In this review, readers will get to know one of the new top-of-the-line models in SME’s supply plan. It was an honor to receive and present this SME Model 35 turntable in our listening room in this way. It felt a bit like being a customer experience manager, guiding a journey towards a better analog sound.

For decades, the Hi-Fi turntable market has been dominated by square wooden or plastic bases (with or without a sub-base). For convenience, let’s call them the Thorens 145 or Sony PS-X40 type. Beyond that, there have been models that are often more mechanically advanced and have very different designs. Examples include the Micro Seiki SX-8000 and RX-1500, Kenwood L-07D, Sony PS-X9, Garrard 301 and Thorens TD124 (very early), Technics SP-10, and Walker. More modern representatives came from TechDas, Pluto, EMT (the new 928), Bergmann, Thales, Döhmann, Transrotor, and of course, SME.

Similar developments occurred with tonearms. Classic turntables typically came with tonearms of fairly average quality. However, every Japanese, American, and European manufacturer had produced a tonearm offering superior quality. Among those (sometimes) excellent independent tonearms were the renowned Sony PUA-286, Stax, Audio Dynamics, Micro Seiki, SAEC, FR, Mayware, Grace, Acoustical, Dynavector, Acos Lustre, and Ortofon AS-212.

By the 1990s, “design” also began to receive attention. Generally, Hi-Fi products saw more consideration in their design. Turntables thus acquired a certain sleekness, and better tonearms emerged from SME. Unlike the tonearms mentioned above, almost everyone knows SME products; for example, the 3012, 3009, Series IV, and Series V were produced in enormous quantities.

SME tonearms are perhaps the most well-known and popular on the market, but they are definitely among the best available then and now. High-quality tonearms are still available, and many new tonearms are being manufactured. Prices for both vintage and new tonearms and turntables have increased significantly. An interesting question is whether all these new products are fundamentally better than some of the older ones? Some readers may recall the Cadence Audio Group, which launched a series of electrostatic hybrid loudspeakers 32 years ago, also available in the Netherlands.

Historically, Cadence was the owner, not the investor, of many manufacturing companies. They owned a Hi-Fi retail chain (London, Pune, and Bangalore) under the brand Audio Lounge. In addition, they wholly or nearly wholly owned several audio companies, including SME, two Dutch manufacturers, Garrard, Loricraft, and Spendor.

Star Products

For this review, Pro-Ject will be set aside for now, and we’ll focus on star products. The pursuit in turntable reviews is always to achieve the most perfect analog sound. This is sometimes a bit like a long-distance run on soft tires. But anyone who seriously (at the top level) studies turntables knows that their reproduction is just as quiet and clean as digital, and often (even) better. It’s more vivid, evokes more engagement, and possesses such a beautiful, rich, and spacious quality.

Readers may not notice, but D/A converters can sound rather dry and “technical.” The debate about digital versus analog will likely continue forever, much like the debate about vacuum tubes versus transistors. As audio critics or other professionals, we occasionally have the privilege of comparing top-of-the-line systems. Until recently, digital has only begun to approach the sound quality of analog.

If someone were to compare the new Master Fidelity NADAC converter to the SME Model 35, they would have to admit it’s a very close match. Let’s hear what the SME Model 35, equipped with the Vi tonearm and Clearaudio Titanium V2 cartridge, has to offer.

Assembly:

The Model 35 arrives in a 70kg wooden case. This unit arrived brand new, directly from the UK. The Model 35 is designed and manufactured at the forefront. Every component of the turntable and the new Vi tonearm meets extremely tight specifications. Tolerances are minimal. Our team assembled the turntable to understand its workings and potential challenges. Therefore, we assembled it with Kerry St. James from SME, importer representative Michel van den Berg, myself, and via video link from the UK factory.

