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For the third pivoting arm base I borrowed an idea from vintage Micro Seiki TTs. Pleasant surprise, the dense Wenge wood subplinth that serves as a base for the brass arm pillar improves the sound of all three tonearms. Even though the stock PD444 plinth is dense-- made of heavy laminates of iron, steel, and chip board--the extra damping of the Wenge subplinth helps.
I continue to be amazed by the refinement and versatility of the SME 3012R. The smallest manipulation of VTA or antiskate is unambiguously revealing. LF is delineated and correct without a trace of blunt force. The R version with the stainless steel wand works well with cartridges of widely varying compliances. Someone with the SME story shared that the -R was an improvement focused principally on the Japanese market that was dissatisfied with the earlier wands' performance with low compliance MCs. One of mine has the stock stock plastic knife bearing and copper wiring. The other was upgraded in Germany to bronze bearing, silver wire, and downward facing RCAs.
I'm currently comparing an AT ART7 to an Accuphase AC-5 on these two SME arms. It's a close call. However the AC-5 needs more break-in time.
Follow Ups:
You did it Dave, very functional, thank you for posting.
that is one nice looking ménage à trois...
well done. thanks for sharing....
dee
;-D
True terror is to wake up one morning and discover that your high school class is running the country.
quote by Kurt Vonnegut
Dave, Along the lines of your experience with the wood support, I thought the 80-lb slate plinth I made for my SP10 Mk3 was completely silent with respect to colorations, but when I later had a cherry and Baltic Birch sub-base constructed and bolted that securely to the bottom surface of the slate, it made a very obvious improvement in that a very subtle resonance, that I had not even sensed previously as any sort of issue, was eliminated. I am assuming the benefits are due to Constrained Layer Damping effect.
Tom
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