Chairs still available as of this evening by the way. I simply cannot believe Hans Wegner has no traction here!
They are dramatic looking⌠then I looked the chap up, and googled for prices⌠original 1960 chairs seem to go for rather a lot!? I do like a nice piece of furniture, but budget and limited exposure to good designers mean I just stick with safe choices. I donât need another expensive hobby either!
Are you tempted!?
I would be if I already had a Statement pre and I had the space in one of those stunning rooms we sometimes see on Systempics.
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I found this thread whilst listening to David Munrow play on my Transcriptors Hydraulic Reference that I have used consistently since 1978⌠I still love it as much as the day I first heard it. My system is very old, using a Goldring 1042 cartridge on a Transcriptors fluid arm into an A&R Cambridge A60AP and a SA60 bi-amp and LS3/5a speakers with the old AB1 sub-woofer âstandsâ (loved by some but criticised by others. Perhaps I am getting deafer as I grow old, but I still love the sound.
I have wondered for years if I should try the SME 3009 Mk2 (improved) arm and if anyone has experience of the two I would really appreciate hearing views.
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Personally Iâve never been that keen on the 3009 S2 Improved arm, much preferring the earlier 3009 Series II.
The Fluid arm was a lovely old thing though and very much a part of the Hydraulic Reference, so Iâd really not bother changing it for the SME.
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Pictures?
Thank you. That has saved me a lot of trouble! Probably why I have been thinking about it for so long and have done nothing.
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What a gorgeous thing⌠
Beautiful
MemoriesâŚ
I had one of these turntables in the 1970âs, with a Stanton 881s Cartridge with the D81S stylus (much under-rated at the time) in the fluid arm. I regret selling it of course, but in those days we (well me) had no idea of possible future value (also applies to many of the cars I ownedâŚ).
I had the SME 3009 II with the fluid damper later, on another turntable, so cannot advise you.
Thanks for the memoriesâŚ
My first serious turntable was a Transcriptor Saturn with the matching (not Vestigial) spindly arm and Shure V15.
(Image off eBay)
This and the Reference used a Reed relay and magnet for the on/off.
I love that the reference lid came with a cut-out for their implementation of the Dust Bug - purportedly tressed in squirrel fur.
Since those days nothing (Thorens 125, Linn LP12) has caused such wonderment and admiration in non-enthusiasts
I would make a case for the beauty of my Gales and the merits of my Mario Bellini Yamaha TC-800.
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If anyoneâs interested, the shop closed about 8 months ago and was a hipster barbers the last time i walked past.
Those Transcriptors TTs look wonderful, but really cannot sound good with so little support for the LP being played.
Surely any LP needs a solid platter underneath to support all of the vinyl of the record, rather than sitting on a few pimples?
Might it be possible to place a Rega-type glass platter on top of the pimples, adjusted to the correct VTA - plus a felt mat - to support the LP?
IIRC, this was a recommended upgrade for these decks in more recent years.
I personally think it would be a shame to do that. The original engineering rationale is surely one of the main points about the deck? Part of its soul.
Plus Iâm sure we can all appreciate that there are likely no absolute right answers in such a complex subject as HiFi. I wouldnât presume that a LP must have even contact underneath, a brief check online suggests âThe record is supported on neoprene pads, thereby reducing rumble and induced static to an absolute minimum.â Seems reasonable to me.
There are many ways to engineer a turntable, they donât all require felt mats on suspended belt driven machined aluminium platters. Even if that does seem to be a rather good way to do it 
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There is great wisdom in what you say, Padawan.
Often, one may confidently say that a single alteration to a considered solution may tend to its detriment. A ground-up design may break âaccepted rulesâ at various stages and yet arrive at a successful outcome.
I first encountered the Well Tempered arm when working at Pro Musica in Chicago. I think it fair to say that all three of us expected it to be a complete non-starter. It wasnât.
Roksan made a speaker (Darius) that we (at HiFi Review) frankly (Frankland?) laughed at. How could any good come of a spring mounted treble unit?
Unfortunately for my point - I entirely hated the demonstration we received at the Sound Organisation. I suspect that was as much to do with the turntable, arm and cartridge used.
Later, at Naim, I was able to take time to understand the thinking behind this fine signal isolation - as implemented in the SBL, IBL and DBL. There is even a small element of this in the n-SAT (and Ariva?).
The ringmat design has often intrigued me - although not to the *point of investigation. This seemed to interpose a trampoline between record and platter. Many were entranced.
There was also a lossy block that was to be fitted between cartridge and headshell. I suspect I know what this intended to achieve but Iâd think it was at odds with most cartridge makerâs design criteria.
All this being said - the Saturn wasnât very good.
*One of my favourite quotes.
Dr Samuel Johnson on the Giantâs Causeway - âworth seeing, but not worth going to seeâ.
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