The process included assembling and tuning the turntable, mounting the cartridge to the tonearm, and adjusting the Vi tonearm pre-installed on the chassis. Finally, the speed control unit, power supply, and of course, the signal cables to the phono preamp were connected. Due to the precision of the Model 35’s manufacturing, the turntable’s adjustments must be accurate to within a tenth of a millimeter of error. Otherwise, it simply won’t function properly. This was the biggest challenge, and a workaround was eventually found to accomplish the two most critical adjustments.

Due to environmental factors, or rather, the course of history, your reviewer has used almost every SME product for an extended period. Adjusting the SME Series V tonearm isn’t rocket science, thanks to its excellent user-friendliness and superb manual. We spent several months with the SME Model 35. Living together for so long allows you to get to know each other. During this time, we analyzed the turntable’s mechanics to figure out why adjustments are so critical and how to follow a procedure to quickly complete them. It’s actually quite logical and easy to understand.

The Vi’s cartridge housing has two holes, not slots, for securing the cartridge. The required overshoot is found by moving the tonearm within the tonearm base. You’ll need a calibration gauge for this setting. Different curves are available for this setting, such as Baerwald, Stevinson, and Löfgren. Each has its advantages and disadvantages. The Vi tonearm has a wide range of adjustable settings. This tonearm (the earlier version with magnesium tonearm tubes) is well-known in listening rooms, much like some of the different SME turntables of previous generations. Assembling and adjusting the Model 35 and the Vi tonearm is not a task that consumers can easily accomplish. It requires extensive expertise from the dealer who sold the turntable. SME also makes it clear that the Model 35 is not a machine for “fine-tuning.” The Model 35 delivers its best performance when the entire setup process is precisely followed.

SME designed the Model 35 as a turntable as possible, practically an ideal analog source. Its responsibility ends with connecting to the RCA output of the phono preamp and the cartridge case plug. As a user, incorrect cartridge selection and the back-end audio system can ruin the essence of the Model 35. There are no secrets to getting better sound from this turntable; simply follow the manufacturer’s and selected cartridge’s instructions strictly.

Some might point out that you can fine-tune the turntable. Well, in the past, the base was sometimes filled with asphalt or concrete, or the turntable pad was replaced with an organic material mixed with meteorite dust. Occasionally, this does work, for example, to build a better base for the 301, 124, L75, A.R. Sugden Connoisseur Type B, or SP-10.

For those who have no interest in building a base, calculating its resonance, and finding suitable materials (like Shindo does), it’s best to buy a turntable that comes with a high level of performance from the factory.

Assembling this turntable together is an inspiring and highly educational experience. It offers new insights and allows you to further understand the reasons behind these technologies. For example, a consumer buys a new cartridge for their turntable. You would naturally first calculate whether the cartridge is a perfect match for the tonearm. However, the final result doesn’t always match what the calculations show.

This is peculiar. One reason might be that tonearm or cartridge manufacturers sometimes don’t provide accurate figures for effective quality and dynamic smoothness. Sometimes they only specify “smoothness.” But what you need is dynamic smoothness measured at the correct stylus pressure. Sometimes you’ll find a truly excellent match, but calculations indicate the combination isn’t ideal.

SME Model 35 Information

The SME Model 35 sits below the flagship Model 60 and evolved from the Model 30. SME has updated its entire turntable range over the past few years. Older models (15, 20, and 30) are still available as part of the Legacy Series upon special requirements. SME is an industrial company that initially manufactured scale models of racing cars, and continues to do so today, producing parts for the military, scientific, medical, Formula One, aerospace (e.g., Rolls Royce), writing instrument manufacturers (Parker), and aerospace manufacturing.

In 1959, Alastair Robertson-Aikman created his own tonearm, which was a huge success. Its production version became the 3009 Series 1, which was very popular at the time when paired with Ortofon cartridges and 124-channel turntables. Your author photographed an SME Series 1 (with a misplaced and then-optional bias compensation device) against the backdrop of a more modern SME 3012.

