Audiophilepure

https://www.soundstageultra.com/index.php/equipment-menu/1290-sme-model-35-turntable-and-series-vi-tonearm

Feed the Model 35 some purist-recorded jazz, though—such as Cannonball Adderley’s Somethin’ Else (Blue Note 1595)—and you’ll find yourself transported back nearly 70 years to a 1958 session that seems so real you’ll feel like slipping into your best lounge-lizard suit and taking up smoking again. What this recording revealed is that the SME is beautifully balanced across the entire frequency range—nothing was favored or emphasized. Adderley’s alto sax brimmed with reedy, brassy detail, while the steady, melodic bass rhythm of Sam Jones filled the room with its warm timbre and tone. With Art Blakey locking into the groove, every nuance of his technique was laid bare on the SME—every cymbal shimmered, and every snare strike cut through the mix with precision.

Surely this is why we audiophiles get so enmeshed with this expensive hobby of ours. It’s for the ability to come home after a tiring day at work, pour a glass of wine, sink into a favorite armchair, and revel in the sublime beauty of a record such as this. The SME made music appreciation so easy because it put me right there with the musicians. Apart from the Model 60, I can’t think of any other turntable I have heard that got me quite this close to the source. Its bandwidth, transparency, precision, and lack of artifice are world class.

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