Up to 84% in savings when you subscribe to The Absolute Sound
Logo Close Icon

Begin typing your search above and press return to search. Press Esc to cancel.

Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

This is the work station for the critical vertical bearing assembly; the small hand press (right) is used to check tolerances/resistance.Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

Detail of bearing assemblyInside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

SME’s latest tonearm, the twelve-inch V-12Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

V-12 tonearms awaiting final QC prior to packaging and shipping.Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

Tables playing-in prior to final QC and shipping. These will running continuously at various speeds for seven days.Inside SME Ltd.–A Pictorial Factory Tour of the Analog Legend; Part 3

This one-of-a-kind gold plated beauty is destined for a lucky and wealthy customer in China. Keep in mind that the MSRP for a “stock” Model 30 with Series V tonearm is roughly $40K. The price for this baby? Like the old cliche; If you have to ask, you can’t afford it.

Neil Gader

By Neil Gader

My love of music largely predates my enthusiasm for audio. I grew up Los Angeles in a house where music was constantly playing on the stereo (Altecs, if you’re interested). It ranged from my mom listening to hit Broadway musicals to my sister’s early Bob Dylan, Joan Baez, Beatles, and Stones LPs, and dad’s constant companions, Frank Sinatra and Tony Bennett. With the British Invasion, I immediately picked up a guitar and took piano lessons and have been playing ever since. Following graduation from UCLA I became a writing member of the Lehman Engel’s BMI Musical Theater Workshops in New York–working in advertising to pay the bills. I’ve co-written bunches of songs, some published, some recorded. In 1995 I co-produced an award-winning short fiction movie that did well on the international film-festival circuit. I was introduced to Harry Pearson in the early 70s by a mutual friend. At that time Harry was still working full-time for Long Island’s Newsday even as he was writing Issue 1 of TAS during his off hours. We struck up a decades-long friendship that ultimately turned into a writing gig that has proved both stimulating and rewarding. In terms of music reproduction, I find myself listening more than ever for the “little” things. Low-level resolving power, dynamic gradients, shadings, timbral color and contrasts. Listening to a lot of vocals and solo piano has always helped me recalibrate and nail down what I’m hearing. Tonal neutrality and presence are important to me but small deviations are not disqualifying. But I am quite sensitive to treble over-reach, and find dry, hyper-detailed systems intriguing but inauthentic compared with the concert-going experience. For me, true musicality conveys the cozy warmth of a room with a fireplace not the icy cold of an igloo. Currently I split my time between Santa Fe, New Mexico and Studio City, California with my wife Judi Dickerson, an acting, voice, and dialect coach, along with border collies Ivy and Alfie.

More articles from this editor

Read Next From Blog

See all

Adblocker Detected

"Neque porro quisquam est qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit..."

"There is no one who loves pain itself, who seeks after it and wants to have it, simply because it is pain..."