SME is actually an engineering company, manufacturing products with impeccable quality and extreme precision. Therefore, the factory in Steyning is filled with CNC machine tools, milling machines, lathes, and highly advanced precision measuring tables. In addition, there are systems capable of anodizing and electroplating in various colors; literally, everything is designed and manufactured in-house.

In the audio industry, few companies can manufacture equipment at this extremely high level. SME products can last a hundred years. The SME Series V tonearm, in particular, is considered one of the best tonearms by the British. There’s a touch of chauvinism involved, of course, but perhaps it’s true. SME proved that you can build a tonearm with all the essential adjustments, super user-friendliness, unparalleled build quality, and tremendous sonic performance at an acceptable retail price. Why do other manufacturers charge three to ten times that? SME systems are indeed expensive, but they haven’t reached the extremely high level. The Model 8 already offers top-tier quality, advanced resonance control, and popular color options like white, making it attainable for true audiophiles. Compare this turntable to other brands in the same price range.

The SME Model 35 features advanced resonance control. It’s essentially the same as the Model 60, but there are subtle differences due to the Model 60’s greater mass. The three pillars have decoupled adjustable feet, providing multi-point isolation. Therefore, the feet themselves are isolated. The suspension system operates simultaneously in both vertical and horizontal conditions. It’s essentially the same suspension system as in the 20 and 30 models, featuring the well-known rubber bands.

The bearings utilize a so-called “Damping Bath.” During the production of the Model 35 and Model 60, this structure is filled with silicone oil, housing what are known as journals/shrouds. In addition to the rubber suspension and feet, this “Damping Bath” is the third technology for suppressing resonance. The platter’s “iso-damp” surface and record holders also play a significant role. The main and sub-chassis are acoustically optimized. They are not merely two aluminum plates pieced together. The undersides of these plates also have plastic inlays. These also determine the resonance behavior. The resulting effect is that the interface between the record groove and the stylus/stylus bar is unaffected by external and internal resonances.

Those in the know understand that resonance also depends on the shape and size of the components, the materials, and what’s called damping. It’s inversely proportional to Young’s modulus. Plastic inserts are also embedded in the Model 35’s platter. These are all factors that play a role, and if you design and measure like an SME, you can have complete control over resonance behavior. Like the 20 and 30, the Model 35 features a double-base design to ensure the stylus picks up only the sound from the record grooves. As mentioned before, you can experiment with different cartridges, but you definitely don’t want the platter to have its own sonic characteristics. In fact, the two parts of the base have different densities in different locations to suppress resonance.

The Model 35 is heavy and is actually a more compact Model 60, taking the form of the Model 15 but with a very modern look. Luxury finishes are available in Gunmetal and Anodized Blue (Midnight Blue), but standard colors are also available in black and gray. The Model 60, in addition to the standard finishes, can be customized with unique colors to customer specifications. Even the customer’s name can be engraved on the base. SME’s highly advanced measurement equipment can show the impact on sound. Even installing a different screw on the tonearm can affect the sound, and SME can measure that.

The Model 35 features an AC motor with speed control. There’s a signal processing generator that produces two sine waves and controls the frequency, amplitude, and phase. The speed generator has a memory function. If you set the speed to 33.5 rpm, the system remembers it. The new Vi tonearm (i=improved) has a tonearm tube made of a single polymer resin. Its resonance is therefore much lower than the classic V tonearm with a magnesium alloy tonearm tube. Its shape provides greater rigidity and resonance damping.

Therefore, the response is very linear. Tracking is also better. The Model 35 is actually quite compact, taking up very little space in living spaces. While every product involves compromises, the Model 35 makes very few. How much further can you go, and will this result in significantly better sound? Sometimes, a more expensive, sometimes more affordable turntable might have a slight edge in a single characteristic. Your reviewer is always skeptical of claims that a $300,000 turntable performs much better; a degree of relativism is a human virtue.

