Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1154-sme-model-60-turntable-and-series-va-tonearm

I was enjoying the sound so much I ended up playing the whole album, and reveled in the ease with which this special system conveyed the beauty of Barry’s score. On “Try,” the plucked double bass had astonishing depth, articulation, and timbre, and the accompanying piano sounded incredibly natural. Best of all, the system effortlessly reproduced the dramatic climaxes when the orchestra was going at full tilt, even at high volumes. There was a sense of boundless headroom and dynamics, devoid of compression. Sudden transient blasts of trumpet and drums on “Ski Chase” actually made me jump with their force and speed.

In terms of imaging, the Model 60 offered a soundstage that was so stable it felt like architecture hewn from granite. Nothing moved or drifted in depth or width, instruments and performers stayed absolutely secure, and were thus more believable. The soundstage extended far outside the confines of the speakers and I was sometimes surprised at just how wide this felt compared to other sources. Of course, soundstage is affected by a whole range of things, from the loudspeakers to room acoustics, but if the turntable isn’t retrieving spatial information from the record groove then no loudspeaker can put it back.

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