The platter spins smoothly thanks to a 19mm high-chrome tool-steel spindle sitting in a sealed housing lined with sintered bronze bearings. The damping material is then diamond-turned to create a surface covered with fine fibres to support the record.Ī lovely-to-handle record clamp forces the vinyl down onto the platter, flattening any (slight) warping in the process.
It’s a 5kg piece of highly machined aluminium alloy lined with damping material on the top (where the record sits). The platter is no ordinary affair, either. The design is highly effective, with the deck barely registering the footfalls that made Linn’s suspended LP12 jump grooves when playing. Ignoring both xenophobia on the part of the British and envy on the part of everyone else, it remains the most successful high-end tonearm of all time, and is the template for superior universal tonearms able to. The Rock’s plinth is a polymer limestone cement resin composite designed to be acoustically inert with no cavities. Together with the platter, the subchassis weighs in at a hefty 11kg. Depending on when you start the counting, last year marked the 50th anniversary of the SME 3009 tonearm. Known as The Rock this high quality classic Kenwood KD 500 is outfitted with a SME Series III Tonearm which includes trough and paddle fluid damping. It uses 30 moulded rubber O-rings, combined with a central fluid-filled damper to help control the motion of the subchassis.
The Model 15 is a suspended deck, but not by conventional methods. Technically, there’s a lot going on here.
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