Clearaudio Information:

The Clearaudio MC Titanium V2 is part of a new cartridge series. It features a titanium housing, 24K gold coils, a boron stylus, perfect resonance suppression, and the renowned twelve-finger plateau—not just for aesthetics, but more importantly, to suppress resonance. The cartridge is equipped with a Prime Line stylus (micro HD) weighing 8 grams. The stylus weight is 2.8 grams. The nominal compliance is 15 μmN, which is medium and should be matched with the SME Vi, suitable for high-compliance cartridges. CBS test discs did not indicate any problems with this match.

Listening Experience:

When it comes to listening, some people always comment that sound quality is subjective. This is absolutely wrong. Sound quality is determined by a series of scores on sonic characteristics. In principle, only one set of scores determines the highest sound quality. Furthermore, listening is a skill that can be learned. As a listener or manufacturer of audio equipment, ethically speaking, you have no right to tamper with these scores to create your own sound. This is disrespectful to artists, conductors, mastering engineers, composers, recording technicians, and producers; it’s also disrespectful to how sound is presented in reality. One problem is that live sound isn’t a legal entity that can take violators to court. As Lucebert famously said, “Everything of value is helpless.”

SME fully understands that a sound source component should only play what’s recorded on the medium. The entire basic philosophy behind SME product development is simple: design a sound source that only lets you hear what’s on the record. The idea that sound quality can be objectively determined is not new. Harry Pearson long ago proposed a system of sonic characteristics for defining sound quality.

Sometimes it’s just difficult to quantify these characteristics. You often need to deal with ordinal scales in statistics. Furthermore, you can indeed measure certain characteristics and give them numerical values. Other characteristics are difficult to measure, and relating the measurement results to your auditory experience is inherently difficult. THX also has a system that defines sound quality through a series of measured characteristics. The goal is to make the movie sound the same everywhere.

To be able to listen to the Model 35, the day before the turntable arrived, we set up a system in the listening room that wouldn’t diminish its neutral character. Now we can discuss twenty records and comment on the performance of the instruments and effects on each one. Perhaps it’s best to focus directly on what the Model 35 actually does. Sometimes you hear someone say that their turntable makes every record sound great. Then you really have a problem. That means there’s a kind of distortion that gives the turntable its tolerance. And that’s exactly what the Model 35 absolutely doesn’t do. In that sense, it’s a discerning measuring tool. You only hear the music in the grooves. Good recordings and pressing push the limits of your imagination, while bad ones are laid bare.

Scavenging the world’s finest records in the listening room has always been a pleasure. Occasionally, a batch arrives from the US. Twenty years ago, they would have been archived because other obligations in life took precedence. A few weeks ago, I took a few boxes of records out of the archive and quickly browsed through them; sometimes you’ll find something special. For example, Saint-Saëns’ Symphony No. 3 performed by the Chicago Symphony Orchestra and Daniel Barenboim (DGG 2530 619). A superb recording showcasing all the strengths of the Model 35. A vast soundstage with immense transparency, depth, and height. Beautiful timbre, tranquility, incredible speed, and tremendous dynamics. And then there’s the detail, subtlety, bass, integrity, and coherence. This is also evident on the Proprius label (prop7763). The organ in Stora Tuna Kyrke Church has six 16-foot stops. You can’t hear the lowest notes, but you can feel them in the listening room—it’s a truly special experience.

Johnny Hodges and Kenny Burrell’s “Mess of Blues,” the original American pressing, is the best of all. Recorded in New York City in 1963, with Phil Ramone operating the console and Creed Taylor producing (Verve V/V6-8570). The sheer dynamics, energy, and sharp focus of Wild Bill Davis’s opening on the organ are astounding.

When you hear it, you can’t believe such a sound comes from a record. Anyone wanting to experience one of the most spectacular blues tracks should play John Handy’s “Soulesson” from the album *Excursion in Blue*. It’ll literally blow the roof off on the Model 35. Music On Vinyl will be releasing an exclusive Elvis Presley release around August, and these have already sounded fantastic in the listening room.

