number of significant breakthroughs as well as evolutionary improvements over its distinguished predecessor.įor example: Nitrogen hardened titanium tubing having a wall thickness only twice the diameter of the average human hair provides a previously unattainable strength to weight ratio.
The state of the art in independent tonearms, the SME series 3 precision pickup arm is the culmination of research and development extending over more than seven years.
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