For example, ‘Elvis Sings…’, a compilation of covers of The Beatles, the Bee Gees, and more, a three-disc limited edition of 500 sets, is a collector’s item. The sound quality achieved also speaks volumes about Clearaudio cartridges. Goldfinger is more well-known here, but the question is whether the Titanium can coexist harmoniously with the SME. As readers may know, I’m not exactly a fan of many MC cartridges. Many have coloration, with overly delicate and soft highs. Live music doesn’t sound like that; some MM models sound more realistic.

However, the Clearaudio is convincing, with realistic treble and excellent, neutral transmission of the timbre from recordings. This cartridge was brand new. It played at a high level immediately, but lacked dynamics initially, which turned out to be a break-in issue that improved day by day. The Titanium’s strength lies in its versatility; you can play classical music, revealing all the timbres and nuances of an orchestra, as well as jazz, pop, and energetic dance music.

When discussing SME turntables, the “black background” is always mentioned. SMEs truly have no mechanical noise. If you hear platter noise, it’s simply the inherent noise of the record or the vinyl material used. To confirm this, I retrieved some Japanese pressings from my archives, the renowned Toho red vinyl. Japanese vinyl is generally of very high quality, and red vinyl is top-tier. For example, Louis Armstrong’s Hello Dolly, a red vinyl from the Japanese Kapp label, manufactured by Toho. If you turn the amplifier up high and listen with the stylus in the groove, between tracks, or during the endless loop at the end of a record, you’ll notice an unusual quietness.

This “black background” leads to a potentially odd phenomenon. Your author’s experience with the SME 20 and 30 series turntables is that this black background has a perceptible quality. It’s hard to describe, but it’s like a kind of “coolness.” You might say you can vaguely tell you’re listening to an SME, but the Model 35 doesn’t have this quality.

Besides the exceptional quality of the 20 or 30, the Model 35 seems more neutral. It doesn’t sacrifice the warmth and atmosphere of the recording. This is likely partly due to the new Vi tonearm. In short, it’s difficult to attribute any sonic characteristics to the Model 35 or identify any coloration; it’s absent, and you consistently have a feeling of hearing only what’s in the grooves of the record. It’s also worth noting that even near the spindle grooves, the sound remains remarkably pure. Absolutely top-quality digital sources have been played here over the past few months. However, the analog sound output from the Model 35 is superior; it’s difficult to pinpoint the exact difference, but it’s undeniable when listening.

In conclusion, on a good turntable, every record sounds completely different. This is true in terms of timbre, spatial organization, size, and dynamics. A poor turntable and a poor converter give every record or CD a uniform sound. A number of stunning records could be listed. For example, the Blue Note’s *Blue Train*, or the spectacular and incredible presentation of Dave Holland’s “Inception” on *Lifecycle* (ECM). Think of the intimacy, vulnerability, and atmosphere of Michael Jackson singing the opening track (Something in the Dark) from the E.T. soundtrack. Frank Sinatra’s *My Way*, with its grand stage presence and dynamics, truly leaves you speechless.

We recall our winter romance with the SME Model 35 with immense joy. It’s a top-of-the-line product, a lifetime investment, the pinnacle of precision and build quality, with exceptional and realistic sound quality, and elegant appearance.

Could it be any better? Perhaps some products score slightly higher in the details, like the Model 60. Sometimes that requires a significantly higher investment. Those wanting to prove that extra quality can place such a turntable in their listening room. Realistic thinkers will consider it from a value-for-money perspective. The Model 35 is pricey, but you’ll hardly regret it. A romance is usually short and not very serious. However, this one is very serious, memorable, and leaves you wanting more. This is an extremely high-quality analog replay; some records sound truly magical. Now all that’s needed is to launder some money…